Sammlung von Newsfeeds

Nikon 28mm f/1.4E Review: Does the performance justify the price? Check our full technical review!

Imaging Resource - Mi, 06/09/2017 - 20:20
Click here to read our Nikon 28mm f/1.4E Review After giving it a thorough testing in the field, we've now put the recent Nikon 28mm f/1.4E prime lens through the wringer in our testing lab. We've just now published our detailed technical review on this rather pricey prime lens. As an update to the earlier Nikon 28mm f/1.4D, this new version features upgrades across the board, including new optical and body construction, newer lens coatings, improved autofocus, and Nikon's new Electromagnetic Diaphragm (aperture)...
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Kategorien: Fotografie

Faker exposed after convincing top news media he was a war photographer for two years

Digital Photography Review - Mi, 06/09/2017 - 20:06

Over 100,000 Instagram users and some of the world’s best known media organizations were fooled for over two years by someone pretending to be a front-line war photographer. The entire stranger-than-fiction story was revealed recently by BBC Brazil after a lengthy investigation.

According to the BBC's report, so-called ‘Eduardo Martins’ posed as a Brazilian UN photographer by using a collection of images stolen from other photographers' websites and from news organizations. Stealing with care he built a body of striking work that brought him to the attention of BBC Brazil, Al Jazeera, the Wall Street Journal, Getty Images and many others, and amassed him over 120,000 followers on Instagram.

‘Eduardo’ posted tear-sheets of his work in print and recounted stories of his encounters and ‘humanity’ in the face of chaotic and violent scenes. He was able to keep the ruse going by never speaking to anyone in person, and sending only recorded or emailed messages. His photographs were placed with Getty Images and tales of his exploits made print with some of the world’s biggest newspapers.

An interviewer at the BBC became suspicious, however, and started to ask questions that revealed other Brazilian war photographers working in the same zones had no idea who Eduardo was. As the war correspondent community is tight knit and journalists in conflict zones inevitably know one another, alarm bells began to ring.

Enquiries with the UN also established that no one with that name was on its books as a photographer, and that neither were other UN photographer friends that Martins referred to—including some that Martins mourned in his posts after they were ‘killed’. Amazingly the UN even followed him on Instagram.

Pictures from the Facebook page of photographer Ignacio Aronovich that demonstrate how Martins manipulated photographs belonging to Daniel C. Britt to disguise them from image recognition software.

It turns out the profile picture Martins used was of a UK surfer called Max Hepworth-Povey, and that the images Martins posted, distributed to news outlets and supplied for his interviews were stolen from other photographers. The images were often flipped, cropped and manipulated to disguise them from automated visual-matching services so Martins could pass them off as his own.

His technique became clear when a photographer noted that other photographers in a picture credited to Martins were holding cameras with the shutter release on the left hand side of the body instead of the right.

As news of suspicions got back to Martins via a photographer he corresponded with online he disappeared, deleting his Instagram account and shutting down the phone number he used for Whatsapp messaging. His last message said he was planning to tour Australia in a van for a year and to cut communication with the world.

Whether Eduardo is a man or a woman, or even owns a camera at all, remains unclear—and indeed whether he/she is even from Brazil and is or isn’t currently in Australia. These things may never be known, but the story does raise questions about how well news organizations vet their contributors and interviewees.

Kategorien: Fotografie

Mastering Photoshop’s pen tool in only 30 minutes

Imaging Resource - Mi, 06/09/2017 - 18:15
The pen tool is some photographer's most-used Photoshop feature, while I suspect others never use it. For the latter group, the pen tool is often a bit scary, it can feel daunting and convoluted. It doesn’t have to be that way though, thanks in part to YouTubers like Unmesh Dinda of PiXimperfect. His latest video tutorial is all about the pen tool and it will allow you to "master the pen tool in 30 minutes." In the video below, you can learn about what the pen tool is and how to use it, including for making advanced shapes and...
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Kategorien: Fotografie

Broncolor unveils the Litepipe P: A versatile wand-style light shaper

Digital Photography Review - Mi, 06/09/2017 - 16:47

Swiss flash manufacturer Broncolor has introduced a new wand-style light shaper called the Litepipe P: a "powerful, versatile and dismountable" flash accessory that can be used to create an ambient light effect, or as a long thin softbox when fitted with the included reflectors.

The light-shaper is basically just a roll-up sheet of diffuser that fits over a flash head using a Broncolor bayonet mount bracket. The flash tube fills the ‘pipe’ with light which, is then diffused in all directions perpendicular to the source.

"Due to the long construction of the Litepipe P, the use of a boom stand or a ceiling mounting is not necessary. Also, in defined spaces or with deep ceilings, the Litepipe P is more practical than bulky softboxes," explains Broncolor. "Disassembled, the Litepipe P packs down to half its size, which makes it possible to pack it into a practical transport bag."

The LitePipe comes with a pair of reflectors that wrap around the pipe and attach with Velcro to control the direction and intensity of the light, leaving a wide or narrow slit for the light to emerge from. When assembled, the pipe is 49.2in long and 6.7in in diameter, but it packs away into a 23.7x8.7x8.3in bag for transport.

The Broncolor Litepipe P costs 992 Swiss Fr/£784 (approx. $1,000). For more information visit the Broncolor website.

Press Release

Introducing the new Litepipe P...

With Litepipe P, broncolor launches a real innovation in the market of professional lighting systems.

Powerful, versatile and dismountable – this makes the Litepipe P the ideal companion for any photographer in the studio and on location.

Consisting of only five components, this revolutionary, lightweight light shaper is mounted and ready for use in just 60 seconds.

As normal for broncolor, Litepipe P stands out for its robustness and high quality, essential for reliable use over a period of many years.

Equipped with the approved broncolor bayonet, Litepipe P is compatible with the following broncolor lamps: Pulso G, Unilite, Litos and MobiLED (if a mat protecting glass is available we recommend its use as an optimized illumination can be achieved). In addition, Litepipe P can also be used with the broncolor Siros monolight. It produces a homogeneous light which is adaptable to the respective circumstances.

