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Canon catching up? Canon EOS-1D X II tested in our studio

Digital Photography Review - vor 3 Stunden 24 Minuten

Announced back in February, the Canon EOS-1D X Mark II has at long last made its way through our door. We're just itching to get it out and put its 20.2MP sensor and 14 fps burst rate to work shooting some fast action to see what its AF system can do, but first we put it through our slate of studio image quality tests.

Like the EOS 80D there's a big improvement in the camera's dynamic range. Canon's move to a design using on-chip analog-to-digital conversion allows less noise to be added before the signal is converted into digital values, meaning it's easier to distinguish between captured information and background noise. In turn, this means more malleable Raw files with more useful information available when you try to process them.

In our standard studio tests, the findings were slightly less positive. The JPEG engine seems to use the same sharpening parameters as the 50MP EOS 5DS R, which ends up being rather heavy-handed when applied to 20MP levels of detail capture. High ISO performance, once a Canon strength, drops a little behind its better rivals.

Raw Dynamic Range Exposure Latitude

In this test we look to see how tolerant of pushing exposure the EOS-1D X II's Raw files are. We've done this by exposing our scene with increasingly lower exposures, then pushed them back to the correct brightness using Adobe Camera Raw. Examining what happens in the shadows allows you to assess the exposure latitude (essentially the dynamic range) of the Raw files.

Because the changes in this test noise are primarily caused by shot noise and this is mainly determined by the amount of light the camera has had access to, the results are only directly comparable between cameras of the same sensor size. However, this will also be the case in real-world shooting if you're limited by what shutter speed you can keep steady, so this test gives you an idea of the amount of processing latitude different formats give.

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The Canon EOS-1D X Mark II shows very similar amounts of noise to the excellent sensor in the Sony a7R II up until a 3EV push, with the Canon dropping behind after a 4EV push. It's a similar story against the likes of the Nikon D750$(document).ready(function() { $("#imageComparisonLink2429").click(function() { ImageComparisonWidgetLink(2429); }); }) or D810$(document).ready(function() { $("#imageComparisonLink2430").click(function() { ImageComparisonWidgetLink(2430); }); }). This means that the darker shadows in a processed image would be slightly cleaner in images from these cameras, after contrast adjustments or a less extreme push.

However, this performance is noticeably better than the Canon EOS 5DS R$(document).ready(function() { $("#imageComparisonLink2432").click(function() { ImageComparisonWidgetLink(2432); }); }) and, significantly, better than the 1D X II's most direct rival: the Nikon D5$(document).ready(function() { $("#imageComparisonLink2433").click(function() { ImageComparisonWidgetLink(2433); }); }).

ISO Invariance

A camera with a very low noise floor is able to capture a large amount of dynamic range, since it add very little noise to the detail captured in the shadow regions of the image. This has an interesting implication: it minimizes the need to amplify the sensor's signal in order to keep it above that noise floor (which is what ISO amplification conventionally does). This provides an alternate way of working in situations that would traditionally demand higher ISO settings.

Here we've done something that may seem counter-intuitive: we've used the same aperture and shutter speed at different ISO settings to see how much difference there is between shooting at a particular ISO setting (and using hardware amplification) vs. digitally correcting the brightness, later. This has the advantage that all the shots should exhibit the same shot noise and any differences must have been contributed by the camera's circuitry.

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You can see the EOS-1D X II's full results here. As you may have inferred from the Exposure Latitude tests, the EOS-1D X II isn't entirely ISO invariant - the camera is adding enough downstream read noise such that you can't use a lower-than-normal ISO and selectively brighten the image later - to protect highlight information - without some noise cost.

To put this in perspective, though, the camera's files appear much more flexible than those of the Canon EOS 5DS R$(document).ready(function() { $("#imageComparisonLink2434").click(function() { ImageComparisonWidgetLink(2434); }); }), which itself was a big step forward from the EOS 5D Mark III$(document).ready(function() { $("#imageComparisonLink2435").click(function() { ImageComparisonWidgetLink(2435); }); }). So, while they're not a match for the likes of the Nikon D750$(document).ready(function() { $("#imageComparisonLink2436").click(function() { ImageComparisonWidgetLink(2436); }); }) or the latest Sony sensors, the 1D X II is a step forward for Canon, and performs better than the Nikon D5$(document).ready(function() { $("#imageComparisonLink2437").click(function() { ImageComparisonWidgetLink(2437); }); }) in this regard. In fact this test slightly under-represents the Canon's performance, since the D5's ISO 6400 result is better to start off with: to start off ahead but then fall behind the Canon, the Nikon must be adding more noise at low ISOs.

