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So it was on a cold November day that Editor-in-Chief Chris Gampat would hand me the Panasonic LX100. It had been a while since I reviewed a camera, having been back in New York City for about two months from Istanbul. The LX100 piqued my interest with its design as a premium compact with manual controls. In a past life, I had written micro four-thirds largely because I found the cameras to be too small for my large hands. While the LX100 proved to be impressive in image quality and aesthetic, its diminutive size was a sticking point for me.

The camera is Panasonic’s stab at Fujifilm’s X100 series–and so sports retro handling and looks done in collaboration with Leica. The LX100 has the same sensor as the GX7, and in some ways even has the same styling. But this camera is much different in that at the heart is a Four Thirds sensor and in front of it is a fixed zoom lens with an f1.7 maximum aperture.

And in many ways, it could be a perfect camera for the photojournalist.


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Getting better photos of birds can be challenging given how unpredictable they can be. But you can take confidence in knowing that you can do it with a very minimal amount of gear.

Though this video is very Nikon DSLR specific, it includes lots of great tips on how to do just that. For starters, they recommend that you start out at a local nature preserve. They also tell you that telephoto lenses are better, to stop your lens down, shoot in aperture priority, raise the ISO, and to shoot a bit wider to get the entire bird in flight. But they also include tips like manually choosing a focusing point, using continuous focusing and a lot more.

But most of all, we really like that they emphasize shooting with a clean background. This is something that we always state when it comes to portraiture, and it applies to bird photography too.

The video on getting better bird photos is after the jump.

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The biggest headlining feature of the Sony A7 Mk II is a new image stabilizing sensor, which will allow the camera to take what Sony likes to call a SteadyShot. Recently a YouTube user by the name of Sean Ellwood uploaded a new video of the stabilized sensor in action and it seems like the imaging chip has quite a bit of travel inside the camera body.

Of course, the A7 Mk II is also ever so slightly thicker than the original version to accommodate this moving sensor. It’s nowhere near as big as a DSLR, but there have to be some sacrifices to make room for this new tech and not to mention the bigger grip Sony decided to go with.

Sony SteadyShot’s biggest benefit is you’ll be able to use any lens (including third party glass of course) and still get image stabilization just like with the Olympus OMD-line of cameras. But thing the feature is a straight port of OMD’s technology, recently Sony clarified the sensor is entirely of the company’s own design.

We can only hope that moving image stabilization to the camera will also mean smaller and more affordable lenses in the future— two issues which have been a sticking point of Sony E- and FE-mount lenses so far.

The Sony A7 Mk II also has a host of other improvements including faster AF, enhanced weather sealing, and a newly added XAVC S video codec along with the S-Log2 gamma curve for videographers. Although Sony has announced its latest full frame camera will come to the US in January, exact pricing remains to be unknown.

Via Sony Alpha Rumors

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Editor’s Note: This blog post was originally published over at Eric Kim’s blog. It is being syndicated with permission.

At Gulf Photo Plus, as a part of the “Street Photography Series” in November in Dubai, I gave a free talk on street photography yesterday (11/24/2014). The title of my presentation was: “10 Lessons Street Photography Has Taught Me About Life” in which I share some of my personal philosophies about street photography (and life).

Tonight at 7:00pm at Gulf Photo Plus is the opening exhibition for “STREET.” — an international street photography exhibition curated by me and the team at GPP. If you’re free, come join us! :)

You might also like to read my article, “26 Lessons Life Has Taught Me About Street Photography” and check out my free presentations on street photography on Slideshare.

See the slideshow after the jump.

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Chris Gampat The Phoblographer Canon MR14 II ring flash review product photos (1 of 14)ISO 2001-50 sec at f - 4.0

Earlier this year, Canon introduced their MR-14 EX II ring flash. As the successor to their aging offering, the new flash brought minor upgrades with it including new ergonomics, a new LED lamp to help with focusing, and new controls on the back. But otherwise, it’s a mostly unchanged flash. To begin with, it was very specialized and the world of macro photography has changed quite dramatically as the years have progressed. Many photographers tend to go for diffusion off of large panels instead of direct light from a harsh flash.

And while you should be excited about the ETTL capability improvement that this flash brings, you should also scratch your head a bit about how it fits into Canon’s ecosystem.

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©Jesse Frohman

All images by Jesse Frohman. Used with permission.

The assignment was to photograph Kurt Cobain and Nirvana for the London Observer. Jesse Frohman had everything ready to go for an 11am shoot on location, when the call came in that he would have to photograph the band in the basement of the Omni Hotel, which wasn’t the agreed-upon location. Moreover, Nirvana frontman Kurt Cobain was hours late for a five-hour shoot, and when he did arrive, he was high. This, however, didn’t hinder Frohman, an accomplished portrait photographer who had worked for Irving Penn, a legend in his own right. The shoot at the Omni Hotel led into Nirvana’s iconic Unplugged in New York concert with MTV. Now, more than 20 years after Cobain’s death, Jesse has compiled that shoot into a book, “Kurt Cobain: The Last Session.”

You can check out more of Jesse’s work on his website. But we talked to Mr. Frohman about the last iconic session nearly 20 years later.

Editor’s note: This interview has been edited and condensed.


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