Due to its concept, Litepipe P can combine the mode of operation of various light shapers in one design; thus, there are nearly no limits for your photographic creativity. This sneaky light shaper can operate without a counter-reflector (textile cover with alu reflex coating) as a natural ambient light. The counter-reflectors mounted with the integrated Velcro® fasteners, the visible light section may be changed seamlessly. A wide (27 cm / 10.6 in.) and a small (19 cm / 7.5 in.) counter-reflector are included in the scope of delivery. This allows the setting of precise light edges.

Due to the long construction of the Litepipe P, the use of a boom stand or a ceiling mounting is not necessary. Also, in defined spaces or with deep ceilings, the Litepipe P is more practical than bulky softboxes.

Disassembled, the Litepipe P packs down to half its size, which makes it possible to pack it into a practical transport bag. The latest light shaper in the broncolor range weighs only 1.7 kg (3.8 lbs) or 3.5 kg (7.7 lbs) with the transport bag.

Whether interior, fashion, beauty or product photography – the broncolor Litepipe P will display its strengths in all these fields.

The Litepipe P is available to order as item number 32.452.00 and has an MRSP of £784 ex. VAT.

Included in the kit:

  • 1x special, colour neutral diffuser foil with zip
  • 2x counter-reflector with alu reflex coating inside
  • 1x base tube with reflector, broncolor bayonet and push buttons
  • 1x counter piece with push buttons
  • 1x transport bag
Kategorien: Fotografie

Olympus OM-D E-M10 Mark III Review

Digital Photography Review - Mi, 06/09/2017 - 16:15

The Olympus OM-D E-M10 III is a 16MP Micro Four Thirds mirrorless camera. It looks like a slightly prettier version of its predecessor and the main changes are to the user interface (UI) and menus, in an aim to make the camera more accessible to relative newcomers to photography.

From a hardware point of view, it's a fairly minor update to the Mark II, with some small adjustments to the ergonomics and a new processor. But the UI changes do make some of its smarter features easier to get at.

Key Features:
  • 16MP Four Thirds CMOS sensor with no AA Filter
  • 5-axis image stabilization (4 stops of correction)
  • TruePic VIII processor
  • 4K video with in-body and digital stabilization
  • 8.6 fps continuous shooting (4.8 fps with continuous AF)
  • 2.36M-dot electronic viewfinder
  • 1.04M-dot tilting touchscreen
  • 330 shot-per-charge battery life (CIPA standard)

Beyond the attempts to make the E-M10 III and its more specialized photographic modes easier to use, a more powerful processor brings 4K video shooting. Impressively, the camera is able to offer a combination of mechanical and digital stabilization in 4K mode (most cameras can only digitally stabilize 1080), giving uncannily smooth footage, even when moving the camera around.

Beyond this, the camera's Auto mode has also been reworked so that it attempts to detect movement in the scene, to help it better select the right settings for shooting. Overall it's a subtle update, but calling it the OM-D E-M10 II Mark II would be silly, even for Olympus.

Rivals and Peers

Although the E-M10 III is the entry level to the OM-D series, it's a distinctly mid-level camera. Its profusion of direct controls make it a camera with plenty of space to grow into and, even with the work done to ease access to its full set of features, it still feels like a camera aimed at people who want to do a lot more than just point and shoot.

As such, it falls somewhere between Sony's a5100 and a6000 models (offering the touch-screen ease-of-use of the former with the hands-on control of the latter). Its pricing also puts it squarely into competition with Canon's EOS T7i (700D) and Nikon's D5600. Panasonic's GX85 is its closest Micro Four Thirds peer, and the only other 4K-capable camera in this class.

Kategorien: Fotografie

The new Hasselblad X1D Field Kit gets you an X1D and three lenses for cheap(er)

Digital Photography Review - Mi, 06/09/2017 - 15:31

Hasselblad has released a new discounted Field Kit that offers the X1D-50c medium format mirrorless camera with three XCD lenses and a collection of accessories.

The Field Kit includes the X1D, the 30mm f/3.5 lens, the 45mm f/3.5 and the 90mm f/3.2 all packed into a specially tailored Pelican case. It also includes a spare battery, a hand strap and shoulder strap, USB cable, a blower brush and lens cleaning pen.

The kit will sell for €14,900/$17,495/£13,250 plus tax, representing a discount of just over 7% on the price of the body and lenses purchased individually. The case and accessories add approximately $300 to the value of the kit on top of the discount, so in total you're getting a saving of about $1,700 for the whole package.

The Hasselblad X1D-50c Field Kit will begin shipping on the 20th September, and is already available for pre-order. For more information visit the Hasselblad website.

Press Release

Introducing the Hasselblad X1D Field Kit

Expanding on the ground-breaking launch of the X1D-50c, Hasselblad is excited to introduce the new X1D Field Kit in September 2017. The Hasselblad X1D Field Kit offers excellent value with an all-encompassing package tailored for X1D enthusiasts who are seeking both robust protection and easily transportable equipment.

Within the comprehensive package, photographers will find all the equipment they need for a variety of photographic conditions, including the X1D-50c and 3 XCD lenses (30mm, 45mm, and 90mm), which deliver edge-to-edge sharpness in a compact form to elegantly match the slim build of the body.

The inclusion of cleaning equipment (a cleaning cloth, dust blower, and lens pen) ensures that photographers can easily keep their kit in perfect condition, so it’s always clean and ready whenever creativity strikes.

Rugged Pelican carrying case

The rugged pelican case has a custom cut foam insert that protects your gear. The foam layout is also made for easy access, so that you quickly can get your hands on the equipment you need when you’re out there.

X1D Field Kit contents

The package includes the following items:

  • X1D-50c Camera (silver)
  • XCD 3,5/30mm Lens
  • XCD 3,5/45mm Lens
  • XCD 3,2/90mm Lens
  • Rugged Pelican carrying case
  • 2 camera batteries
  • Shoulder and wrist strap
  • USB cable

Availability

X1D Field Kit retails at EUR 14 900 / USD 17 495 / GBP 13 250 excl. VAT and is available to pre-order starting September 5th. It will begin shipping on September 20th.