Kategorien: Fotografie

Feature Shoot announces Emerging Photography Award winners

Digital Photography Review - vor 16 Stunden 48 Minuten
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Feature Shoot has announced five winners in its 2016 Emerging Photographer Awards. Now in its second year, the awards hope to help jumpstart the careers of budding photographers, and entries are accepted from around the world. The five winners' photos will be exhibited at United Photo Industries in Brooklyn next month. Each winning photographer also receives $500 cash, a Lomo'Instant Montenegro Camera and a Cecilia camera strap.

Take a look at some of the winning images above, and learn more about the competition at

Press release:

Developed: Five Emerging Photographers
Opening: June 2, 2016? 6:00-9:00 PM
United Photo Industries
16 Main St, #B, DUMBO, Brooklyn, New York

Spanning the globe and various genres within the medium, Developed: Five Emerging Photographers highlights some of the most surprising and excellent work produced by rising stars within the photographic world.

New York - April 28, 2016 Feature Shoot is proud to present the Second Annual Feature Shoot Emerging Photography Awards exhibition, showcasing the work of five diverse and exceptional fine art, documentary, and portrait photographers from around the world.

The Feature Shoot Emerging Photography Awards are given annually to a set of photographers whose voices are unique. The prize and subsequent exhibition, featuring five artworks from each winning artist, are geared not only towards jumpstarting the careers of promising new photographers but also towards contributing to fresh and forwardthinking discourse within the international photographic community.

This year, our jury of leading industry experts - Jessie Wender, Senior Photo Editor at National Geographic Magazine? Sarah Sudhoff, photographer and Director/Owner at Capsule Gallery? Kevin Wy Lee, photographer and Founder of Invisible Photographer Asia (IPA)? Liz Lapp, curator and Content Manager at Yahoo - selected five photographers from an estimated 1,000 submissions. The exhibiting photographers will be Marlena Waldthausen, Camille Michel, Mariya Kozhanova, Lissa Rivera, and Kimberly Witham.

Marlena Waldthausen was chosen for her intimate series Brothers, chronicling the lives and close relationship between two deaf twins, one of whom is also entirely blind, living in Germany. 

Camille Michel's series The Last Men tells the ancient tale of the Inuit fishermen of Uummannaq, Greenland, who are gradually losing their ties to the land in an increasingly globalized community. 

Mariya Kozhanova focuses her lens on Russian youth, who in a precarious political climate, have clung to and become a part of the Japanese subculture of anime cosplay.

Lissa Rivera was selected for Beautiful Boy, a series confronting gender roles and aesthetics, made in collaboration with her romantic partner after he told her about his habit of donning women’s clothes in college.

Kimberly Witham's winning project On Ripeness and Rot takes inspiration from Dutch Golden Age paintings, incorporating fresh fruit and roadkill to create beautiful and disarming still lifes that speak to mortality, loss, and rebirth.

Kategorien: Fotografie

Fast and wide FE-mount lenses: Samyang picks Sony for its first-ever pair of autofocus lenses

Imaging Resource - vor 16 Stunden 49 Minuten
For the first time in the 40 years of manufacturing lenses, Samyang Optics is releasing autofocus lenses. Announced today in Seoul, both the 14mm f/2.8 and 50mm f/1.4 Sony E mount mirrorless lenses are designed for full frame cameras (such as the A7 II, A7R II, and A7S II) and are compatible with both contrast- and phase-detect autofocus for "fast and accurate" autofocus performance. The Samyang 14mm f/2.8 ED AS IF UMC is "the widest angle [FE-mount AF lens] available in the market" and is designed to offer "a beautiful bokeh effect and the best quality...
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Kategorien: Fotografie

High-speed photography made simple with the StopShot trigger

Imaging Resource - Di, 03/05/2016 - 22:57
Chris Niccolls of The Camera Store in Calgary, Alberta, recently put Cognisys' StopShot fast action trigger to the test. From Cognisys' website: "Welcome to the world of high speed photography - the world where science and art collide." That's a rather grandiose statement, so does the product live up to the hype? Read on! The StopShot includes multiple types of sensors, such as microphone, beam, and motion sensors. In conjunction with these sensors, you can trigger up to three connected devices including "flashes, cameras, water valves, solenoids, or any...
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Kategorien: Fotografie

