EuropeanaPhotography (European ancient photographic vintage repositories of digitized pictures of historical quality) is a EU-funded project putting together several prestigious photographic collections from archives, public libraries, and museums covering 100 years of photography, from the first example of images from Fox Talbot and Daguerre to the beginning of the Second World War .

Olympus' OM-D EM-5 is their flagship Micro Four Thirds camera, and it performs at the level that one would expect for a product with that title. It has a well-built and compact weather-sealed magnesium alloy body (available in silver or black) that evokes the style of the old Olympus OM film cameras. While holding the E-M5 is fairly easy, I much preferred using it with "part one" of the optional battery grip. The camera's compact body also leads to what I consider its biggest flaw: button clutter. The OM-D has over a dozen chicklet-sized buttons scattered across the body, most of which are crammed together. This makes it quite easy to accidentally press the wrong button, which I did on numerous occasions. The OM-D supports all Micro Four Thirds lenses with a 2X crop factor, and can use "classic" Four Thirds lenses via an optional adapter. The camera has a new "five-axis" sensor-shift IS system, which brings shake reduction to every lens you attach. Some folks may be bothered by the "hiss" produced by the IS system, though it didn't really get to me. On the back of the camera is a gorgeous 3-inch articulating touchscreen OLED display (say that three times fast) with 610,000 pixels. The display is bright, colorful, and has a wide viewing angle. The only problem is that, like all OLEDs, outdoor visibility is pretty lousy. The OM-D also features a large and sharp electronic viewfinder. The camera lacks a built-in flash, so you'll need to carry around the small external one that Olympus includes (or something larger).

For anyone doubting the ability of mirrorless / compact system cameras, this is the camera that should answer a lot of concerns. It has a weather-sealed compact body, an excellent range of lenses and most importantly excellent image quality - that is significantly improved over previous Olympus PEN cameras. The noise performance and detail in images is very good even at high ISO settings, comparable to cameras with APS-C sized sensors, despite the Micro Four Thirds sensor being smaller. The built in sensor based image stabilisation is excellent and works extremely well on photos and videos. Focus speed, shutter response and continuous shooting are all excellent with the camera shooting at a fast 9fps - the quickest of any Micro Four Thirds camera, only bettered by the Sony NEX-7 and NEX-5N with 10fps shooting. Additional lenses have been announced by Olympus, a 75mm portrait lens and a weather sealed 60mm macro lens and with Sigma and Tokina recently releasing and announcing new lenses, the appeal of the Micro Four Thirds system continues to expand. Now that we have tested a full production version of the camera, the camera continues to exceed our high expectations with better than expected noise performance even at high ISO settings! The sensor in the camera has more resolution, with 16 megapixel compared to the PEN cameras 12 megapixels, yet also offers lower noise results! The price of the camera is relatively high compared to other Micro Four Thirds cameras, however we feel that the added performance, handling and features of the camera make it easily justified.

Frankly, forget it. Plan to use a film scanner. Or maybe even have the color negative printed, and then scan that.

B&W negatives are easy with the camera, just invert them and you're done (at a menu like Image - Adjustments - Invert). But color negatives have the orange mask all over. This becomes deep blue when inverted to positive. It is a lot to deal with. Film scanners remove it (in Color Negative Mode) by varying the exposure (time duration) of the three RGB channels. The blue channel is exposed perhaps 4x longer (than red), and the green channel is exposed perhaps 2x longer (than red). This acts as an analog glass filter on the lens, and the longer exposure boosts the blue and green, leaving the orange complement behind. The important point is, this is done with analog light, which has no limits. But after the scanner or camera has digitized it, the 255 end is a hard limit. We cannot shift the data much, the data just falls off of the 255 end, and disappears.

If you might have access to an old enlarger color head (like Omega) - some light source with the dichroic filters, and three CMY knobs to set the color of the light output - using this as the background light source could be a proper analog correction, and would be similar to a scanners corrections, but could still allow camera speed rate.

This is not to say you cannot play with it in the photo editor. It might come out nearly acceptable or usable, but really, no one has ever reported very satisfactory digital post-processing results yet. I've seen the several attempts at digital methods over the years, and it's just not the same. For example, the Photoshop Curve tool even has a Color Negative preset.