Kategorien: Fotografie

The Quickshot app adjusts your photography in real time

Digital Photography Review - Mi, 06/09/2017 - 15:26

Lightricks, the makers of the portrait-enhancing app Facetune, has launched its latest product: an iOS app called Enlight Quickshot. The app's name references its core-feature, the quickshot mode which automatically aligns your photos, fixes exposure and shows filter options in real-time before you even press the shutter button.

The idea behind the feature is to show you what your image should look like before you even capture it, rather than enhancing your photo in a post-processing step.

The app also offers a strobe mode that captures motion with a simulated "strobe effect", an HDR mode helps balance difficult lighting situations, and a range of adjustable scene presets—for example portraits, nature or urban—let you pick the best settings for a specific purpose. Advanced users can customize the presets in line with personal preference.

Finally, power-users will appreciate the built-in batch editor mode that lets you define a style in terms of filter, brightness, depth and other parameters, and then apply it to multiple images in one go.

Like other apps in the Lightricks portfolio, Quickshot is offered under a subscription model. The app is free to download and many functions are accessible at no charge; however, if you want to unlock Quickshot's complete potential, you'll have to shell out for an unlimited access subscription which is $2 per month, $0.83 per month if you pay for a year upfront, or $20 for lifetime access.

Kategorien: Fotografie

Shutter Release: A lying “conflict photographer” gets caught up in his web of lies and much more news

Imaging Resource - Di, 05/09/2017 - 21:29
Shutter Release is an ongoing roundup feature here at Imaging Resource where we summarize and share interesting photography content from around the web. Today's assortment of stories includes how to capture great shots with a boring background, a look at a new product from Broncolor, tips for removing bags under the eyes using Photoshop, seven ways to unlock creativity and we will finish with a story about a fake war photographer. How to get great shots with a boring background - DIY Photography Boring backgrounds can make for...
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Kategorien: Fotografie

Rotolight unveils the Neo 2: A portable LED HSS flash that doubles as a modeling light

Digital Photography Review - Di, 05/09/2017 - 20:37

Rotolight has announced the launch of Neo 2, an "industry first" high speed sync-capable LED flash that doubles as a continuous light source and boasts no recycle time.

The company says it designed the Neo 2 specifically for videographers and portrait photographers, and that it collaborated with Elinchrom to build its Skyport 2.4GHz HSS wireless flash receiver into the model. That Skyport receiver, in conjunction with the Rotolight HSS transmitter, enables photographers to wirelessly control up to four groups of 10 lights at ranges up to 656ft / 200m.

The Neo 2 light itself is powered by AA batteries and is capable of 85,000 full-power flashes on a single charge. This model's shutter sync can be set at fast as 1/8000th of a second, and it offers 500% flash output.

Compared to the original model, the Neo 2 is 85% brighter when used as a continuous light, and there's a built-in kelvin display for adjusting both flash and continuous light color temperature. Rotolight used its AccuColour LED tech with the Neo 2, the result being "perfect color rendering," according to the company.

The Neo 2 is available now in a £250 (~$325 USD) bundle that includes a single light, the power supply, an accessory shoe, belt pouch, and a 4-piece filter pack. Rotolight is also offering a £1,125.00 (~$1,465 USD) bundle that features three lights, stands, balls heads, and a hard flight case.

Press Release

ROTOLIGHT UNVEILS NEO 2 A revolutionary all-in-one High Speed Sync flash and continuous light for photographers and filmmakers

The dawn of a new age of on-camera lighting

Pinewood Studios, London, 4th September 2017: Rotolight, award-winning British LED lighting manufacturer, has announced the launch of an industry-first, all in one High Speed Sync (HSS) Flash and continuous on-camera LED lighting innovation, NEO 2. Unlike traditional on-camera flash, NEO 2 has no recycle time, which ensures users never miss a shot, making it the perfect light choice for today’s modern high-frame-rate-capable cameras.

NEO 2 can be simultaneously a continuous ‘modelling light’ and HSS flash, allowing the photographer to easily acquire focus in dimly lit situations and optimise composition. Designed for portrait photographers and videographers on the go, NEO 2 provides the ‘shoot what you see’ benefits of continuous light, and the flexibility of HSS flash (1/8000th sec.) with 500% flash output, whenever users need more power or to freeze action. HSS also enables users to shoot with wider apertures to create beautiful separation between subject and backgrounds.

Rotolight has collaborated with Elinchrom to integrate its ‘Skyport’ 2.4Ghz HSS wireless flash receiver into NEO 2, eliminating the need to purchase a standalone flash receiver, whilst providing rock-solid reliability, range, flexibility and control for multiple off camera lighting setups. Skyport enables users to wirelessly control up to 10 lights, in four groups at up to 200m(656ft) with the new Rotolight HSS transmitter, optimised for Rotolight by Elinchrom. It is available on launch for Canon, Nikon, Sony, Olympus, Panasonic, and, shortly, Fuji camera systems, and compatible with all other Elinchrom Skyport devices.

“The NEO 2 is going to revolutionise how people use light, and eliminate the need for external flash. If you have those moments that you just cannot afford to miss, this is an incredible light for you. You’ll never miss a shot,” says Jason Lanier, a Sony Artisan of Imagery and professional photographer.

“I tested NEO 2 on a Sony A6500 at 11 frames per second,” explains Lanier. “It fired every single time. There's genuinely no recycle time, no light loss, no power loss. That is just a game-changer, there is no other light in the world that can do that.”

Featuring electronically adjustable colour temperature in both flash and continuous modes, with a built in kelvin display, NEO 2 enables photographers to easily adjust white balance or match ambient light settings to create more natural looking shots.

Lightweight and portable, NEO 2 can be mounted both on or off camera for ultimate creative control. Delivering the longest battery life of any speedlight or flash, ever made, NEO 2 provides 85,000 full power flashes on a single set of rechargeable AA batteries, compared to the 200 flashes of a typical speedlight. Now 85% brighter in continuous mode than its predecessor, NEO 2 is a small light that delivers big results.

