MARS PANORAMA

It is fantastic! You can move the image around or up and down. The clarity is amazing. Definitely expand it to full screen and be amazed at the views...WOW

Here's a complete panorama image of Mars taken from the Curiosity camera. Just click on

Mars Panorama.

Interactive 360 degree panorama viewers

To view the cylindric or spherical panorama in a way which you call an Interactive VR Panorama you need a viewer.

During the last years the fullscreen idea introduced by panoramas.dk has been adapted to many other viewers than Quicktime and with the introduction of Flash panorama viewers and the option for Fullscreen in Flash 9 you can now enjoy real fullscreen panoramas which covers all your screen.

Compact camera or smartphone? First impressions of Samsung's Galaxy Camera

By any yardstick, Samsung is having a good IFA. With its trio of product announcements, the Galaxy Note II smartphonetabletthingie, the Galaxy Camera, and its range of Ativ Windows 8 devices (not to mention throwing the biggest party in town with its Unpacked event) it's an enormous understatement to say that Samsung made its presence felt in Berlin this year. The Galaxy Note II may be the headline act (more on which very soon), but in our opinion the Galaxy Camera, the EK-GC100, is the most interesting of Samsung's newly-announced gizmos. Having had more than one opportunity to give the thing a try, here are our initial thoughts.

Let's face it. Smartphone cameras don't cut it. They're fine for the purposes of quick snaps, especially for sharing on social networks (where the display medium is often the same as the capture device: the smartphone itself, with its necessarily small screen), but even photographs taken with the much-vaunted camera of the 8-megapixel iPhone 4S look a bit pants when displayed on anything larger. For ultra-portable photography, compact cameras are still best. So for photography enthusiasts hoping to keep their gadget-count to a minimum, Samsung's Galaxy Camera, touted as a proper camera with built in connectivity, is a tempting proposition.

It's worth emphasizing the point of the Galaxy Camera, at least as Samsung would have it. This is a camera with support for social networking. There's no voice support—you can't call someone with it, so smartphone it ain't. But with Jellybean in tow, the Galaxy Camera is otherwise a fully-fledged Android device. The point is to get your photos out of your camera and into your social streams (Instagram, Twitter, Facebook, email etc.) as simply as possible. But having gone to all this effort, one almost wonders why Samsung don't go the whole nine hogs, make the thing a telephone, and be done with it. That said, for the status-update-addicts of Generation Facebook, perhaps lack of voice support is actually a feature. It does come with 4G-connectivity, which is good. Obviously.

So how good a camera is it? On paper, terrific. It has 16.3-megapixel image sensor, ISO up to 3200, 1920x1080 30-fps MPEG 4, AVC/H.264 video capture and, most eye-catchingly, a 23-480-mm 21x optical zoom lens. Photos taken on the device look terrific on its 4.77" 308-ppi touch-display, but until we see full-sized photos blown up on a large screen, it'd be wrong to cast judgement. As far as image quality goes, all the signs are positive, though.

It's on the usability front that things get interesting. The process of actually taking a photograph is much more akin to smartphone than compact camera. Sure, there's a dedicated shutter-release button where you'd hope to find it, with optical zoom rocker close by; but otherwise things are decidedly smartphoney.

There's a noticeable delay between hitting the shutter release and seeing your photo on the screen as the camera finds focus. And though it's a minor point, I was disappointed to find that, when using Android apps, depressing the shutter release half-way did not activate camera mode for emergency from-the-hip snapping. You have to navigate to the camera app using the touchscreen interface. You know—like a smartphone. Still, such a feature is only a software release away, and the Samsung rep we spoke to assured us that the software was still subject to change. But, just as the Galaxy Camera isn't a smartphone, it's not quite a true compact camera either. The photos may prove to be just as good, but initial impressions suggest it's a half-stride off the pace as far as user experience goes.