Why oh why do Panasonic insist on putting 'X' 'MEGA OIS' 'NANO SURFACE COATED' blah blah blah on these products. Surely this is not going to be purchased by someone on a whim thinking 'ooh its a X lens'? Time and again they seem to get great products out, but seem stuck in a 1980's techno marketing mess when it comes to appearance and labelling. remember all those useless stereo systems that competed on how many equaliser channels and blue flashing lights they had, instead of focussing on the quality of the sound? Time to hire a new team to look at the esthetics of their products methinks.

The aspect of the Ricoh 28mm GV-2 viewfinder is somewhere between 3:2 and 4:3.

The image below was taken to test the Canon 5D Mark III in comparison to the Nikon D800 in order to demonstrate the differences between the two cameras and how they each capture small detail. I did this by shooting with the Nikon and the Canon using the same lens (Zeiss Distagon 21mm f/2.8) with an EOS adapter attached.

All this thing does is create a random number and slap it into a filename that has the structure used by default in a few different digital cameras.

Diffraction in simple terms is a phenomena that occurs with light when it interacts with an obstacle. Most of us are familiar with light diffraction patterns found on the backs of CDs, in water molecules in the air, or on spider webs when looked at the right angle. Diffraction can also occur in your DSLR camera which can become a major problem and cause your images to lose their sharpness. Here is a simple diagram that shows how light particles hit your camera’s digital sensor when going through large apertures and smaller apertures.

Preface: I own all three lenses, but I haven’t used the 17mm M.Zuiko since I got the Lumix 14/F2.5. So this text might be slightly marred by preference and habit.

In short, if you’re used to 35mm in full-frame (say, because you grew up with an Olympus XA or did lots of street work with a 35mm film camera) and need an equivalent for µFT to “see” images prior to taking them, the M.Zuiko 17/F2.8 is your tool of choice. If you don’t have any framing preferences to begin with, forget it and get the two Panasonic pancakes.

The 14/F2.5 focusses faster in AF, is lighter, and more compact than the M.Zuiko. Also, the latter takes 37mm filters, Panasonic’s wide angle 46mm – the same as the 20mm pancake and the Lumix Elmarit 45/F2.8 macro which makes switching lenses and polarizers in the field much easier. (Also, you won’t have to shell out dough for yet another set of filters if you’re so inclined.)

I personally take a wide-angle lens with me if I need, well, wide-angle to accompany normal or tele glass. “Normal” here being abovementioned Lumix 20/F1.7 and “tele” the Panaleica 45/F2.8 macro. Which also means that, compared to the 20/F1.7, the M.Zuiko doesn’t offer much more in field-of-view and isn’t too fast as you’ll have to step it down to f/5.6 to have good sharpness. The 14/F2.5 isn’t much better in this respect (f/4-5.6 is required), but it’s, well, wider. The reason you’ll mount a wide-angle to begin with.

I really hope Olympus will release a compact, fast 12-14mm lens this year. There are rumours after all. Point being, the Lumix 14/F2.5 is far from perfect, there’s CA and distortion to deal with especially on an Olympus body. Here’s hoping for a 12/F2.0 or the like …

Summary: If you’re used to 35mm on full-frame/film-camera, there’s no match for the M.Zuiko 17/F2.8. The lens is great for what it does, but if you’re after just-a-tad-of-wide-angle to complement your normal lens of choice, the Lumix 14/2.5 is the better option.

All in my opinion, naturally. Your mileage may vary. Mind: The M.Zuiko looks cool on a white E-P1 with optical viewfinder, though. And works exceedingly well in this combination, too.

On Wednesday, photography collector Jonathan Sobel filed suit in federal court in New York against photographer William Eggleston and his artistic trust for selling new digital prints of a number of iconic photographs. The sale took place at Christie's on March 12, and brought $5.9 million for Eggleston's trust, which benefits the photographer and his heirs. Sobel claims that eight of his vintage Eggleston prints were devalued by the sale of the new digital prints, and he is charging Eggleston with fraud. He claims he had been misled to believe that he was buying vintage prints of limited edition, and that Eggleston violated "the letter and spirit" of a New York law governing limited edition works.