“It enables photographers to spend more time composing the perfect shot, rather than spending time on cumbersome lighting setups. For those shooting both stills and video, it entirely eliminates the need for two separate purchases, says Rod Aaron Gammons, managing director of Rotolight.

Packed with innovative features for video users, NEO 2 is ideal for interviews and filmmaking. It includes an updated suite of CineSFX™ effects, Rotolight’s award-winning feature set for video productions/ filmmaking, (fire, lightning, TV, gunshot, paparazzi and others), as well as Designer Fade mode for custom in-camera fade FX.

NEO 2 also features Rotolight’s AccuColour ™ LED technology that delivers outstanding colour rendering for perfect skin tones. The unique circular shape provides a naturally soft, flattering light output, with Rotolight’s signature catchlight effect.

Rotolight NEO 2 is available as a single light, including a belt pouch, accessory shoe, power supply and four-piece filter pack including diffusion, skin tone and magenta, or as a three-light kit with hard flight case, stands and ball heads. Optional accessories include softboxes, raincovers, and 10-piece colour filter pack.

For more information visit www.rotolight.com

Kategorien: Fotografie

Pixelmator Pro coming this fall to Mac, includes machine learning and non-destructive editing features

Imaging Resource - Di, 05/09/2017 - 19:30
"The world's most innovative image editing app" is how Pixelmator describes its new Pixelmator Pro software. That's a very big claim, but based on what the software company has shown, Pixelmator Pro may just live up to it when it launches this fall at an undisclosed but "affordable" price. What makes Pixelmator Pro special? Further, what sets it apart from the already existing (and $30) Pixelmator software? Pixelmator Pro has a reimagined workflow, simplified editing tools, machine learning, intelligent image editing features and...
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Kategorien: Fotografie

Conducting the Technical Interview

A List Apart - Di, 05/09/2017 - 18:41

I vividly remember my first interview as a manager. My hands were shaking as I led the candidate up the stairs to the conference room I had booked. When we got there, I went into a panic. What if I don’t ask a vital question? How do I even know what the vital questions are? What if I hire him and he’s completely unprofessional? How can I tell if he really knows JavaScript? Wait a second—does he have a prosthetic leg? Did I just take a candidate with a prosthetic leg up the stairs? Oh no, I’m failing this interview already!

Even if you’re familiar with the basics of interviewing, technical interviews can be nerve-wracking. Whether you’re a new team lead or you’ve been in leadership for years, concerns and insecurities like the ones I had in my first interview can haunt you, and even well-established interview processes can fail to adequately screen candidates.

Interviewing for technical positions is, in many ways, a balancing act. You look at past, present, and future; you look at soft skills and hard skills; you have to think as both a buyer and a seller; you even have to worry about company image and reputation management. There are some basic things you can do to keep that balance and best represent your company.

Define the ideal role

I’ll admit, for my first round of interviews, all I was looking for was someone who could tick off all the technical skills on a checklist. As I progressed in my management career, I started to learn that I never looked for the same person twice—each time I had an opening, the team had different needs, and I had to take those into account when hiring someone. Even though the job description for a front-end developer didn’t change much each time, my expectations for the ideal candidate did. That gap between the job description and the ideal role tripped me up for a long time.

Before you start interviewing, you’ll need a solid written description of what you’re looking for in an ideal candidate, beyond what job postings typically go into. The job posting may say Senior Front End Developer, but if you need someone to be your CSS animation specialist and help define standards and best practices—whether now or in eight months—you’ll need to take that into account when hiring.

Be future-oriented with your description: ask yourself what happens when the employee outgrows his or her role. Could this person be a supervisor, or would they even want to be? Is there an opportunity to be a technical leader or architect at your company, if that’s the route this person chooses? Could this person one day replace you? (Remember, you’re probably not getting promoted until there’s someone to take your place.) If you have no answer to the question of what happens when an employee outgrows the role, the answer is usually found at another company.

Also ask what happens if the team continues to grow. Does this person have the aptitude to pick up new skills and responsibilities as needed? How will this person respond to change? What if you have to put this person in front of a client? At a healthy company, growth is inevitable, both in size and scope. Your definition should describe someone who can grow with you and not get left behind.

Define not only the technical skills, but also the soft skills needed for the role you have in mind. If you need someone to take the lead on collaborating with the Creative team, you’ll need to define what would make an employee successful in that role and hire for that. This can actually be more important than the technical skill requirements. Technical skills can be easily trained—soft skills cannot.

When you do all of this, you’ll have a list of expectations for a role that probably won’t fit in a job posting. When appropriate (don’t make promises of growth), test those waters with the people you’re interviewing. Even if you determine a person would be good as a trainer, they may not want to do that, which can be a nasty surprise if you hired the person with the intent of them growing into the role a year down the road.

Once you know what you’re looking for, the next step is getting them to want to work for you.

Sell the job

The saddest interviews for me are the ones where I find that ideal candidate I envisioned and they get away. Sometimes, they just get a higher salary somewhere else; but sometimes, they decide that they don’t like the company and want to keep looking. Both are sad, but either way, getting candidates to like your company is always in your best interest.

Remember, when you’re interviewing someone, they’re also interviewing you. Don’t ever assume that your company is the only place a candidate is interviewing. It’s true that some people walk in the door with their minds made up, but many are still deciding whether they want to work for your company—and the better the candidate, the more options they’re going to have, so the more you’re going to have to sell to win them over.

So how do you sell a job? A salesman will tell you it starts with knowing three things really well: the product, the competition, and the customer. The product is your company: benefits, compensation, culture, type of work, amount of work, and even location. The competition is any local business that hires similar types of people, and you’ll need to know the same things about them that you do about your own company. The customer is the job applicant. Knowing each of these things well and being able to compare them is key to winning the best candidates.

Do your research not only into your own company, but your local competitors. What are your competitive advantages? What are theirs? (If you think a ping pong table is a competitive advantage, you’ll probably need to dig a little deeper.) Sometimes it’s not about what you have so much as what the competition doesn’t. If you’re seeing a lot of interviewees from a competitor, find out why and see if you can use that factor to sell your company.