All of which may be small beer when weighing up the obvious advantage of the Galaxy Camera: provided you don't need to actually speak to anyone, this is one device fewer to carry in your pocket. There's definitely a gargantuan hole in the market for connected devices for photographers, but speaking as an untalented-but-enthusiastic amateur photographer, this is a device I really really like, but am yet to fall in love with. Underneath it all, it's a deliberately-crippled smartphone.

Canon C100 and C500 digital cinema cameras join the C300, plus four new lenses

Canon found itself in a strange position when the Digital Cinema "revolution" became mainstream. Having been a manufacturer of video camcorders for years it was surprised to find everybody wanting to use its still cameras to make movies. After adding a video function for press photographers, film-makers fell in love with the look provided by a large sensor and 24-frames a second. Canon (eventually) responded with the entirely new EOS C300 digital cinema camera nine months ago. Only two complaints with the C300 – too expensive and not 4K. Canon has now addressed those two little problems.
Unfortunately, not in the same camera though. We are dealing with a Japanese tech giant and market segmentation is the modus operandi; so we get the C500 4K camera to slot in above the C300 and the cheaper C100 to sit below.

Unfortunately, not in the same camera though. We are dealing with a Japanese tech giant and market segmentation is the modus operandi; so we get the C500 4K camera to slot in above the C300 and the cheaper C100 to sit below.

C100

The C100 is 15 percent smaller than the C300 and is being aimed at budget TV, indie film and event videographers. The viewfinder has been simplified and the 3.5 inch LCD monitor is fixed to the rear of the body. Button layout is rationalized and the camera is Canon EF mount only with no PL mount option. This allows autofocus and auto-iris, which are not possible on the manual-only C300

The good news is that the C100 uses exactly the same Super35-sized 8.3 MP sensor as the C300. The unique way the sensor works provides excellent picture quality and fantastic low-light performance. This is slightly compromised by the fact that that the 1920 x 1080 signal is recorded to SD cards using 24 Mbps AVCHD compression with 4:2:0 color sampling. The signal can be recorded uncompressed via the HDMI output using an external recorder but presumably still only with 4:2:0 sampling.

Naturally, no RAW output is available but there are a range of gamma adjustment options to allow the recording of pictures suitable for grading in post-production if needed or if a "filmic" look is required straight out of the camera.

Audio recording at 16-bit 48 kHz is possible and there are two XLR inputs in the removable top handle. There is also a side grip for “run and gun” single person shooting.

The C100 will be available within a couple of months for around US$8,000

C500

The C500 is very similar in form to the C300 with a similar sensor but of course adds the ability to output 4K (4096x2160 pixels) plus Quad HD and 2K pictures. Here’s the slightly strange kicker though. The camera cannot record 4K (or even 2K) internally but only via SDI ports to an external recorder – which Canon does not make. Odd, and probably a limitation of the compact body form chosen.

Frame rates are variable from one to 120 frames per second (for slo-mo effects) and the camera records HD internally to CF cards at 50 Mbps with 4:2:2 color sampling.

The camera comes in two varieties – the standard C500 is compatible with EF, EF-S and EF Cinema lenses for Canon SLR cameras, while the C500 PL model is compatible with PL-mount EF Cinema lenses and other PL-mount lenses. The EF mount features a rotating collar to facilitate cine-style lens changes.

Both C500 models should be available before the end of the year for around $30,000

New Lenses

The cameras might have one scratching one’s head a little but there is no doubting Canon’s serious commitment to cinema optics. Since all the new Canon Cine EOS lenses are available in both EF and PL fitting, they are not dependent on the cameras for their success. Coming early next year are a wide-angle 14 mm T3.1 and telephoto 135 mm T2.2 prime lenses. These will join the existing 24 mm, 50 mm and 85 mm fixed primes, all of which are suitable even for full-frame cameras like the EOS 1D and 5D.

