NEW: THE LEICA SUPER-ELMAR-M 21MM F/3.4 ASPH.

by JamesNYCJune 21. 2011 14:31

Compact M lens with improved imaging performance sets new standards in wide-angle photography

Solms, Germany (June 21, 2011) - Leica Camera AG adds a new, high-performance wide-angle lens to its portfolio of short focal length lenses for Leica M cameras. The Leica Super-Elmar-M 21 mm f/3.4 ASPH. sets new standards in imaging performance. It is characterized by its particularly compact size and suitability for a wide range of photographic situations. Whether used for photojournalism, architecture or landscape photography, the Leica Super-Elmar-M 21 mm f/3.4 ASPH. provides photographers with an extremely small, light and versatile wide-angle lens, particularly suitable for travelling.

The performance of the Leica Super-Elmar-M 21 mm f/3.4 ASPH. is reminiscent of one of the all-time favorite classic M lenses, the Leica Super-Angulon-M 21 mm f/3.4. This highly praised lens was an integral part of the Leica M lens portfolio from 1963 to 1980 and made its name and reputation as an ideal tool for available light photography and photojournalism. Even today, the Super-Angulon-M 21 mm f/3.4 remains extremely popular and one of the most sought-after M lenses amongst connoisseurs of fine optics.

The new Leica Super-Elmar-M 21 mm f/3.4 ASPH. is a worthy successor, with further improvements over the already outstanding performance of its forerunner model. The lens reveals its excellent reproduction of detail and superior contrast at maximum aperture. Of particular note is the extremely effective optimization of flare characteristics of the Leica Super-Elmar-M 21 mm f/3.4 ASPH., which allows the capture of fascinating ‘contre-jour’ images with absolute clarity and contrast.

The intricate optical design and construction of the lens are responsible for its outstanding sharpness and imaging qualities. The Leica Super-Elmar-M 21 mm f/3.4 ASPH. is constructed with eight lenses in seven groups. At the same time, the use of one lens element with two aspherical surfaces and four lenses with anomalous partial dispersion ensure that aberrations are reduced to an absolute minimum.

As with all Leica lenses, the Super-Elmar-M 21 mm f/3.4 ASPH. was designed and developed by Leica specialists in Solms, Germany and represents the perfect combination of optical and technical expertise. Particularly reliable and with enduring value, every Leica lens is manufactured from only the highest quality materials and is assembled with meticulous precision, completely by hand. The combination of cutting-edge technologies and extremely thorough manufacturing processes guarantees consistently excellent quality.

The Leica Super-Elmar-M 21 mm f/3.4 ASPH. is supplied with a high-quality, all-metal lens hood, which should be mounted at all times. The hood not only protects the lens effectively against reduction of contrast by extraneous light, but also against damage and the accumulation of dirt on the front lens element.

The Leica Super-Elmar-M 21mm f/3.4 ASPH. will be available from Leica dealers beginning July 2011.


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THE NEW LEICA M9-P: THE ESSENCE OF DISCRETION

by JamesNYCJune 21. 2011 14:31

Designed particularly for professional photographers, new ultra-discreet version of the Leica M9 added to Leica rangefinder portfolio

Solms, Germany (June 21, 2011) - Leica Camera AG is proud to present a new version of the world’s smallest, full-frame digital system camera: the Leica M9-P.  This new model will sit alongside the Leica M9 in the company’s rangefinder portfolio. Providing an alternative, even more discreet and resilient design that further reinforces the classic nature of the M9, the M9-P specifically meets the needs of professional photographers.  The new model is now available in a classic silver chrome or subtle black paint finish.

Featuring the compact size, full-frame, 18 megapixel 24 x 36mm sensor (35mm format), sophisticated image processing and robust construction of the highly successful Leica M9, the M9-P also incorporates features designed for professional users or photographers who prefer a pure, even more unobtrusive styling.

The Leica M9-P includes a scratch-resistant, sapphire crystal covering on the LCD screen. Produced using special diamond cutting tools, this screen is fashioned from one of the world’s hardest and most resilient materials. Extremely resistant to wear and almost unbreakable, the sapphire glass LCD cover offers many years of reliable use. Additionally, the anti-reflective coating on both sides of the cover improves the review of images on the display after capture, particularly in unfavorable lighting conditions.

Finished in vulcanite leatherette, the external covering of the body of the M9-P is particularly resistant to wear. This leathering features a more coarsely-textured finish that ensures a steadier grip when shooting, making the M9-P feel particularly safe and secure in the hand.

Fulfilling the needs of many professional photographers to capture the decisive moment as discretely as possible, the Leica M9-P’s minimalist styling highlights its most essential features. The Leica red dot logo and the M9 lettering on the front have been omitted and replaced with the Leica name in classic script form engraved on the top plate, making the M9-P the quintessential unobtrusive tool.