Samyang announces 14mm F2.8 and 50mm F1.4 autofocus FE lenses

Digital Photography Review - Di, 03/05/2016 - 21:50

Samyang Optics has announced its first autofocus lenses. The 14mm F2.8 ED AS IF UMC and 50mm F1.4 AS IF UMC will be offered in Sony's E-mount and are designed to cover a full-frame sensor. With a robust metal housing, each lens will be able to utilize phase detection AF as well as contrast detection, and will offer 67mm filter threads.

The 14mm F2.8 and 50mm F1.4 will be available in July 2016; no price is given yet. Keep an eye on Samyang's Facebook page and website for more information.

Press release:

May 3rd, 2016, Seoul, Korea – The global optics brand, Samyang Optics ( today announced the long-awaited launch of two autofocus lenses: 14mm F2.8 and 50mm F1.4 lenses for Sony E mount Mirrorless cameras with full frame sensor size. The new 14mm and 50mm are the widest and brightest lenses in their class and offer superb quality images to photographers. This launching expands the boundaries of Samyang Optics photo lens line-up from manual focus only, to now include autofocus lenses.

Optimised Optical Design as Full Frame Mirrorless Camera Lens

Both 14mm F2.8 ED AS IF UMC and 50mm F1.4 AS IF UMC are specifically designed to work in harmony with full frame mirrorless cameras in Sony E mount. The flow of light is devised based on the uniqueness of the distance from glass to sensor in mirrorless cameras to create optimal performance. Along with portability of mirrorless lenses, the 14mm F2.8 and 50mm F1.4 are compatible with full frame sensors to deliver the wideness and sharpness of image to photographers.

The 67mm filter diameter brings the maximum amount of light into the lens to create the best work of light in photography. The 14mm F2.8 is the widest angle available in the market and the F1.4 of 50mm and F2.8 of 14mm apertures are by far the brightest of full frame mirrorless lenses, offering a beautiful bokeh effect and the best quality images under various exposure conditions.

Based on Samyang Optics’ exceptional optical technology, aspherical lenses have been included in both lenses to minimise aberration and unnecessary light dispersion, delivering high resolution from the centre to the corners of the image.

AF Performance and Ergonomic Design Based on Class-Leading Technology

These new products will be the first autofocus lenses in over 40 years of Samyang’s class-leading core optics technologies. Samyang has captured the essence of world leading image technology with their manual focus lenses and reinterpreted it into autofocus lenses. Photographers now can enjoy the prime manual lens image quality and autofocus lens. These new 14mm F2.8 and 50mm F1.4 are compatible with both phase detect and contrast detect sensors to operate fast and accurate focus detection.

The 67mm filter diameter is also the result of years of R&D for best handling, by adding stability to the photo-taking experience. Also the minimal and sleek design and metal-housing solidify the build quality with the internal focus system.

These two new autofocus lenses from Samyang Optics will be exhibited at the Photo & Imaging 2016 Show in Seoul, South Korea. The lenses will be globally available from July 2016. Further details, pricing and availability will follow.

Kategorien: Fotografie

Canon 1D X Mark II First Shots: We get our hands on a final production copy of the flagship EOS camera

Imaging Resource - Di, 03/05/2016 - 20:54
    At long last, we've finally procured our final production-level Canon 1D X Mark II review sample. We therefore wasted no time sending it down to the lab for testing. Although earlier we posted pre-production real-world gallery images, we'd yet to run our standardized lab test shots in order to get a more analytical look at this flagship camera's image quality. Sporting a brand new 20.2-megapixel full-frame CMOS sensor, the 1DX II offers a slight bump up in resolution from the 18MP Canon 1D X. The Mark II is also now closely...
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Kategorien: Fotografie

Peak Design launches smaller 'Everyday Messenger 13' bag

Digital Photography Review - Di, 03/05/2016 - 20:36
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Peak Design has launched a more compact version of its Everyday Messenger bag designed to hold a 13" laptop. The bag maintains the same Everyday Messenger design, but offers it in a lighter 42oz/1.2kg (versus 47oz/1.33kg) package with two FlexFold dividers instead of three.