I have both the X100 and the GX1 and will say from the outset that they are very different beasts. The X100 is the most enjoyable shooting experience I've had since first shooting film. Despite the fact that all of the critical settings are right there at my finger tips and are more immediate in their availability and changability than any modern camera I've used, I find shooting with it to be a much more relaxed and deliberate experience. I've even regained some of my compositional skills as a result of the fixed focal length and general change in the way shooting feels with it. The GX1 roasts the X100 in terms of auto-focus speed, though I don't find it does any better acheiving focus in low light however (I don't run specific tests, just a perception based on usage ... which this week has ALL been low light). The difference here doesn't have that much of an effect for me though since neither of these cameras are what I'd reach for if fast auto-focus was a concern on a given shoot. In fact in general performance terms, image quality excepted, the GX1 is clearly the better device.

Such tiny and light-weight pancake lenses like the Panasonic Lumix G 14mm f/2.5 ASPH turn micro-four-thirds cameras into almost pocketable combo. This is surely the primary appeal of the lens because performance-wise it does not stand out. The resolution capabilities are very decent but not stellar for a fixed focal wide angle prime lens. The center quality is very fine whereas the border and extreme corners are generally on a good to very good level. The amount of vignetting is a bit on the high side at f/2.5 and you need to stop down a few stops to resolve the issue. Distortions and Lateral CAs are very well controlled and not relevant in the field - that's at least true for the auto-corrected image files. The build quality of the lens is excellent despite the low weight of merely 55g. The focus-by-wire approach (manual focusing) may be odd at first but you should be able to used to it in no time. The AF performance is very good and AF accuracy is nothing to worry about either.

The Olympus M.Zuiko 17mm f/2.8 is a lovely little lens but unfortunately it does disappoint regarding its optical capabilities. You expect a top notch performance from a prime lens but the Zuiko isn't perfectly sharp neither at max. aperture nor stopped down - the center quality is perfectly fine but the borders and corners are a bit too soft in general. In principal the lens produces a hefty amount of barrel distortion. However, this problem is auto-corrected by the camera (or by the more popular RAW converters) so this is nothing to worry about from a user perspective. Surprisingly this is not the case with respect to lateral chromatic aberrations (CA) which are fairly extreme with a width of up to 3px at the image borders. The vignetting characteristic is pretty good when stopping down to f/4 and even at max. aperture it's only visible in critical scenes. A nice aspect of the Zuiko is the quality of the bokeh (the out-of-focus blur) - it's very smooth and out-of-focus highlights are rendered beautifully. However, all-in-all the lens leaves something to be desired.

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Fujifilm announces a lightweight and compact digital camera accessory — the EF-X20 hot shoe mounted flash gun.

I took it the night we put up our Xmas decorations. It wasn’t posed — it just was, so I snapped it, applied a filter, and uploaded it.

Looking at it now, I realise that this photo not real. It’s disconnected and somehow false to claim the photo as mine. This is not an artefact, or a record, or a representation of a real moment — it’s too massaged, too false to be any of these. It’s a thing that looks a little like something I once saw, but nothing more.

Applying Instagram’s filters is just a clever-clever, bullshit attempt at imbuing largely sterile and pedestrian photos with a sense of human warmth and a “uniqueness”. (There are only so many ways you can to take a photo of the fucking sushi you and 10,000 other people had for lunch.) The filters are a lazy visual shorthand for authenticity — algorithmically applying strange flaws that are common in photos of our parents when they we young. We use technology to try and impart that distant warmth in our day-to-day lives.

By doing so, we’re missing the point: the flaws we so deliberately recreate were never intentional and never wanted. The fuzzy glow and odd colour-shifts were to due limitations of the film and processing techniques used; they’re accidents, not a part of the photo. Previous generations would have given their eye-teeth for the clarity we so casually disregard.

In our attempts to imbue that nostalgic warmth, we miss the real reason we treasure our old photos: they’re artefacts, hard-copy memories of our lives. Their true value is in the way they make us feel — a good photo can take us back to the place it was taken, and invoke in us the feeling we had at the time. That’s something no filter, no matter how brilliantly implemented, can ever recreate for us.

Tied into this is the general devaluation of photographs over the last decade. Previously, you might take three or four rolls of photos while you were on your holiday; now, you can take three or four rolls’ worth every single day of you holiday and still spend less that you would have spent on a single roll of film. The result is hundreds or even thousands of photos, and the chance of finding the one photo that evokes the feeling you had on that holiday drops dramatically — that one photo gets lost in the flood.