Since 1954, the Leica M-System has represented an unmistakable, individual kind of photography and a very conscious photographic style and allowed photographers to capture, document and interpret life’s fleeting moments in all fields of photography, from photojournalism, reportage and ‘available light’ to the capture of portraits and aesthetic, fine-art images.  With a Leica M, the photographer becomes a ‘part of the action’ when capturing challenging, authentic and creative images. The frame lines frame precisely the shot the photographer envisages, while allowing a clear view of the scene outside the viewfinder frame. 

The functions of the Leica M are consistently constructed for extreme durability and a long working life. The highest quality materials, intricate manufacturing processes and meticulous manual assembly at Leica Camera’s facility in Germany guarantee functional reliability for years to come.

The Leica M9-P will be available from Leica dealers in two different finishes, black paint or traditional silver chrome, beginning July 2011.


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NEW: THE LEICA SUPER-ELMAR-M 21MM F/3.4 ASPH.

by JamesNYCJune 21. 2011 14:29

Compact M lens with improved imaging performance sets new standards in wide-angle photography

Solms, Germany (June 21, 2011) - Leica Camera AG adds a new, high-performance wide-angle lens to its portfolio of short focal length lenses for Leica M cameras. The Leica Super-Elmar-M 21 mm f/3.4 ASPH. sets new standards in imaging performance. It is characterized by its particularly compact size and suitability for a wide range of photographic situations. Whether used for photojournalism, architecture or landscape photography, the Leica Super-Elmar-M 21 mm f/3.4 ASPH. provides photographers with an extremely small, light and versatile wide-angle lens, particularly suitable for travelling.

The performance of the Leica Super-Elmar-M 21 mm f/3.4 ASPH. is reminiscent of one of the all-time favorite classic M lenses, the Leica Super-Angulon-M 21 mm f/3.4. This highly praised lens was an integral part of the Leica M lens portfolio from 1963 to 1980 and made its name and reputation as an ideal tool for available light photography and photojournalism. Even today, the Super-Angulon-M 21 mm f/3.4 remains extremely popular and one of the most sought-after M lenses amongst connoisseurs of fine optics.

The new Leica Super-Elmar-M 21 mm f/3.4 ASPH. is a worthy successor, with further improvements over the already outstanding performance of its forerunner model. The lens reveals its excellent reproduction of detail and superior contrast at maximum aperture. Of particular note is the extremely effective optimization of flare characteristics of the Leica Super-Elmar-M 21 mm f/3.4 ASPH., which allows the capture of fascinating ‘contre-jour’ images with absolute clarity and contrast.

The intricate optical design and construction of the lens are responsible for its outstanding sharpness and imaging qualities. The Leica Super-Elmar-M 21 mm f/3.4 ASPH. is constructed with eight lenses in seven groups. At the same time, the use of one lens element with two aspherical surfaces and four lenses with anomalous partial dispersion ensure that aberrations are reduced to an absolute minimum.

As with all Leica lenses, the Super-Elmar-M 21 mm f/3.4 ASPH. was designed and developed by Leica specialists in Solms, Germany and represents the perfect combination of optical and technical expertise. Particularly reliable and with enduring value, every Leica lens is manufactured from only the highest quality materials and is assembled with meticulous precision, completely by hand. The combination of cutting-edge technologies and extremely thorough manufacturing processes guarantees consistently excellent quality.

The Leica Super-Elmar-M 21 mm f/3.4 ASPH. is supplied with a high-quality, all-metal lens hood, which should be mounted at all times. The hood not only protects the lens effectively against reduction of contrast by extraneous light, but also against damage and the accumulation of dirt on the front lens element.

The Leica Super-Elmar-M 21mm f/3.4 ASPH. will be available from Leica dealers beginning July 2011.


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LEICA CAMERA OFFERS FIRMWARE UPDATE 1.162 FOR THE LEICA M9

by JamesNYCJune 16. 2011 11:57

Solms, Germany (June 16, 2011) - Leica Camera AG is pleased to announce the firmware update 1.162 for the Leica M9, the world’s smallest, full-frame digital system camera. Users wishing to benefit from the new offerings can now download the firmware update from the Leica Camera website and take advantage of new, improved features.

Firmware update 1.162 features a revision of sensor homogeneity for wide-angle lenses. The additional color calibration noticeably reduces chromatic differences between the center and the corners of an image, especially in critical shooting situations. Additionally, the software processes of the Leica M9 have been optimized, significantly reducing the “red edges effect” and improving the menu’s Italian translation. 