Two new compact zooms have also been announced; the CN-E15.5 - 47 mm T2.8 L S/SP wide-angle cinema zoom lens and the CN-E30 - 105 mm T2.8 L S/SP telephoto cinema zoom, which are designed suit the single-operator potential of the C100 and C300. These lenses will only cover up to APS-C sized sensors.

Available in January 2013 and November 2012 respectively, these lenses will cost about $24,500 each; which might shock some but is about par for the course. My first article for Gizmag was about the differences between still and cine lenses and why the latter cost so much!

8 Tips for Memorable Christmas Photos

We look forward to it all year long and now Christmas is just a few short days away. Each year brings new precious memories, and as photographers, we enjoy preserving those memorable moments as best we can in photo. Our skills, techniques, and vision improve year over year, and I felt that these 8 tips would help to provide a solid base for capturing some great images this Christmas.

White Balance

Christmastime is one of the trickiest times for white balance control. If you’re outdoors shooting snowy landscapes, all of that white snow can play tricks with your camera’s metering and white balance. The best bet is to set a custom white balance as soon as you go outside to shoot. Alternatively, you can shoot in RAW and adjust the white balance in post process.

If you’re not going to be braving the cold, there will be plenty of indoor moments to capture also. Take care to set your camera’s white balance based on the indoor lighting so that your images don’t come out looking too warm (although a little is nice this time of year).

Capture Moments, Not Faces!

It’s not always about getting everyone to sit still and pose with a big smile. Memorable moments are all about creative spontaneity. One way to capture such photos is to shoot the Christmas Day action without your subjects knowing. Try photographing your children from the back as they open a present. Look for ways to capture the festivities while purposefully not including faces. It can be challenging, but the results are worth it.

You’re on Candid Camera

As with the previous tip, make photos of your family/friends that are not posed. This time, look for expressions of wonder, excitement, laughter… In the beginning it can be difficult with everyone being aware of the camera, so keep shooting throughout the day. People become less aware and you’ll be able to grab some great shots of natural moments and pure expressions. Posed photos of loved ones are great, but candid shots that capture reality in a frame can be timeless. Shooting in burst mode with a fast lens is ideal in these situations.

Blur is Good, Bokeh is Better

We all love beautiful bokeh, but Christmastime has to be one of the best times of year to experiment. Throw your camera out of focus and aim for those Christmas lights. Indoor or out, a whole new world of creative opportunity opens when you bypass detail for shapes and colours. Set your camera/lens on manual focus and have a ball. This works great on lights, but try it out with some of your candid shots of people too.

Don’t be Too Flashy

When shooting indoors at Christmastime, flash can be a tricky thing to use. Too much flash and you’ll overpower any lights from your tree, and without a flash your portraits may wind up looking too dark. If you are shooting with a flash unit, aim it up towards the ceiling or facing a wall at a low power, and use the bounced light instead of directly flashing your subjects. You can also try using rear-curtain sync mode to capture some ambient light from the room. If you are shooting with a point-n-shoot camera, try using the “indoor” or “night mode” presets to work the flash while still grabbing some of the ambient room lighting. If the flash is too harsh, you can hold a small piece of tissue in front of it to diffuse the light further.

In many cases, simply increasing the ISO to around 800 will be enough to shoot without a flash. Flash is good for any posed family shots, while you’ll want to stay flash-less for those candid photos as it is less distracting, and produces more natural looking images. Again, in both cases (flash or no-flash), remember to set your white balance!

Creative Apertures

This is one of the coolest little tricks I’ve learned over the years. Craft stores sell hole-punchers in different shapes (such as hearts, stars, etc…). Get a thick piece of black construction paper, and punch out a shaped hole. Next, open your camera’s aperture as wide as it can go (shoot in Aperture Priority mode for this), while holding your punched out card over your lens. This allows light to enter through the shape you cut out, and the resulting bokeh takes on that shape. It’s a cool effect that can add some kick to those light-filled backgrounds.

