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Behind the Shot: Clouds over Skagsanden

Digital Photography Review - Sa, 22/11/2014 - 14:00

In this article, nature photographer Erez Marom shares the story of his panoramic shot 'Clouds over Skagsanden', taken earlier this year in the Lofoten Islands in Arctic Norway. His article covers everything from preparing to shoot at the location, to the shoot itself through to final post-processing of the resulting image. Click through to read Erez Marom's article 'Behind the Shot: Clouds over Skagsanden'

Kategorien: Fotografie

Google Nexus 6 DxOMark Mobile Report

Digital Photography Review - Fr, 21/11/2014 - 22:35

The Nexus 6 is Google's showcase phone for Android 5.0 'Lollipop' and the first Nexus device made by Motorola. It comes with a dual-LED ring flash, a 13MP sensor with a fast F2.0 aperture, optical image stabilization and 4K video recording. DxOMark Mobile put the Nexus 6 through its image quality tests and has just published the results. Read more

Kategorien: Fotografie

The Samsung NX1 ships next week! Have you reserved your place in line?

Imaging Resource - Fr, 21/11/2014 - 21:20
    We can hardly control our excitement -- one of the most eagerly-anticipated cameras of the year is finally about to arrive! Launched at the Photokina tradeshow last September, the Samsung NX1 mirrorless is the company's first truly pro-grade camera, and sports some pretty spectacular features. We're talking a solid weather-sealed magnesium-alloy body, a light-loving backside-illuminated APS-C image sensor with high 28.2-megapixel resolution, 205-point on-chip phase detection autofocus, astounding 15 frames-per-second burst...
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Kategorien: Fotografie

Firmware Friday goes mega: Updates from Fuji, Leica, Nikon, Olympus, Panasonic, Pentax, Samsung, Sony!

Imaging Resource - Fr, 21/11/2014 - 20:00
    Sixteen -- make that seventeen cameras already updated, six more updates pledged to arrive soon, one imaging accessory updated, and another accessory likewise promised to receive an update soon: This is one truly epic Firmware Friday. (We have a feeling it's probably record-breaking, and it's actually grown since first post as we just learned of another update!) Olympus In fact, it's so big that we're just going to skip right to the updates, and let them do the talking. We'll start with Olympus, whose new version 2.2 update for...
(read more)
Kategorien: Fotografie

Driving Phantom from Grunt

A List Apart - Fr, 21/11/2014 - 14:30

While building websites at Filament Group, there are a couple tools that consistently find their way into our workflow:

  • GruntJS is a JavaScript Task Runner. It runs on NodeJS and allows the user to easily concatenate and minify files, run unit tests, and perform many other tasks, from linting to minification of images.
  • PhantomJS is a headless (Webkit-based) web browser. A headless web browser renders a page without having a visible window. Using this functionality, we can write code that you would want to run in a browser, but see its results in the command line. This allows us to run scripts and even render snapshots of pages without having to open a browser and do it manually.

Together, these tools allow us to get consistent feedback for our code, by further automating checks that would normally require opening a browser.

For this example, we’re going to build a Grunt task that takes a screen shot of the pages we’re building (similar to Wraith, but far less advanced). There are multiple parts to make this work, so let’s break it down. First, we will write a PhantomJS script that renders each page. Second, we make a NodeJS function that calls this script. Finally, we make a GruntJS task that calls that Node function. Fun!

To get started, we need to make sure that PhantomJS is installed. Since we’re using Phantom from the context of a NodeJS application, a very easy way to install it is by using the NPM PhantomJS installer package. Installing Phantom in this manner allows us to make sure we have easy access to the path for the Phantom command while simultaneously having a local, project-specific version of it installed.

To install locally: npm install phantomjs.