For the first time, members of the Leica Camera Forum were invited to beta test the firmware update prior to its release. Approximately 1,000 Leica M users offered their feedback and insights, supporting Leica Camera’s commitment to providing innovative tools that stand at the forefront of technological innovation. The 80 selected “test pilots” considerably influenced the production of firmware 1.162.

For installation instructions and to download firmware update 1.162, please visit: http://en.leica-camera.com/service/downloads/rangefinder_cameras/m9/.

About the Leica M9:

As the world’s first digital rangefinder camera with a 24 x 36 sensor, the Leica M9 carries the proud heritage of the Leica M system into the digital age.   A truly professional camera for authentic Leica M photography in the familiar, classic and timeless M design, the M9 is the perfect contemporary tool for those who set the highest standard in image quality and are committed to creating images of enduring value.  The M9 is compatible with nearly every Leica M lens in existence. 

Availability

The Leica M9 in steel grey or black is available from Leica dealers. For a list of Leica dealers, please visit http://us.leica-camera.com

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JAN GRARUP RECEIVES THE LEICA OSKAR BARNACK AWARD 2011 FOR HIS PORTFOLIO ‘HAITI AFTERMATH’

by JamesNYCJune 15. 2011 07:18

Solms, Germany (June 15, 2011) - First prize in this year’s highly prestigious photographic competition, the Leica Oskar Barnack Award 2011, goes to the Danish photographer Jan Grarup. For his award-winning portfolio, entitled ‘Haiti Aftermath’, the winner will be presented with a Leica M9 camera and lenses worth around €9,500 (approximately U.S. $13,760), as well as a cash prize of €5,000 (approximately U.S. $7,240). The second winner in this year’s competition is Jing Huang from China. His portfolio, ‘Pure of Sight’, wins the Leica Oskar Barnack Newcomer Award 2011 and a Leica M9 with lenses. The prizes will be presented on July 5, 2011 as part of the photographic festival in Arles.

The central theme of his project, ‘Haiti Aftermath’, focuses on the massive earthquake in Haiti on January 12, 2010 and its consequences. Jan Grarup’s portfolio shows the extent of the catastrophe and the fate of the survivors in pictures of enormous intensity. The destruction is appalling. A precise count and identification of the victims is difficult due to the enormous devastation. Even today the number of victims can only be estimated, and the government assumes a death toll of around 300,000 people, with more than three million affected by the quake. The earthquake is therefore considered to be the most severe quake in the history of North and South America. Jan Grarup travelled to Haiti on an assignment for various magazines to document the catastrophic consequences of the natural disaster. He sees his mission as a photographer as much more than the simple depiction of the current situation. The aim of his black-and-white shots is to generate emotion. The earthquake took everything the Haitians had: their belongings, the roof over their heads, their friends and relatives. Their lives lie in ruins. Fear and despair is written on their faces. They have lost all they ever owned and often even risk the only thing left to them in the search for food and water: their lives. The police and private security forces attempt to protect the remaining stocks of provisions and do not hesitate to defend them with weapons, as Jan Grarup’s pictures show. 

More...

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Creative Collision: The Industry’s Direction

by JamesNYCJune 10. 2011 09:46
Question: What Direction Do You See the Industry Changing?

Today, nobody is quite sure of the exact direction the industry is taking. We can however be sure of one thing – the digital world is increasing at a nearly insurmountable rate. In this Creative Collision video, you will see experts discussing their thoughts on this topic, including:

  • How concept campaigns are changing
  • The new workflow for artists
  • What aspects of print are surviving

[vimeo:24875301]

Creative Collision: The Industry's Direction from Agency Access on Vimeo.

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Imagined Family Heirlooms: An Archive of Inherited Fictions

by JamesNYCJune 6. 2011 13:52

WHAT I DO
I have been creating a massive archive of portraits with the tintype process for over 7 years. I use antique brass lenses, wooden view cameras and chemistry I mix according to traditional recipes. Recently, I have begun bringing these images into large-scale installations alongside found antique letters, photographs and textiles, and simulated "heirlooms" that I make using other historic photographic processes including cyanotype and van dyke brown photograms. With these objects I create fictional heirloom collections for fictional families and individuals.

MY CURRENT PROJECT
I construct installations that are "curated" from my growing archive of real and imagined heirlooms, hanging them the same way family photos are displayed on household walls. I have installed several different slices of the collection in university and commercial galleries, but I am now building installations that exceed these previous incarnations in scope and size. I bring objects together from a wide range of places and times, sometimes even my own family, but no real family is represented by the installations. They are potential but imaginary heirloom collections, fragments of other collections that have been forgotten in boxes or abandoned to thrift stores. When combined with my own work, each of these objects is put into a new context, a new history, even as the individual object still evokes the unique past it has been separated from.