Learn what prospective employees are looking for in a job. There will likely be some commonalities. If you’re losing top talent because you don’t offer a benefit or they don’t like your processes, you’d be wise to revisit those. Just like the technology in our industry is constantly changing, the expectations and needs of our employees are also changing. Don’t fall behind with what you offer to your employees.

Almost every candidate will have questions about what the work environment is like. You should have a little elevator speech to sum up your answer and sell your company in a minute or less. You may actually want to lead the interview with that speech to get those questions out of the way and get the candidate excited for the position before you start finding out about them.

Lastly, be authentic with your interviewees. Don’t try to spin a weakness as a strength, because most people will see right through that. If you don’t believe in your company enough to be totally honest about it, why should they believe in it enough to work for you? You don’t need to hand them a comprehensive list of everything that’s wrong with your company, but don’t shy away from questions along those lines, and don’t try to reframe a shortcoming as a strength. As an example, if your company has a reputation for burning some people out, that’s important, but you can talk about the type of people who do well there rather than the people who don’t. It’s better that people find that out in the interview than after three months of training.

Hire a person, not a code machine

In my five years as a supervisor, I only had to fire two people. Want to guess how many of those were because they lacked technical skills? Zero. In both cases, the employees didn’t work out for non-technical reasons.

There are a number of non-technical factors to look for in a candidate: personality, fit with the team, communication skills, openness to change, leadership potential, and a host of others. (That’s the real reason you’re conducting an interview and not just asking for test results.) These details don’t magically reveal themselves in the technical portion of the interview—you need to ask about them.

Create a list of standard questions for candidates. Questions should be open-ended and answered with a story. Examples include:

  • Tell us about a time when your good communication helped to solve a problem.
  • Tell us about a time when you disagreed with your supervisor and what you did about it.
  • Tell us about a time you successfully described a technical concept to a non-technical person.
  • How would you explain inheritance to a junior developer?
  • Tell us about a recent time you learned from a mistake.

Order is important: ask the non-technical questions first. The technical portion of the interview can make some people nervous, and you won’t get a good gauge of who the candidate is if their thoughts are fixated on the technical questions they missed.

Putting thought into screening for soft skills is vital. But remember that this is a technical interview—you have to put just as much thought into screening for technical talent.

Stick to the standards

And I’m not talking about web standards. If you’re not asking all developers the same questions, there’s a good chance you won’t get a fair comparison, which means a greater likelihood that you’ll fall back on biases like similarity or likeability.

Develop a standard set of technical questions, and a written test. The questions should allow for some discussion, but have a clearly-defined right answer. Examples of these questions are everywhere. You’ll probably want to customize your list so that people can’t just look up the answers online before the interview, but lists like those will get you most of the way there.

(And don’t feel like you need to come up with this list on your own. If you have technical experts at your disposal, utilize them. You’ll probably want one in the interview, too.)

The written test can make or break an interview. It should not be easy, nor should it be mandatory to get every question right. When an applicant is writing out code by hand from memory, leniencies must be given for syntax—give points for partial answers and ideas. Remember what Stephen Wolfram, creator of the Wolfram Alpha answer engine, said on the subject: “One thing I’ve noticed is that in almost every area, the people who go furthest are not the ones with the best technical skills, but the ones who have the best strategy for figuring out what to do.” You’re trying to get a feel for the candidate’s problem-solving strategy, not their ability to memorize every minutia of coding syntax.

There should be at least a few “fix this code” sections to see how sharp their debugging skills are. Again, you shouldn’t focus on trick questions or ridiculously obscure syntax problems—you just want to measure the candidate’s ability to think through and solve a technical problem.

Questions should be relevant to what the job entails—if they’ll be expected to create custom CSS animations, make sure to ask about that—but they should avoid niche- or process-specific knowledge unless it’s vital to the position. Rule of thumb: if your company does something differently than the rest of the industry, don’t quiz them on it.

Once you have the questions and test prepared, run the questions by some of your existing team members to see how they fare. If your entry-level developers get all of the questions right—probably a bad sign; if your senior developers all bomb the test—also a bad sign.

In the questions, there should be some clear delineation between roles. What are the must-answer questions for mid-level developers? For seniors? There can be some flexibility here, but you should have a pretty good idea what a senior test looks like and what a mid-level test looks like.

If a candidate aces your standard interview questions, you can hire them with confidence. But when the technical portion of the interview doesn’t go well, you need to know how to handle that too.

Know when to move on

The most awkward interview I ever conducted was with a PHP developer who freelanced and was looking for his first agency job. When we began the technical questions, I quickly realized he didn’t know as much as he thought he did. Of the 22 technical questions, he got about 2 correct. He got more and more distressed with every tough question—especially when I corrected his wrong answers—and by the end of the technical portion, he looked like he’d been punched in the stomach.

That guy was not qualified for the job, and both of us knew it from question 3. This was pretty early on in my management career, so I just plowed through the entire list of questions, knowing he would fail them. Learn from my mistake: don’t do that.

Let interviewees fail gracefully. Don’t interrupt them with the right answer to the question they’re struggling with, and don’t correct them if they get the answer partially right. If they get the question wrong, just move on without showing judgment. If they really can’t get a question, just tell them you’re moving on.

If a person bombs the verbal questions, don’t make them sit through the written test (which will probably be much harder). Feel free to tell them right then and there that they’re not a good fit for your particular position and wish them well in their quest for work. If you think they could be a good fit for another position in your company, or if you’d like to see them back once they get a better grasp on the fundamentals, go ahead and let them know. But there’s no point in leading them on with a vague non-answer if the answer is definitely no.

Conclusion

Screening for technical talent can be tricky. Having a holistic view of both the role and the candidate is key to making the right hiring decision. Remember to take careful notes, even if you don’t think you’ll need them. And good luck!

