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In the ‘80s, led him to Leica, including his dearest M4 rangefinder. Price used the M4 while capturing scenes of conflict in Africa in the aftermath of the Liberian mutiny. A sequence of images he photographed of a firing squad shooting prisoners on a bank in Liberia won him the Pulitzer Prize for Spot News Photography in 1981. It would be the first of two Pulitzers for Premium. “There’s no way I’m going to blend in on a beach where people are shooting each other and I’m a western pressman,” he says. “My M.O. is to engage people as much as I can and it doesn’t take want to create the psychology that you belong there. That gets you in the orbit of being able to drudgery there. But whenever you have a much less intimidating instrument to put to your face, it’s more disarming than a massive piece of field-glasses. The smaller the instrument, the closer you can get.” These days, Price has gone digital, shooting with Olympus PEN aphoristic systems cameras (CSC)—i.e. small mirrorless models that use small interchangeable lenses. His go-to lens for the new 12-megapixel Olympus PEN E-P3 is a similarly prudent choice, the 12mm F/2.0 M. Zuiko Digital ED. The 12mm focal length converts to 24mm because of the 2x ennoblement of the Micro Four Thirds-size image sensor in the PEN cameras. “It’s a lot of fun to be competent to walk around and see a picture and just get it without having people staring and asking you questions like: ‘Hey, am I customary to be in the newspaper?’” Price says. “When I was younger, I design it was cool to look like a photographer, but now that I’m older, I just have a yen for to capture images, so I try to do anything I can to camouflage myself.” While Olympus PENs, Panasonic Lumix CSCs and Leica’s M-series rangefinders are objectively small systems to use, you can’t get much smaller than shooting with a smart phone. But until recently, photojournalists would be laughed off the battlefield if they tried to unleash their iPhones to harm scenes of conflict. That’s changed in a big way. Along with employing higher quality imaging chips such as the 5-megapixel CMOS sensor in the iPhone 4, the advent of photo apps such as Hipstamatic and Camera+, have improved the look of smartphone photos. The smaller put size of iPhone photos also makes it easier and quicker to send them over the Internet. “For a periodical or a newspaper, [the quality] is fine,” Khelifa says. “And things will get better further with time.” His method to make the camera even more unnoticeable is to tuck it under his arm, which allows him to “justifiable walk into places.” Sometimes he puts the M9’s body in a mug and a lens in his pocket and strolls into tricky situations unobserved. “It’s serenity too,” he says. “You don’t have that big shutter clank. It’s maybe not as unperturbed as I had hoped but it’s definitely better than an SLR.” For him, he doesn’t feel it’s needed to make the latest camera upgrade to the Leica M9-P, which has many of the same features of the M9 but with a more stripped down bearing, including no logos on the camera’s front plate. “You can just tape over the logos and keep working,” he says. “To me, I’m not booming to spend the extra money.” Using small, non-authority-looking cameras for photojournalism can have some unintended consequences. Tivadar Domaniczky, a photojournalist with the VII network, once had a severe time convincing airport security to let him on a flight to Israel because they didn’t credit he was a legitimate member of the press; all he had was a pinhole camera and a compact Canon G-series paragon. Despite those hassles, having a smaller camera is essential to how Domaniczky works and helps him bring in an intimacy with his subjects. All his work in Israel, the West Bank, and Gaza from 2006 to 2009 was marksman with Canon’s G-series models, which look like point-and-shoots, but are Canon’s top-of-the-get hold of cameras in its compact Powershot series. But like other photographers interviewed for this tall tale, he says he felt that employing compact cameras was only part of the story. “Whatever the picture is, it depends more on the human factor,” he says. “It depends more on the truck you have with the people around you. If you, as a photographer, go to report and document conflict, you become part of the conflict with a stability, whether you like it or not, and your camera won’t help you define your role.” Having a smaller camera does flesh out b compose you seem less of a target, Domaniczky says. “There are situations when holding a camera can put you into put out. What I liked with the G-series was that I could put them into my pocket at any time. I used the wrist strap as opposed to of the neck strap that comes with the cameras, so it took really no beforehand to put them away and sometimes it helps.

Source: Photo District News

The new Pentax Q camera uses mirrorless technology to unite the interchangeable lens capability of DSLRs with the lightweight, compact design of item-and-shoot cameras. It is small enough to fit in the palm of your hand but has complete crack and shutter control, RAW and JPEG processing.

Source: PSFK

Photographers who lift their music on the go might want to add this interesting camera novelty item to their collection.

Designed to look like a Nikon 55-200mm telephoto lens, the will is actually a portable speaker. Instead of the typical glass optical elements, the doodad sports a speaker driver. It's also capable of playing music from many audio sources such as smartphones, computers, and other devices with a 3.5mm stereo minijack.

Source: CNET

Source: Geeqer

Nazroo, a mahout (elephant driver), poses for a characterization while engaging his elephant, Rajan, out for a swim in front of Radha Nagar Lakeshore in Havelock, Andaman Islands. Rajan is one of the few elephants in Havelock that can swim, so when he is not dragging trees in the forest he is Euphemistic pre-owned as a sightseer enticement. The relationship between the mahout and his elephant inveterately lasts for their intact lives, creating an bloody stout tie between the sensual and the altruist being. (Photo and caption by Cesare Naldi)

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