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THE IMAGING RESOURCE DIGITAL PHOTOGRAPHY NEWSLETTER
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Volume 15, Number 8 - 19 April 2013
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Copyright 2013, The Imaging Resource. All rights reserved.
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Welcome to the 356th edition of The Imaging Resource Newsletter. In this issue, we interview U.S. Air Force MSG Jeremy Lock, a seven-time winner of the Military Photographer of the Year award (be sure to click through to our site to see a full range of his stunning images!). And we share our just-published Shooter's Report on the remarkable Sony NEX-6, just one part of our in-depth review on the compact system camera designed for ILC beginners and enthusiasts alike. Finally, we have a raft of other reviews, news and notes we've handpicked for your reading pleasure. Enjoy!
TOPICS
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Feature: Q&A with Jeremy Lock, seven-time Military Photographer of the Year
Review: Sony NEX-6 Shooter's Report
Quick Hits
We've Got Mail
New on the Site
Next Issue
Signoff
SPONSORS
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This issue is sponsored in part by the following companies. Please show your appreciation by visiting the links below. And now a word from our sponsors:
* Sigma *
At the new Sigma, photography is our one and only focus.
Our new line of lenses are a tour de force, ranging from the
35mm F1.5 DG HSM 'Art' to the 17-70mm F2.8-4 DC Macro OS HSM
'Contemporary' to the 120-300mm F2.8 DG OS HSM 'Sport'.
Our cameras, featuring the Foveon X3 sensor, include the SD1 and the
DP Merrill, produce the�highest quality digital images.�
Learn more about Sigma offerings at http://www.imaging-resource.com/cgi-bin/nl/pl.cgi?sg13
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Are you in the digital photo business? This newsletter is read by more than 47,000 direct subscribers (plus additional pass-along readers), all with a passion for digital photography. For information on how you can reach them, contact us at editor@imaging-resource.com.
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FEATURE: Q&A with Jeremy Lock, seven-time Military Photographer of the Year
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(Note: To see more images from Jeremy Lock, click through and read the story on our site at http://www.imaging-resource.com/news/2013/04/19/qa-with-jeremy-lock-seven-time-military-photographer-of-the-year)
By Tim Barribeau
Recently, U.S. Air Force Master Sergeant Jeremy T. Lock accomplished something incredible -- he was awarded Military Photographer of the Year for the seventh time.�In 2003,�2005, 2006, 2008, 2010, 2011 and most recently for 2012, MSG Lock has been recognized as the finest photographer the military has to offer. MSG Lock was kind enough to have a brief Q&A session with us to discuss his background, how photography has changed in his more than 20 years in the service, and his plans to retire from the Air Force this Fall.
Imaging Resource: I know you've been involved in photography with the Air Force for quite some time, did you have any background or interest in the field before you joined the military? And what prompted you to join the Air Force in the first place?
Jeremy Lock: I have been in the military for over 21 years now. I first started in the AF as an Imagery Processor. I would develop, process and print film in the dark room from our satellites and U-2 planes. I would also develop and print our photographers' rolls of films after they had been traveling the world. I was stuck in a dark room and I wanted to travel the world like them. I picked up a camera, started teaching myself and had some really great mentors that helped me along. Our career fields merged together (imagery processing and photography) and that's how I started with photography.
I still didn't know much about it at that time. It wasn't until I went to my first workshop at the DoD Worldwide Military Photography Workshop that I saw what you could do with photography. I fell in love! I remember looking at a portfolio critique of one of the Navy's best photojournalists and he was showing a story on a cow slaughter house. I said we can do this? My world has never been the same since.
I joined the military after college politely asked me to leave, and after working construction. I wanted to pick up a trade I could use in the world. I wanted to join as a X-Ray technician. My father was a Lt. Col. in the AF (an aeronautical engineer) and my mom was a nurse practitioner. So I thought the X-Ray technician was the best of both worlds. That didn't happen, I was given Imagery Processor. Best lucky thing that has ever happened to me. I never had any interest in photography before I joined.
All images � Jeremy Lock and the Department of Defense
IR: We're very curious what sort of gear you use on assignment. Is it different for different jobs? What's your typical set of gear for shooting in a combat zone, or other incredibly tricky situation?
JL: As far as gear, I am not a real technical kind of guy. And I try and mentor others not to get wrapped up in the gear. Pulitzer winners have been taken from point-and-shoot cameras. I use Nikon because that is what we are issued. However, I have fallen in love with their gear and have and will rely on it. I have put their gear through hell, and it is always there ready and working for me to use.
