It’s safe to say that most amateur photographers have wondered at one time or another if they have what it takes to make it in the big leagues. Well, here’s their chance to find out, because The New York Times is hosting a professional portfolio review for 150 of the best amateurs courageous enough to send their work in. Read more…
Fujifilm’s new X-Trans sensors diverge from the traditional way CMOS sensors are designed by using an irregular pattern of red, green, and blue pixels. This allows the sensors to eschew the standard anti-aliasing filter, eliminating moiré patterns without putting an extra component in front of the sensor. Roy Furchgott over at The New York Times has an interesting piece on how the new tech is inspired by Fujifilm’s glory days in the film photography industry:
Old fashioned analog photographs didn’t get a moire pattern because the crystals in film and photo paper aren’t even in size and placement. That randomness breaks up the moire effect.
So Fuji built a new sensor employing what it knew from the film business. Instead of using the Bayer array, it created a pattern called the X-Trans sensor which lays out the red green and blue photo sensors in a way that simulates the randomness of analog film.
Furchgott does a good job of explaining the new sensor design (and its benefits) in an easy-to-understand way.
Old Technology Modernizes a Camera Sensor [NYTimes]
The New York Post sparked a firestorm of controversy last week after publishing a photo of a man about to be struck by a subway train. People around the world were outraged that a photographer decided to photograph what had occurred, that he had sold (or, in the photographer’s words, licensed) the photo to a newspaper, and that the paper decided to publish it with a sensationalist front page story.
The New York Times found an eerily similar story on its hands this week, but its handling of the situation — and the subsequent public reaction to the article — has been drastically different.
New York Times staff photographer Fred R. Conrad was recently tasked with shooting a portrait of acclaimed color photography pioneer Joel Meyerowitz. Freelance videographer Elaisha Stokes went along to shadow Conrad, and captured this interesting behind-the-scenes video in which Conrad shares some thoughts on the experience of pointing a lens at a master of pointing lenses.
Digital and mobile phone photography have made it easy for parents to document every waking (and non-waking) moment of a child’s life, but what effect is this constant picture-taking having on kids? David Zweig has written up an article over at the New York Times arguing that our culture of photography is intruding on the preciousness of youth, and that parents should take fewer photographs of their children.
On Tuesday, the U.S. consulate in Benghazi, Libya was attacked by militants, resulting in the deaths of ambassador J. Christopher Stevens and three members of his staff. In an article reporting on the attack, The New York Times included a photograph that reportedly showed a bloody and unconscious Stevens, moments away from death. The image caused outrage with some readers, and soon attracted the attention of the United States government, which asked the Times to pull the photo. The Times said no.
This fascinating behind-the-scenes video shows what it’s like to work as a sports photographer for the New York Times. It follows around Barton Silverman, a photographer who has been working at the Times since March of 1962. Over the past 50 years, he has covered many a championship game and has photographed many a legendary athlete. The New York Times writes,
When he started at The New York Times 50 years ago, [Silverman] worked as a lab assistant, a title he would hold for four years. But he wanted to be a photographer. So he volunteered to carry Larry Morris‘s camera bag to Madison Square Garden.
“As I was taking notes,” he said, “I basically figured out how to shoot a hockey game.”
In the meantime, he volunteered to shoot for the team, earning the program credit “Photos by Barton.”
Here’s a short interview he gave after photographing his 39th Super Bowl back in 2010. Also, be sure to check out this New York Times Lens piece that sheds some more like on the epic photograph of a leaping Joe Namath mentioned in the video.
(via ISO 1200)
The New York Times has published a great interview with Michael H. Osterreicher, the general counsel for the National Press Photographers Association and the editor of the organization’s advocacy blog. In it, NYT Lens Blog co-editor James Estrin asks Osterreicher about photographers’ rights and the trend of people being stopped while shooting public locations.
It’s like “déjà vu all over again”: New York Times freelance photographer Robert Stolarik was arrested this past Saturday while on assignment in the Bronx. As he was taking photographs of a developing street fight, Stolarik was confronted by officers, ordered to stop, and then allegedly assaulted.
A photographer’s worst nightmare happened to YouTube filmmaker Casey Neistat recently. After taking a taxi after a long 18-hour work day and flight, Neistat accidentally forgot all of his luggage — and $13,238.86 worth of camera gear — in the back of a New York City taxi cab. Among the equipment lost was a Canon 5D Mark III kit ($4300), a 24-70mm lens ($1600), and about $550 worth of memory cards — equipment necessary for Neistat to make a living.