To be clear, iOS 8 will expose just about every manual camera control possible. This means that ISO, shutter speed, focus, white balance, and exposure bias can be manually set within a custom camera application. Outside of these manual controls, Apple has also added gray card functionality to bypass the auto white balance mechanism and both EV bracketing and shutter speed/ISO bracketing.
Where is your studio exactly and how long have you been working there?
I have a small darkroom inside Rapid Eye, on Leonard Street, London. I have been here about a year… Prior to that I was taking trips down to Brixton to print. When I first moved to London, I was assisting a photographer who used to pay me by letting me use his darkroom in East Acton; he would teach me to colour print there. It a was a brilliant place to learn, and it feels great to now have my own place.
-Nikon's thinnest, lightest FX-format D-SLR
-16.2MP image sensor paired with EXPEED 3 image processing
-Dedicated mechanical dials for shutter speed, ISO sensitivity, exposure compensation, exposure mode and release mode
-39-point autofocus system with 9 highly accurate cross-type sensors
-Compatible with all current AF-S, AF-D and AF NIKKOR lenses
The Nikon Df and 50mm f/1.8 kit will cost $2,996.95. The body only is $2,746.96. Both versions are available in silver and black. The release date is Thursday, November 28, 2013.
Reignite your passion for photography with this thrilling blend of classic and modern. On the outside, it's classic Nikon—our thinnest, lightest FX-format body with an elegant mechanical operation system inspired by the legendary F, F3 and FM/FE series film cameras. On the inside, it's flagship Nikon D-SLR—the advanced 16.2-MP FX-format image sensor and EXPEED 3 processing engine from the D4, our ultra-fast 39-point AF system, an ultra-high resolution LCD display and even Wi-Fi® photo sharing (with optional adapter). Embrace a more personal shooting style that results in some of your most inspiring photos yet.
Deborah Turbeville, who almost single-handedly turned fashion photography from a clean, well-lighted thing into something dark, brooding and suffused with sensual strangeness, died on Thursday in Manhattan. She was 81.
Her death, at St. Luke’s-Roosevelt Hospital Center, was from lung cancer, her agent, Marek Milewicz, said.
Ms. Turbeville’s photos, by contrast, were unsettling, and they were meant to be. In her fashion work, clothes are almost beside the point. In some images the outfits are barely visible; the same is often true of the models, resulting in an elegiac landscape defined more by absence than by presence.
In a de facto commentary on fashion’s manipulation of women, Ms. Turbeville literally manipulated her negatives — scratching them, tearing them, scattering dust on them and otherwise distressing them — to make the finished images redolent of decay. She employed faded color, black-and-white and sepia tones; prints were often deliberately overexposed, rendering her subjects spectral.
The role of the filmmaker is changing, from one who records images through a lens to one who curates images from an existing database of footage.
This state of tranquility and presence has been the essence of the modern photographic act, best characterized in the popular mind by Cartier-Bresson's concept of the "Decisive Moment."
Cartier-Bresson believed that the photographer is like a hunter, going forth into the wild, armed with quick reflexes and a finely-honed eye, in search of that one moment that most distills the time before him. In this instant the photographer reacts, snatching truth from the timestream in the snare of his shutter.
So the Decisive Moment itself was merely a form of performance art that the limits of technology forced photographers to engage in. One photographer. One lens. One camera. One angle. One moment. Once you miss it, it is gone forever. Future generations will lament all the decisive moments we lost to these limitations, just as we lament the absence of photographs from pre-photographic eras. But these limitations (the missed moments) were never central to what makes photography an art (the curation of time,) and as the evolution of technology created them, so too is it on the verge of liberating us from them.
The Decisive Moment is dead. Long live the Constant Moment.
In the November issue marking its 40th anniversary, W is introducing an annual feature called “The Shot,” which seeks to identify and support the next generation of stars in fashion photography. The issue includes a portfolio of six emerging photographers whom its editors, in a partnership with the International Center of Photography, have identified as “exhilarating new talents.” One of them will ultimately be named a winner. The grand prize is the opportunity to shoot a feature for the magazine’s September 2013 issue.
“We looked for photographers with original ideas,” said Stefano Tonchi, the editor of W. “We selected the ones who are not like anyone else.”
The finalists — Erik Madigan Heck, Boo George, Kacper Kasprzyk, Karim Sadli, Zoe Ghertner and Benjamin Lennox — include some who are already known for their work for independent magazines but have yet to break through to the big leagues.