On the subject of apertures… Shooting in Aperture Priority mode is a good bet on Christmas Day, so that you can keep adjusting as necessary. Wide apertures (such as f/2.8) are good for single subjects and even those up-close, detail shots. When shooting images with depth, such as a dinner table shot with family seated, you can close down the aperture to f/8 or even f/11 to widen the depth of field and keep everyone’s face (and all that delicious food) nice and sharp.

It’s All About the Details

There are plenty of great photo opportunities to be found in the details of Christmas Day. Get up close and personal with decorations, wrapping paper, and let’s not forget – food! Our loved-ones (and ourselves) work hard to put up decorations, strategically place ornaments, and cook that amazing food. It’s all about the details, so look for things like patterns, repetition, and textures. A few detail shots will add interest and life to your Christmas photo collection this year.

Beware the Background

When shooting indoors on Christmas Day, it’s important to be aware of the background whether you are shooting posed or candid shots. Backgrounds can be especially busy at this time of year, especially with all of the lights, decorations, wrapping paper, or even people (if there are many around). Great photos are ones that draw the eyes of your viewer to a particular subject (or point-of-interest). You can minimize distracting backgrounds and isolate your subjects by shooting with a wide aperture to play with the depth of field.

I hope you find these tips helpful to your Christmas Day shooting. As always, Happy Photographing. I wish you all a very Merry Christmas.

5 Steps to Better Photography

Just like athletes, a photographer’s skill comes from hours of training, accompanied by dedicated experimentation.

By its nature, creative exploration means going beyond the easy and familiar. Trying new tools or techniques, after initial frustration, can lead to great discoveries and open new ways of self-expression.

The goal is to come up with your own interpretation of the subject. This takes time, patience, and the discipline of using your eye to try to see beyond what is in front of you.

Below I listed 5 tools which, with practice, will help you to create strong sense of visual excitement in your images and ultimately to allow you to express the feelings that prompted you to take photographs in the first place.

1. Light

Light is the most important aspect of photography. Understanding light will enable you to take advantage of any lighting situation. You can do that by studying your most successful photographs.

Look for the light and what it’s doing in each of your images. Is it hard or soft, defuse or directional?

Look at the shadows, identify where the light is coming from. Become aware of light and its magic. On the field, use this knowledge to your advantage. Make the most of what is available.

2. Colour

Colour has an enormous impact on us. It can influence your mood and express your feelings. Learn some basic principles of colour theory. Familiarize yourself with the 4 basic dimensions of colour: hue, value, intensity and temperature. Discover the secret language of colour and its meaning. Using colour concisely will help you to create interesting compositions.

3. Abstraction

Everything you photograph is composed of shapes. You cannot photograph a tree, you can only photograph a form and colour that conveys the visual information of a tree.

Therefore, it is important for you as a photographer to be able to see subjects as shapes. Train yourself to break down the scene in front of you into areas of simple shapes and colour. It will help you to create simple composition with a clear message.

4. Elements of design

The elements of design are the building blocks used to create a work of art. The most basic element in any photograph is lines. Being conscious of the subtle feelings associated with lines will allow you to manipulate a photograph’s emotional impact. For example a horizontal line suggests calmness and tranquility, a vertical line gives a feeling of balance, oblique suggests movement.

To create more effective photographs, actively look for lines and arrange them within your viewfinder to evoke specific feelings.

5. Techniques

Techniques are important to the success of any photograph(s). You should practice to the point that they become second nature. Then you will have the freedom to create. But remember, techniques should not detract from what you are trying to communicate. They are there to help you make that message clearer. It can become a pointless exercise where there is too much reliance on technique.

There you have it: 5 simple steps to better photography. Now, go and create, experiment and most of all have fun. And don’t be afraid of making mistakes. As Garry Marshall once said “It’s always helpful to learn from your mistakes because then your mistakes seem worthwhile. “

Eva Polak is fine art photographer based in Auckland who specializes in impressionist photography. Author of two books “At the beach” and “Impressionist Photography Techniques” – visit her site at www.evapolak.com.