Now, we need to write a script to give to PhantomJS that will render a given page. This script will take two arguments. The first is the URL of the page that needs to be opened. The second is the file name for the output. PhantomJS will open the page, and when the page has opened successfully, it will render the page as a PNG and then exit.

var page = require( "webpage" ).create(); var site = phantom.args[0], output = phantom.args[1]; site, function( status ){ if( status !== "success" ){ phantom.exit( 1 ); } page.render( output + ".png" ); phantom.exit( 0 ); });

Let’s create a lib directory and save this file in it. We’ll call it screenshotter.js. We can test this quickly by running this command from our command line (in the same directory we installed phantom): ./node_modules/.bin/phantomjs lib/screenshotter.js google. This should create a file in the same directory named google.png.

Now that we have a PhantomJS script, let’s work on making this run from Node. PhantomJS is a completely different runtime than Node, so we need a way to communicate. Luckily, Node gives us an excellent library named child_process and in particular, a method from that library called execFile.

If we look at the documentation for the execFile method, we can see that it takes up to four arguments. One is mandatory, the other three are optional. The first argument is the file or, in our case, the path to PhantomJS. For the other arguments, we’ll need to pass PhantomJS args (the URL and output from above), and we’ll also want to include our callback function—so we can make sure we grab any output or errors from running Phantom.

var path = require( "path" ); var execFile = require( "child_process" ).execFile; var phantomPath = require( "phantomjs" ).path; var phantomscript = path.resolve( path.join( __dirname, "screenshotter.js" ) ); exports.takeShot = function( url, output, cb ){ execFile( phantomPath, [ phantomscript, url, output ], function( err, stdout, stderr ){ if( err ){ throw err; } if( stderr ){ console.error( stderr ); } if( stdout ){ console.log( stdout ); } if( cb ){ cb(); } }); };

Our example code from above is written as a Node.js module. It has a function that takes three parameters. These parameters are the same parameters that are used in the PhantomJS script from above and a callback function to run when the task has completed. It then calls execFile and passes it three arguments. The first is the path to PhantomJS. The second is an Array with the our passed in parameters. The third is our callback function. This callback function is called with three arguments: err, stdout, and stderr. err is the error thrown by Phantom if something bad happens within that script. stderr and stdout are the standard error and standard output streams. This should give us everything we need to call our script as though it’s a regular NodeJS function, which will make it perfect for a Grunt task. Let’s save it in lib/shot-wrapper.js.

Now, for the Grunt task:

var screenshot = require( "../lib/shot-wrapper" ); grunt.registerMultiTask( 'screenshots', 'Use Grunt and PhantomJS to generate Screenshots of pages', function(){ var done = this.async(); // Merge task-specific and/or target-specific options with these defaults. var options = this.options({ url: '', output: '' }); screenshot.takeShot( options.url, options.output, function(){ done(); }); });

Let’s take a look at this piece by piece. First, we require the shot-wrapper library we built above. Then, we create the task screenshots by using grunt.registerMultiTask. Since the takeShot method is asynchronous, we need to create a done callback function that lets Grunt know when to complete the task. The options object sets defaults for url and output in case they aren’t passed in (in this case, they’re empty strings, which won’t work). Finally, pass the options and the done callback into the takeShot method. Now, when somebody calls this Grunt task, your code will run.

Let’s give it a try. Here’s an excerpt from my Gruntfile:

screenshots: { default_options: { options: { url: '', output: 'ala' } } }

The task has run, so we’ll open the file produced:

open ala.png

And voilà: as you can see from this rather large image, we have a full-page screenshot of A List Apart’s homepage. (Note: you may notice that the web fonts are missing in the rendered image. That’s currently a known issue with PhantomJS.)

Just imagine what you can do with your newfound power. Phantom and Grunt give you ample freedom to explore all sorts of new ways to enhance your development workflow. Go forth and explore!

For more in-depth code and to see the way this works when building a project, check out the repository.