Whenever I am on assignment, whether its in war or on a local shoot, I carry two cameras, one with a long lens and the other with a wide. And I will have usually a 50mm lens in my pocket. I pride myself with carrying as little as possible to get the job done. I usually have a very small backpack that I carry all this in with some other gear. I always have a recorder for sound, lots of extra batteries and film cards. One of the others that is a must in my backpack is a small 6-inch tripod I use for stabilizing my camera for low-light situations. If I am producing video I will also carry a tripod. I just returned from a personal shoot in India using my D800 and am blown away with the quality.
The only difference in the gear I carry in the war zone is that I also at all times have body armor and a helmet on. I also wear a shooting vest I pack with first aid supplies, maybe a snack or two, and water. I also pack my shooting vest with all my lenses, batteries and film cards. I don't carry a backpack unless it is for supplies on multiple-day trips. And I do carry a weapon. I usually only carry a 9mm pistol, not a rifle. I feel the rifle gets in my way of performing my job of documenting our brave men and women over there doing their job. I feel, even though I am a combatant, my job isn't to fight unless the team I am with is in a really bad situation. In that case there will be weapons I can pick up and use. This has happened, but thankfully I have never had to fire back.
IR: Your photography is absolutely incredible, and has obviously received wide acclaim -- most notably your frequent receiving of the MPOY awards. What do you think it is that sets yourself apart from other photographers?
JL: I don't really think or see myself as set apart from other photographers. I just love what I do and I love trying to take risks and push my boundaries, to make myself a little uncomfortable to become better with every shoot. I am always talking with and collaborating with my mentors on how to best tell the story and make that difference in my subject's story.
All images � Jeremy Lock and the Department of Defense
IR: Given that you've been photographing for so long, how has the field changed since your early days? What's it like shooting digital instead of film in these incredibly difficult and dangerous situations? I can only imagine not having to swap out film rolls is a boon.
JL: I started out on a Nikon F3 and soon after that we went digital. The plus of digital is the instant gratification on the back of the camera to see if you nailed the shot, and the way we can now send a picture around the world right after taking the shot. Also, we can now shoot two platforms (photo and video) in one camera with amazing quality. The quality in these cameras now a days is in my opinion just as good as film. In some of the locations I go, the environment is not good, so switching in and out film or lenses will hurt the camera and takes time.
IR: How do you see your work as different from that of an independent photojournalist? Do you ever feel constrained in what you can or can't cover because of your position in the military?
JL: I don't see my work as different from that of an independent photojournalist. I still uphold myself and other military photojournalists to the same high standards and ethics as the civilian industry. I tell -- photograph -- the truth. I don't ever really feel constrained, I try and make my destiny and not wait around to be told. I would say about 80% of all the jobs I shoot are my stories and ideas that I make sure fall in line with the military and what they are looking for. I am much happier and do a better job if I am shooting something that I want to shoot.
We, like the civilian media, still have to shoot our pet-of-the-week kind of stories. For an example, we have to shoot change-of-command ceremonies. Well the ceremony is about an hour long. I know they are looking for one to two shots that will literally take me two minutes to shoot. I have to be there for the hour, so I just play and see what kind of neat things I can get myself into. Then I bring it back and say here are your coverage shots of the event, but look at these others as well. I try to always remember where I have come from and never am I below any shoot. Even group photos can lead to some amazing stories.
As for the war zone, you have to constantly prove yourself. I am an AF guy who's knocking on the Marines' and Army's doors to go out with them. I have to prove I am an asset, not someone they have to babysit. That's where my training from Combat Camera comes in handy. We are trained in everything from first aid, vehicle driving, multiple weapons, patrols, house to house searches, etc. Usually after proving yourself, these guys are coming back to you saying "Oh you should go out with us tomorrow" or "Man, you missed it today."
IR: Once you retire from the Air Force, would you consider going into the private sector yourself?
JL: I am planning on retiring from the AF sometime this fall. It was such a hard decision for me, but the right one. My veins pump with our military, I have been so proud to be a part of our great military and have had the extreme honor of covering those brave men and women doing their job. Nobody likes war and it's a horrific thing, but I feel truly blessed to show the stories of what our military goes through to keep us all safe.
