Samsung’s HZ25W 24x Optical Megazoom: $400 in October

The 12.5-megapixel HZ25W combines the compact size of a pocket camera with the larger zooms more common to DSLRs: a 26mm wide-angled lens with 24x optical zoom, in this case. It can also shoot 720p HD video in H.264 format.

There’s no HD output, though. On the upside, the HZ25W (aka WB5000 in Europe) can handle uncompressed RAW images, in addition to standard JPEG files.

Aside from manual controls, aided modes include optical and digital image stabilization, smart face recognition, blink detection, and automatic adjustments to accommodate the color, brightness and movement of what you’re shooting.

Update: The HZ25W is scheduled to hit U.S. shops in October at $400. [Samsung]

Canon 7D DSLR First Hands On: 18 Megapixels, 24FPS Full HD Video for $1900

Yep, it’s real. The Canon 7D is an 18-megapixel semi-pro DSLR that shoots 1080p video in 24—or 30—glorious frames per second for $1899, kicking Nikon’s previously unchallenged D300s where it hurts. But it’s also an odd little beast.

The 7D feels like Canon took the results of a survey they handed out to people about what they wanted in a camera and crammed ’em all into one product targeted at semi-pros. Full HD video with manual exposure in 24, 25 or 30 frames per second, check. More rugged, weatherproof body than 5D, check. Customizable buttons, including a new multifunction button, check. A dedicated button for switching to RAW+JPEG mode. Um, check. Electronic axis level? Also check. It has dual DIGIC IV image processors, the first model outside of the pro 1Ds line with dual image processors for fast burst shooting: 8FPS with 94-shot JPEG bursts (124 with UDMA card) or 15 RAW shots, all at full resolution with 14-bit A/D conversion.

But, it’s not full-frame: They’ve crammed 18 megapixels into an APS-C-sized sensor (like in the Rebel series or 50D, versus full-frame in the 5D) with an ISO range from 100-6400, and a Hi setting of 12,800. Canon says they’ve shortened the distance between the photodiodes in the sensor, which decreases light falloff, supposedly translating into better high ISO performance.

We got to shoot with a beta pre-production model for a little while in midtown using a couple of Canon’s new EF-S lenses—a 15-85mm ($800, coming in Oct.) that’s replacing the old 17-85mm, and a 100mm macro lens ($1050, out in Sept.)—so you can see some of the low-light results, along with other samples, below. (Again, Canon would like us to reiterate that the pictures are from a pre-production sample, i.e., not final product.)

Here’s a close-up on those guitars comparing the different ISO levels. At ISO1600, it’s not so bad, even if it’s not 5D level, but it starts getting kinda gruesome at ISO3200 (click to make bigger):

Video
It might just be the best video on a DSLR yet: Manual exposure from the get-go, and oh yeah, the ability to shoot 1080p video at 30, 24 or 25 frames per second. If you cut it to 720p, you can shoot up to 60FPS. Also, video is encoded using H.264 now. There’s a dedicated switch to flip from shooting stills to video that encircles a start/stop button for recording, so it’s much easier to get right to shooting video than the 5D. You can see some sample videos below:

Everything Else
Okay, so what else? Focusing system has 19 cross-type points, with a new way to focus in addition to the usual full-blast autofocus vs. single-point—zones, which are clusters of points. You can also lock different default focus points for horizontal and vertical orientations, so you can turn the camera back and worth without having to repick your focus point. (Setting it up is a little confusing—even the Canon rep took a minute to make it happen.) AI servo focus is supposedly smarter, so it tracks moving objects better, and it works with a new light-source detection system that adjusts for flickering light. (We didn’t get a chance to check that out.)

The viewfinder provides 100 percent coverage, like the 1Ds, and it uses a new polymer LCD network with a different graphics overlay than the 5D—that’s a lot like what Nikon’s got in the D300, actually—so it can do things like display the neat new 3D-axis electronic level in the viewfinder (which feels like an iPhone tilt game from hell if you’re holding the camera by hand trying to level it on both axes). In a first for Canon, the built-in, wide-coverage flash can command other wireless flash modules.

Oh, did I mention a ton of new buttons? Seriously: A dedicated RAW+JPEG button that’ll shoot your next shot in RAW+JPEG if you’re only shooting one at the moment. A new start/stop live view button with a control ring to quickly switch from live view to video mode. There’s also a new multi-function button on the top right. Aaand another for the custom controls menu, where you can assign different features to different buttons if you want.