Kategorien: Webdesign

Canon EOS 7D Mark II shooting experience added to first impressions review

Digital Photography Review - Fr, 21/11/2014 - 02:34

Canon's successor to the EOS 7D was a long time coming, but the 7D Mark II appears to have all the makings of a DSLR worth the wait. Offering a 20.2MP APS-C CMOS sensor, Dual Pixel AF with 65 phase-detect points and more robust weather-resistance, the 7D II is a formidable follow-up indeed. Our full review is well underway and we've just updated our first impressions with a detailed shooting experience. Read more

Kategorien: Fotografie

Motrr Galileo motion platform finally gets the GoPro compatibility you’ve been waiting for

Imaging Resource - Fr, 21/11/2014 - 00:54
    Finally, it's here! When Motrr first launched its clever Galileo 360-degree motion platform for the iPhone and iPod Touch some two and a half years ago, we were even more intrigued by a glimpse of a GoPro action camera mounted on the platform. As of a year ago, plans for GoPro compatibility had been temporarily shelved due to connectivity issues. Those issues, it seems, have been resolved and the GoPro mount -- compatible with the Hero3, Hero3+ and Hero4 models -- is expected to begin shipping within two weeks. So what can...
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Kategorien: Fotografie

Eye-Fi opens cloud service up to smartphone users

Imaging Resource - Fr, 21/11/2014 - 00:08
    Wi-Fi enabled flash card maker Eye-Fi packs some pretty impressive technology into the confines of the humble SD card, but its not just its tech that's feeling the squeeze these days. On the one side, with the demise of the compact camera in the face of camera-equipped smartphones, the average consumer has less need for a way to get their photos onto their phone. On the other, the spread of cameras with built-in Wi-Fi means there's less need for a Wi-Fi addon from those of us who still carry a dedicated camera. Clearly,...
(read more)
Kategorien: Fotografie

Fuji X-T1 firmware update draws near; even more new features promised for existing owners

Imaging Resource - Do, 20/11/2014 - 23:06
    Last September, we told you about a new firmware update for the Fuji X-T1, promised by the company for delivery in December. Well, now we have a precise date for that update's arrival, as well as a list of new features that's even longer than ever. Ordinarily, we'd have saved this for tomorrow's Firmware Friday roundup -- and indeed, we'll still have news of new firmware for other cameras to tell you about tomorrow -- but this update is so impressive in its scope that it truly deserves its own item. The Fujifilm X-T1...
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Kategorien: Fotografie

Fuji launches duo of X-mount macro extension tubes

Imaging Resource - Do, 20/11/2014 - 21:57
    Good news, macro fans: If you're shooting with a Fuji X-mount camera, your macro-shooting options just got a whole lot better courtesy of two affordable new macro extension tubes for Fujifilm's mirrorless camera line. Each is made from metal, and both extension tubes feature electrical connections that allow use of autofocus and aperture control with the tubes in place. Available from mid-December, just in time for the holiday season, the Fuji MCEX-11 macro extension tube works with all current Fuji-branded X-mount lenses,...
(read more)
Kategorien: Fotografie

Lighting equipment manufacturer Metz files for insolvency

Digital Photography Review - Do, 20/11/2014 - 20:31

German television and photographic equipment maker Metz has filed for insolvency according to German media. Metz is known for producing high-end lighting equipment including flash units, studio flashes, and video lights. Approximately 600 jobs will be affected by the company's financial situation. Read more

Kategorien: Fotografie

Sony A7 II surprises, with world’s first 5-axis image stabilization in a full-frame ILC

Imaging Resource - Do, 20/11/2014 - 14:39
        Sony Japan has unveiled the latest addition to the A7-series of full-frame mirrorless cameras, the new Sony A7 II. The "Mark II" model features not only the world's first 5-axis sensor-shift image stabilization system for a full-frame ILC, but also a number of design tweaks and build quality improvements. Originally seen on the Olympus E-M5, a 5-axis sensor-shift image stabilization system compensates for yaw, pitch, and roll, as well as vertical...
(read more)
Kategorien: Fotografie

Matt Griffin on How We Work: Pricing the Web

A List Apart - Do, 20/11/2014 - 14:30

I probably don’t have to tell you that pricing is slippery business. It requires a lot of perspective, experience, and luck (read: trial and error). There are a number of ways we can correlate monetary value to what we do, and each has its pros and cons.