We end up drowning in photos, and the burden of cataloguing and sorting them increases exponentially. Our ability to filter the good from the bad almost disappears — compare your iPhoto library to the albums your parents kept of you growing up. One is curated carefully and very deliberately; the other is a mass of events, with little-to-no critical selection. Your iPhoto library is perhaps more honest, less groomed, but that was never the point of personal photos: they’re a family mythology, somewhat idealised, rather than a strictly factual record. Applying Instagram’s filters becomes a way for us to try and make some of these photos stand out — filtering in situ rather than ex post facto.

Our motivation for “sharing” them is same as it’s always been — we want to show people our lives, share with them the moments that were important to us. Fundamentally, it’s the expression of our social nature. The ease with which we can broadcast our uncurated photos has two outcomes. People are less interested in them due to sheer volume of photos from acquaintances and people we went to school with or once worked alongside. But, even knowing this on some level, we still feel the pressure to “contribute” constantly, to avoid being lost in the deluge. And so, to counteract this, we end up taking hundreds of photos and sharing them on Instagram to fill the void and feel, just for a moment, that we’ve made an impression.

I’ve had a little time now with the absolutely minascule Lumix G 14mm f/2.5 pancake lens and I have to say, I have no problem proclaiming that I have a tiny lens. A truly impressive optical feat considering it’s being used on a 17.3mm x13mm 4/3 sensor. Of course, there is the beautiful Olympus 12mm f/2 lens, but at 2.5x the cost, could one be satisfied with the trade offs and savings? Beyond that you have the much ballyhooed 20mm f/1.7 pancake which is amazing in its own right, but for a bit more coin you can get the Panaleica 25mm f/1.4… And then of course, the Oly 45mm f/1.8 which has been universally praised for both quality and price, but the other Panaleica lens, the 45mm f/2.8 macro should certainly get some attention too. Folks, I think we have a few candidates for the micro 4/3 holy trinity.

For an interchangeable lens camera, the flange focal distance (FFD) (also known as the flange-to-film distance, flange focal depth, flange back distance (FBD), flange focal length (FEL), or register, depending on the usage and source) of a lens mount system is the distance from the mounting flange (the metal ring on the camera and the rear of the lens) to the film plane. This value is different for different camera systems. The range of this distance which will render an image clearly in focus within all focal lengths is usually measured in hundredths of millimeters and is known as the depth of focus.

This is correct. Mft distance from sensor to flange is 20mm. Pentax is about 45mm I think. Ie the lens may be 1cm less thick than the mft pancakes, but the body is 2.5 cm thicker.

This is the same reason why there are no fast high quality pancakes for NEX (and never will be imo). NEX has an even shorter distance to flange and has a larger sensor.

I asked Sigmas Ceo Mr. Yamaki last week and he tweeted with the reply that they are looking at end of may or june timeframe. But he is looking at those dates carefully and it may change slightly.

An interactive JavaScript widget for panning and zooming a panoramic image stitched together dynamically from smaller tiles. This widget can be used for viewing images that are much larger than the available space in the browser viewport. Examples include panoramas, maps or high resolution document scans.

Take pictures in superior lo-bit style with 1-Bit Camera! In an age of ever-increasing megapixels and bit depth it is now painfully clear; It is not the number of pixels that matters, but the quality of those individual pixels! With 1-BIT CAMERA you can see and record your world in one bit clarity, processed with dithering algorithms pioneered by Bill Atkinson and Bryce Bayer. Those are only fancy names, of course – but! – you have probably laid eyes on their immortalized legacy as per the awe-inspiring imaging seen on 1980s desktop publishing computers and on 8-bit handheld camera accessories, respectively. Wow!

Back in 2006 I wrote a .pdf about purism and street photography and posted it on deviantart.com. I featured not only my own work but many of my street-shooting friends from all over the world. Having wrote that it was always in the back of my mind that I wanted to update it. Yes, I could have written something yet I really wanted to do it with video. Until the Canon EOS 5D Mark 2 came about -- and with the most recent firmware update -- i couldn't have achieved "the look" i wanted.

