As photographers, we are not only inspired by what we see around us. We are also inspired by how we feel and what we are going through; many of us using those as motivations for our next projects. And more often than not, these personal series reveal more of us as individual human beings than as artists.
This is exactly what Seattle-based photographer Adrain Chesser did in his latest series, except his version is far more revealing of himself than most of us would care to go. You see, Chesser has recently been diagnosed with AIDS and he had to find a way to tell his friends and family. He’s always considered photography to be his “highest spiritual practice” and he’s always used it as his main medium to capture those moments in his life that make strong impressions on him so it only made sense that he’d use it somehow to break the sad news to his loved ones.
In a stroke of inspiration, Chesser invited each one of them to his studio for an intimate photo shoot. One by one, he revealed the heartbreaking news to them, and then captured their individual reactions on camera. These revelations resulted in the series entitled “I Have Something to Tell You,” a powerful and poignant project that will deeply move even the hardest of hearts.
Of the photographs, Chesser says,
“While these photos are probably the worst pictures ever taken of my friends, they are undoubtedly the most beautiful.”
On a personal level, I think we can all agree.
See the rest of the images from the series after the jump.
Recently, we had the opportunity to play with the world’s weirdest point and shoot camera: one of the versions of the Sigma DP Quattro. Besides having a sensor with medium format performance, the ergonomics and design are a bit out of this world. Though we handled a pre-production model, we were still scratching our heads about the camera.
DxOMark has analyzed the sensor of the new Nikon D4s, and the results aren’t really surprising. Since the camera is more of an update to the D4 rather than a full-fledged successor, we didn’t really expect the D4s to outperform the D4 by any significant margin. And indeed, this is what DxOMark’s measurements confirm. While the D4s has slightly better overall performance at ISOs 3200 and up, the D4 performs just as well if not a slight notch better at lower ISOs when it comes to dynamic range, tonal range and color sensitivity. The same is true for the Nikon Df.
Since the very beginning of digital photography, high contrast situations have always been a problem. When the brightness contrast between shadows and highlights exceeds the camera’s dynamic range, either shadow information or highlight information will be sacrificed. Various attempts have been made at working around this problem, the most notable technique being HDR (‘high dynamic range’) photography. Other attempts were hardware-based, such as Fujifilm’s Super CCD sensors that featured dual photosites at each pixel location for shadow and highlight sensitivity respectively.
The latest patent describing a solution for high contrast situations comes from Olympus, and it describes a technique that would allow for different areas of an image to be captured at different exposures. In theory, this would allow for very bright areas in an image to be deliberately underexposed, while darker areas would be deliberately overexposed at the same time. This way, the final image would retain detail in both the highlights and the shadows, without the necessity of taking multiple exposures for a later HDR merging.
When Panasonic first announced the GH4 Micro Four Thirds camera, it created quite a bit of a stir. With it, even more so than with its Full-HD capable sibling, the GH3, Panasonic clearly aims at the professional videographer looking for an affordable 4K Ultra-HD video solution. This becomes especially clear with the full-fledged accessory interface unit that Panasonic announced alongside the camera. Now, just over a month after the original announcement, both the GH4 and the interface unit receive official pricing and availability information.
The GH4 camera body will be available at the beginning of May, at a retail price of US-$ 1,699.99, making it the most expensive Micro Four Thirds camera so far–but also the most capable. The interface unit for the GH4 can be purchased separately for US-$ 1,999.99, or in kit with the camera for a grand total of a little under US-$ 3,300.
If you’re uncertain whether the GH4 is the right 4K solution for you, take a look at our first impressions of the camera. Also, this first video footage taken with the GH4 might help you with your buying decision. Both the camera and the interface unit can be pre-ordered at B&H Photo.
Days after spotting the light leaking issues on the Sony A7 and A7r, it seems Fujifilm’s latest and hottest X-T1 mirrorless camera is having problems of its own. A German Fuji Rumors reader first spotted the light leaks coming through the ports on the camera. Reviewed confirmed the errant photons come in through the 2.5mm audio jack and HDMI output. The exposure above shows the results of taking a 30-second long exposure whilst shining a flashlight around the outside of the camera.
While it’s clear the issue exists, light leaks only really crop up while the port door is open when shooting long exposures or shining a flashlight directly into the camera. A simple fix would be to put gaffers tape over the ports to completely block out the light. Fujifilm, meanwhile, is offering a service to fix the “few affected cameras” and return them within 10 days.
Despite being clearly a camera flaw, light leaks actually affect some pro-body full frame sensor cameras including the Nikon D800E and Canon 5D Mark III. Imaging Resource put the two cameras under the microscope and found they both suffer light leak issues passing though the lens mount just like the Sony A7 and A7r. When photographers spend an arm and a leg for the best equipment, any flaw including light leaks seems like a complete insult that ruins the camera.
However, the issue only becomes apparent when shooing in some truly unusual circumstances, like ISO 25,600 and a 30-second exposure. Ferrell McCollough also demonstrated the same problem can happen by taking pictures in a studio environment with a strobe shinning directly into the lens flange of a camera. But again the issue was easily corrected by stepping a few inches away from the light. For the most part light leaks are a real problem and an annoyance, but ultimately they won’t ruin most of the photos for the average shooter.