Remember those patents Sony got a while back about something to do with a curved sensor? Because we now have our first look at the actual sensor itself. If you’re not up to date with the story, Sony’s been working on some new technology with camera sensors; what resulted is one that shares the same amount of curvature as our human eye.
Sony’s RX10 may find itself in trouble with Panasonic’s most recent announcement. Last night, they unveiled the FZ1000 – now the world’s first compact camera capable of 4K. And it comes with a price tag $400 less than the competition Sony’s offering.
With drive-by shootings and gang violence rampant behind the curtains, within slums and neighborhoods that nobody on the outside pays attention to, Chicago is possibly one of the most troubled cities in the United States today. Around the beginning of last year, the Chicago Police department began implementing new technology by NEC into their order of operations – a facial recognition software called NeoFace.
A man named Pierre Martin was recently arrested for connections to two different armed robberies carried out between January and February of 2013; the new facial recognition software ended up capturing him in surveillance footage and linked him to a previous record. Just earlier, Martin was sentenced to twenty-two years in prison; he is now the first and only person to have been convicted with the use of NeoFace in aid of his arrest.
350 years ago, Johannes Vermeer once painted a piece (pictured above) called The Music Lesson. What you’re looking at is something many people have considered impossible up to today; the light that shines through the windows in the painting is painted with exactly the same color that it has in real life when viewed through a projected image. It wasn’t being painted using a normal vision – it was being painted like it was a hand-made photograph. While many artists were indeed famous for implementing realism into their work even centuries ago, a painting this photorealistic has been though impossible to achieve up to even today. But for some reason, a painting like that exists, and Tim Jenison is a man who had a drive to find out how that was possible.
One thing I love implementing in the work that I do is surrealism. When it comes to music production, for example, I like throwing in noises that catch me off guard. I might take samples of speeches and alter the voice of whoever’s speaking, and fit it into something as an introductory cut; vocoders are something I have too much fun with, if I don’t abuse them while experimenting with different sounds and figuring out what works best with what I’m writing.
Similarly, that form of surrealism is something I experiment with in photography to the point where it’s becoming something I generally implement into my work. One way I tend to mess with some of my photos is by giving them glitch distortions. If you’ve heard of this before, you’ve probably heard it referred to as “glitch art”. Glitch art’s gained a good amount of popularity since the turn of the millennium, around the time when digital photography started becoming popular. In the same way film has its imperfections illustrated through the little cracks and marks you see flashing by when a movie’s being projected (the “cigarette burn”, for example), digital work has its imperfections as well. The pixelization of a JPG, the compression of an uploaded mp4, or the complete chaos done to a video when it’s converted to an incompatible format – the digital age now has its own unique form of flaws, and it’s arguably a part of our culture up to today just because of the familiarity each of us have with the imperfections.
Back when social media was still something establishing its foundations, things were a bit different. People didn’t care what they typed as comments on MySpace, or how many seizures they’d cause others to have from their profile’s flashing black-and-white Fall Out Boy skin(face it: that was why we all learned HTML in the first place.) Where once profile pictures were something you’d only expect high school kids to worry about, things have changed today.
With the sensitivity of the Sony a7S reaching up to an ISO of 409600, the camera itself has had some pretty high expectations to live up to. Just recently, Photographer Yosh Enatsu took the a7S out for a test run and uploaded some results showing what the camera truly can be capable of. Considering the a7S doesn’t have its own internal 4K codec, the shots were done through a setup utilizing an external Blackmagic converter. Filmed in the middle of the night, the final two videos we see paint an impressive image of what the a7S can do.
Warning: Strong Language in the video above.
We’ve been covering stories over photography and it’s run-ins with the law for a while now. Most of the time, it’s the same frustrating types of events happening in different situations; a cop might tell someone to turn their camera off in a public area, someone might get a verbal harassment – whatever it is, it tends to make its way across social media everywhere each time it happens. People get frustrated to see things like that happen to them by the very force that should be upholding the law.
But this is something entirely different, and on an entirely different level of sickening.
Shot at Hammonasset Beach in Madison, CT, this video started recording after the cameraman had finished his last round of quadcopter photography around the park. At that point, a woman named Andrea Mears, 23, approached him and proceeded to call the police, apparently not liking the fact that he was using the device in a public area. This is where the video starts, after the guy realizes just how aggressive the woman is being.
There’s been rumors circulating around for quite some time now about Nikon releasing their next full-frame DSLR this summer. After a good amount of time, it’s finally official: according to Nikon Rumors, it’s confirmed that the next DSLR from Nikon will be announced on June 26.
What do we know about it so far? For starters, this is the camera that’s meant to replace the company’s D800/E line; no actual information is given out on the next model’s name, but it could be anything from an Apple-esque “S” upgrade to something completely different. For now, most people are going with the former option: the D800s. The new camera is reported to be manufactured in Thailand.
While we’re awaiting the unveiling, keep on the lookout for more deals on Nikon D800/E cameras from here on. Considering the replacement’s on the horizon, this can be a great time to start looking for price cuts on the older models. Stay tuned for the actual announcement when it airs, and we’ll be covering the new full-frame on everything you’ll need to know. Until then, check out the rumored specs for the camera after the jump.
Last year, House of Cards received an Emmy Award in recognition for its cinematography, beating out Breaking Bad, Game of Thrones, and Mad Men.
Making its first appearance in 2013, House of Cards is the show that proved what Netflix is truly capable of, and its production was as different from everything else out there as Netflix was to other studios itself. I started watching this show a bit late, but right from the first scene of the pilot episode, I could point out how much David Fincher this show was running on; to my surprise, the director’s name greeted me twice in the opening credits.
So at the time of at release, this was almost downright unusual. Who could have guessed that a guy like David Fincher would be working as a producer and director for a show by a streaming service? Not only did this project have fincher on board, but it reunited him and Kevin Spacey, who served as a producer for the show as well as the leading role.
Whatever grabbed both of their attention was no big surprise. House of Cards has a story that’s right up Fincher and Spacey’s alley, and it’s exactly the kind of show that fans of Fincher’s past work could get into. Going into the cinematography of the show, I mention David Fincher for a reason: although he was mainly an executive producer, directing only the first two episodes, the tone that he set with them basically became the precedent for how the rest of the series would end up being filmed. The first person hired as the show’s cinematographer was Eigil Bryld, who filmed eleven episodes from the show’s first season.