Edwards FreeLance Photography

Captions count as much as the picture

Good article from Photoprenuer discussing the importance of properly captioning your images

For photographers, it’s all about the image. When a picture can speak a thousand words and a good photo can tell a complete story, what can be added by giving it a hundred-word description? It’s not like anyone will actually read it, and besides, photographers take the pictures. It’s the writers who do the writing, right? There are times though when a way with words can not only enhance the power of your image but also win you sales and attention.

For some outlets, a detailed description is actually a requirement. PhotoResearchers, for example, a stock site specializing in scientific images, accepts photographs of animals for its natural science collection to go with its inventory of bacteria and chromosomes. But the captions that must accompany those images, and which are embedded in the high res scan the client receives, are likely to tax all but the most knowledgeable of photographers. According to the company’s submission requirements:

“natural history images… should include the common and scientific names of any organisms pictured, as well as location information, and additional information about what is going on in the image. Other useful information may be included as well if it is relevant.”

For a company which sells primarily to textbook publishers and around a fifth of whose contributors are doctors and scientists, that’s not an unreasonable demand. Buyers want to know that they’re not just looking at a picture of a bird on a zebra’s back but a “Red-Belled Oxpecker (Buphagus erythrorhynchus) on Grant’s Zebra” and that the image was shot in Tanzania, Ngorongoro Conservation area.

Telling the Photographer’s Story

But while these kinds of descriptions are rich in scientific detail, they’re short of color. They tell a buyer what he’s looking at but not what the photographer felt when he was looking at the scene. As a viewer though, you can’t help wondering what the photographer was doing in the Ngorongoro Conservation area, whether he found what he was looking for there and what he thought of the experience. There’s a story there and it’s one which enhances the power of the picture itself.

Telling that story with a good caption could land you a spot on Pictory, a site created by JPG Magazine’s former editor Laura Brunow Miner. The site invites photographers to submit a single image related to a theme and to send it accompanied by a caption that explains the story behind the picture.

“I think virtually any photo is made stronger with a good caption,” Laura explained. “The words answer the questions you don’t know to ask.”

Offering “just another pretty photo” won’t cut it but contributors who are better at creating images than producing written descriptions will find that their words are professionally edited. They may even be asked follow-up questions to fill in some of the gaps. The work will then appear, together with their bio, alongside other attractive images and placed in a professional-looking design. The result, judging by the images already on offer on a site that has only been up since the beginning of December, can be very moving. Photos and stories submitted to the “My Most Meaningful Image” theme include photos of a sick baby, a dying grandfather and a road leading home. The images themselves have some power of their own but it’s the story of what they mean to the photographer, described in the caption, that adds an entirely new meaning to the composition.

Not a Copy of Flickr

What contributors won’t receive at the moment though, is pay. While JPG Magazine rewarded photographers with $100 for every image used, Pictory is “currently” only offering kudos, bragging rights and the chance to “be part of something larger than themselves.” That might not impress professionals but Laura points out that pros have submitted images, usually sending in personal work or pet projects. Asked whether Pictory will pay photographers in the future, Laura didn’t rule it out, but she also didn’t want to reveal her plans until she’s seen how photographers and viewers actually use the site. There is also likely to be some form of community collaboration, but the site won’t be a carbon-copy of JPG Magazine or Flickr.

One place where captions can both add to the image and increase the chance of actually making a sale is Flickr. Travel writer Rory Maclean, for example, included this image in his Flickr stream showing Maureen Wheeler leaving a hashish store in Kathmandu in 1972. The description accompanying the image explains that the store might also have been an illegal moneychanger, giving the story a surprising twist, and points out that after that trip, Maureen Wheeler and her husband Tony founded Lonely Planet, creating the guides that have changed the way backpackers have traveled ever since.

