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The Sounds of Aronofsky.

 
The sounds of Dar­ren Aronof­sky, includ­ing fan­tas­tic movies like  Black Swan (2010), Requiem for a Dream (2000), Pi (1998), and The Foun­tain (2006). Sim­ply brilliant.

best movies by Darren Aronofsky.

Visual Serendipity.

 
Serendip­ity: noun; the occur­rence and devel­op­ment of events by chance in a happy or beneficial way.

A ran­dom walk in Man­hat­tan on week­ends often pro­duces truly unex­pected images like this one, which was cap­tured at Madi­son Square Park dur­ing an Indian meeting.

Understanding Burst Rates.

 
Under­stand­ing a camera’s burst rate is cru­cial for DSLR users in cer­tain sce­nar­ios. For instance, a high burst rate is help­ful for pho­tog­ra­phers who are shoot­ing fast action, motion, or try­ing to cap­ture a Henri Cartier-Bresson’s “deci­sive moment.”

Example of Canon EOS DSLR in Burst Mode

A “burst rate” is the num­ber of con­sec­u­tive pic­tures that a cam­era can shoot con­tin­u­ously until the “busy” sig­nal turns on. When your buffer mem­ory is full, your cam­era will slow down (or even stop) shoot­ing until the images trans­fer to the mem­ory card.

The Canon EOS-1D X has the high­est burst rate of any EOS Sys­tems out now.  A high burst rate is depen­dent on a num­ber of fac­tors includ­ing a large buffer, the camera’s “through­put” speed, the camera’s pro­cess­ing power, as well as the file type and size.  To learn more, read this arti­cle from Canon’s Dig­i­tal Learn­ing Cen­ter, where we explain burst rates in-depth and com­pare dif­fer­ent high-end sys­tems. We also made this short video to illus­trate the article.

How to fix a broken education system. My thoughts.

 
For sev­eral weeks I’ve been seri­ously think­ing about our edu­ca­tion sys­tem, and today I’d like to share my ideas on the subject.

The cur­rent edu­ca­tion sys­tem is bro­ken, out­dated, and, dare I say it—dangerous. How did we arrive at this point, and what can we do to rem­edy the sit­u­a­tion? Let’s start by answer­ing this ques­tion: why are things such a mess? I believe the sys­tem we have today is struc­turally the same exact sys­tem that our par­ents, and in some instances, even our grand­par­ents experienced.

The egal­i­tar­ian arrange­ment of the sys­tem is chiefly designed to mass pro­duce fac­tory work­ers. Uni­forms, bells, 2B pen­cils, stan­dard­ized tests and text­books, and strict sched­ules pre­pare kids to fol­low the same rules after graduation—memorize what’s impor­tant, don’t think deeply, obey the rules, don’t ques­tion author­ity, work hard, and fol­low the clear and des­ig­nated path, in order to be rewarded with a raise, a pro­mo­tion, and, finally, a decent retirement.

You may be inclined to ask “What’s wrong with this set up?” I believe that the edu­ca­tional model no longer takes into account the real­ity of post-educational life. How many stu­dents fin­ish­ing col­lege right now will have a job wait­ing for them? And, of the lucky ones land­ing a pay­ing job, how many have a clear and rel­a­tively safe career path until retire­ment? We are told a degree is a must. Why? Most of us will work for small busi­ness or as free­lancers from now on. Did you know that 15% of park­ing lot atten­dants have B.A. degrees?

USA falling behind on education

I can remem­ber my father buy­ing IBM shares for a fairly con­sis­tent annual return. If today the price keeps going up, but the return is uncer­tain until the end of the year, would you buy IBM? I cer­tainly would not. Now replace IBM shares for “col­lege edu­ca­tion” and annual return for “jobs” and this is exactly the sit­u­a­tion we are fac­ing today. Only 49% of grad­u­ates from the classes of 2009 to 2011 had found a full-time job within a year of fin­ish­ing school, com­pared with 73% for stu­dents who grad­u­ated in the three years prior.

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Visual Serendipity.

 
My hotel view in Savan­nah, GA, where I attended the super awe­some Silver&Ink event. I took a gazil­lion of images of the win­dow with my phone, but for some rea­son my favorite was this one, the very first I took.

Window Screen

And this is why photographers need to learn video right now.