As far as what I will do after the military? That's the million dollar question. I want to be happy doing what I love, spending time with my sons and shooting pictures.
You can learn more about�MSG Jeremy Lock at his website, as well as by reading a recent profile on him at The Washington Times. We'd just like to give a huge thanks to him not just for talking to us, but also for his service to the United States.
To see a wide range of Lock's images, see the story at our site: http://www.imaging-resource.com/news/2013/04/19/qa-with-jeremy-lock-seven-time-military-photographer-of-the-year
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REVIEW: Sony NEX-6 (Shooter's Report Excerpt)
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(You can check out our in-depth Sony NEX-6 review, complete with gallery photos, lab test results and our final conclusion, here: http://www.imaging-resource.com/PRODS/sony-nex-6/sony-nex-6A.HTM)
By Eamon Hickey
I might be the perfect target customer for the Sony NEX-6. I've shot with advanced and professional SLR cameras (film and digital) for 20 years, but I'm ready -- more than ready -- to lighten my camera load. I put the NEX-6 through its paces over several shooting days in New York City, hoping it might be my holy grail: a serious photographer's camera in a very compact package.
Size and feel. As we already noted, the Sony NEX-6 is quite compact, and the new retractable SEL16-50mm f/3.5-5.6 OSS lens, which was included with my test unit, definitely helps keep weight and size in check. I could just slip the camera/lens combination into a large-ish coat pocket, allowing it to qualify (barely) as compact in my book. On three different days I spent 3 to 4 hours traipsing all over Manhattan with it and barely noticed its weight or bulk -- exactly what I was hoping for.
Happily, I also noticed right away how easy the camera is to hold securely, thanks to its prominent grip and tacky surface texture. I often like to walk with my camera dangling in my right hand, as opposed to hanging from a shoulder strap, and the Sony NEX-6 is among the best cameras I've ever tried for carrying this way.
Focus and overall speed. As much as I love the new compact system cameras, I've never met one that could focus well on anything capable of propelling itself, and kludgy manual focus systems are the lamentable rule with these cameras. One big promise of the Sony NEX-6 is that it might change that.
So the first thing I did with the NEX-6 was to head to the ice skating rink at Bryant Park to test out the camera's new hybrid contrast/phase detection autofocus (AF), which is designed specifically to do a better job on moving subjects. On this visit and a later one, I used the Sony NEX-6 to shoot fast and medium speed skaters coming directly at me using continuous AF in both regular continuous drive mode (about 2-3 frames per second) and in speed priority drive mode (about 7-10 frames per second, depending on whether I was shooting in the raw or jpeg file format).
I'm happy to report that the Sony NEX-6 is not at all hopeless in this scenario. I got several sequences of four to eight consecutive shots with many shots in good focus, even when using frame rates up to about 8 frames per second.
Now for the caveats: For moving subjects, the Sony NEX-6 AF system still lags behind the performance of higher-end DSLR cameras from Canon and Nikon that I've used, and it's a far, far cry from those companies' pro DSLR models. Nobody is getting a staff job at Sports Illustrated with the NEX-6. For one thing, initial focus acquisition is noticeably slower than that of a good DSLR; very quick, swing-to-the-action shots are iffy at best. Equally important, my hit rate was decent but not excellent -- only about 50% of my skating test shots were sharp (though I should caution that this was by no means a complete test).
I should also add that I was shooting in bright sunlight, and the 16-50mm kit lens can't really stress test the AF system because it has deep enough depth-of-field, even when wide open, to hide some focusing errors. Shooting a basketball game in a dark gym with a 300mm f/2.8 lens would probably yield a much different, much blurrier story.
With those qualifications noted, I'd rate the ability of the Sony NEX-6's continuous AF as reasonably competent. More to the point, it's easily good enough for my style of shooting. As it does almost like clockwork, New York's endless variety of life manifested itself at the ice rink on my second visit, in the form of a white-haired gentleman skating in his business suit, and the NEX-6 had no trouble nailing a number of sharp pictures of him gliding swiftly through his lunch break. Capturing moving people moving about normally -- rather than pro athletes zooming down the court or field or ski slope -- is the kind of shot I need decent AF for, and the NEX-6 did the job.
On the other hand, the first thing I like to do on any camera that I'm using is to separate AF activation from the shutter release button. This is one of the great unsung camera features -- it simultaneously gives you most of the advantages of both auto and manual focus -- and the Sony NEX-6 doesn't have it. Not sure I could live without that.