All of that makes for an interesting story that reveals more than the picture could alone… and directly beneath that story are the contact details for anyone who wants to license the image. It’s direct and without smart keywording and some additional marketing to let people know the image is there, it’s unlikely to churn up too many sales, but it is still a smart way to make use of the text space that Flickr provides. Rick Waggoner does something similar with his set of images from the Vatai Village in Phongsali Province of Laos, using the set description to describe the context and individual picture captions to tell readers what they’re looking at. He also makes clear that the images are not available for use without his permission – or payment. A link takes potential buyers to his portfolio at Photoshelter.

It’s tempting when following this model to write captions – like Rick Waggoner’s – that could have appeared on a stock site. But if Pictory is anything to go by, it’s clear that captions that include the photographer’s story and add new meaning to the picture also make it more attractive, more interesting – and perhaps even more likely to sell.

Adobe launches Lightroom 2.6 and ACR 5.6

Adobe has launched Photoshop Camera Raw 5.6, Lightroom 2.6 and DNG Converter 5.6 for immediate download. Release candidates of all three had already been available from the Adobe's Labs site. The updates fix minor issues and provide additional Raw support for 20 more DSLRs, including the Canon EOS 7D and Nikon D3S, with additional DNG support for the Leica M9 and Ricoh GXR.

What's new in LR3

Nikon AF-S NIKKOR 300mm f/2.8G ED VR II and AF-S Teleconverter TC-20E III

AF-S NIKKOR 300mm f/2.8G ED VR II and AF-S Teleconverter TC-20E III

December 10, 2009

A fast telephoto lens offering built-in Vibration Reduction (VR II), and the world’s first telephoto converter to utilize an aspherical lens element, extending focal length by 2×, both compatible with the FX format

TOKYO — Nikon Corporation is pleased to announce the release of two new lens products, compatible with the FX format. The fast telephoto AF-S NIKKOR 300mm f/2.8G ED VR II lens is equipped with vibration reduction (VR II) that reduces the effects of camera shake equivalent to a shutter speed increase of approximately four stops. The AF-S Teleconverter TC-20E III, is the world’s first teleconverter* to utilize an aspherical lens element.

Nikon’s development of the FX-format D3-series and D700 digital-SLR cameras has received tremendous support from professional and advanced amateur photographers. Nikon is expanding NIKKOR lens and accessory lineups by releasing new, high-performance products compatible with the FX format, allowing us to cater to the more advanced demands of users.

* As of December 10, 2009 (according to research conducted by Nikon Corporation).

AF-S NIKKOR 300mm f/2.8G ED VR II primary features

• Built-in vibration reduction (VR II) offering camera shake compensation equivalent to a shutter speed increase of approximately 4 stops
• The addition of A/M (autofocus with manual override; AF priority) focus mode prevents accidental switching from autofocus to manual focus. Along with M/A (autofocus with manual override; manual priority) mode, which enables manual focusing by rotating the focus ring while autofocus is operating and M (manual) mode, this makes for a total of three focus modes.
• The lens optics and Nano Crystal Coat so well received with previous lenses have been adopted without modification

AF-S NIKKOR 300mm f/2.8G ED VR II primary specifications

Focal length	300mm
Maximum aperture	f/2.8
Minimum aperture	f/22
Lens construction	11 elements in 8 groups (3 ED glass elements, Nano Crystal Coat) 1 protective glass element
Angle of view	8°10’ (5°20’ with Nikon DX format)
Closest focusing distance	Autofocus: 2.3 m Manual focus: 2.2 m
No. of diaphragm blades	9 (rounded)
Focusing	Autofocus utilizing an internal Silent Wave Motor Manual focus possible
Filter/attachment size	52 mm
Diameter x length (extension from lens mount)	Approximately 124 (dia.) x 267.5 mm (extension from the camera’s lens-mount flange)
Weight	Approximately 2,900 g
Supplied accessories	Slip-on front lens cap, Rear Lens Cap LF-1, Lens Hood HK-30, Semi-soft Case CL-L1, Dedicated filter holder, 52mm Screw-on NC Filter, Strap LN-1