It may seem at first glance that pricing models begin and end in the proposal phase of a project. That pricing is simply a business negotiation. But whether we’re talking about design, development, or business methodologies, our processes affect our motivations, and influence outcomes—often throughout the entire project. We’ll be examining both client and agency motivations in our comparisons of pricing models, so you can judge whether those motivations will help you make better work with your clients.

All of these pricing systems operate with the same set of variables: price, time, and scope. In some systems, such as hourly pricing, variables are directly dependent on each other (e.g. if I work an hour, I get paid my hourly rate, and deliver an hour’s worth of work). In others, like fixed price and value pricing, the relationships can be nonlinear (eg. I am paid a sum of money to achieve some set of results, regardless of how much time I spend doing it).

These dependencies tend to define each system’s inherent risk and potential for profit. And all the differences can get pretty bewildering. One person’s experience is hardly enough to understand them all well, so I’ve enlisted some friends from web agencies of various sizes to chime in about how they make things work.

As with most things in life, there’s no perfect solution. But if you want to get paid, you have to do something! Enough gum-flapping, let’s take a look at some of the different ways that people are pricing web projects.

Fixed price

With fixed-price projects, you and the client agree up front on a cost for the entirety of the project. Many folks arrive at this number by estimating how many hours they think it would take them to do the project, and multiplying that by an hourly rate. That cost will be what the client pays, regardless of actual hours spent.

Client motivation

When the price of a project is fixed, the variable tends to become scope of work. This encourages clients to push for the maximum deliverables they can get for that cost. This can be addressed to a degree by agreeing on a time limit for the project, which keeps requests and scope changes from occurring in perpetuity.

Agency motivation

On the agency side, your motivation is to be as efficient as possible to maximize the results while reducing time spent. Less time + more money = greater profit.


Because you know exactly how much money is coming in, revenue is fairly predictable. And since revenue isn’t tied to the time you spend, profit is potentially greater than with a time-based model—especially when the cost is high and the timeline is short.


The same factors that provide the possibility of greater profit create the potential for greater loss. Defining exactly what a client will receive for their money becomes a high priority—and defining things well can be harder than it sounds.

Eileen Webb, Director of Strategy and Livestock at webmeadow, provides some insight into how she defines scope with her clients:

I like to define the project boundaries clearly by having a “What’s Not Included” section. This may be a listing of services you don’t offer, like SEO or hosting. It’s also a place to list features that you and the client discussed but decided against for this budget or phase. Defining what falls outside the scope is a good way to help everyone agree on what falls in it.

Now, getting to this definition in the first place is—I probably don’t need to tell you—hard work. And hard work is something you should get paid for. Starting out with an initial discovery engagement is something nearly any project can benefit from, but for fixed-price projects it can be invaluable.

Resourcing for a fixed-price project can also be hard to estimate, since scope is not necessarily easy to equate to effort and person-hours needed.

But the primary difficulty with fixed price may be the innate conflict between a client’s motivation to ask for more, and an agency’s motivation to provide less. For a fixed-price project to be successful, this must be addressed clearly from the beginning. Remember that scope discussions are just that: discussions. More isn’t always better, and it’s our job to help keep everyone on the project focused on successful outcomes, not just greater quantities of deliverables.


At its core, hourly pricing is pretty simple: you work an hour, you get paid for an hour. Hourly, like all time-based pricing, suggests that what’s being paid for is less a product than a service. You’re being paid for your time and expertise, rather than a particular deliverable. Rob Harr, Technical Director at Sparkbox, explains how hourly projects tend to work for them:

Since everything we do is hourly, the end of the job is when the client says we are done. This sometimes happens when there is still approved budget left, and other times when the budget is completely gone. Often times our clients come back for additional SOW’s to continue the work on the original project.