This all new set of 16 video tutorials gives you over 6 hours of the very best online education available. It covers the Adobe Lightroom 4 Library and your digital photo library management from top to bottom. We start from the ground up, and guide any serious photographer—professional or passionate amateur—through the process of building an easy-to-use, but incredibly effective digital photo library. Then we dive deeper, tutorial-by-tutorial, through nearly every Lightroom Library feature, gently leading you to a solid and complete understanding of the entire professional workflow. Watch this online series anytime, day or night, and you will find thousands of tips and techniques that help you master your photo library and the new Lightroom 4 workflow.

Select the image file in the Windows Explorer under Windows 7. It will claim that the file has NO description at all (Windows Explorer calls the field Subject). If you now add a new description, then Windows 7 will only store it in a proprietary field called XPSubject inside the file’s Tiff metadata (not XMP). Your existing dc: description is nowhere to be seen.

When it comes to capturing, Scalado’s vision is to capture the moment as close to reality as possible – or even better! Scalado has pioneered the capturing experience for several years and we are known for the widest and most innovative offering in the industry. We are totally committed to creating the best capture experience for the user and we are constantly finding new ways to improve it.

If our two main mediums will be coexisting in new ways -- if images, indeed, become easier to produce than words, reversing the economics that have defined our archived communication since long before Gutenberg came along -- what then? How will that change the web, and us along with it? The invention of writing, Marshall McLuhan argued -- and, even more so, writing's codification into print -- structured our minds and our habits of thought, conditioning us, word by ink-stained word, to think logically and linearly. Text, Walter Ong believed, affords to its collective readers a means of theoretical thinking: Preliterate people, he observed, tend not to process the world in terms of categories and other abstractions. Text helped make us what we are. It helped make us who we are.

En intervju med den världsberömde fotografen Anders Petersen. Gjord av Fotoskolan STHLM.

At 200+ Art.sy gallery and museum partners including Michael Kohn, Cheim & Read, Gagosian, Frey Norris, The Pace Gallery, bitforms, Lazarides, Yancey Richardson, and Lehmann Maupin.

Add some style, protection, and improved ergonomics to your favorite camera with a custom designed J.B. Grip-Case. Our Grip-Cases are carefully designed to snugly fit each camera model while allowing the user quick access to the battery and memory card compartment. Each Grip-Case comes with a stainless steel screw that secures the case to the camera via the tripod socket. This screw can easily be removed with any penny, dime, or quarter for convenience.

Lightroom 4 provides options for Lossy Compression during import, export and preview update. 1. On import, users can specify a preference to use lossy compression (only enabled for ACR 6.6 and later DNG compatibilities) to generate the DNG from proprietary raw files. But the imported DNG will always keep the same pixel size as the original. This compression can also be applied during the Update DNG Preview and Metadata command. 2. On export, the user can additionally specify the target image size of the exported DNG using the existing image sizing controls in the Lightroom export dialog. The image sizing controls are limited to specifying the long edge and megapixel sizes when the DNG lossy compression option is turned on. Why lossy compression? Well, Adobe have seen other vendors try to address the problem of relative file size between JPEG and raw formats by offering alternatives such as sraw. With DNG lossy compression the user can half the file size at full resolution with minimal artefacts and all of the flexibility of raw. The question the user must ask themselves is - does every file need to be saved at full, lossless compression file size? Probably not. But rather than archiving 8-bit lossy compressed JPEGs why not archive the more flexible, higher quality, lossy compressed DNG files? Lightroom 4 also includes an option to embed "Fast Load Data." What is that? Turn it on for a folder of DNGs and compare the image to image load time in the Develop module when compared with the proprietary raw file.

When discussing what “makes” a great portrait with Exposure Compensation’s Miguel Garcia-Guzman, we quickly realized that we couldn’t really agree on much. So we figured we might as well ask some other people, and we sent out an email to a large number of photographers, fine art and commercial, bloggers, curators, editors, and gallerists: “What makes a good portrait? Could you provide us an example of a portrait that you really like - either from your or someone else’s work - and say why the portrait works so well for you?” to publish what we would get back on our blogs, as a collaborative effort to get a little bit closer to understanding the topic. Below is what we got back from those who managed to find the time to write something. Our thanks to everybody who contributed!

During this beta period, we are also offering additional free space to test automatic uploading of photos and videos. For every 500MB of photos and videos automatically uploaded, you'll receive another 500MB space bonus, up to 5GB total.

List of XMP fields supported for extraction and embedding by CollectiveAccess (as of version 1.2). The CA field name should be used prefixed with "XMP:" (ex. XML:Title) when referencing an XMP field. The XML tag is provided only to establish equivalence when developing metadata crosswalks.