Kategorien: Webdesign

Lowepro’s new URBEX bags are the perfect light pack for the city

Imaging Resource - Di, 05/09/2017 - 18:00
Lowepro's newest line of bags are a sort of hybrid: designed for those who have the tendencies of a photographer, but without wanting to always have to carry the kinds of bags designed for them. Called the Urbex line, Lowepro says they were built for those with a "digital lifestyle." Ideal for business commuters navigating city streets and creative professionals, this new line offers limitless compartments and configurations to customize the way you carry your evolving gear set. The Urbex will be available in three sizes: 20L,...
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Kategorien: Fotografie

Ohio photographer shot by police officer who mistook camera for gun

Digital Photography Review - Di, 05/09/2017 - 17:53

New Carlisle News photojournalist Andy Grimm was shot by Sheriff's Deputy Jake Shaw on Monday after the officer mistook Grimm's camera and tripod for a gun, according to the news organization.

Per New Carlisle News—a local news organization in New Carlisle, Ohio—and Grimm's statements about the incident, Grimm had left the company's office around 10PM to photograph lightning. At some point after this, Grimm witnessed a traffic stop being performed by Shaw, which he decided to photograph. Grimm says he pulled his vehicle into the parking lot of a restaurant near the traffic stop, where he began setting up his tripod and camera "in full view of the deputy."

Despite this, Grimm said, "I turned around towards the cars and then 'pop, pop,'" referencing the gunfire he heard before being shot in the side.

The photographer underwent surgery and is expected to recover. Grimm states that he knows the deputy who shot him and that he doesn't want him to lose his job; however, he says Shaw failed to give him any sort of warning before opening fire. New Carlisle News says that the Ohio Bureau of Criminal Investigation is now looking into the incident.

Kategorien: Fotografie

This interactive fall foliage prediction map helps photographers plan for the season

Digital Photography Review - Di, 05/09/2017 - 17:10

Believe it or not, it's already September. In 16 short days and some change, autumn will officially begin in the Northern Hemisphere, and photographers across the US (and the world) will go hunting for the perfect orange-and-red peppered photograph of the season. Well, if you're in the United States, you're in luck: there's an interactive map available that will help you plan your trip to capture the best possible colors.

It's called the Fall Foliage Prediction Map, and the 2017 version is officially live on SmokyMountains.com.

Using the map is straightforward: simply go to this link, drag the slider to your desired date and watch as the interactive map of the United States changes color to reveal when any particular area will be at No Change, Minimal, Patchy, Partial, Near Peak, Peak, and Past Peak fall foliage conditions.

The map isn't perfect, of course, but SmokyMountains.com has been putting this resource together for several years now and many photographers swear by it. To check it out for yourself, click here.

Kategorien: Fotografie

Photographer caught using someone else's public domain photo to win awards

Digital Photography Review - Di, 05/09/2017 - 16:44

Swiss photographer Madeleine Josephine Fierz has been stripped of two photography awards after it was revealed that she'd won them using someone else's photo.

The contest-winning image, seen above, was taken by Thai photographer Sasin Tipchai, who had uploaded it under a CC0 license to stock photography website Pixabay. Fierz submitted the image as her own, ultimately receiving first place in the Moscow International Foto Awards (MIFA) and second place in the Fine Art Photo Awards.

The deception was discovered after Sasin posted on Facebook about Fierz's use of his images, and someone else shared it with the Moscow International Foto Awards' Facebook page. That brought it to the attention of officials who, after looking into the matter, revoked Fierz's award and removed the image from its website. The image has also been removed from the Fine Art Photo Awards website.

In a statement to Khaosod English, MIFA jury member Hossein Farmani commented on the matter, saying:

[Fierz] claimed since she bought these photos, she thought that she could manipulate it a little and claim it as her art. As a jury of MIFA we take these allegation very seriously and we investigate and delete images in question as soon as we can verify the facts. It’s almost impossible for us to know which images belong to whom unless photographers let us know, like you did.

Kategorien: Fotografie

Inside Sony Kumamoto: A rare glimpse inside Sony’s super-secret sensor factory

Imaging Resource - Di, 05/09/2017 - 16:05
Back in early August, I had the very rare opportunity to tour Sony's sensor factory in Kumamoto, Japan. We had only limited access to the factory itself, but I learned a lot about Sony's sensor technology and fabrication process while I was there, and will be sharing more on the topic in other forthcoming articles. In this first piece, we'll look at a few of the intriguing parts of the sensor production process. We weren't allowed to take photos ourselves of the factory floor, given the extremely...
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Kategorien: Fotografie

Earn up to $300 bonus in trade-in credit when trading in towards select Olympus cameras or lenses

Imaging Resource - Di, 05/09/2017 - 16:00
While it isn't time yet for a Thrifty Thursday article (keep your eyes peeled for the next edition of that this week), there's a new Olympus promotion we wanted to share as soon as we heard about it. Olympus has a new trade-in trade-up event, which is available at Adorama and B&H. The trade-in event allows you to trade in any camera and/or lens and get up to a $300 bonus toward select Olympus cameras and lenses. The cameras you can trade up toward with a bonus include the Olympus E-M1 Mark II, E-M5 Mark II, PEN E-PL8 and PEN-F....
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Kategorien: Fotografie

Watch a real-time 4K close-up video of the solar eclipse at totality

Digital Photography Review - Di, 05/09/2017 - 16:00

You might be getting sick of all the solar eclipse articles, but in the aftermath of last month's phenomenon we keep running across incredible new vantage points—from this amazing (and viral) climber photo to this footage shot from a weather balloon in the stratosphere. Here is one more jaw-dropping capture.

Photographer JunHo Oh shot this 4K close-up of totality from Warm Springs, Oregon using a Panasonic GX85 attached to a 2160mm f/12 telescope and a RainbowAstro RST-150H Harmonic Drive robotic mount.

In the video above you get to watch the eclipse reach totality up close before tracing the corona in all of its solar flare-fueled glory. In the zoomed out version below you can watch the full eclipse at once. Both are worth 3 minutes of your time... and a healthy shot of awe.

Kategorien: Fotografie

Logitech's new Craft keyboard includes a dial for photo and video editors

Digital Photography Review - Di, 05/09/2017 - 15:02

Computer accessory maker Logitech has introduced a new keyboard designed specifically for ‘creators.’ It's called the Craft keyboard, and it features a dial that will hopefully make life a little easier for stills and video editors.