Client motivation

With hourly, clients are encouraged only to ask for work when that work appears to be worth the hourly cost. Since there’s no package deal, for each feature request or task they can ask themselves, “Is this worth spending my money on, or would I rather save it for something else?”

Project delays are not a financial concern for the client, as no money is spent during this time.

Agency motivation

The more an agency works, the more they get paid. In its purest form, this leads to the agency simply wanting to work as much as possible. This can be limited by a few factors, including a budget cap, or not-to-exceed, on the project.

Project delays are a major concern for the agency, as they’ll lose revenue during these periods.


Every hour a team member spends is paid for, so the risk of this model is very low. If a company is struggling with profitability, I’ve personally found that this is a great way to get back on track.


Unlike fixed-price models, you can only earn as much as you can work. This means that profit maxes out fairly quickly, and can only be increased by increasing hourly rate (which can only go as high as the market will bear), or expanding the team size.

Because the agency is only paid when they work, this also means a big imbalance in how project delays affect both sides. Thus clients that aren’t in a big hurry to complete work—or have inefficient decision-making structures—may not worry about long delays that leave the agency financially vulnerable. This can be addressed somewhat by having conditions about what happens during delays (the client pays some sort of fee, or the project becomes disproportionately delayed so the agency can take on new work to fill the gap in their schedule). Even with these measures, however, delays will cause some kind of financial loss to the agency.

Weekly or monthly

Though similar to hourly in many ways, charging by weekly or monthly blocks has some distinct differences. With these models, the cost assumes that people work a certain number of hours per week or month, and the client is billed for the equivalent number of hours, regardless of whether or not actual hours spent were more or less than assumed.

Trent Walton, founder of Paravel, explains why they like this approach:

Most of our clients operate in two-week or month-long sprints. For many projects, we’ll quote chunks of weeks or months to match. This alignment seems to make sense for both parties, and makes estimating scope and cost much easier.

Client motivation

Clients tend to want the agency to work as much as possible during the time period to get the maximum amount of work or value. This can be curbed by having a maximum number of hours per week that will be spent, or understanding limitations like no nights or weekends. Related to this, it’s in the client’s best interest to not let project work succumb to delays.

Agency motivation

On the agency side, we’re encouraged to be as efficient as possible to maximize results each week, while spending fewer hours accomplishing those tasks. As long as the results are comparable to what’s expected, this motivation tends not to result in conflict.

At Bearded we’ve found that with weekly projects we spend, on average, the number of hours we bill for. Some weeks a little more, some a little less. But it seems to all come out in the wash.


Knowing that a time period is booked and paid for makes resourcing simple, and keeps the financial risk very low.

Because the agency is paid the same amount every week or month, clients will tend to do whatever’s necessary to avoid any delays that are in their control. This completely removes the risk of the agency losing money when projects are held up, but also requires the agency to use a process that discourages delays. For instance, at Bearded, we’ve moved to a process that uses smaller, more frequent deliverables, so we can continue working while awaiting client feedback.


Similar to hourly, the agency’s profit is capped at the weekly or monthly rate they charge. To make more revenue they’ll need to charge more for the same amount of work, or hire more people.


Value pricing is a method wherein the cost of the project is derived from the client’s perception of the value of the work. That cost may be a fixed price, or it may be a price that factors in payment based on the effect the work has (something closer to a royalty system).

Dan Mall, founder of SuperFriendly, explains his take on value pricing using a fixed cost:

I use a combination of value pricing with a little of cost-plus. I try my best to search for and talk about value before we get to dollar amounts. When my customers are able to make a fully informed price/value assessment, the need to justify prices has already been done, so I rarely have to defend my prices.