The Everyday Messenger 13 has a 6L to 14L capacity, whereas the original bag — now called the Everyday Messenger 15 — has an 8L to 18L capacity and room for a 15" laptop. Though perhaps better suited for smaller mirrorless kits, the Everyday Messenger 13 can accommodate up to a full-frame DSLR with three lenses and assorted accessories.

Other Everyday Messenger 13 features include a MagLatch, a pair of dedicated Capture clip attachment points, a front access panel, upper zipper, 2" padded shoulder strap, removable waist strap, a tablet sleeve that is separate from the dedicated laptop pocket, a pair of side pockets, Hypalon-reinforced and bar-tacked stress points, a waxed outer shell, and water-resistant exterior zippers.

The Everyday Messenger 13 is priced at $219.95, and the Everyday Messenger 15 is priced at $249.95. Both are available now through Peak Design's website.

Kategorien: Fotografie

Star Wars meets real war in Matthew Callahan’s Galactic Warfighters photo series

Imaging Resource - Di, 03/05/2016 - 19:17
Though we never got a glimpse behind those stormtrooper helmets in the original Star Wars trilogy, as we've seen in later installments, including The Force Awakens, there are, in fact, humans under that armor. U.S. Marine Combat Correspondent and photographer Matthew Callahan has been working on a personal project capturing humanizing photos of stormtrooper figurines. It can be all too easy to feel disconnected from real-life combat and those who serve, but Callahan hopes that his project will get viewers to stop and think about the people who are in the...
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Kategorien: Fotografie

2016 Roundup: Enthusiast Long Zoom Cameras

Digital Photography Review - Di, 03/05/2016 - 17:00

While most of new 1" sensor enthusiast cameras have been on the shorter end of the focal length spectrum, there are now quite a few long zoom models, as well. Whether you want something pocketable or want to shoot for the moon (pun intended), you'll find it in this group.

There are plenty of other long zoom compacts out there, some offering focal ranges reaching 2000mm though they almost always use much smaller 1/2.3" sensors (the Olympus Stylus 1s is one exception). The cameras in this roundup eclipse those models, especially when it comes to image quality and control over depth-of-field.

The models we're looking at in this article include:

The cameras that have the shortest zoom are arguably the most robust, feature-wise: the Sony Cyber-shot RX10 twins. (The RX10 Mark III, which will cover soon, has a significantly longer lens.) The Panasonic Lumix DMC-ZS100/TZ100 is likely the best travel zoom ever, offering a good balance of size and zoom power, while the Canon PowerShot G3 X and Panasonic Lumix DMC-FZ1000 swing for the fences in terms of zoom power.

To further help you pick the right camera in this class, we've created the chart below, which breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you'll be able to get and typically, though not always, the better the overall low-light performance.

This graph plots equivalent focal length against equivalent aperture - with both axes taking sensor size into account so that they can be compared on a common basis. Equivalent focal lengths offer the same field-of-view and equivalent apertures give the same depth-of-field and similar total light capture. For more information, click here.

With its constant aperture (F2.8) lens, the Sony Cyber-shot RX10 I/II capture more total light and offers more control over depth-of-field compared to its peers, by 1 or 2 stops. The trade-off is that its focal length caps out at 200mm equiv. The Canon PowerShot G3 X has the longest lens, but it reaches its maximum aperture (F5.6) at around 200mm equiv., putting it 1 stop behind the Panasonic Lumix FZ1000, which tops out at F4.

And with that out of the way, let's get right into exploring the enthusiast long zoom cameras!

Kategorien: Fotografie

Meaningful CSS: Style Like You Mean It

A List Apart - Di, 03/05/2016 - 15:00

These days, we have a world of meaningful markup at our fingertips. HTML5 introduced a lavish new set of semantically meaningful elements and attributes, ARIA defined an entire additional platform to describe a rich internet, and microformats stepped in to provide still more standardized, nuanced concepts. It’s a golden age for rich, meaningful markup.

Yet our markup too often remains a tangle of divs, and our CSS is a morass of classes that bear little relationship to those divs. We nest div inside div inside div, and we give every div a stack of classes—but when we look in the CSS, our classes provide little insight into what we’re actually trying to define. Even when we do have semantic and meaningful markup, we end up redefining it with CSS classes that are inherently arbitrary. They have no intrinsic meaning.

