Just when you think you’ve seen it all with regard to digital imaging technology and accessories, a new trend pops up and reminds you that the influence of digital convergence upon our lives will continue unabated for the foreseeable future. Some new innovations are nothing than quirky toys for the gadget aficionado, while others offer promise for the future but aren’t quite ready for prime time.
We just returned from the 33rd Photokina World of Imaging in Germany, and if there were any questions about the rate of excitement and technical innovation within our industry they were quickly answered. Some 185,000 visitors from over 160 countries once again flocked to Cologne for photography's bellwether event. On the exhibitor side 1,074 companies from 51 countries were represented, illustrating the degree to which imaging technologies play a roll in virtually every aspect of our lives.
As subscribers to this monthly eNewsletter, most of you are very familiar with what all the authoritative content in Shutterbug Magazine, and we want to take this opportunity to let everyone know about other ways you can participate in the Shutterbug community via our website and our growing array of social media initiatives.
While we often devote this column to a discussion of evolving technologies for innovative photographic gear, this month we’d like to tell you about some changes we have in the works for Shutterbug and solicit your input for updating the magazine, our website, and our social media initiatives.
Those of you who are fans of Shutterbug Magazine’s Facebook page have read the recent news that our longtime Editor George Schaub is moving on to pursue other interests. George and I have been friends and colleagues for many years, and we wish him all the best in his future endeavors. All of us—the magazine, our readers, the industry, and photographers everywhere—owe George a huge debt of gratitude on both a personal and professional level for everything he has done to further the craft of photography.
Most of you are familiar with the concept of “wearable cameras”—particularly as pertains to the so-called digital “POV” models used by action sports enthusiasts to document their exploits with still images and/or video while skiing, ballooning, cycling, surfing and other such activities. These cameras can be attached to helmets, body harnesses or even the sports equipment itself. There have also been a few not-so-successful attempts to market small wearable devices designed to capture low-res images as people go about their daily lives.
Every so often one hears the story of an artist’s unique journey to find his voice. Richard Dunwoody’s transition from holding the reins of thoroughbred racehorses to holding professional cameras is one such tale. Born in Comber, Northern Ireland, Dunwoody was 12 when he started riding racehorses and rode in his first race as an amateur in 1982. He turned professional two years later and won his first Grand National on West Tip in 1986.
For the past year or so some industry analysts have been ringing the death knell for digital point-and-shoot cameras and their larger and more sophisticated cousins—the interchangeable-lens mirrorless cameras. The narrative goes like this: As camera phones become more and more advanced, and offer a wider array of photocentric accessories, compact cameras and mirrorless models will fall by the wayside. Professionals and “serious” photographs will stick with full-size “system” DSLRs, while everyone else will grab a smartphone when they wish to take a photograph.
The results of the 57th Annual World Press Photo Contest were just announced and the winning images provide a visual treat for anyone who loves photography. The winners were selected from almost 100,000 photos submitted by almost 5,800 hundred photographers from 132 nationalities.
The New Zealand Antarctic Heritage Trust recently discovered and restored a treasure-trove of century-old cellulose nitrate negatives left behind by the ill-fated Ross Sea party when they were rescued after spending three years struggling to survive on Ross Island after their ship broke loose from it’s moorings and blew out to sea. The small box of 22 unprocessed negatives were part of more than 10,000 objects conserved at Captain Robert Falcon Scott’s hut and brought back to New Zealand by the Trust and painstakingly restored.