Dan’s approach suggests that if a company stands to gain, say, millions of dollars from the work you do, then it doesn’t make sense for you to merely charge a few thousand. The value of your work to the company needs to be factored in, resulting in a proportionally larger fixed cost.

Other takes on value pricing tie the cost of the project directly to the results of the work. This can be assessed using whatever metrics you agree on, such as changes in revenue, site traffic, or user acquisitions. This sort of value pricing lends itself to being used as an add-on to other systems; it could augment an hourly agreement just as easily as a fixed price one.

It’s worth noting that none of the folks I talked to for this article have done this in practice, but the general approach is outlined in Jason Blumer’s article Pricing Strategy for Creatives.

Client motivation

This depends primarily on the other system that you’re using in conjunction with value pricing. However, if a client recognizes the tangible gain they expect from the outset, this will tend to focus their attention on how the work will influence those outcomes.

Agency motivation

When payment is tied to metrics, the focus for the agency will be on work that they believe will positively affect those metrics. Like client motivations, an agency’s other motivations tend to be the same as the other system this is based on (fixed, hourly, weekly, or monthly).


Because of the nonlinear relationship between labor and revenue, this approach has the highest potential for profit. And as long as the base pricing is reasonable, it can also have very low financial risk.


Since value pricing is potentially connected to things outside your control, it’s also potentially complicated and unpredictable. If revenue is based on future performance metrics, then accurately determining what you’re owed requires knowledge of those metrics, and likely a little legwork on your part. There’s also a certain amount of risk in delaying that payment until a future date, and having its existence in question altogether. As long as the base pricing you use is enough to sustain the business on its own, that risk seems less worrisome.

With value pricing, there’s also the need to assess the value of the work before agreeing on a price. Which is why—as with fixed-price projects—value-pricing projects often work well as a followup to an initial discovery engagement.

Patty Toland and Todd Parker, partners and co-founders of Filament Group, explain their approach to an initial engagement:

Most of the projects we engage in with clients involve fairly large-scale system design, much of which will be defined in detail over months. We provide high-level overall estimates of effort, time and cost based on our prior project work so they can get a sense of the overall potential commitment they’re looking at.

If those estimates work with their goals, schedule and budget, we then agree to an initial engagement to set a direction, establish our working relationship, and create some tangible deliverables.

With that initial engagement, we estimate the total amount of time in person-days we plan to spend to get to that (final) deliverable, and calculate the cost based on a standard hourly rate.

It depends

So what’s the best approach for you? Blimey, it depends! I’ve talked with many very smart, successful people that use very different takes on various approaches. Each approach has its benefits and its traps to watch for, and each seems to work better or worse for people depending on their personalities, predilections, and other working processes.

Ultimately it’s up to you. Your hunches, experience, and probably a little experimentation will help you decide which method makes the most sense for you, your team, and your clients. But don’t be surprised if once you find a good system, you end up changing it down the road. As a business grows and evolves, the systems that work for it can, too.

Now that we’ve talked about pricing methods, we’re ready to move on to something everyone’s really bad at: estimating! Stay tuned for that in part three of this series.

Kategorien: Webdesign

Wettbewerb „100 beste Plakate“ ausgeschrieben - Do, 20/11/2014 - 11:53
„100 beste Plakate 2014“ (Logo)

Vom 15. Dezember bis 25. Januar läuft die Registrierung zum Wettbewerb „100 beste Plakate 2014“. Teilnehmen können Plakatgestalter, Auftraggeber und Druckereien aus Deutschland, Österreich und der Schweiz.

Am 15. Dezember 2014 startet der Wettbewerb um die 100 besten Plakate aus Deutschland, Österreich und der Schweiz, die im Jahr 2014 gestaltet und realisiert worden sind. Plakatgestalter – Grafikdesigner, Agenturen, Büros und Studenten – aber auch Auftraggeber und Druckereien aus den drei Ländern sind zur Teilnahme aufgerufen.