 
Last week I attended the Sil­ver & Ink event at the Savan­nah Col­lege of Art and Design. I was invited to see the grad­u­ate stu­dents’ work, teach a video class, speak at a “busi­ness of pho­tog­ra­phy” panel dis­cus­sion, review under­grad­u­ate and grad­u­ate port­fo­lios, dis­cuss tech­nol­ogy trends with fac­ulty, exchange my views about the future of pho­tog­ra­phy with career advi­sors, and attend a stun­ning art open­ing. Among the many ques­tions I received, there were two par­tic­u­lar ques­tions that were asked many times over—and I could sense a mix of fear and excite­ment in those who asked these questions.

Ques­tion #1: As a pho­tog­ra­pher, why should I learn video?

The answer is really sim­ple: access to more future oppor­tu­ni­ties. Accord­ing to careerinfonet.org there is a bet­ter than aver­age annual growth in job open­ings for pho­tog­ra­phers, yet video edi­tors, as well as audio and video tech­ni­cians make sig­nif­i­cantly more money—either through an hourly wage (free­lance) or yearly salary (part– and full-time employment).

I com­pared national aver­ages with New York state aver­ages, and the results are pretty clear.

average salary for photographers in New York

average salary for audio technicians in New Yorkaverage salary for video editors in New York

In New York, video edi­tors can make from $35,000 to $102,000 per year. Pho­tog­ra­phers make from $18,000 up to $81,000. As you can see, salaries for audio and video equip­ment tech­ni­cians fall right in between the salaries of pho­tog­ra­phers and video editors

I per­son­ally know very few pho­tog­ra­phers at the high-end of the spec­trum, but I know of sev­eral video edi­tors who make a lot more than $100K.

What about employ­ment growth?

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Visual Serendipity.

 
Serendip­ity: noun; the occur­rence and devel­op­ment of events by chance in a happy or beneficial way.

One of the many super cool bou­tique hotels in New York City, the “Dream Hotel” is located “between the hip, cool Meat­pack­ing Dis­trict and chic, charm­ing Chelsea.” Accord­ing to its web­site the hotel offers a “new expe­ri­ence in full-service lux­ury travel, com­plete with deluxe ameni­ties and unique din­ing options.”

I wouldn’t know, since I’m pretty sure I could’t even afford break­fast there. I just like the façade.

 

Canon’s Light Leak Issue.

 
A few days ago Canon con­firmed the light leak issue in the 5D Mark III: “In extremely dark envi­ron­ments, if the LCD panel illu­mi­nates, the dis­played expo­sure value may change as a result of the AE sensor’s detec­tion of light from the LCD panel. Canon is now exam­in­ing the coun­ter­mea­sures and once the coun­ter­mea­sures are decided, we will post the infor­ma­tion on our Web site.”

Canon Light Leak issue

This issue is some­what seri­ous because I doubt it can be fixed via firmware. It is unclear right now if it is affect­ing the entire pro­duc­tion (which would be a major design flaw) or a local­ized man­u­fac­tur­ing prob­lem. Some deal­ers are report­ing that ship­ments to Canada and the UK have stopped in the past few days, which seems to be either a recall or that Canon is being extra careful.

In real­ity, the leak will change about 1/3 of a stop from what the cam­era con­sid­ers the “proper” expo­sure. With the high dynamic range that RAW files deliver nowa­days I believe the issue is being push a bit too far. Of course I’d be pissed pay­ing $3,500 for a cam­era with issues, but tech­ni­cally speak­ing, I would not stop using it if I had it.

UPDATED: Yes­ter­day Canon had this to say:

Based on the results of exten­sive test­ing this change in expo­sure value will not notice­ably affect the cap­tured image. Affected Prod­uct Canon EOS 5D Mark III Dig­i­tal SLR Cam­eras whose sixth digit in the ser­ial num­ber is 1 or 2 are affected.
For example,“xxxxx1xxxxxx” or “xxxxx2xxxxxx” ([x] rep­re­sents any optional number.)”

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Visual Serendipity.

 
Appar­ently the traf­fic prob­lems in New York City not only affects adults…

Hello Google Drive, bye bye Dropbox?

 
After years and years of false rumors, today Google has finally announced Google Drive.

