Christopher Kane Delivers the Party Dresses Of FW18

Christopher Kane Delivers the Party Dresses Of FW18
Christopher Kane’s FW18 collection is a fusion of intricate lace and beading, as well as elegant velvet with an edge. Kane, a designer who continues to evolve his already established aesthetic each season, further fuels his narrative with a collection that embraces the power of the ultimate party dress. 

The strength of this collection is displayed most in Kane’s dresses. Mixed materials, varietal lengths, and poised styling and silhouettes compliment each complex garment and their multi…

Keep on reading: Christopher Kane Delivers the Party Dresses Of FW18
Source: V Magazine

Christopher Kane Delivers the Party Dresses Of FW18

Ep. 256: Your New Card Looks Like Lexar, but Isn’t – and more

Ep. 256: Your New Card Looks Like Lexar, but Isn’t – and more



Episode 256 of the PetaPixel Photography Podcast.
Download MP3 –  Subscribe via iTunesGoogle Playemail or RSS!

Featured: Olympus Visionary, Laura Hicks

In This Episode

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Show Opener:
Olympus Visionary, Laura Hicks opens the show. Thanks Laura!

Sponsors:
– Get 10% off at TetherTools.com with offer code PetaPixel10
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Stories:
These new pro media cards are Lexar-esque. (#)

Are Eneloops Pro batteries hiding in plain sight at IKEA? (#)

Sony’s new breakthrough image sensor technology. (#)

The New York Times is looking to fill a desirable position. (#)

Lensbaby releases its Burnside 35. (#)

Google removes a button with possibly limited effectiveness. (#)

A drone may have caused the crash of a helicopter. (#)

Outtakes

My other podcast with Brian Matiash, the No Name Photo Show.

Connect With Us

Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on TwitterInstagram and Facebook (all @LensShark) as we build this community.

We’d love to answer your question on the show. Leave us an audio question through our voicemail widget, comment below or via social media. But audio questions are awesome!

You can also cut a show opener for us to play on the show! As an example: “Hi, this is Matt Smith with Double Heart Photography in Chicago, Illinois, and you’re listening to the PetaPixel Photography Podcast with Sharky James!”


Source: PetaPixel

Ep. 256: Your New Card Looks Like Lexar, but Isn’t – and more

Maybelline NY Fashion Week Party Portrait Gallery

Maybelline NY Fashion Week Party Portrait Gallery
Earlier this week, V Magazine partied it up for NYFW by hosting the Maybelline NY Fashion Week Party at the NoMo Soho Hotel. Throughout the evening, a number of fashion’s most exciting faces stopped by the chic soiree to enjoy a sensible ‘Maybellini’, including models Emily DiDonato, Devon Windsor, Jasmine Sanders, and Jourdan Dunn, as well as upcoming rapper Dreezy. In pairing with the invited affair, we hosted an exclusive portrait session to capture some of the evening’s brightest faces…

Keep on reading: Maybelline NY Fashion Week Party Portrait Gallery
Source: V Magazine

Maybelline NY Fashion Week Party Portrait Gallery

Sony Creates Groundbreaking Backlit CMOS Sensor with Global Shutter

Sony Creates Groundbreaking Backlit CMOS Sensor with Global Shutter

Sony just announced a groundbreaking development in the world of camera image sensors: it has created a 1.46-megapixel back-illuminated CMOS sensor that has global shutter. This is the first-ever CMOS sensor of over 1MP that has both back-illumination and global shutter.

Backside illumination (BSI) is an image sensor design that uses its arrangement of imaging elements to increase the amount of light that’s captured, leading to improved low-light performance. While this type of design was previously used for things like astro cameras and security cameras, it has become a prominent technology in consumer still photography cameras.

In 2015, Sony’s a7R II became the world’s first back-illuminated 35mm full frame camera. Last year, Nikon’s D850 became the first 45+ megapixel BSI sensor.

Those BSI CMOS sensors are all rolling shutters, though, which means the pixels in a photo aren’t all captured at exactly the same time but are instead captured by scanning across the scene very rapidly row-by-row. While this can produce identical results in most cases, it does cause distortions when the camera or subjects are moving rapidly during exposure.

A photo showing rolling shutter distortions in a rapidly spinning airplane propeller. Photo by Soren Ragsdale and licensed under CC BY 2.0.

Sony’s newly developed sensor is a BSI sensor that has a global shutter function, allowing every single pixel in the frame to be captured at exactly the same time. Here’s an excerpt of the company’s technical explanation of its breakthrough design:

The new Sony sensor comes with newly developed low-current, compact A/D converters positioned beneath each pixel. These A/D converters instantly convert the analog signal from all the simultaneously exposed pixels in parallel to a digital signal to temporarily store it in digital memory. This architecture eliminates focal plane distortion due to readout time shift, making it possible to provide a Global Shutter function […]

To achieve the parallel A/D conversion for all pixels, Sony has developed a technology which makes it possible to include approximately three million Cu-Cu (copper-copper) connections in one sensor. The Cu-Cu connection provides electrical continuity between the pixel and logic substrate, while securing space for implementing as many as 1.46 million A/D converters, the same number as the effective megapixels, as well as the digital memory.