We were warned about these patterns years ago:

In a site afflicted by classitis, every blessed tag breaks out in its own swollen, blotchy class. Classitis is the measles of markup, obscuring meaning as it adds needless weight to every page. Jeffrey Zeldman, Designing with Web Standards, 1st ed.

Along the same lines, the W3C weighed in with:

CSS gives so much power to the “class” attribute, that authors could conceivably design their own “document language” based on elements with almost no associated presentation (such as DIV and SPAN in HTML) and assigning style information through the “class” attribute… Authors should avoid this practice since the structural elements of a document language often have recognized and accepted meanings and author-defined classes may not. (emphasis mine)

So why, exactly, does our CSS abuse classes so mercilessly, and why do we litter our markup with author-defined classes? Why can’t our CSS be as semantic and meaningful as our markup? Why can’t both be more semantic and meaningful, moving forward in tandem?

Building better objects

A long time ago, as we emerged from the early days of CSS and began building increasingly larger sites and systems, we struggled to develop some sound conventions to wrangle our ever-growing CSS files. Out of that mess came object-oriented CSS.

Our systems for safely building complex, reusable components created a metastasizing classitis problem—to the point where our markup today is too often written in the service of our CSS, instead of the other way around. If we try to write semantic, accessible markup, we’re still forced to tack on author-defined meanings to satisfy our CSS. Both our markup and our CSS reflect a time when we could only define objects with what we had: divs and classes. When in doubt, add more of both. It was safer, especially for older browsers, so we oriented around the most generic objects we could find.

Today, we can move beyond that. We can define better objects. We can create semantic, descriptive, and meaningful CSS that understands what it is describing and is as rich and accessible as the best modern markup. We can define the elephant instead of saying things like .pillar and .waterspout.

Clearing a few things up

But before we turn to defining better objects, let’s back up a bit and talk about what’s wrong with our objects today, with a little help from cartoonist Gary Larson.

Larson once drew a Far Side cartoon in which a man carries around paint and marks everything he sees. “Door” drips across his front door, “Tree” marks his tree, and his cat is clearly labelled “Cat”. Satisfied, the man says, “That should clear a few things up.”

We are all Larson’s label-happy man. We write <table class="table"> and <form class="form"> without a moment’s hesitation. Looking at Github, one can find plenty of examples of <main class="main">. But why? You can’t have more than one main element, so you already know how to reference it directly. The new elements in HTML5 are nearly a decade old now. We have no excuse for not using them well. We have no excuse for not expecting our fellow developers to know and understand them.

Why reinvent the semantic meanings already defined in the spec in our own classes? Why duplicate them, or muddy them?

An end-user may not notice or care if you stick a form class on your form element, but you should. You should care about bloating your markup and slowing down the user experience. You should care about readability. And if you’re getting paid to do this stuff, you should care about being the sort of professional who doesn’t write redundant slop. “Why should I care” was the death rattle of those advocating for table-based layouts, too.

Start semantic

The first step to semantic, meaningful CSS is to start with semantic, meaningful markup. Classes are arbitrary, but HTML is not. In HTML, every element has a very specific, agreed-upon meaning, and so do its attributes. Good markup is inherently expressive, descriptive, semantic, and meaningful.

If and when the semantics of HTML5 fall short, we have ARIA, specifically designed to fill in the gaps. ARIA is too often dismissed as “just accessibility,” but really—true to its name—it’s about Accessible Rich Internet Applications. Which means it’s chock-full of expanded semantics.

For example, if you want to define a top-of-page header, you could create your own .page-header class, which would carry no real meaning. You could use a header element, but since you can have more than one header element, that’s probably not going to work. But ARIA’s [role=banner] is already there in the spec, definitively saying, “This is a top-of-page header.”

Once you have <header role="banner">, adding an extra class is simply redundant and messy. In our CSS, we know exactly what we’re talking about, with no possible ambiguity.

And it’s not just about those big top-level landmark elements, either. ARIA provides a way to semantically note small, atomic-level elements like alerts, too.

A word of caution: don’t throw ARIA roles on elements that already have the same semantics. So for example, don’t write <button role="button">, because the semantics are already present in the element itself. Instead, use [role=button] on elements that should look and behave like buttons, and style accordingly:

button, [role=button] { … }

Anything marked as semantically matching a button will also get the same styles. By leveraging semantic markup, our CSS clearly incorporates elements based on their intended usage, not arbitrary groupings. By leveraging semantic markup, our components remain reusable. Good markup does not change from project to project.