Honestly, a lot of the deep customization and new interface commands were confusing, at least in the short time I spent with the camera—like setting different autofocus points for whether you’re holding the camera vertically or horizontally. There was some other shortcut that required pressing and holding two buttons at once on the camera. And I never quite understood how to use the multifunction button or pick what graphical display showed up in my viewfinder. I think you would learn a lot of that stuff in time, though. In terms of overall handfeel, I slightly the ergonomics and weight of the D300, FWIW.

The WFT-E5A wireless transmitter for the 7D sounds pretty excellent too: Wireless a/b/g allows you to connect up to 10 cameras ad hoc and remotely control them via smartphone. Also you can transfer photos to any DLNA device. And, finally, you can geotag via Bluetooth. Sadly, it’s not coming ’til November and it’s 700 bucks.

Final Thoughts
While we can’t give any final judgments on this in some ways odd camera until we get a review unit, one thing seems certain: The value proposition for Nikon’s $1800 D300s—which might’ve already seemed dicey, given that it’s the guts of a 2-year-old camera with a dash of limited 720p video—just got a lot less enticing, simply on account of the 7D’s fairly wide video powers. That’s before you even take anything else into consideration, like more pixels for more crop potential (if the pixels are good ones, that is). Obviously, we’ll be head-to-heading these two as soon as we can. Which should be shortly, since the 7D is due by the end of next month, at $1900 for the kit with an 28-135mm f/3.5-5.6 lens, or $1700 body only.

CANON U.S.A. REDEFINES MID-RANGE DSLR CATEGORY WITH
THE NEW EOS 7D DIGITAL SLR CAMERA

The EOS 7D Features Fast Eight fps Continuous Shooting, Class-Leading 18-Megapixel Resolution
and Full HD Video Recording with Variable Frame Rates and Manual Exposure Control

LAKE SUCCESS, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, today introduced a revolutionary camera that redefines the highly competitive mid-range DSLR product category: the Canon EOS 7D Digital SLR camera. Professional photographers and advanced amateurs have been demanding higher performance and more diverse functions in their cameras, and Canon has answered – with the new EOS 7D. Far more than a slight improvement from a previous model, the EOS 7D DSLR is a brand new product that stands on its own with new features never before seen in any Canon camera. Whether it’s shooting at eight frames per second (fps), focusing with the new Zone AF mode or recording 24p Full HD video, the EOS 7D DSLR camera satisfies the most rigorous professional requirements with durability, flexibility, high-resolution images and customizable controls. With its unprecedented out-of-the-box performance and high-end feature set, the EOS 7D is poised as the ultimate step-up camera for serious photographers or a second camera for professionals in the field.

The EOS 7D boasts significant EOS advancements including a completely new 19-point Autofocus system, a new Canon iFCL Metering System (Intelligent Focus, Color, Luminance) and a new Intelligent Viewfinder. An 18-megapixel Canon CMOS sensor and Dual DIGIC 4 Imaging Processors fuel the EOS 7D’s 14-bit A/D data conversion and its ability to freeze fast motion in high-resolution with eight fps continuous shooting up to 126 Large JPEGS using a UDMA CF card, positioning this camera for the studio as well as the sideline. The EOS 7D captures beautiful low-light images with or without a flash, at occasions such as a dance recital or wedding reception, thanks to a wide range of ISO speed settings from 100-6400 (expandable to 12,800). In addition to its new still capture capabilities, the EOS 7D features Full HD video capture at 1920 x 1080 resolution with selectable frame rates of 24p, 25p or 30p. Native 24p recording helps videographers achieve a more cinema-style look for their footage without the need for post-processing.

“The EOS 7D represents a completely new chapter in digital photography and Canon product development. This camera stands alone as the most functional and innovative DSLR Canon has released to-date, bringing together all of the best professional features offered, along with numerous user requests at a price-point everyone can appreciate,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The Evolution of Vision, the EOS 7D’s New Autofocus System
The Canon EOS 7D boasts the most advanced AF system ever seen in an EOS SLR. The completely re-designed system includes a new multi-axis cross-type 19-point AF grid, where the focusing points are evenly spread out across the image plane and clearly displayed through Canon’s new Intelligent Viewfinder. All 19 points are f/5.6-sensitive for both horizontal and vertical cross-type focusing, while the center AF point adds high-precision diagonal cross-type sensitivity for f/2.8 and larger aperture lenses. The Canon EOS 7D Digital SLR camera is the first EOS SLR to feature 19 cross-type focusing points that remain fully functional with maximum apertures as small as f/5.6, which brings the performance of the AF system to unprecedented levels for assignments as varied as fast-moving sports action or low-light wedding ceremonies.