Prokudin lämnade Ryssland 1918 och kom via Norge till Paris 1922 där han dog 1944. Hans unika bilder av Ryssland före revolutionen köptes av Library of Congress Washington DC. Utställning på STUDIO L2 har blivit möjlig att realisera tack vare Håkan Holmberg och Crimson.

[ http://news.ycombinator.com/item?id=3488034 ]

Cam placed on sushi conveyor belt capturing customers as it goes around.

A Map module allows uses to tag their images with GPS data and then search for images based on location using a Google Maps-powered interface.

Fullscreen liquid example with alternating heights, last image will fill the last row. Refresh the browser to see a different arrangement.

Fujifilm's X-series gets an interchangeable-lens compact.

micromoogman har nog hittat stans snabbaste, billigaste och trevligaste ställe att framkalla film på. Den lilla butiken heter Svenska Kort och ligger på Hornsgatan 53, nära Mariatorgets t-bana (gå upp längst fram om ni kommer med tåg från stan). Snubben som har butiken är helskön, har varit med i 'svängen' i över 30 år och kan allt om foto och kameror. Pris för endast framkallning av 135 + 120 färg + s/v film: 35 kr! Han framkallade allt på mindre än 30 min. Var dit idag och tugga loss i säkert över en timma. Så, behöver ni någon som framkallar snabbt, billigt och bra så är han Mannen!

My coworker at Google, Tony Rippy, has for a while been working on a fascinating problem. Take all the pixels of a photograph, and rearrange them so that the final image looks like an artist's palette -- something to which you can take a paintbrush and recreate the original image. [ https://news.ycombinator.com/item?id=3411133 ]

If they can make guesses this accurate about your photos, imagine they guesses they're making behind the scenes about your life, your personality and your innermost thoughts. If there was a page on fb where it showed all the inferences they had made about you, sexuality, income, religion, philosophical viewpoints, mental health, etc. then people would run screaming. Of course, a lot of people have already told fb that info voluntarily, and that's why its possible to guess it for everyone else. Also potentially terrifying: a facebook fortune telling engine. I bet they can predict your future with frightening accuracy, or they will be able to after another decade or so of data anyway. [ http://www.reddit.com/r/WTF/comments/nkktm/facebook_is_really_creeping_me_out_with_this_how/ ]

"We have two people working on Android now," Systrom told attendees of the LeWeb conference here, though he didn't say when the work would be done. "I'm excited to be able to see our numbers today nearly double."

The Fine Art and Documentary photographers take great pride in thinking themselves superior to the other main genres of photography, such as the family snap shooter or the amateur photographer, as personified by camera club imagery. However, after 30/40 years of viewing our work, I have come to the conclusion that we too are fairly predictable in what we photograph. I include myself in this, and have been very careful to try and think of new territories to explore, but recognise that very often I also indulge in the list outlined below. I am aware of the basic rules, which dominate our work, and want to now attempt to group some of the more dominant strands of contemporary practice. This core subject matter and approach is also constantly shifting and changing as new photographers arrive and have an impact on our accumulative photographic culture and language. I have a rapacious desire to look at new work and do this through books, magazines, and of course exhibitions. Most of the work I see is generic; in so far I can read the influences. It is when the inspiration and lineage is not clear that my attention is alerted. I used this as a guiding principal for the recent curating of the Brighton Photo Biennial, and made freshness of approach to the subject matter a major criteria for selection.

Digital documents have, in IBM's view, a notable disadvantage. If the data is not corrupted, the data remains the same for as long as it exists. However, there is now an idea how to change that. IBM refers to this particular invention as an "aging file system" that simulates a natural aging process to documents printed on paper. For example this aging process could be automatically applied to .doc, .jpg or .gif files, a patent filing states. According to IBM, there is a need for a new kind of filing system that "automatically and selectively ages files contained therein such that the files themselves are caused to age with time and are not maintained in their originally stored state." IBM even says that "there is a need to provide such an aging function to apply automatically to all files stored on the filing system without requiring a continuing user monitoring effort." Imagine your surprise when, a couple decades from now, you see your digital pictures that have been automatically exposed to an artificial aging process and now deliver only a fraction of the quality they once did. We wonder, if that aging process could also apply UV, water and fire damage to a statistically correct portion of your image data and documents. Imagine facing a tax audit a few years from now and having to tell the IRS that your documents have been aged automatically and were lost due to a statistical fire. Brilliant!

