Canon EF 24-105mm f/4L IS USM Lens review at CameraLabs

The lens performed well across its range, particularly in terms of corner sharpness at wide angle, while essentially matching our EF 85mm f1.8 prime in terms of resolving power. We were also impressed with the Image Stabilisation which allowed us to handhold at much slower shutter speeds than normal. Compared to lenses designed for bodies with smaller sensors though, it suffered from a worse degree of light fall-off, but this is par for the course for wide-angle lenses designed for full-frame bodies.

There’s an effective demonstration of Canon’s IS (Image Stabilisation) handheld at 1/13 second, too. (The shit works!)

Read review at Camera Labs

Via PhotographyBLOG

See also: Bill Caulfeild-Browne’s A Comparison of the new Canon 24-105 mm f4 L IS lens with the Canon 24-70 mm f2.8 L and Mark D. Segal’s How I Decided to Up-Grade From a Canon 28~135 IS to a Canon 24~105 F/4L IS at Luminous Landscape

Pinhole photography issue of Black and White Photography Magazine

The July 2006 issue of B&W Black and White Photography Magazine is dedicated to pinhole photography! It features work by Katie Cooke and several members of the f295 Pinhole Photography Forum (among others), as well as four articles on pinhole photography. Ms. Cooke’s work alone is worth the price of the issue and there’s lots of other talent in there, so check it out!

Device blocks non-SLR digital cameras

Georgia Institute of Technology press release:

Newswise — Researchers at the Georgia Institute of Technology have completed a prototype device that can block digital-camera function in a given area. Commercial versions of the technology could be used to stymie unwanted use of video or still cameras.

The prototype device, produced by a team in the Interactive and Intelligent Computing division of the Georgia Tech College of Computing (COC), uses off-the-shelf equipment – camera-mounted sensors, lighting equipment, a projector and a computer—to scan for, find and neutralize digital cameras. The system works by looking for the reflectivity and shape of the image-producing sensors used in digital cameras. Gregory Abowd, an associate professor leading the project, says the new camera-neutralizing technology shows commercial promise in two principal fields – protecting limited areas against clandestine photography or stopping video copying in larger areas such as theaters.

"We’re at a point right now where the prototype we have developed could lead to products for markets that have a small, critical area to protect," Abowd said. "Then we’re also looking to do additional research that could increase the protected area for one of our more interesting clients, the motion picture industry."

Abowd said the small-area product could prevent espionage photography in government buildings, industrial settings or trade shows. It could also be used in business settings—for instance, to stop amateur photography where shopping-mall-Santa pictures are being taken.

James Clawson, a research technician on Abowd’s prototype team, said preventing movie copying could be a major application for camera-blocking technology.

"Movie piracy is a $3 billion-a-year problem," Clawson maintains—a problem said to be especially acute in Asia. "If someone videotapes a movie in a theater and then puts it up on the web that night or burns half a million copies to sell on the street – then the movie industry has lost a lot of in-theater revenue."

Moreover, movie theaters are likely to be a good setting for camera-blocking technology, said Jay Summet, a research assistant who is also working on the prototype. A camera’s image sensor—called a CCD—is retroreflective, which means it sends light back directly to its origin rather than scattering it. Retroreflections would probably make it relatively easy to detect and identify video cameras in a darkened theater.

The current prototype uses visible light and two cameras to find CCDs, but a future commercial system might use invisible infrared lasers and photo-detecting transistors to scan for contraband cameras. Once such a system found a suspicious spot, it would feed information on the reflection’s properties to a computer for a determination.

"The biggest problem is making sure we don’t get false positives from, say, a large shiny earring," said Summet. "We need to make our system work well enough so that it can find a dot, then test to see if it’s reflective, then see if it’s retroreflective, and then test to see if it’s the right shape."

Once a scanning laser and photodetector located a video camera, the system would flash a thin beam of visible white light directly at the CCD. This beam – possibly a laser in a commercial version – would overwhelm the target camera with light, rendering recorded video unusable. Researchers say that energy levels used to neutralize cameras would be low enough to preclude any health risks to the operator.

Still camera neutralization in small areas also shows near-term commercial promise, Abowd said. Despite ambient light levels far higher than in a theater, still cameras at a trade show or a mall should be fairly easy to detect, he said. That’s because image sensors in most cell phones and digital cameras are placed close to the lens, making them easier to spot than the deeper-set sensors of video cameras.

Camera neutralization’s potential has helped bring it under the wing of VentureLab, a Georgia Tech group that assists fledgling companies through the critical feasibility and first-funding phases. Operating under the name DominINC, Abowd’s company has already received a Phase 1 grant from the Georgia Research Alliance (GRA) with VentureLab assistance.