The Crown dial on the Craft keyboard offers three-way touch, tap and turn functions that can tune-in to the tools of editing applications and allow mouse-free adjustments and selections. The company suggests using the Craft keyboard with Adobe’s Photoshop, for example, so the dial can be used to adjust brush sizes, turn saturation up or down, or to scroll through tool settings quickly and with greater accuracy.

But you're not limited to Photoshop. A software package called Logitech Options will allow custom profiles to be installed that are specifically designed for individual applications, and which extends the range of controls that can be accessed. The Crown can also be used with Microsoft Office applications, and you can use it to take control of standard PC functions such as screen navigation as well.

The Logitech Craft is expected to go on sale in October priced $200/£170. For more information, check out the video below and visit the Logitech website.

Press Release:

Logitech CRAFT Advanced Keyboard with Creative Input Dial Sets New Standard for Desktop Control Flagship Keyboard Improves Creativity and Productivity

"The creative input dial gives you instant access to the functions you need, the moment you need them, allowing you to increase your productivity by simply touching the dial. CRAFT puts you in your creative element – every time you sit at the desk."

Today Logitech (SIX: LOGN) (NASDAQ: LOGI) announced CRAFT, an advanced keyboard with a creative input dial, setting a new standard for computer keyboards. CRAFT looks and feels better than anything you have typed on and offers a whole new way to immediately access context-specific computing tools with a smart aluminum dial. For example, with a touch, tap or turn you can adjust image brightness, contrast and saturation in Adobe Photoshop, or create and adjust charts in Microsoft Excel®. The creative input dial gives you the ultimate control and input at your desk for precision, efficiency and uninterrupted creative flow.

“Our new flagship Logitech CRAFT keyboard is for all creators who spend a lot of time designing and creating - who want to work with greater precision and feel connected to their work," said Art O’Gnimh, global head of keyboards at Logitech. "The creative input dial gives you instant access to the functions you need, the moment you need them, allowing you to increase your productivity by simply touching the dial. CRAFT puts you in your creative element – every time you sit at the desk.”

The touch-sensitive aluminum creative input dial, called the Crown, recognizes the apps you are using and gives instant access to the tools you need. With a slight touch of the Crown you can instantly access context-specific functions -- like brush size, brightness, chart type, font size -- tap to change the function and turn to change the selected function’s value. Installing custom profiles in Logitech Options™ Software maximizes the creative process when working with Adobe Photoshop CC, Adobe Illustrator CC, Adobe Premiere Pro CC, Adobe InDesign CC and Microsoft PowerPoint®, Excel® and Word® (Microsoft functionalities work on PC only at this time). The Crown brings comfort, immediacy and convenience to your creative process and allows for increased two-handed interactions. You can also have access to global controls - giving you the ability to change desktops, navigate between apps, or adjust volume - and assign one additional Crown function in each of your favorite apps.

CRAFT also features smart illumination with backlighting that detects your hands and adjusts lighting automatically depending on the room conditions. The keys are crafted for comfort, in a full-size familiar layout, with each individual key engineered for stability and precision. CRAFT looks great alongside other premium desktop accessories by Logitech, such as the Logitech MX Sound, Logitech Spotlight Presentation Remote and Logitech MX Master 2S.

Additionally with the touch of an Easy-Switch™ button, you can easily switch between – and type on – any three connected devices, whether you are using a Windows® PC or Mac®. Select from either a Logitech Unifying™ USB or Bluetooth® Low Energy technology to connect to your computer.

Pricing and Availability

The Logitech CRAFT Advanced Keyboard is expected to be available in October 2017 at Logitech.com and select retail stores for a suggested retail price of $199.99. For more information, please visit Logitech.com, our blog or connect with us on Facebook, Instagram and Twitter.

Kategorien: Fotografie

ShareGrid publishes the 'Ultimate Anamorphic Lens Test'

Digital Photography Review - Di, 05/09/2017 - 14:00

ShareGrid, a peer-to-peer gear rental service, has published the results of its Ultimate Anamorphic Lens Test, which evaluated 42 'vintage' anamorphic lenses representing lens families from 13 companies. Using ShareGrid's 'quad player' interface, it's possible to compare video test results from up to four lenses simultaneously, and the results can be very interesting.

Brent Barbano, a cinematographer and ShareGrid co-founder, emphasizes that these aren't just casual tests, but result from a full-blown three-day production shoot that took months of planning and involved producers, directors, DPs, and production managers, including many technical experts and cinematographers from the filmmaking industry.

The test is a follow-up to the company's 2016 Ultimate Vintage Lens Test, which evaluated 40 classic circular lenses. By using an identical setup for both tests, right down to the same model in front of the camera, it's even possible to compare results from anamorphic lenses with circular lenses. Want to compare a 50mm ARRI / Zeiss Master Anamorphic with a 50mm ARRI / Zeiss Master Prime Spherical? No problem!

Think anamorphic lenses are just for motion picture work? Not so fast. As the test's Director Mark LaFleur points out, "Any photographer who wants to make a big splash within the photography world should start shooting anamorphic, because your work will immediately stand out from the pack."

The producers used an identical setup, including the same model, for both anamorphic and circular lens tests, making it possible to compare results between both types of lenses.

Courtesy of ShareGrid

According to Barbano, one of most important factors contributing to the success of the project was enthusiastic support from the filmmaking community, including dozens of volunteers. "The overwhelming amount of people who wanted to be involved in some way was the coolest part about the whole thing," he says. "We had people donating their time. We had people donating their lenses. We ended up absorbing crew members out of nowhere, which was really, really cool."

If you want to learn more about anamorphic lenses, ShareGrid has also published a great explainer page, and Director Mark LaFleur has written a detailed overview of the testing process.

We had a chance to spend a few minutes with Barbano and LaFleur to learn more about how the tests were performed and what they discovered along the way.

What inspired you to test all these lenses?