Why is this so cool, you might ask. Well, so it hap­pens that you get 5GB for free and you can get up to 100GB. Drop­box offers only 2GB for free. Is that enough to switch? Let’s see what Google has to say about the new service:

  • Cre­ate and col­lab­o­rate. Google Docs is built right into Google Drive, so you can work with oth­ers in real-time on doc­u­ments, spread­sheets and pre­sen­ta­tions. Once you choose to share con­tent with oth­ers, you can add and reply to com­ments on any­thing (PDF, image, video file, etc.) and receive noti­fi­ca­tions when other peo­ple com­ment on shared items.
  • Store every­thing safely and access it any­where (espe­cially while on the go). All your stuff is just… there. You can access your stuff from anywhere—on the web, in your home, at the office, while run­ning errands and from all of your devices.
  • Search every­thing. Search by key­word and fil­ter by file type, owner and more. Drive can even rec­og­nize text in scanned doc­u­ments using Opti­cal Char­ac­ter Recog­ni­tion (OCR) tech­nol­ogy. Let’s say you upload a scanned image of an old news­pa­per clip­ping. You can search for a word from the text of the actual arti­cle. We also use image recog­ni­tion so that if you drag and drop pho­tos from your Grand Canyon trip into Drive, you can later search for [grand canyon] and pho­tos of its gorges should pop up. This tech­nol­ogy is still in its early stages, and we expect it to get bet­ter over time.


I just installed Drive on Mac, my Android tablet and my Android phone and every­thing is work­ing REALLY smoothly. A PC ver­sion is already avail­able, and Google says that the iOS ver­sion will be “com­ing soon.” You can down­load the app here and here.

I have been using Drop­box for a long time and I’ve been pretty happy. But it only gets you 2GB for free, the sys­tem is con­fus­ing for most peo­ple who move the file think­ing that they are copy­ing it, the noti­fi­ca­tion sys­tem (when some­one adds or removes an item) sucks and does not have OCR technology.

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NAB 2012 wrap-up.

 
Black­magic announced a hard-to-believe cam­era fea­tur­ing a 2.5K image sen­sor, 13 stops of dynamic range, built-in SSD recorder, pop­u­lar open stan­dard uncom­pressed RAW and com­pressed file for­mats, com­pat­i­bil­ity with qual­ity EF and ZF mount lenses, and LCD touch­screen monitoring.

• Autodesk announced Smoke 2013 for the Mac, a new ver­sion of what the com­pany is now call­ing video edit­ing soft­ware and at users of Apple’s Final Cut Pro or Avid Media Com­poser who want high-end edit­ing and fin­ish­ing tools in one app. The new price is “only” $3495, down from $14,995 for the 2012 version.

• Adobe Pre­miere Pro CS6 is out with and enhanced 64-bit play­back engine that can han­dle 5K res­o­lu­tions, and higher, new trim­ming options, com­pat­i­bil­ity with Mac touch­pad ges­tures, a Warp Sta­bi­lizer that was pre­vi­ously con­fined to After Effects, and expanded mul­ti­cam edit­ing for more than four cam­eras. Tak­ing a page from its sis­ter app, “the audio ori­ented Audi­tion, Pre­miere Pro CS6 offers a redesigned and more func­tional audio mixer. Adobe also intro­duced Speed­Grade, a film fin­ish­ing and color grad­ing app, and Pre­lude, for ingest­ing, log­ging, and transcoding.

• Pana­sonic announced a bit­ter­sweet firmware update for the AG-AF100 that pro­vides 1080 50p and 60p modes. That’s the sweet part. The bit­ter? They want users to pay $300 for the upgrade.

Pana­sonic AF0100

Canon announced the 1D C ($15,000), which has the same chas­sis and still shoot­ing fea­tures of the EOS-1D X ($6,800), and cap­tures 4096 x 2160 8-bit 4:2:2 video to a CF card at 24 fps. Unlike the X, the C swaps a head­phone jack for the X’s PC sync.

• The higher-end Canon EOS C500 ($30,000) offers the same ISO range as the C300 (320–20,000) and requires a ded­i­cated exter­nal recorder, but cap­tures in two full-RAW fla­vors: 4096 x 2960 (for motion pic­ture), and 3840 x 2160 (for 4K TV). Both of these modes offer 10-bit 4:4:4 at 60 frames-per-second. There are two addi­tional RAW option, 4096 x 1080 or 3840 x 1080 res­o­lu­tions, which are also 10-bit 4:4:4, but at 120 fps. The cam­era also offers

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32-bit or 64-bit — that is the question.

 
By pop­u­lar demand, here’s the eas­i­est way to tell if your Mac has a 32-bit or a 64-bit processor:

Step 1: Click on the Apple icon in the upper-left menu bar of your screen

Apple Mac OX 10.7 processors

Step 2:Click on “More Info”

Step 3:Under the “Hard­ware” sec­tion, locate the “Proces­sor Name”

Step 4: Find your Proces­sor on this chart to deter­mine whether your Mac has a 32-bit or 64-bit processor.

Yay! We got a win­ner! Easy, right?