Abowd said that funding availability will likely decide which technology—small- or large-area—will be developed first. DominINC will apply soon for GRA Phase 2 money, Abowd said. Those funds would be used to aid anti-piracy product development, as would any funding coming from the film industry.

Other potential funding, from industry and elsewhere, would likely be used to develop anti-espionage small-area applications.

Stephen Fleming, Georgia Tech’s chief commercialization officer, said motion-picture groups are actively looking for technology to foil piracy. Movie distributors might even promote camera-neutralizing systems by refusing to send films to theaters that don’t install anti-piracy systems.

There are some caveats, according to Summet. Current camera-neutralizing technology may never work against single-lens-reflex cameras, which use a folding-mirror viewing system that effectively masks its CCD except when a photo is actually being taken. Moreover, anti-digital techniques don’t work on conventional film cameras because they have no image sensor.

Good computer analysis will be the heart of effective camera blocking, Summet believes.

"Most of the major work that we have left involves algorithmic development," he said. "False positives will eliminated by making a system with fast, efficient computing."

Also involved in the camera-neutralizing project are Shwetak Patel, a College of Computing PhD student; Khai Truong, a former Georgia Tech PhD student who is now at the University of Toronto, and Kent Lyons, a College of Computing post-doctoral student. A paper on this technology was published and presented at the Ubicomp 2005 conference in Tokyo, Japan, last September.

Via PhotographyBLOG

Frankenflex homebrew viewfinder photography rig

Grant Hamilton's Frankenflex

Grant Hamilton built this rig to shoot the image on the viewfinder of his Kodak Duaflex. This is genius and pisses on all other efforts I’ve seen, my own included. He’s making some beautiful images with it, too!

He writes:

See the notes above [on the Flickr photo page] for a parts list. I used a Dremel tool to carve some slots in the side of the junction box to accept the film winding knob and neck strap anchors of the Duaflex. I also carved an opening in the front so the lens is unobstructed. The PVC pipe fits into the junction box with friction and the downspout sleeve is rubber and is fricition fit as well. I painted the whole thing with flat black paint and used varying thicknesses of adhesive furniture sliders inside the junction box so that the Duaflex is snug. There is a large gasket inside the tube, just above the junction box on the inside to prevent light leaks. The hardest bit to get is the PVC pipe because it is sold in 10 foot lengths. I scavenged mine from a construction site dumpster. See the gouges in the pipe? I wasn’t crazy enough to want to Bondo it to make it smooth. The other parts I bought for around $15.

More viewfinder photography in the Through The Viewfinder and Ground Glass groups on Flickr.

Sign up for Strobist’s online lighting boot camp

Strobist have just started a virtual boot camp for anyone interested in improving their lighting skills:

The main point of SBC is to nudge those photographers out there who have not made the transition to actually trying this lighting stuff out to make the jump. Secondarily, we will hopefully all get a chance to see what many different photogs – from all around the world – do with the exact same assignments. You’ll also be able to ask "how’d you do that?" questions to your fellow photographers. Using Flickr, we will effectively become a virtual classroom.

Sign up and read the rules at Strobist

Via PhotographyBLOG

Alkaptonuria patient’s urine used as film developer

This is bizarre:

This picture of a patient who had alkaptonuria (Fig. 1) was taken by my father, Dr. Ian Maxwell, in 1957 and was developed using the patient’s own urine [emphasis added].

Alkaptonuria was the first described “inborn error of metabolism.” This rare (< 1 per 250 000 births) hereditary recessive disorder is characterized by a triad of excretion of homogentisic acid in the urine, ochronosis (dark pigmentation of the connective tissues) and early-onset arthritis…

Continue reading and see urine-developed photo in the Canadian Medical Association Journal

Via f295 DIY Photography Forum member taco

Shooting Rio childrens’ photography show

This captivating exhibition is the result of several months work by a group of Rio [de Janeiro, Brazil] Street Children who were given cameras and encouraged to express and document their lives through photography. Inspired by the idea of recording moments, for their beauty and excitement, rather than trying to forget, the children have produced a breathtaking body of work. The pictures that followed tell a tale of a city that is at once magnificent and violent, musical, passionate and brimming with color. But the photographers also portray the city and themselves in a sensitive light – asking questions of a community that is trying hard to come to terms with its own prejudices.

It will stand as testament to what the children have produced, an achievement all the more remarkable given their personal backgrounds. We hope the exhibition will truly inform our audience as much about the harsh reality of these children’s lives as about their genuine creativity, undeterminable spirit and the real potential for social change. In collaboration with LAB. Exhibition runs until 23 June [2006].

Shooting Rio opens in London on 15 June [2006] at Canning House in Belgrave Square, London, UK.

The BBC has a preview of photos from the show at bbc.co.uk.

Via Rio photographer Rodrigo Perez