Tänkte att jag skulle tipsa om lite kul grejer att titta på på SVT Play om man har tid över och är fotointresserad. Just nu finns där nämligen en väldigt bra samling fotodokumentärer att titta på.

Engineers who become photographers generally spend an outsized amount of time making their images sharp, have true color, be adequately lit, etc. It's like audiophiles who listen to their stereo system but not the music. When it comes to photography, engineers spend a disproportionate amount of time following compositional rules, shooting photos with straightforward narratives, and thinking about their photos as bullet points of technique before, during, and after shooting. It's as if the aim is for an acceptable, homogeous pastiche with the consistency of oatmeal. [ https://news.ycombinator.com/item?id=3280498 ]

Camera Size is a free online digital camera comparison tool. This web application was designed to help you compare one camera's size relative to another camera, and view each camera from different sides. The site is being continuously updated with new camera models, so you can compare the size of older cameras with the latest models.

Varför ser Karlstad ut som det ser ut? Och hur såg det ut innan det blev till det vi ser idag? Denna sida är ett försök att med bilder titta närmare på den saken. Här kikar vi på gamla bilder av stadsdelar, hus, mötesplatser och gator som försvunnit eller förvanskats. Och vi jämför den gamla stadsbilden med den nya. Kommer ni håg det? Är vi på rätt spår? Blir staden en bättre eller sämre plats att vistas på? Kanske kan vi lära något av historien? Gör din egen bedömning.

A profile of artist, Andreas Gursky. Director Ben Lewis tries to find out what makes him tick and what it is like to live in "Gursky World".

Jag kan inte ansvara för hur du ser ut, vad du gör, eller att du befinner dig just här där du är.

Om regeringen får som den vill ska det bli mycket svårare att fotografera fritt i Sverige. Målet: att skydda människors integritet.
Men många kritiker menar att det nya lagförslaget slår alldeles fel.

IDimager not only fully implements XMP, it also allows you to extend XMP to suit your own needs. This means you can store whatever information you want to store in your images. In my case, I'm having intermittent trouble with the date/time register on my camera. I've sent it in once, but they couldn't find anything, so I'm watching it closely and gathering data. I decided I'd like to store information about changes I make to the EXIF Date/Time stamp in my images. Turns out it's a breeze not only to do that, but to store the information in XMP.

Abstract: We propose a method to realistically insert synthetic objects into existing photographs without requiring access to the scene or any additional scene measurements. With a single image and a small amount of annotation, our method creates a physical model of the scene that is suitable for realistically rendering synthetic objects with diffuse, specular, and even glowing materials while accounting for lighting interactions between the objects and the scene. We demonstrate in a user study that synthetic images produced by our method are confusable with real scenes, even for people who believe they are good at telling the difference. Further, our study shows that our method is competitive with other insertion methods while requiring less scene information. We also collected new illumination and reflectance datasets; renderings produced by our system compare well to ground truth. Our system has applications in the movie and gaming industry, as well as home decorating and user content creation, among others.

Hipstamatic D-Series is the latest, wait-est mobile application from the makers of hit photography app Hipstamatic. The app’s big feature is the 24-shot chasm of uncertainty between snapping a pic and getting to see it.

Part Two of a discussion on Black and White films and how to process them for scanning.

Technical Pan was an almost panchromatic black-and-white film produced by Kodak. While it could reproduce the visible light spectrum, it leaned to the red, and so unfiltered outdoor shots would render blues, most notably the sky, with additional darkening and reds with some lightening. These unique characteristics have not been replicated. It was generally used as a very slow film, rated at ASA 25 or even 16, although it could be rated at up to ASA 320 with a distinct loss of tonal range and a bunching of shadow and highlight detail. This film had unmatched fine grain, especially when rated at a low speed, and made excellent enlargements while preserving fine details. Kodak stopped selling it in 2004. It has not been replaced by a film (from any manufacturer) with its exceptional characteristics.

2CR5 for Yashica T3. Same as http://www.kjell.com/?item=32200 & http://www.batterilagret.se/product/1239-stavbatteri-6v.aspx .