The diminutive Nikon 1 series of cameras, including the J1 reviewed here and the coming V1, introduces the new CX-format CMOS sensor to the interchangeable lens, mirrorless camera field, which we dub Compact System Cameras. The sensor is smaller than APS-C and Micro Four Thirds sensors, coming in at a 2.7x multiplication factor using standard 35mm focal length designations. The 10.1-megapixel sensor has a native speed of ISO 100, with speeds up to 3200, and 6400 with a 1 EV push.
While parts of the nation are blessed with warm or let’s say tolerable weather during these winter months there are many more areas in which we inhabitants spend the short days thinking about the springtime to come. For photographers who earn all or part of their keep with their camera some of the planning has to be preparing for what is hoped will be a busy season—the myriad social events that photographers are paid to document, including weddings, graduations and concomitant senior portraits, Easter and First Communions, and whatever social and familial events that come along. Granted, a good many jobs are already booked by now, but there are always late calls, cancellations, and rebookings.
The compact Olympus E-PL3 has a retro body design and is available in different colors. The camera has a large swivel LCD on the back which allows the user to flip the monitor up and down. This is handy but is not as flexible as a swivel monitor that allows side-to-side movement. The LCD screen is a standard TFT screen instead of the OLED system used by the Olympus E-P3.
Operating as a plug-in for Lightroom, Aperture, or as a stand-alone workspace, Perfect Layers from onOne Software distills down and codifies the often-complex task of working in Layers to a fairly simple task, offering various Blend modes, composite shortcuts and tools that might otherwise pose a steep learning curve. You can use numerous source files, including Raw, TIFF, and JPEG formats, and scale and move the various layers as required. In short, Perfect Layers poses an effective tool for those who have wanted to work in Layers out of Aperture and Lightroom and opens up new doors to image creation.
The onOne workspace contains toolbars on the left and modifications and working options on the right, #1. Once you have selected an image or images from an organizer such as the Library in Lightroom, they load as separate Layers in the center screen. You choose the images to be used by selecting them from the Library or Browser, then going to File>Plug-In Extras>Perfect Layers. Here’s the selection process shown in Lightroom 3, #2.
I grew up in a black-and-white photographic world. Sure there was color and plenty of it, but what attracted my eye were the black-and-white pictorials in Life magazine, black-and-white movies like The Third Man and the film noir B-flicks, and the amazing work that came out of the FSA and that of Weston, Evans, and Siskind. When I began photography “seriously” I couldn’t imagine shooting in color, except for the rent-paying jobs, or not being the one who processed and printed my own work.
Backing up images while on the road makes sense; having a backup drive that can take the rigors of the road seems to make even more sense. That’s the idea behind the ioSafe Rugged Portable USB 3.0, available in various configurations, including SSD (Solid State Drive) and HDD (Hard Disk Drive), capacities, and aluminum or titanium covers. Regardless of the enclosure, the unit is dubbed shockproof (drops from 20 feet with the SSD and titanium enclosure with the optional “skin”), waterproof (submersible up to 10 feet for three days in aluminum, or 30 feet in titanium), and dustproof even in sandstorms, and even during ice storms for 24 hours. And, you’re also covered if you happen to drop it into a barrel of oil (up to 12 feet for an hour) or climb above 15,000 feet (aluminum) or 30,000 feet (titanium). To back up their guarantees the company includes a one-year replacement and one-time data recovery guarantee (up to $5000 on the data side).
This story began with the discovery of a few old rolls of C-22 126 format film in a drawer coinciding with some information that came in from the folks at Film Rescue. The idea of finding the formula for and mixing C-22 chemistry was not appealing, and while I could have probably gotten an image using Dektol, inexperience with processing old color films and fear of losing whatever was on the film prompted me to contact the company. I’m glad I did.
First off, the staff of Shutterbug wishes the very best for you and yours during the coming year. We thank you for your continued support, ideas and images, and look forward to another great year in 2012.
The Leica X1 ($1,995) is a fixed focal length, non-interchangeable lens compact with a fast f/2.8 lens and 12.9MP CMOS APS-C sensor. Introduced over a year ago in silver and recently in black, it keeps apace with firmware upgrades, the most recent of which is claimed improvement of JPEG quality and enhanced AF speed in low light.
There comes a point in your photographic life when you might consider making money with your camera. It might be a life’s goal from the start, and you put the time into assisting, attending workshops, and even taking formal lessons or enrolling in a school dedicated to the craft. But more often than not it’s something that occurs to you along the way, something that sticks in the back of your mind as you lay awake at night. You consider it because of your love and dedication to making photographs, and your feeling that making a living with something you love to do would be a good way to go through life. But the question remains—just how do you get started, how do you make the transition or the first step?