On still subjects, I found the Sony NEX-6's AF to be both quick and decisive. After my second visit to the Bryant Park rink, I walked three blocks to Grand Central Station where I spotted a young soldier standing with a duffel bag and reading a map, clearly on his first visit to New York. These are the kinds of shots I'm by far the most interested in getting these days, and they require a fast and sure camera. The NEX-6 quickly acquired focus on the soldier in the very dim light, letting me stop, shoot and move on in the space of about a second or two. I made many similar street-style shots in low light, and the camera's AF system worked well nearly every time.
I also liked the camera's focus peaking feature, which shows you the in-focus area with a bright glimmery highlighting (you can choose from several different colors for this highlight). It worked well for me, and I'm delighted to see Sony investing R&D effort on the ancient and seemingly unsexy art of manual focusing. I wish, however, that I could toggle directly, with one button push, between auto and manual focus; it's a two-step process on the NEX-6 no matter how you set it up.
It was clear from my first few shots with the Sony NEX-6 at Bryant Park that, in addition to autofocus, the rest of the camera's overall performance is pleasingly fast. Buttons responded quickly, shutter delay was minimal, images wrote speedily to the storage card and could be played back in just a second or two. In short, on that day and later days shooting with the camera, I never had to wait for it. That's a big deal to me when I'm wandering around looking to capture fleeting moments in the life of the city.
EVF/LCD. I loved the superb versatility provided by the two high-quality viewing options on the Sony NEX-6. It's hard to overstate the benefits here.
For the skating shots, I used the eye-level XGA Tru-Finder OLED electronic viewfinder (EVF), much like I would have with a traditional DSLR. At about 2,359,000 dots, it's sharp and responsive, and I had no trouble seeing the image even when shooting bright daylight scenes. No EVF that I've used can show the nuances of light, shadow, and color that you can see through a good optical viewfinder, but I don't expect that (yet). For composing shots, I had no trouble with the EVF in the NEX-6.
For most of my walk-around people and street shooting with the camera, I used the rear, tiltable LCD display for composing my pictures. As I moved through the crowds on Fifth Avenue, it was easy to make what we used to call Hail Mary shots, holding the camera high above my head and framing with the LCD tilted down.
For most other street shots -- the travelers in Grand Central Station, subway passengers, coffee house patrons -- I used the NEX-6 more or less at waist level, composing with the LCD tilted up. In my experience, people feel a lot less threatened when you shoot this way, compared to holding the camera to your eye. I've never been punched in the nose while street shooting, and I'd love to keep it that way. Like the EVF, the LCD is sharp and responsive, and I had no trouble viewing it in bright daylight.
Controls. Overall, I was fairly happy with the enthusiast-oriented control interface of the Sony NEX-6 as I shot with it, but I have some quibbles. I feel like Sony climbed three-quarters of the way to the top of the mountain, then just stopped.
With two control wheels -- one for aperture and one for shutter speed -- and a constant, real-time exposure readout in the form of a live histogram, the NEX-6 let me quickly control the exposure basics in manual or automatic exposure modes. The ISO setting is also accessed with a dedicated button, and I could change it quickly as I moved from subway station to street to Starbucks to sunlight to shade.
So far, so good, but then Sony blew it, in my not so humble opinion. You can't directly access exposure compensation when in automatic exposure mode. You have to click a button and enter a different control mode, and when you do, the live histogram disappears, so you can't see what your adjustments are doing to the exposure as you make them. (The histogram reappears when you go back to shooting mode.) This system is just bafflingly dumb. If they let you assign exposure compensation to the rear control dial (which is just sitting there, forlornly, with no purpose in automatic exposure mode) and kept the histogram active, Sony would in one fell swoop double the usability of the NEX-6's exposure system. I lamented this every step I took with the NEX-6.
Also baffling to me was that I could not save custom sets of camera settings, which would have allowed me to have, for example, a high ISO setup for shooting in the subway and a daylight setup for shooting above ground -- and then switch between them quickly as I walked down the stairs into a train station. I honestly didn't believe any serious camera made these days could lack this feature.
The way I shoot, I use other camera functions much less often, and I think Sony struck generally a good balance between direct button access and menu diving. The company touts the Quick-Navi interface on the NEX-6 -- basically a display of functions on the LCD, enabling two-button access to all of them -- but I found no real advantage to it over the camera's other pathways for accessing the same features.