Here’s a sample photo Sony captured with the new sensor (notice how the spinning fan blades don’t exhibit any rolling shutter distortion):

No word yet on if or when we’ll be seeing this breakthrough CMOS sensor design show up in a consumer camera, but it’s clear that Sony is intent on staying ahead of the curve to continue its global dominance of image sensors and keep its digital cameras at the forefront of sensor quality.

(via Sony via DPReview)


Source: PetaPixel

Sony Creates Groundbreaking Backlit CMOS Sensor with Global Shutter

RED and Foxconn Team Up to Make 8K Cameras at 1/3 the Price

RED and Foxconn Team Up to Make 8K Cameras at 1/3 the Price

Cinema camera maker RED and Foxconn (best known for manufacturing the iPhone) have announced that they’re teaming up to create affordable professional-grade cinema cameras for the general public.

Nikkei reports that the two companies are aiming to slash both price tags and the physical size of cameras.

“We will make cameras that will shoot professional-quality films in 8K resolution but at only a third of current prices and a third of current camera sizes,” says Foxconn Chairman Terry Gou. RED’s cameras are popular in the filmmaking industry but cost upwards of $30,000.

Foxconn manufactured an estimated 40% of all consumer electronics sold worldwide in 2012, and in addition to the iPhone, it manufactures well-known products like the Kindle, Nintendo 3DS, Wii, PlayStation, and Xbox. Apple’s products account for over half of its sales, though, and Foxconn is working to reduce its dependence on Apple by branching out to new segments, Nikkei reports.

In addition to teaming up with RED, Foxconn is also expanding into the manufacturing of camera semiconductors, putting the company in competition with Sony and its market-leading core business.


Source: PetaPixel

RED and Foxconn Team Up to Make 8K Cameras at 1/3 the Price

Photographer Accidentally Captures SpaceX Falcon Heavy Exhaust Plume

Photographer Accidentally Captures SpaceX Falcon Heavy Exhaust Plume

Photographer Reuben Wu was at Vermilion Cliffs National Monument in Arizona last week shooting photos for his gorgeous Lux Noctis project (landscapes at night illuminated by drone-mounted LEDs) when he captured something unexpected: the exhaust plume of SpaceX Falcon Heavy rocket that launched during the day.

“I managed to capture the dissipating exhaust plume of the SpaceX Falcon Heavy as it left the Earth’s atmosphere,” Wu tells PetaPixel. “Had no idea it was launching that night so it was a tremendous surprise to see it fly into my shot.”

The Falcon Heavy was launched from Cape Canaveral, Florida, during the day, so you may be wondering how this exhaust plume sneaked into Wu’s shot at night.

“This was the final burn which took place 6 hours after launch around 7:30 pm (I always wait until dark before I make these pictures),” Wu says. “The second stage had 3 separate burns: the first just after launch (about 8 mins in) then it shut down, coasted for an amount of time, re-lit and burned again for a short while to alter the orbit. Then it shut down and then, six hours later it re-lit a third time for solar orbital insertion.

“I was puzzled by the same thing and had to ask a friend!”

Here’s the same solar orbit insertion burn as seen from the MMT Observatory on Mt. Hopkins, Arizona:

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“At first when I clocked the rocket it looked like an usually bright and fast moving satellite (or missile) which had a glowing haze around it as if it were shining through cloud (it was a very clear night), but then the haze rapidly expanded into the final exhaust plume and then dissipated as Starman left the planet’s atmosphere,” Wu says.


Source: PetaPixel

Photographer Accidentally Captures SpaceX Falcon Heavy Exhaust Plume

8 Breakout Beauty Looks From NYFW FW18

8 Breakout Beauty Looks From NYFW FW18
Beauty is truly a transformative art. With a swipe and a dab of concealer, any blemish or dark under-eye circles can disappear in a flash–or with the aid of a dewy, pearlescent luminizer you can achieve model-like cheekbones in an instant. The list of beauty trends and tips is never-ending and without the proper tools or know-how you may be swimming in a pool of endless products. But take your next beauty cue from our most imaginative designers and the makeup artists who create such masterful…

Keep on reading: 8 Breakout Beauty Looks From NYFW FW18
Source: V Magazine

8 Breakout Beauty Looks From NYFW FW18

Drone Causes Aircraft Crash for First Time in the US: Report

Drone Causes Aircraft Crash for First Time in the US: Report

After numerous reports of illegally flown drones interfering dangerously with airplanes and even denting a US Army helicopter rotor over the past few years, a drone may have just caused an aircraft crash for the first time the United States.

