One of the more satisfying aspects of working on the PDN’s 30 issue each year is the opportunity to get to know the people behind the portfolios of images that stood out to PDN editors from among the more than 300 we received from photographers all over the world last October.
“…The slim, super-stylish Cyber-shot WX300 camera is the world’s smallest and lightest digital still camera that packs a powerful 20x optical zoom range…”
“… the power-packed Cyber-shot HX300 offers photographers long-zoom capabilities in a compact, versatile package. Featuring a huge 50x optical zoom range (24mm-1200mm equivalent)…”
“…Great for swimming, snorkeling, skiing or any other kind of outdoor activity, the Cyber-shot TX30 is the world’s slimmest waterproof digital compact camera…”
“…Sony’s new α NEX-3N digital camera delivers professional quality photos and Full HD videos in an ultra-compact body weighing in at just under 7.5 ounces, making it the world’s smallest and lightest interchangeable lens camera with an APS-C size sensor…”
This remarkable self-portrait of NASA’s Mars Curiosity Rover includes a sweeping panoramic view of its current location in the Yellowknife Bay region of the Red Planet’s Gale Crater.
6 of of the 9 best picture nominations at this years Oscars were shot on Kodak Film ( Argo, Beasts of the Southern Wild, Django Unchained, Les Miserables, Lincoln and Silver Linings Playbook) Not sure if the others were shot digitally or used some other brand of film (assuming someone else still makes 35mm movie film!).
In fact Kodak say:
…no best picture winner in the Academy Award’s 84-year history has been made without film…
That’s an intersting choice of words though. There’s a difference between the film being shot on film and a film not “being made without film”. I guess they are saying that so far no purely digital film has won the Oscar. It’s also the case that distributors are no longer making 35mm prints of film for projection, so even if a move was shot on film, what you see in the cinema is now a digitally projected version of it.
Aperture magazine has been around for 60 years, but starting with the Spring 2013 issue it’s had a makeover and will be taking a new direction.
“…What should a photography magazine be? This question propelled a long conversation at Aperture Foundation about how we can navigate the next chapter of photography’s evolution and make a vital contribution as a print publication. The new Aperture was created with two steady assumptions in mind: First, that in a time when photography is abundant on digital platforms, images in print—ink on paper—continue to offer a uniquely actual experience. Second, that a magazine can engage photography’s changing narrative—while remaining attentive to the medium’s history—through thoughtful, accessible writing
Osaka, Japan – Panasonic Corporation has developed unique “micro color splitters”, which separate the light that falls on image sensors by exploiting light’s wavelike properties. Applying them to actual image sensors allows bright color images to be achieved even under low-light conditions. This development makes color filters unnecessary by using the micro color splitters that control the diffraction1 of light at a microscopic level. Panasonic has achieved approximately double the color sensitivity in comparison with conventional sensors that use color filters.
Not my style of photography, but interesting nonetheless.
“…In order to achieve an exposure of days and even months I returned to the oldest optical device, the pinhole. I think it is a beautiful indicator of the burden of progress that in order to capture the slightest amount of time, the greatest amount of technology is required. But in order to capture great lengths of time all that is required is a very small hole…”
“…Boasting a three mega-pixel sensor, a whole host of shooting modes and a number of hidden buttons and slots built into its surface, This PVC-coated doughnut-shaped camera is just begging to be poked and prodded…”