Lens. For my style of shooting, especially in and around New York, the 16-50mm focal length of Sony's new E-mount kit lens (24-75mm in 35mm equivalent terms) was perfect. The unusually wide lower end of that range let me capture buildings and public spaces in the close quarters of this crowded city, and the rest of the range was ideal for shooting people on the streets and in cafes and restaurants.
As I walked and shot, I did struggle a bit with both the power zoom and the fly-by-wire manual zoom functions on the SEL 16-50mm, sometimes finding it difficult to precisely control the focal length. I also briefly stumbled a few times when I switched to manual focus and forgot that the ring would no longer zoom the lens. But these were minor issues, and I'd almost certainly learn to avoid them with more time shooting the camera.
Wi-Fi and special features. I downloaded and installed two of Sony's PlayMemories apps for the NEX-6: Smart Remote Control (which works with PlayMemories Mobile running on a smartphone or tablet) and Direct Upload. We're definitely in the frightening land of Very Early Stage Technology here. The instructions and dialogs for creating Wi-Fi connections are barely intelligible, like throwbacks to the entertainingly cryptic Japanese instruction manuals of the 1960s. And the apps are, at this point, fairly rudimentary, with very limited features and capabilities. Still, if you can decipher them, they work, and later versions will undoubtedly offer more and better features.
Of the Sony NEX-6's many special features, I was most interested in the Sweep Panorama and Handheld Twilight modes. When using Sweep Panorama, the camera guided me through a sequence of handheld shots and then automatically stitched them together. The result was a pretty amazingly sharp and artifact-free panorama.
I tested Handheld Twilight mode one evening in my neighborhood, capturing evocative shots of the streetlights and restaurants of Second Avenue. This feature, too, works almost magically, producing colorful, sharp handheld images of night scenes -- a great boon for a guy like me, who wants to leave his tripod in the closet where it belongs.
Movies. I also shot some video test clips with the Sony NEX-6. I liked that the camera's separate record button for video let me instantly switch to shooting movie footage, and it works with most of the camera's still image shooting modes and settings. This gave me control over aperture, shutter speeds, focus mode and more -- much more control over those parameters than many cameras allow when shooting video clips.
Using the power zoom function of the SEL 16-50mm lens, I could zoom smoothly, but I couldn't feather the zoom speed effectively, a minor quibble for this type of camera. In manual focus mode, focus peaking worked beautifully for pulling focus while recording a clip.
I didn't do an exhaustive analysis of the quality of the NEX-6's video footage, but I thought my clips looked great -- very sharp, with no obvious video artifacts.
Read our final conclusion in our NEX-6 review online: http://www.imaging-resource.com/PRODS/sony-nex-6/sony-nex-6A.HTM
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QUICK HITS: The most interesting, most-read articles on the IR site in the past two weeks
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Ricoh GR Review (first impressions): Hands-on with the world�s smallest APS-C camera
By Mike Tomkins
For the best part of the last decade, there's been something of a dark horse in the enthusiast camera market in the form of Ricoh's GR Digital series. With the launch of the new Ricoh GR, the status quo could be about to change. Now that Ricoh finally has a foot in the door in both the United States and Europe -- thanks to its acquisition of the Pentax camera business -- the company is boldly putting forward a camera that's going to attract a lot of attention. Better still, we've already been hands-on with a production-level camera, and are proud to bring you our Ricoh GR review complete with first impressions and a raft of Ricoh GR test images.
Not only is the pocket-friendly GR the smallest camera so far to feature a large APS-C image sensor -- the resolution is 16 megapixels -- it also sports a bright, sharp 28mm-equivalent f/2.8 prime lens, and a price tag that is significantly more affordable than its closest rivals. Fans of the earlier GR Digital-series cameras (and the film cameras which preceded them) will be thrilled to find that the Ricoh GR retains the same combination of thoughtful ergonomics and good image quality for which the series developed an enthusiastic following in Asia. Its sensor might have�over eight times the light-gathering area as those in past GR Digital models, but the Ricoh GR's body is remarkably similar to those cameras, with only a slight increase in width and a couple of tweaks to the control layout.
The Ricoh GR digital camera will be available in the U.S. market from mid-May 2013. List pricing is set at just US$800 or thereabouts. That's a pretty aggressive price, given that it's only US$200 more than the small-sensor GR Digital IV, and well below the list price of any other APS-C compact on the market.