Bloomberg reports that the National Transportation Safety Board (NTSB) has opened an investigation into a helicopter crash that occurred on Daniel Island in South Carolina on Wednesday.

A student pilot and instructor were flying the Robinson Helicopter Co. R22 helicopter at around 2 pm when “a white ‘DJI Phantom quad-copter drone” appeared and flew into their airspace, says a Charleston Police Department report. The instructor grabbed the controls and attempted to avoid the drone, but the tail of the helicopter clipped a tree, causing a crash landing on its side.

Both the student and the pilot escaped the incident without injuries, but the helicopter’s tail was “significantly damaged” and the aircraft was totaled, The Post and Courier reports.

“The NTSB is aware of the pilot’s report that he was maneuvering to avoid a drone, but the NTSB has not yet been able to independently verify that information,” says NTSB spokesman Chris O’Neil.

“DJI is trying to learn more about this incident and stands ready to assist investigators,” DJI says in a statement. “While we cannot comment on what may have happened here, DJI is the industry leader in developing educational and technological solutions to help drone pilots steer clear of traditional aircraft.”

Authorities have not been able to locate the drone or identify its owner.


Image credits: Header illustration based on photo by Jitze Couperus and licensed under CC BY 2.0


Source: PetaPixel

Drone Causes Aircraft Crash for First Time in the US: Report

Do Photojournalism Contests Glamorize Pain and Suffering?

Do Photojournalism Contests Glamorize Pain and Suffering?

In a break from the past, World Press Photo (WPP) released the short list of finalists in advance of naming the winners to their annual contest – arguably the most prestigious in all of photojournalism. The photos are remarkable for their composition, exposure, and intimacy. But judging by the subject matter one might surmise that we’re living in a hellish dystopia, or that the jury believes pain and suffering is the most valid form of photojournalism.

A more nuanced look at all the finalists reveals a broader range of subject matter, but that doesn’t alter the fact that the Photo of the Year candidates have an obvious and often despair-laden quality to them (as do many photojournalism contests).

The tendency to value these types of scenes and subject matter made the 2014 selection of John Stanmeyer’s photo all the more startling. In contrast to most years, Stanmeyer’s photo of migrants in Djibouti trying to catch cheaper cell signals from neighboring Somalia depicted an everyday struggle of strangers in a strange land without relying on bloodshed or violence.

Photo by John Stanmeyer

This matters because awarding the industry’s top prize to fire and brimstone images flies in the face of the actual trend of improving conditions around the world (if Bill Gates and Steven Pinker are to be believed).

Most contests provide very little guidance to their juries, which tend to rotate annually. Consistency or a longitudinal vision for a contest’s raison d’être are typically not a part of a jury’s purview. Juries are therefore likely to conform to their “brand perception” of a given contest.

Jurist Thomas Borberg said in a WPP-produced video that “You have to be able to feel a World Press Photo in your stomach. If not, it’s not a World Press Photo.” Given this position, it’s not surprising that violent images are the ones that provoke stomach churning reactions.

Media reinforces and shapes public perception whether intended or not. And the same photos and photographers tend to win multiple awards in a given year, thus generations of photojournalists are led to believe that contest-worthy images must conform to a certain look-and-feel. This isn’t just conjecture. A well-known documentary photography who eschews photo contests told me in response to the WPP images, “Disaster porn photojournalism is corrosive to that idea by constantly saturating our media world with the message that the world is hell and never gets any better. Therefore, the logic goes, things like foreign aid are a waste and trying to help places like Africa is doomed to unending failure.”

Why do the final photos have to be of a man on fire or legs beneath a body bag? Why not the world’s largest lithium-ion battery that solved an energy crisis in Australia? Why not a portrait of Tarana Burke? Are these images not salacious enough for a contest-sized appetite?

Contests (and portfolio reviews) are, for better or worse, efficient mechanisms for photographers to market themselves. This isn’t a clarion call for the elimination of either. But photographers, photo editors and contest organizers might reconsider how the selection of winners forms its own narrative of the world, and whether this narrow distillation creates a restricted and distorted view of reality.


About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.


Image credits: Header photo by Ronaldo Schemidt/Agence France-Presse


Source: PetaPixel

Do Photojournalism Contests Glamorize Pain and Suffering?

Fireworks Shot Up-Close by a Drone and Played in Reverse

Fireworks Shot Up-Close by a Drone and Played in Reverse

This is awesome: Perfect_Tz flew a DJI Phantom 4 Pro camera drone through fireworks in Yunnan, China, reversed some of the footage, and set it to music. What resulted is this mesmerizing 3-minute short film titled, “Fireworks From Above.”

The film was made to celebrate the Chinese Near Year — today is the first day of The Year of the Dog.


Source: PetaPixel

Fireworks Shot Up-Close by a Drone and Played in Reverse