Okay, but why?


  • If you’re writing semantic, accessible markup already, then you dramatically reduce bloat and get cleaner, leaner, and more lightweight markup. It becomes easier for humans to read and will—in most cases—be faster to load and parse. You remove your author-defined detritus and leave the browser with known elements. Every element is there for a reason and provides meaning.
  • On the other hand, if you’re currently wrangling div-and-class soup, then you score a major improvement in accessibility, because you’re now leveraging roles and markup that help assistive technologies. In addition, you standardize markup patterns, making repeating them easier and more consistent.
  • You’re strongly encouraging a consistent visual language of reusable elements. A consistent visual language is key to a satisfactory user experience, and you’ll make your designers happy as you avoid uncanny-valley situations in which elements look mostly but not completely alike, or work slightly differently. Instead, if it looks like a duck and quacks like a duck, you’re ensuring it is, in fact, a duck, rather than a
  • There’s no context-switching between CSS and HTML, because each is clearly describing what it’s doing according to a standards-based language.
  • You’ll have more consistent markup patterns, because the right way is clear and simple, and the wrong way is harder.
  • You don’t have to think of names nearly as much. Let the specs be your guide.
  • It allows you to decouple from the CSS framework du jour.

Here’s another, more interesting scenario. Typical form markup might look something like this (or worse):

<form class="form" method="POST" action="."> <div class="form-group"> <label for="id-name-field">What’s Your Name</label> <input type="text" class="form-control text-input" name="name-field" id="id-name-field" /> </div> <div class="form-group"> <input type="submit" class="btn btn-primary" value="Enter" /> </div> </form>

And then in the CSS, you’d see styles attached to all those classes. So we have a stack of classes describing that this is a form and that it has a couple of inputs in it. Then we add two classes to say that the button that submits this form is a button, and represents the primary action one can take with this form.

Common vs. optimal form markup What you’ve been using What you could use instead Why .form form Most of your forms will—or at least should—follow consistent design patterns. Save additional identifiers for those that don’t. Have faith in your design patterns. .form-group form > p or fieldset > p The W3C recommends paragraph tags for wrapping form elements. This is a predictable, recommended pattern for wrapping form elements. .form-control or .text-input [type=text] You already know it’s a text input. .btn and .btn-primary or .text-input [type=submit] Submitting the form is inherently the primary action.

Some common vs. more optimal form markup patterns

In light of all that, here’s the new, improved markup.

<form method="POST" action="."> <p> <label for="id-name-field">What’s Your Name</label> <input type="text" name="name-field" id="id-name-field" /> </p> <p> <button type="submit">Enter</button> </p> </form>

The functionality is exactly the same.

Or consider this CSS. You should be able to see exactly what it’s describing and exactly what it’s doing:

[role=tab] { display: inline-block; } [role=tab][aria-selected=true] { background: tomato; } [role=tabpanel] { display: none; } [role=tabpanel][aria-expanded=true] { display: block; }

Note that [aria-hidden] is more semantic than a utility .hide class, and could also be used here, but aria-expanded seems more appropriate. Neither necessarily needs to be tied to tabpanels, either.

In some cases, you’ll find no element or attribute in the spec that suits your needs. This is the exact problem that microformats and microdata were designed to solve, so you can often press them into service. Again, you’re retaining a standardized, semantic markup and having your CSS reflect that.

At first glance, it might seem like this would fail in the exact scenario that CSS naming structures were built to suit best: large projects, large teams. This is not necessarily the case. CSS class-naming patterns place rigid demands on the markup that must be followed. In other words, the CSS dictates the final HTML. The significant difference is that with a meaningful CSS technique, the styles reflect the markup rather than the other way around. One is not inherently more or less scalable. Both come with expectations.

One possible argument might be that ensuring all team members understand the correct markup patterns will be too hard. On the other hand, if there is any baseline level of knowledge we should expect of all web developers, surely that should be a solid working knowledge of HTML itself, not memorizing arcane class-naming rules. If nothing else, the patterns a team follows will be clear, established, well documented by the spec itself, and repeatable. Good markup and good CSS, reinforcing each other.

To suggest we shouldn’t write good markup and good CSS because some team members can’t understand basic HTML structures and semantics is a cop-out. Our industry can—and should—expect better. Otherwise, we’d still be building sites in tables because CSS layout is supposedly hard for inexperienced developers to understand. It’s an embarrassing argument.