AF-S Teleconverter TC-20E III primary features

• An FX-format compatible teleconverter that extends the focal length of the primary lens by 2X*
• The world’s first teleconverter to utilize an aspherical lens element
• A new optical design that offers superior contrast and resolution
• Utilization of an aspherical lens element enabled a more compact and lightweight teleconverter

* Using this teleconverter with a lens decreases the effective aperture by two stops.

via www.nikon.com

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Adobe Lightroom 3 Features

New in Lightroom 3 Beta

Lightroom 3 beta has been completely redesigned with under-the-hood efficiencies to better handle growing image libraries and improve responsiveness with a higher-quality processing engine. In the Library module, a rebuilt import system makes bringing photos into the software more intuitive. Users can easily specify the source and destinat

ion of their images, and save common processing, metadata or destination settings as easy-to-reuse presets.

The Library module also includes new capabilities to publish collections on popular photo-sharing sites. Flickr users now have direct access to their accounts from within Lightroom and can drag and drop images directly into their Photostreams. Flickr Pro account users can automatically synch their images and even view comments made on Flickr directly within the Library. This functionality can be extended to additional sites by adding them as new plug-ins once they become available.

In the Develop module, an overhauled processing engine allows users to create the highest quality images. Improved Capture Sharpening and Color Noise Reduction tools provide superior results while still preserving an image’s edge detail and contrast. A new Grain tool adds a film-style grain to images, and two new Vignette modes help photographers get a more natural look.

Lightroom 3 beta also offers advanced output options, including the ability to export slideshows as videos with audio and title screens that can be posted to video-sharing sites or optimized for mobile media. New watermarking capabilities enable photographers to embed text or graphic information directly on an image and then adjust the size, position and opacity. In addition, photographers can customize print layouts and save settings for future use, giving them refined control over their images.

For information on Adobe's Lightroom 3 Beta

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Sigma adds anti-shake lens

Sigma Corporation adds unique, anti-shake technology to award-winning 17-70mm lens

‘Ultimate standard lens’ now available in Canon, Nikon, Pentax, Sony and Sigma mounts

Sigma Corporation, a leading researcher, developer, manufacturer and service provider of some of the world’s most impressive lines of lenses, cameras and flashes, is pleased to announce its newly upgraded 17-70mm F2.8-4 DC Macro OS HSM lens.

This large aperture, standard zoom lens contains state-of-the-art enhancements, including the company’s own Optical Stabilization (OS), anti-shake technology that offers the use of shutter speeds approximately four stops slower than would otherwise be possible. Once again, only Sigma has made it possible for Pentax and Sony shooters to utilize an anti-shake system in either the lens or the camera body.

This lens’ predecessor, the 17-70mm F2.8-4.5 DC Macro HSM, was deemed a “Best Buy” recommendation for photographers wishing to purchase a standard zoom lens as part of the Canadian Association for Photographic Art’s (CAPA) “Best Lens of the Year” awards.

“Aside from the OS technology, which is key when shooting with mid-range and high-end class DSLRs, this lens stands apart from the crowd because of its impressive zoom range,” said Mark Amir-Hamzeh, general manager of Sigma Corporation of America. “It has a 4x zoom range that is equivalent to 24-105mm lenses in full-frame formats. That, coupled with the OS technology and a macro function, makes it the ultimate standard lens for serious photographers who want top-notch image quality and functionality at an affordable price.”

With a large aperture of F2.8 on the wide end and F4 at the tele end, as well as a macro function with a minimum focusing distance of 8.7 inches and a maximum magnification ratio of 1:2.7, this lens is ideal for a wide range of photography. The lens’ Hyper Sonic Motor (HSM) also ensures a quiet and high speed auto focus, while its rounded, seven-blade diaphragm creates an attractive blur to the out-of-focus areas to provide the optimal Bokeh effect. The inner focusing system eliminates front lens rotation, making the lens particularly suitable for using the supplied petal-type lens hood and circular polarizing filters.

Three aspherical lenses and one Extraordinary Low Dispersion (ELD) glass element provide excellent correction for all types of aberrations when shooting with this lens. Additionally, the Super Multi-Layer Coating reduces flare and ghosting to produce high-contrast images.

