Sometimes a product hits the market that makes us literally say “WTF!?” Today, that award goes to Lomography with their brand new Lomochrome Turquoise film. Based off of Lomochrome Purple (which was based off of Kodak Aerochrome) the company describes the film as taking warm colors and rendering them in shades of blue. But that’s not all. According to the company it is responsible for: “turning warm colors into varying shades of blues from aqua to cobalt, transforming greens into deep emerald shades, blue skies into a sunset and a crystal clear sea into a golden hue”
Essentially, it looks like a permanent cross process–which unless done correctly makes us want to cry and rub our eyes with fixer fluid.
The film is a brand new offering, and they’re expecting the first shipments of Lomography Lomochrome Turquoise to come in in April 2015. The film comes in packs of 5, 10, 15 and 20. They also have it available in 120 format and requires C-41 processing.But in our opinion, they’re a bit overpriced.
More images samples are after the jump.
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With the announcement of OS X Yosemite yesterday, Aperture has officially fallen off to the wayside as Apple focuses all its energies on improving iPhoto. While it’s been confirmed Apple was officially killing off Aperture since late June, Adobe just put out a new, free plugin allowing you to easily import your photo library to Lightroom.
The recently released Aperture importer tool can import both your Aperture and iPhoto library. The importer will transfer your images while keeping the metadata intact along with your star rating, GPS data, and even keywords. The only thing the free tool can’t transfer is edits made to photos, so the plugin will simply import copies of both the original and adjusted images.
Adobe explains you’ll find the importer in the Lighroom menus under “File -> Plug-In Extras -> Import from Aperture Library (or iPhoto Library).” Once selected, the tool will prompt you to point it to the folder holding your old image library. After that you can customize what data the plugin transfers including: Flags, Star Ratings, Keywords, GPS Data, Rejects, Hidden Files, Color Labels, Stacks, and Face Tags.
The plugin requires the latest version of Lightroom 5.6 to work. You can download the Aperture importer tool here.
It’s been a while since we saw something extremely unconventional from Canon, but both Photo Rumors and Canon Rumors are saying that we should be hearing about new L series lenses. According to both sites, we should be hearing about both an 11-24mm f4 L and a 100-400mm f4.5-5.6 L IS USM II lens. The former is an interesting addition seeing as the company already has a very good 8-15m f4 L lens and a 16-35mm f2.8 L offering. An 11-24mm f4 L lens will most likely be targeted at landscape, architecture, and cityscape photographers that need something that wide. To boot, f4 is more than wide enough of an aperture for work like that.
What lots of photographers will be talking about though will be the 100-400mm f4.5-5.6 L IS USM II–which many agencies, news wires and sports shooters will most likely be interested in. We heard about the patent for this lens being submitted before, but the patents filed are in addition to some other very interesting patents. The photo world should be hearing about a new 17-5mm lens along with a 70-400mm lens.
Still though, we’re just going to have to wait and see what Canon comes out with.
Have you ever wondered how those cinematic car commercials are made? Well now Toyota has revealed all its camera tricks in the new “Corolla Like You’ve Never Seen Before!” ad. In the video there’s camera quite literally everywhere from being on a simple dolly, to a crane, motorized track, flying drones, RC cars, parachutes, and a motorcycle. Oddly enough it seems like the only camera trick not in this video was a cameraman shooting from the back of an SUV with the trunk open.
The video also shows plenty of techniques from attaching a camera to the seat belt for a dynamic perspective switch. A crane cam zooms into the driver face to catch the classic “it’s on” look we’ve seen too many times in Fast and Furious movies. There are also video cameras speeding along with the vehicle to catch the car moving in frame from the side to overhead angles. We even get to see two RC cars hit a ramp to catch a shot of the car as it they jump over it.
When the car hits a channel of water there’s a series of cameras catch the Corolla as it drives by to create the Matrix “bullet-time” effect. Just after that the car passes a turtle with a Go-Pro attached to its shell. Lastly the car rolls into the studio, where there’s a massive soft box all lit up for a photo shoot.
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Past rumors of a X-Pro 2 have claimed Fujifilm’s next flagship mirrorless camera will be full-frame camera while later reports denied this notion. Now according to one of Fuji Rumors’ sources that attended a Fuji Event, a company representative said we could expect the X-Pro 2 will be announced in the early half of 2015. Considering the original X-Pro 1 was announced at CES 2012, it seems very likely the second rendition could be unveiled at the big tech show next January.
Previously the Fujifilm X-Pro 2 was thought to be a full-frame system, however, these rumors were quickly squashed by conflicting reports. Fuji Guy Greg Poole said Fujifilm X-Pro 2 won’t be full-frame, but “worth the wait” in an interview with The Luminous Landscape. Add in the fact that Fujifilm is still filling out their line of XF lenses for APS-C sensors. It simply would not make sense for the Japanese camera company to split its resources into developing two lines of glass.
Other than a few more details about the X-Pro 2, the same rep purportedly said Fuji is working on a high-speed sync flash. If there’s one thing the X-System lacks, it’s good lighting gear and previous reports have suggested this flash will be a high-powered strobe with remote communication.
We can surely expect a megapixel bump, improved autofocusing, new firmware updates for the lenses, and perhaps something that the X series can’t do yet: tethering.
Photographers (namely sports shooters) looking for a way to go between their monopods/tripods and their sling straps may want to check out the brand new Steadsnap. It’s a low profile adapter that mounts onto the bottom of your camera and lets you connect both a tripod mounting plate and a sling strap connector.
Created by photographers Yuri and Dmitri in Canada, the Steadsnap was inspired by the daily rigors that a medical photographer at a hospital has to go through (as Yuri is one.) He needs to shoot both photos and video, and needed a more seamless transition. As the video after the jump shows, you can consider the Steadsnap almost like a hub for all your mounting accessories providing that your tripod and monopod use the same type of heads and threads.
According to the company’s blog, the prototypes were made from a single piece of aluminum until they decided to change to steel, but more on par with the same materials that aircraft machinery is made from. You can pick yours up for $34.99.
Their demo video is after the jump.
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