Probably the hardest part of meaningful CSS is understanding when classes remain helpful and desirable. The goal is to use classes as they were intended to be used: as arbitrary groupings of elements. You’d want to create custom classes most often for a few cases:

  • When there are not existing elements, attributes, or standardized data structures you can use. In some cases, you might truly have an object that the HTML spec, ARIA, and microformats all never accounted for. It shouldn’t happen often, but it is possible. Just be sure you’re not sticking a horn on a horse when you’re defining .unicorn.
  • When you wish to arbitrarily group differing markup into one visual style. In this example, you want objects that are not the same to look like they are. In most cases, they should probably be the same, semantically, but you may have valid reasons for wanting to differentiate them.
  • You’re building it as a utility mixin.

Another concern might be building up giant stacks of selectors. In some cases, building a wrapper class might be helpful, but generally speaking, you shouldn’t have a big stack of selectors because the elements themselves are semantically different elements and should not be sharing all that many styles. The point of meaningful CSS is that you know from your CSS that that button or [role=button] applies to all buttons, but [type=submit] is always the primary action item on the form.

We have so many more powerful attributes at our disposal today that we shouldn’t need big stacks of selectors. To have them would indicate sloppy thinking about what things truly are and how they are intended to be used within the overall system.

It’s time to up our CSS game. We can remain dogmatically attached to patterns developed in a time and place we have left behind, or we can move forward with CSS and markup that correspond to defined specs and standards. We can use real objects now, instead of creating abstract representations of them. The browser support is there. The standards and references are in place. We can start today. Only habit is stopping us.

Kategorien: Webdesign

Nikon D500 First Shots: The long wait is over as the successor to the D300S touches down in our lab

Imaging Resource - Di, 03/05/2016 - 13:50
    Six and a half years is some long wait for a successor! But that's how long it's been since Nikon brought the D300S to the higher-end APS-C market, the follow-up to the popular D300 from 2007. Today the Nikon D500 finally touched down in our test laboratory and our senior lab technician Luke Smith wasted no time getting started. It should be noted that Luke has shot ~97% of all test lab shots relating to camera bodies for IR dating back to before the arrival of the D300! This is quality control you can't get elsewhere, folks. The...
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Kategorien: Fotografie

Frugal film photography: How to get into medium format film photography without breaking the bank

Imaging Resource - Di, 03/05/2016 - 13:11
Many photographers, including Chris Gampat at The Phoblographer, suggest that shooting with film forces photographers to slow down and consider every shot they take. Unlike with a digital camera, there is a very real cost to every image you capture, and this careful consideration can help vastly improve your work. That cost doesn't have to be high, however, even if you want to shoot medium format film photography. As Chris says, you might be interested in a Contax 645, but you'll be looking at shelling out anywhere from $1,500 to 4,000 for one. (You can...
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Kategorien: Fotografie

Making a splash: Nikon D500 real-world sample gallery

Digital Photography Review - Di, 03/05/2016 - 13:00

Nikon's flagship APS-C line got a long-awaited update in the D500. And as far as updates go, it's an impressive one: its 20.9MP sensor, 10 fps continuous shooting, 153-point AF system and 4K video shooting make it something of a DX-format D5. Our initial studio test results have been very encouraging, so we were eager to follow them up with plenty of real-world shooting.

Kategorien: Fotografie

A compendium of the wacky and weird: 10 strange camera designs that history has forgotten

Imaging Resource - Di, 03/05/2016 - 10:59
    The good folks over at FStoppers published a new article by Alex Cooke yesterday that really grabbed our attention. Rather logically entitled "10 of the Weirdest Cameras Ever Made", the piece appealed to our love of photography, added a healthy splash of history and nostalgia, then neatly tied it off with a bow by adding some quirkiness to the mix. In the piece, Cooke presenting what he feels are 10 of the most bizarre camera designs from over the years, both film and digital. From the bewildering medium-format Fuji camera...
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Kategorien: Fotografie

Sony posts significant imaging division income gains in 2015 financial year-end report

Digital Photography Review - Mo, 02/05/2016 - 23:38

There's plenty of bad news going around the camera industry lately. Companies once flush with cash from compact camera sales are now struggling to keep sales even. But despite the downward trend on a lot of camera manufacturers' books, Sony is coming through with some positive numbers. In its latest year-end financial report, the company boasts a 30.4 billion yen increase in operating income for its imaging products division, despite a 1.7% year-on-year decrease in sales.