The 17-70mm F2.8-4 DC Macro OS HSM lens is currently available in Sigma, Canon, Nikon (D), Sony (D) and Pentax mounts for $680 MSRP in stores nationwide.

via www.sigmaphoto.com

Adobe Photoshop.com Mobile for iPhone Now Available Globally

Adobe Photoshop.com Mobile for iPhone, recently released on Oct. 9, 2009, is now available worldwide in all countries with iPhone App Stores, providing users with a quick and easy way to edit, upload, view and share photos directly on their iPhones. Holding the No. 1 position for all “Top Free” applications for nearly three weeks and remaining the “Top Free” spot in the Apple App Store Photography category, Photoshop.com Mobile for iPhone has been downloaded over 3 million times in the U.S. and Canada. Essential editing tools, such as crop and rotate along with creative one-touch effects and filters, are now available in supported countries. In addition, the application gives users access to their entire online collection of photos from Photoshop.com and allows them to share them directly within the application.

Availability
The Adobe Photoshop.com Mobile for iPhone application is now available as a free download in all countries with iPhone App Stores. The application is initially available in English only. For more information, visit: http://mobile.photoshop.com/iphone. Users can also connect with Adobe via Facebook (http://www.facebook.com/photoshopdotcom) or Twitter (http://www.twitter.com/photoshopdotcom). To join the conversation, follow @photoshopdotcom on Twitter.

via www.digitalpixels.net

NIK Software Free Webinars

Nik Software Fall 2009 Webinar schedule. These seven hour-long educational webinars, which continue through mid-December, cover a range of photography topics including portrait, sports/action, wildlife, landscapes, weddings, commercial and Capture NX2 while offering basic information, insights and tips on using all Nik Software’s award-winning image enhancing plug-in products. Additionally, the webinars enable attendees to pose questions to the live educators.

“These free online webinars are designed to show how each Nik Software plug-in product can be used to enhance any photographer’s work within all types of photography while dramatically reducing editing time and complexity,” said Tony Corbell, Nik Software’s senior manager for product education and planning. “Education is so important to today’s busy digital photographer and Nik Software is committed to empowering everyone to get the most out of their photographs with our products.”

To register for any of the webinars, please visit: http://www.niksoftware.com/webinar

November 12, 2009 — 10:00am PST
Critters and Creatures
Nik Software’s own Laurie Shupp, an accomplished wildlife and nature photographer, teaches techniques specific to photographing wildlife. Attendees will see her beautiful wildlife work as she leads them through a series of enhancements including optimizing skies and backgrounds, highlighting animal fur, and minimizing distractions while maximizing primary subjects.

November 19, 2009 — 10:00am PST
Enhancing the Landscape Image
Photographers can follow along during the webinar as techniques designed to improve outdoor landscape images are illustrated in detail using numerous Nik Software products. Though particular styles and techniques differ from photographer to photographer, Nik Software products work together to capably handle all corrections and enhancements that combine to improve the overall photograph.

December 1, 2009 — 10:00am PST
Wedding Photography Techniques featuring Lightroom
Working specifically inside the host application of Adobe Lightroom®, this webinar focuses on how Nik Software products can enhance wedding photography by optimizing colors, creatively converting images to black-and-white and more. Attendees will learn tricks for batch processing and editing hundreds or even thousands of images.

December 10, 2009 — 10:00am PST
The Power of Capture NX2
Working primarily with RAW Nikon NEF files, the Nik Software team will again showcase the incredible power and ease of use of Capture NX2. This software features innovative U Point® technology for precise selective editing along with numerous other editing capabilities simply not found in other software. The intuitive nature of Capture NX2 helps photographers of all levels master editing techniques in days, not weeks, months or even years.

December 15, 2009 — 10:00am PST
Editing the Commercial Image
This webinar is devoted to commercial photography and the special needs this style of photography requires to satisfy demanding clients. Color correction, retouching and other techniques will be showcased on beautiful photography examples from some of the industry’s leading photographers.

