GT FUN

Bewitched with my new Canon EF-S Telephoto zoom lens 55 mm - 250 mm F/4.0-5.6. I took a trip to the LA ZOO and just had to say I adoration this lens! I was ...

This is one of the cheapest digital superzooms you can buy. Honest £150 will bag you a 12x zoom and a 14.1-megapixel sensor. Add to that a clutch of creative digital filters and a well-educated auto-shooting mode, and the plain, chunky PowerShot SX150 IS looks very succulent indeed.

Source: CNET UK

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 rebellion. A sequence of images he photographed of a firing squad shooting prisoners on a run aground in Liberia won him the Pulitzer Prize for Spot News Photography in 1981. It would be the first of two Pulitzers for Worth. “There’s no way I’m going to blend in on a beach where people are shooting each other and I’m a western hack,” he says. “My M.O. is to engage people as much as I can and it doesn’t take protracted to create the psychology that you belong there. That gets you in the orbit of being able to effort there. But whenever you have a much less intimidating instrument to put to your face, it’s more disarming than a massive piece of lorgnon. The smaller the instrument, the closer you can get.” These days, Price has gone digital, shooting with Olympus PEN dense systems cameras (CSC)—i.e. small mirrorless models that use bantam interchangeable lenses. His go-to lens for the new 12-megapixel Olympus PEN E-P3 is a similarly watchful choice, the 12mm F/2.0 M. Zuiko Digital ED. The 12mm focal length converts to 24mm because of the 2x glorification of the Micro Four Thirds-size image sensor in the PEN cameras. “It’s a lot of fun to be skilful to walk around and see a picture and just get it without having people staring and asking you questions like: ‘Hey, am I active to be in the newspaper?’” Price says. “When I was younger, I ruminating it was cool to look like a photographer, but now that I’m older, I just desire 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 justly 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 hurt 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 parade size of iPhone photos also makes it easier and quicker to send them over the Internet. “For a arsenal or a newspaper, [the quality] is fine,” Khelifa says. “And things will promote further with time.” His method to make the camera even more unnoticeable is to tuck it under his arm, which allows him to “rightful walk into places.” Sometimes he puts the M9’s body in a fall upon and a lens in his pocket and strolls into tricky situations unobserved. “It’s hush too,” he says. “You don’t have that big shutter clank. It’s maybe not as inactive 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 looks, including no logos on the camera’s front plate. “You can just strip over the logos and keep working,” he says. “To me, I’m not going to lavish the extra money.” Using small, non-professional-looking cameras for photojournalism can have some unintended consequences. Tivadar Domaniczky, a photojournalist with the VII network, once had a dense time convincing airport security to let him on a flight to Israel because they didn’t suppose he was a legitimate member of the press; all he had was a pinhole camera and a compact Canon G-series exemplar. 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 snort with Canon’s G-series models, which look like point-and-shoots, but are Canon’s top-of-the-figure cameras in its compact Powershot series. But like other photographers interviewed for this black lie, 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 links 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 onus, whether you like it or not, and your camera won’t help you define your role.” Having a smaller camera does butter up a see you seem less of a target, Domaniczky says. “There are situations when holding a camera can put you into difficulty. What I liked with the G-series was that I could put them into my pocket at any time. I used the wrist strap in lieu of of the neck strap that comes with the cameras, so it took really no culture to put them away and sometimes it helps.”

Source: Photo District News

Whirl Wong, 37, Richmond Heights

Hobby : Photography

Your photograph of a lily is dazzling. Where did you take it?

That was taken at the Cleveland Metroparks. My wife really liked it, and I had it framed and hung in our concert-hall.

Source: Plain Dealer

Source: Iap Sales Blog

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Earliest catalogue-up by Canon EF 50mm f 1.4 USM Judge

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