For the full and in-depth story on the Ricoh GR, plus our insights into the camera's handling, performance and image quality, read our Ricoh GR review (first impressions) here: http://www.imaging-resource.com/PRODS/ricoh-gr/ricoh-grA.HTM
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Sigma introduces world�s first f/1.8 constant aperture zoom for Canon, Nikon, Sigma APS-C DSLRs
By Mike Tomkins
Over the last couple of decades, third-party lens manufacturer Sigma Corp. has built a solid reputation for creating high-quality, enthusiast-friendly optics. Unlike almost all of its competitors, Sigma still manufactures all of its products in Japan, which in itself sets the company apart. Nevertheless, Sigma still actively seeks out other ways in which it can differentiate itself, with industry firsts such as user-customizable lens algorithms and a brand-new lens testing system that aims to minimize sample variation. A brand-new lens announced by the company today really reinforces just how far it has progressed in that goal.
The brand-new Sigma 18-35mm F1.8 DC HSM Art lens couldn't be much further from the kit lenses that made up the bulk of Sigma's production in the late 80s, and it captures another world's first for the company. From a glance at its name, you may be wondering if we've fallen victim to a typo, but we haven't. This really is a constant aperture, f/1.8 zoom lens! We've seen something close before -- Olympus offers a couple of Four Thirds-mount zooms with an f/2.0 constant-aperture, for example -- but only for a rather smaller image circle. Sigma's 18-35mm F1.8 is the brightest constant-aperture zoom we're aware of for an APS-C image circle, by some margin.
Read more about the new Sigma 18-35mm f/1.8 lens here: http://www.imaging-resource.com/news/2013/04/18/sigma-worlds-first-f-1.8-constant-aperture-zoom-for-canon-nikon-sigma-aps-c
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WE'VE GOT MAIL: Questions from readers, answers from IR
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Please send us your camera and photography questions and comments (mailto:editor@imaging-resource.com). Not only will we respond to each and every one of your letters, but we'll also publish the best ones here as a resource for all our readers.
Note: Dave Etchells is traveling this week and will be answering your questions when he returns.
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NEW ON THE SITE
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At http://www.imaging-resource.com/new-on-ir you can keep track of what's new on our main site. Among the highlights since the last issue:
- Lens Review: Fujinon XF 18-55mm f/2.8-4 R LM OIS (http://www.imaging-resource.com/news/2013/04/16/lens-review-fujinon-xf-18-55mm-f-2.8-4-r-lm-ois)
- Video: How important light placement in photography can be (http://www.imaging-resource.com/news/2013/04/17/this-video-shows-just-how-important-light-direction-can-be)
- Imaging: Adobe teases "Camera Shake Reduction" tool for Photoshop (http://www.imaging-resource.com/news/2013/04/17/adobe-teases-camera-shake-reduction-tool-for-photoshop)
- News: 2013 Pulitzer Prices for Photography awarded for coverage of Syrian civil war (http://www.imaging-resource.com/news/2013/04/16/2013-pulitzer-prizes-for-photography-awarded-for-coverage-of-Syrian-war)
- Imaging: Lightroom 5 beta brings a raft of new features including offline editing -- free download (http://www.imaging-resource.com/news/2013/04/15/lightroom-5-beta-brings-a-raft-of-new-features-including-offline-editing)
- Camera Review: Shooting is fun and easy with versatile, entry-level Pentax X-5 superzoom (http://www.imaging-resource.com/news/2013/04/12/pentax-x-5-review-shooting-is-fun-and-easy-with-this-versatile-entry-level)
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NEXT ISSUE
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Our next issue will be mailed to you in two weeks, on Friday, May 3.
SIGNOFF
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That's it for now, but between issues visit our site for the latest news, reviews, or to have your questions answered in our free discussion forum. Here are the links to our most popular pages:
Newsletter Archive: http://www.imaging-resource.com/cgi-bin/dada-nltr/mail.cgi/archive/irnews
Daily News: http://www.imaging-resource.com/news
SLR Gear: http://www.slrgear.com
New on Site: http://www.imaging-resource.com/new-on-ir
Review Index: http://www.imaging-resource.com/camera-reviews
IR Photo Contest: http://www.dailydigitalphoto.com
Facebook: http://www.facebook.com/imagingresource
Twitter: http://www.twitter.com/IR_Lab
Happy snapping!
Dave Etchells & Roger Slavens
mailto: editor@imaging-resource.com
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