Toshiba announces new CMOS

TOKYO, Japan., October 27, 2009 - Toshiba Corporation (TOKYO: 6502) today announced the launch of a new CMOS image sensor that will bring 14.6 million pixels to digital still cameras and to mobile phones supporting video imaging. The sensor, the latest addition to Toshiba’s “Dynastron™” line-up, is also the company’s first to integrate the enhanced sensitivity offered by back-side illumination technology (BSI). Sampling of the new sensor will begin in December and mass production will follow from the third quarter of 2010 (July--September). BSI brings new levels of responsiveness to CMOS imaging. Lenses are deployed on the rear of the sensor on the silicon substrate, not on the front, where wiring limits light absorption. This positioning boosts light sensitivity and absorption by 40% compared to existing Toshiba products, and allows formation of finer image pixels. Toshiba has made full use of the advantages of BSI to realize image pixels with a pitch of 1.4 microns, and to pack 14.6 million of them into a 1/2.3-inch sensor that meets the high level imaging and processing requirement, and that will also bring a new level of image quality to mobile phones. Toshiba will use the new sensor to promote its full-scale entry to digital camera market, and will continue to develop BSI products as a mainstream technology. The new sensor will be mass produced at Toshiba’s Oita Operations, on industry leading 300mm wafer lines deploying 65nm process technology. Initial production will be at a volume of 500,000 sensors a month. CMOS image sensors are a focus product of Toshiba’s System LSI business. Until now, their main application has been in mobile phones, where Toshiba could leverage its high density integration and low power consumption technologies. With the introduction of BSI CMOS sensors, Toshiba will reinforce the sensor business by expanding application to include digital cameras.

Key features Optical format: 1/ 2.3 inch Number of pixels: 14.6 mega pixels Size of pixels: 1.4 micro meter Frame rate: 60 frame per sec. (Supports 1080p, 720p) Note: Dynastron is a trademark of Toshiba Corporation

*About TAEC and Toshiba Corp. Through proven commitment, lasting relationships and advanced, reliable electronic components, Toshiba enables its customers to create market-leading designs. Toshiba is the heartbeat within product breakthroughs from OEMs, ODMs, CMs, distributions and fabless chip companies worldwide. A committed electronic components leader, Toshiba designs and manufactures high-quality flash memory-based storage solutions, discrete devices, displays, advanced materials, medical tubes, custom SoCs/ASICs, digital multimedia and imaging products, microcontrollers and wireless components that make possible today's leading cell phones, MP3 players, cameras, medical devices, automotive electronics and more. Toshiba America Electronic Components, Inc. is an independent operating company owned by Toshiba America, Inc., a subsidiary of Toshiba Corporation, Japan's largest semiconductor manufacturer and the world's third largest semiconductor manufacturer (Gartner, 2008 WW Semiconductor Market Share Report, April 2009). For additional company and product information, please visit http://www.toshiba.com/taec/.

Information in this press release, including product pricing and specifications, content of services and contact information, is current and believed to be accurate on the date of the announcement, but is subject to change without prior notice. Technical and application information contained here is subject to the most recent applicable Toshiba product specifications. In developing designs, please ensure that Toshiba products are used within specified operating ranges as set forth in the most recent Toshiba product specifications and the information set forth in Toshiba's "Handling Guide for Semiconductor Devices," or "Toshiba Semiconductor Reliability Handbook." This information is available at http://www.chips.toshiba.com, or from your TAEC representative.

ASSP 09 582

Covering These Troubled Times

The following event came together rather late to promote attendance so I'm asking for your help to get the word out.

Please help spread the word about the November 4 program, Covering These Troubled Times: What Journalists Should Know about Trauma. The details are below.  Students and members are free, but friends of the panelists and the Dart Center will have free admission by sending an RSVP to Elaine Hudson at info@atlpressclub.org and mention my name.

If you have a distribution list to other journalists, students, or journalism organizations, please forward this along to your contacts.