The project draws attention to the rootless nature of contemporary identities. We all assemble and create our identities from fragments of the past. Some of us carefully reconstruct genealogies and can name the individuals in family photographs back multiple generations, while others see only strangers in old albums and shoeboxes. Some of us choose one ancestor or one ethnic affiliation to identify with over another, while others of us find new, future lines of identity in the images we collect of our children. Through the images we hold on to, we all seek to forge identities, to assimilate into traditions and put our lives into historical contexts.

When looking at my installations, viewers might wonder: Are these people related? What stories bring these objects and faces together? Why have these particular objects been framed and not others? What stories, known only to the collector who left them behind, would be communicated by these objects if we just had enough information? These objects are both mysterious and familiar, just as are, paradoxically, images of our own ancestors. I am very interested in the fictional quality of identity-formation. Specifically, I am interested in examining the role that photography has played since its invention in shaping our sense of identity and belonging.

THE PLAN

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Henri Cartier-Bresson – Life Is Once Forever

by JamesNYCJune 3. 2011 07:19

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Free Webinar - RAW COLOR POWER with Adobe® Lightroom® and the ColorChecker Passport

by JamesNYCJune 2. 2011 08:08

Two sessions are available:
Thursday, June 9th

Session One - 11 AM Eastern Time
(10 AM Central, 9 AM Mountain, 8 AM Pacific)
Learn More and Register Here

Session Two - 1 PM Eastern Time
(12 PM Central, 11 AM Mountain, 10 AM Pacific)
Learn More and Register Here

For more detailed information please click on one of the registration links listed above.

Topics Covered
Creating and Using Camera Profiles
Custom White Balance with the Passport
Once click accurate color edits
Matching color response of two or more cameras
Matching color response under different lighting conditions
Color editing in Adobe® Lightroom®
Color editing in Adobe® Photoshop®

Who should watch this webinar?
Professional photographers
Photographic enthusiasts
Anyone passionate about accurate color

 

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Henri Cartier-Bresson L'amour tout court Part1-5

by JamesNYCJune 2. 2011 07:00

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Stuff people say

Any photographer who says he’s not a voyeur is either stupid or a liar. - Helmut Newton

 

"The Camera does not lie, Post Production and Publishers do". - James-ism 09/06/2013

 

Nothing ever comes to one, that is worth having, except as a result of hard work. - Booker T. Washington

 

"Papa, ... Music is your love, but Photography is your Religion." - Joya D. Hall-Sullivan | Age 10

 

"All photographs are accurate. None of them is the truth." - Richard Avedon - 1984

 

 "I have not failed. I've just found 10,000 ways that won't work." - Thomas Alva Edison

 

"Any photographer who says he’s not a voyeur is either stupid or a liar." - Helmut Newton

 

"You don’t have to sort of enhance reality. There is nothing stranger than truth." - Annie Leibovitz

 

"When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track." - Weegee

 

" The camera is much more than a recording apparatus. It is a medium via which messages reach us from another world." - Orson Welles

 

"Some people's photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already." - Helmut Newton

 

"Our virtues and our failings are inseparable, like force and matter. When they separate, man is no more. " - Nikola Tesla

 

"I think all art is about control - the encounter between control and the uncontrollable." - Richard Avedon

 

"The first 10 000 shots are the worst." - Helmut Newton

 

“If I have any ‘message’ worth giving to a beginner it is that there are no short cuts in photography.” – Edward Weston

 

"Men often become what they believe themselves to be. If I believe I cannot do something, it makes me incapable of doing it. But when I believe I can, then I acquire the ability to do it even if I didn't have it in the beginning." - Mahatma Gandhi

 

"Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man." - Edward Weston

 

"If you want reality take the bus." - David LaChapelle

 

"You don't take a photograph, you make it." - Ansel Adams

 

"When I have sex with someone I forget who I am. For a minute I even forget I’m human. It’s the same thing when I’m behind a camera. I forget I exist." - Robert Mapplethorpe

 

" Great photography is always on the edge of failure." - Garry Winogrand

 

"I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal." - Horst P. Horst

 

"Be yourself. I much prefer seeing something, even it is clumsy, that doesn't look like somebody else's work." - William Klein

 

"Avedon claims to have been the best photographer in the '60s - bullshit - Bob Richardson was - despite or because of being insane and strung out on drugs, I managed to do photographs that are considered iconic - being known as the 'photographer's photographer' means I lead and they follow - I'm broke and they are rich." - Bob Richardson

 

"If you're absent during my struggle, don't expect to be present during my success" - Will Smith

 

"Either take the lead or follow behind, just stay the fuck out of my way." - James Sullivan

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