It's a familiar story – Sony attributes the gain in income to a more favorable mix of high-value products, no doubt including its full-frame mirrorless line and premium RX-series compacts. Cost-reduction measures are also cited as contributing to the income gains. And though the upward trend is no doubt good for Sony, those numbers aren't quite as impressive as they seem at first glance. The imaging division's 2014 figures were hit by significant restructuring charges, bringing down the bottom line by 7.3 billion yen by the end of the year.

Even taking into account last year's mark-down, Sony has put up some very strong numbers for its imaging products in 2015's financial year.

Kategorien: Fotografie

Fujifilm facilities resume some production following Kumamoto earthquakes

Digital Photography Review - Mo, 02/05/2016 - 20:01

Fujifilm is slowly but surely bringing a key subsidiary's production facilities back online after earthquakes forced a shut down, and expects to be back at full production by the end of May. In a statement issued today, Fujifilm confirmed that trial operations began on April 23 at the facilities and were ultimately successful. Barring any further problems, the company anticipates being back at pre-earthquake production levels by the end of this month.

Fujifilm Kyusyu Co., Ltd operates the facilities that were impacted by the earthquakes that struck Japan's Kumamoto prefecture on April 16. These facilities are responsible for manufacturing a key component of LCD panels. A few days after the event, the company announced that operations in the area would be stopped while assessments were performed. None of the facilities were found to be seriously damaged, but at the time the company said it hadn’t yet decided when operations would restart, and that it would hold a trial run on April 23 and 24.

Inspections of warehouse stock are still underway; as of April 19, Fujifilm says it has been shipping out products that pass inspections. 'Fujifilm Kyusyu is doing its utmost to resume all operations,' says the company; the rate at which it does so is determined in part by the number and intensity of aftershocks.

Kategorien: Fotografie

Friendly Rebel: Canon EOS Rebel T6 / 1300D samples

Digital Photography Review - Mo, 02/05/2016 - 19:33

Canon's latest entry-level Rebel DSLR does what all of its entry-level offerings do best: provide only the basic level of controls and features in a beginner-friendly and cost-conscious body. The Canon EOS Rebel T6 (1300D) continues the tradition with an 18MP APS-C sensor, 9-point AF system, built-in Wi-Fi with NFC and 1080p HD video. See how it performs under a variety of conditions in our real-world shooting.

Kategorien: Fotografie

Saying goodbye to winter: Our March Photo of the Day award winners do it right

Imaging Resource - Mo, 02/05/2016 - 19:11
    March was yet another absurdly difficult month for the contest judges here at Imaging Resource in casting our votes for monthly contest winners. We spent half the time shaking our heads... how to choose between *this great photo* and *that great photo*? When the images are all so vastly different, it's really more like we've chosen five winners to display for you here, each capturing a distinct category all their own. But, just like life, this is a competition after all, and we therefore had to go through the grueling process of...
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Kategorien: Fotografie

Photo shoot gone bad: Indian teenager becomes the latest selfie-safety statistic

Imaging Resource - Mo, 02/05/2016 - 18:48
    If you've ever been jostled by a crowd of snap-happy tourists, competing for space and jousting with their selfie sticks at a local landmark, you'll know how bothersome the socially obsessed can prove to be for the rest of us. But did you know that selfies can also be deadly? Sadly, it's all too true: The rise of the cameraphone and social networking have given birth to hordes of selfie shooters the world over, and all too many of them are too wrapped up in perfecting their posture and framing in the quest for likes from...
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Kategorien: Fotografie

Making trash beautiful: Mandy Barker creates powerful images with plastic debris found on beaches

Imaging Resource - Mo, 02/05/2016 - 14:48
Plastic is an incredibly useful material, and in our modern world it's everywhere. Unfortunately, that includes our oceans. English photographer Mandy Barker photographs marine plastic waste , and her latest project focuses on debris found along 30 different beaches in Hong Kong. Barker had hoped that documenting the incredible amount of material pollution she found would be enough to get people interested in working to clean up our oceans, but it wasn't. She decided instead to organize the plastic she found into interesting patterns and shapes. In the...
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Kategorien: Fotografie