Thanks!
Dorie Griggs

From:
http://www.atlantapressclub.org/events/event.php?id=209

Covering These Troubled Times: What Journalists Should Know about Trauma

Mike Walter spent his career chasing big stories, but on one September morning, the biggest story of his career was about to chase him down. He watched as a jet came raining down from the sky. It pierced the Pentagon, and for a time, shattered his emotional well-being. The award winning documentary Breaking News, Breaking Down, is a revealing look at how journalists continually go after breaking news, from 9-11 to Katrina, never imagining how it can break them down. In this landmark film, for the first time ever, a journalist turns the camera on himself and his profession, to candidly talk about how trauma impacted his life and the lives of others. It's a long overdue look at a problem that has been largely ignored for years, until now. In the end you'll watch journalists turn tragedy and trauma into triumph.

A panel discussion on the challenges facing journalists who cover traumatic events moderated by Atlanta Press Club member and consultant Dorie Griggs will follow the screening.

Panelists:
Moni Basu, writer/editor at CNN Wire and Dart Center Fellow

Mark Biello, Senior photojournalist at CNN

John McCusker, photojournalist with the New Orleans Times-Picayne, is featured in Breaking News, Breaking Down

Mike Walter, former WUSA-TV news anchor and creator of Breaking News, Breaking Down

WHEN
Wednesday, November 4
6 - 6:30pm reception
6:30-7pm Screening: Breaking News, Breaking Down
7- 8:30pm Panel discussion

WHERE
The Commerce Club, 18th Floor
34 Broad Street Atlanta, GA 30303 Valet parking is available for $6 and is not included in the ticket prices. For directions, please visit www.thecommerceclub.org/location.html.

Because of limited parking at TCC, please consider using MARTA, whose Five Points station is across the street, or parking in nearby decks on Marietta Street.

R.S.V.P.
This program is open to the public. APC members and students receive complimentary admission to the event. Please R.S.V.P. so we know how many people to expect. Nonmembers may purchase tickets for $10. Tickets may be purchased by clicking the link below or by calling 404-57-PRESS. Payment must accompany reservations, and there is a 48-hour cancellation policy

Roadside Memorials – Honoring a Lost Loved One

This might be a rather unusual topic to discuss, however, for some reason I've found myself a little fascinated by these memorials to a lost loved one. While traveling back from a recent road trip, I passed by, what might be considered a shrine of sorts. Along with the standard cross, marking the spot of this tragic accident, were bouquets of flowers, tee-shirts hanging from limbs of trees and a couple gallons of water. Not real sure what the water was for, if anyone that reads this post knows the significance of this, please leave a comment. 

After paying my respects to this person I've never met, I headed back to my truck to continue my ride home. During the remainder of my 3 hour trip, I started to wonder, do these places of remembrance bring some form of closure to family members and friends? What if you lived near where this unfortunate event occurred, wouldn't passing this reminder on a continuous basis just re-hash already painful memories?

My guess was a little of both until I got a chance to speak with a couple of folks who had lost a family member and were kind enough to discuss the matter. About once a month, this son and daughter stop by and pick up trash and trim the weeds away from their father's accident site. Why? According to both, it makes them feel closer to their dad. In their words "This is where his spirit left". What about the grave site? They said that they visited there also, mainly on his birthday or father's day, but by passing this memorial nearly every day they can say "Hi dad, we miss you". So, in their own way, as many I suspect, are trying to say to the rest of us passersby, slow down and pay a little respect.

Unfortunately, it seems as though not everyone feels the same way, there have been several occasions where this site along as many others, I discovered, have been vandalized. This is shameful, you might not agree with placing markers or think that they are a distraction, but destroying a place of homage just isn't right and anyone doing so should be completely ashamed of themselves.

On a secondary note, 22 states across the country have some type of law that regulates roadside memorials from how long the memorial can remain in place to what type of memorial is allowed, example being, Montana and California allow memorials but only if alcohol was involved to being completely prohibited by Maryland and Utah. Presently, the Federal Government has no regulations in place.