The new Casio Exilim EX-HG20G (list price, about $350) is a pocket size camera that is a traveling companion for those who like to see where they’ve been. Some examples: during my test with the camera we turned down a dirt road and “got lost” in the back areas of Arroyo Hondo, NM. We saw various side roads going this way and that, roads that weren’t on any map we had in the car. We shot a few pictures with the H20G and later plugged the images into Aperture 3.1 in our MacBook Pro, used the Places feature and voila, we saw exactly where we had been and where those back roads led.
The pocket-size Casio H20G sports maps, a memory for places and a GPS tracker that even records locales indoors.
Coming in at just over a 1/2" thick and weighing an unnoticeable 4 oz, the Casio EXILIM EX-S500 is a wonder of miniaturization, considering it has a 3x optical zoom and 5-megapixel sensor. This, the latest version of Casio's mini-digicams, also has what the company terms Anti Shake DSP (Digital Signal Processor) and a large 2.2" LCD screen for both taking and...
In an attempt to connect everything electronic, this year’s CES/PMA show in Las Vegas was awash in “smart” TVs, tablets, and various and sundry devices that can link to your device—be it phone, tablet, or camera—and allow you to access “image content” anywhere, anytime. There was also a rash of rough cameras, a 3D lens for still and video, new ways to customize your camera, and a major boost in USB storage and memory card speed. Following are some photo tech highlights.
For years we have been working with the “traditional” Bayer sensor and its concomitant pluses and minuses, but we might soon see a change in the capture devices we have in our cameras. In this issue, Christopher Dack covers the recent work by Fujifilm, with a new filter pattern, Sigma’s Foveon sensor, and the elimination of the low-pass filter in Nikon’s coming D800E camera. As you’ll see, these moves challenge conventional thinking about the sensor we have become accustomed to in our cameras.
While much has changed in the display and distribution of images you might like to sell, there’s no question that what has remained the same in making sales is first having work that’s marketable and then catching a few breaks to get the work sold. While the following may sound like I’m telling old tales, I thought relating how I got my first ever stock sales might give an indication of what it takes to get into the marketplace and start having your images pay some of the rent.
This month we're
beginning a new department here in "Shutterbug" we call Point
of View. Photography is a wide-ranging field that engenders passion in
its practitioners, and like all great forms of expression creates opinions...
There are times when you want your color to exactly match what's in the
scene, but for the most part color is a fairly subjective matter that can be
tweaked with ease in just about any image-editing program. Color has a hue--like
yellow, green or blue--as well as a vividness, which in photography is
often called its saturation. In addition, color can have a cast, which is influenced
by the prevailing lighting conditions when we make the photograph. That cast
can be influenced by the light source itself, such as photographing under direct
sun versus what we'd get when photographing under tungsten lights, and
by the position of the subject in relation to that light source, such as the
difference between photographing in the shade or open light. In addition, color
can also be influenced by the recording medium itself, be it film or digital,
and how the film is made or the digital image processor is programmed to change
the color during the recording processing.
The pixels that make up a digital image each have an "address",
a code that defines color, brightness and shades. When we make images with a
digital camera or from film with a scanner we are creating a matrix of pixels
that altogether create the illusion of a continuous tone image. These codes
are not dyes or even densities, but specific information as to how the computer
will interpret the colors and tonal values on the screen. It is only when we
make a print that we leave the "digital" world and enter the world
of dyes and pigments. Because each pixel has a code, basically a bunch of information
that is composed of bits and bytes, we can alter that code to change the "address",
or color and tonal look of every pixel. In this lesson we'll use the Replace
Color dialog box, found in most versions of Photoshop, or under other names
in other programs, to illustrate the point and give you an easy, fun way to
play with your pictures.
One of our feature stories this month, Jason Schneider’s “The Shape of (Digital) Things to Come,” got me thinking about just what might be ahead in the ever-changing world of photography. In the past few years we’ve seen pretty much variations on the theme, with every feature manufacturers can think of being added to digital cameras. We’ve seen GPS, more in-camera processing options, in-camera HDR and tone curve control, and of course the update of virtually every camera line to incorporate HD video. All of this is to the good, but only if it gets you where you need to go.