Mark LaFleur: I'm a cinematographer. And I'm kind of obsessed with lenses. I wanted to get tests out there because I was using my equipment for my own jobs, but was also renting my equipment to other people. I knew that with a really good test video, I wouldn’t have to convince someone about the look of a lens or try to describe it to them. We live in a time when a lot of people are able upload decent video, but sometimes when you find a test, you don’t know if the data is accurate.

But when you compare lenses on a level playing field, you really see differences between them. ShareGrid’s idea for a quad player to play lenses simultaneously, combined with the way I wanted to conduct and present the tests, really created one of the better lens tests that exists.

Director of Photography Kyle Stryker and 1st Assistant Camera Seda Kisacik set up a shot with their model, Kori.

Photo by Joseph Adams

Why test vintage anamorphic lenses?

Brent Barbano: We were obsessed with vintage lenses from our last test. Mark owned a set of Lomo anamorphics at the time, so we included them in the spherical vintage test. When those went up and everyone was looking at the screen, everyone was just like, "Wow!" It just renders everything completely different.

Anamorphics are incredibly popular. It’s what everyone is yearning for. So we’re giving our audience exactly the types of tests they need. We wanted to put something out there to set the bar, the standard for real, accurate, good information. There are no winners in this test. Every brand fits its purpose. Whether it's price, availability, or size. They're all beautiful in their own unique way.

"There are no winners in this test. Every brand fits its purpose. Whether it's price, availability, or size. They're all beautiful in their own unique way." How did you select the lenses you tested?

Brent: There were some categories we wanted to hit. We wanted to get benchmark lenses, the best of the best, like the ARRI / Zeiss Master Anamorphics and the Cooke Anamorphics. But we also wanted to get really cheap, very affordable options, like the Iscorama Pre-36 Adapter. That's a very popular option in the indie budget film community. We wanted to cover really old lenses, which we got with the old Panavision Auto-Panatars, which should be in a museum. We also have the Atlas Orion 65mm prototype lens, which was announced this year at NAB. It's not even out in production yet. So we have the newest anamorphic you can get vs. one of the oldest.

Mark: Also, any set that's included in this test is something you can either buy or rent. Even something that’s rare like the Todd AOs or the Cineovisions. You can get them from a rental house even if you’re in a smaller city in the middle of the country. They can ship them to you.

What was involved in testing each lens?

Mark: We had a few tests including a real-world test, which is with a model in a room that gives us a lot of depth so we can see what out-of-focus elements look like, with bright highlights and straight lines. In that one setup, you really get a good sense of the character of a lens. We also did a couple lens flare tests and a distortion test. We also put every lens on a lens projector. In the cinematography community, every lens tech has a projection room. And that's how they can basically diagnose a lens, by just shining pure light through it from the rear element out the front and onto a wall.

Each lens was subjected to several tests, including 'real-world' and technical evaluations.

Courtesy of ShareGrid

How can someone use these tests during production planning?

Mark: You can go out and take any lens in this test, bring it home, and shoot beautiful images. You can even go to a rental house and they'll take every lens off the shelf for you and you can sit there in that rental house and test them all out. But you're in a rental house, under fluorescent lighting with white walls and focus charts. It's not the environment you're going to be shooting in. We wanted to create a test that made the characteristics of a lens pop. Its bokeh, its sharpness, its breathing, its color, its vignetting, its distortion. The only way to do that is to have a side-by-side, A-B comparison. Or, with the quad player that ShareGrid's doing, an A-B-C-D comparison.

What about people who may be using a DSLR or mirrorless camera instead of an ARRI or RED? Will the results of these tests be useful to them?

Brent: Absolutely. I think the problem is that anamorphic is intimidating. I think optics and visual cinematography can seem intimidating. And we believe that this resource will hopefully demystify everything and open the doors. And yeah, if you can't afford some of these lenses, you can afford an Iscorama if you're doing an indie production. But like Mark said, Cineovisions, Lomos, these lenses are up on ShareGrid. They're pretty affordable, and they get rented all the time by music videos, commercials, indie productions, and young filmmakers.

"...at this point, the indie filmmaker with a DSLR is shooting more anamorphic right now than anybody else."

Mark: I would say at this point, the indie filmmaker with a DSLR is shooting more anamorphic right now than anybody else. There are a lot of people getting these anamorphic adapters and doing DIY anamorphic lens building and using a Panasonic GH4 which has a four by three sensor. Anamorphic is getting to a point where it’s completely acceptable for, I would argue, almost any budget. Even the smallest budgets. If you’re a DSLR owner, you can rent anamorphic lenses for a very small amount of money and go out and shoot.

Lens tests were run as a full production shoot, including experts representing every step of the production process.

Courtesy of ShareGrid

Can you provide some guidance for people who aren’t experienced with anamorphic lenses? What should they look for in the test results?

Mark: If you're a photographer, I mean, an image is an image, and I think any photographer could jump in and make pretty well-informed judgment calls on things that they like or don't like. Any photographer who wants to make a big splash within the photography world should start shooting anamorphic, because your work will immediately stand out from the pack.

We conducted our test procedure exactly the same as our spherical test, so we have the same location, the same model, the lights... the same everything. Someone who doesn't know anything about anamorphic lenses can use the quad player to pick lenses from the spherical test, so it's possible to view a real side-by-side comparison of what a 50mm spherical vs. 50mm anamorphic looks like.

What did you learn from testing all these anamorphic lenses?

Brent: Lenses are beautiful. No matter if old or new, they're all amazing in their own unique way. Lenses are not perfect, they're never going to be perfect. And that's okay. Because when you look at how they manipulate the world that we see with our eyes every day, they make it look just so beautiful. That was the really cool takeaway for me.

Mark: I couldn't put that any better. People will tell you, "This is the best lens," or, "Use this one," or, "This one's good," or, "This one's bad." And what I really liked about the test was that there really was no winner. Every single lens, regardless of how expensive it is or how much clout its name brand gives it, if you took a blind test, if you took these 13 lens sets, and you asked 13 people to pick their favorite, you'd get 13 different answers. Including the cheapest lens.

A crew shot along with some of the lenses included in the test. According to cinematographer Brent Barbano, community support was one of the most important aspects of the production.

Courtesy of ShareGrid

Kategorien: Fotografie