In der international zusammengesetzten Jury arbeiten

  • Philippe Apeloig (Paris)
  • Christof Nardin (Wien)
  • Jiri Oplatek (Basel)
  • Ariane Spanier (Berlin)
  • Richard van der Laken…

Kategorien: Fotografie

Sony announces Alpha 7 II full-frame mirrorless camera with 5-axis IS

Digital Photography Review - Do, 20/11/2014 - 06:49

Sony has announced its Alpha 7 II, which the company has managed to keep very close to its vest. The big story on this 24MP full-frame mirrorless is its 5-axis sensor-shift image stabilization - the first that we've seen in a full-frame camera. Sony claims that this IS system can reduce shake by 4.5 stops using the CIPA standard. The Hybrid AF system has also been improved upon, offering 30% faster speeds and a 1.5X improvement in tracking. The a7 II also sports a larger grip, new front dial, and sensibly relocated shutter release. Read more

Kategorien: Fotografie

Fujifilm announces macro tubes, tethering software and X-series firmware availability

Digital Photography Review - Do, 20/11/2014 - 06:00

Fujifilm has unveiled two macro extension tubes for its X-series interchangeable lens cameras, as well as a launch date for the previously-promised Fujifilm X-T1 firmware. More firmware updates are also announced for the X-E2, X-E1, X-Pro1 and X-30, as well as the introduction of tethering software for PC. Read more

Kategorien: Fotografie

Lume Cube is a high-power external lightsource for your smartphone or GoPro

Digital Photography Review - Do, 20/11/2014 - 02:02

Just announced by a company of the same name, the Lume Cube is an off-camera lighting option that can be used with a smartphone or GoPro Hero action camera. Thanks to its silicone shell it is water resistant and a 1/4-inch thread makes it mountable on a tripod or other camera support. Additionally, it can be attached to most surfaces magnetically or using a suction-cup. Lume Cube is controlled via an Android or iOS smartphone app. Read more

Kategorien: Fotografie

Google Street View takes to the desert in Abu Dhabi

Imaging Resource - Do, 20/11/2014 - 01:22
    Here it is, ladies and gentlemen -- the perfect Hump Day story to celebrate getting past the middle of your work week! If you've ever wondered what it's like to roam the desert like Lawrence of Arabia, now you can get the experience -- without the stifling heat -- from the comfort of your desk, thanks to Google's latest Street View project. This does stretch the definition of "street" to the limit, admittedly, but Google's Street View cameras have documented the desert area of the Liwa Oasis, on the outskirts of the Rub' al...
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Kategorien: Fotografie

Phase One updates Capture One with Nikon D750 and D3300, Canon 7D II support

Imaging Resource - Do, 20/11/2014 - 00:19
    It must be update day today: No sooner has Adobe released its new versions of Adobe Photoshop Camera Raw, DNG Converter and Lightroom with new camera support than Phase One does the same. The just-released Capture One 8.0.2 release brings compatibility with the latest Mac OS X 10.10 Yosemite operating system, as well as support for eight new cameras and four lenses. The update also squashes a long list of bugs and compatibility issues. Cameras newly-supported by Phase One Capture One 8.0.2 include the Canon 7D Mark II,...
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Kategorien: Fotografie

Samsung NX1: 4K video samples and new full-res frame grabs available for download

Imaging Resource - Mi, 19/11/2014 - 23:42
    One of the most heavily discussed and debated features of the powerful new Samsung NX1 is its advanced 4K video recording capabiities. The Samsung NX1 can shoot and internally record 4K movies at Cinema 4K resolution (4,096 x 2,160) at 24p, and Ultra HD (3,840 x 2,160) at 30p. Full HD (1080p), HD (720p) and VGA (480p) resolutions are also available, all at 60p, 30p or 24p (including 50p and 25p for PAL). We've now had an opportunity to shoot new sample videos in Cinema 4K and Ultra HD resolutions using production-level firmware...
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Kategorien: Fotografie