The Canon EOS 7D’s AF system allows numerous AF area selection modes never seen before in an EOS SLR camera. New modes include:

· Spot AF mode reduces the size of a single AF point to focus on small subjects like an animal in a cage.
· AF Point Expansion mode uses a cluster of AF points adjacent to the selected AF point to automatically assist focusing on moving subjects, such as an athlete on the run.
· Zone AF divides the 19 AF points into five selectable focusing zones and makes it easier to achieve focus with subjects that are difficult to track with Single Point AF or AF point expansion, such as birds in flight.

Additional AF improvements include a revised Automatic AF point selection sequence that allows a user to pick any one of the 19 AF points as a starting point for tracking moving subjects in AI Servo mode. (Previous EOS models required the subject to first be acquired by the center focusing point.) If the subject moves away, the camera will continue to track the movement with the remaining points and display the active focusing point in the viewfinder. Also, a time-saving feature is AF Point Switching, which allows photographers to select and register one AF point for horizontal compositions and a second AF point for vertical shooting, ideal for studio and portrait photographers.

To complement the new AF system, the exposure metering system for the EOS 7D has been completely re-designed to take color information into account, another first for an EOS system. Canon’s iFCL metering includes a 63-zone dual-layer metering sensor that reads both illumination and color for consistent results in all lighting conditions, keeping exposure levels stable from shot to shot, even as the light source changes.

Canon’s new Intelligent Viewfinder uses a liquid crystal overlay to provide clear and precise displays of focusing points and zones, on-demand grid lines and a spot metering circle. The LCD overlay can also be illuminated in extreme low-light situations or turned off completely. The EOS 7D camera’s viewfinder includes a large all-glass pentaprism with an antireflective coating to maximize clarity and provide a brighter display. The EOS 7D’s Intelligent Viewfinder features 1.0x magnification with 100 percent coverage for accurate composition and checking of detail.

EOS HD Movie: Empowering the World of Videography
Canon has blazed new trails in HD video capture with the 5D Mark II. Now, the EOS 7D takes DSLR video to new heights with Full HD capture featuring fully manual exposure control, and selectable cinematic frame rates for both NTSC (National Television System Committee) and PAL (Phase Altering Line) standards. Compatible with more than 60 Canon EF and EF-S lenses, the EOS 7D lets videographers take full advantage of the camera’s large CMOS sensor to achieve the dramatic frame composition they desire. At the heart of the EOS 7D are two key proprietary Canon technologies, Dual DIGIC 4 Imaging Processors and a large APS-C–sized CMOS sensor, helping to render stunning color reproduction, amazing depth of field and fine detail, even in low-light conditions. The Canon EOS 7D allows for three video recording modes – Full HD and HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio, all at selectable frame rates. The EOS 7D Digital SLR camera will record Full HD at 1920 x 1080 pixels in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); 720p HD recording at 50p or 60p (59.94) and SD video at frame rates of 50p or 60p (59.94). The EOS 7D features a new dedicated button to initiate live view for both video and still shooting. Once engaged, the same dedicated button will start and stop video recording. Like the EOS 5D Mark II, the Canon EOS 7D Digital SLR camera provides users with the capability to use an external stereo microphone for professional audio effects or a built-in monaural microphone for convenience.

The Features You Asked For
A helpful new tool for architectural and landscape photography where angles and perspective are critical is Canon’s new built-in Dual Axis Electronic Level, featuring an artificial horizon over the image on the rear LCD screen in Live View or in the viewfinder using illuminated AF points for easy leveling while shooting. The dual axis electronic level shows both horizontal roll and vertical pitch, making it easy to identify when the camera is in a fixed level shooting position and ready to take the shot.

The EOS 7D’s pop-up flash features a built-in Integrated Speedlite Transmitter for control of multiple off-camera EOS Speedlites without the need for an external transmitter. This built-in wireless option is a compact and economical solution for studio and wedding photography with multiple flash set-ups.

A new Intelligent Macro Tracking function helps reduce blur during macro shooting by recognizing when a macro lens is attached and automatically adjusting the AI Servo sampling frequency. This AI Servo adjustment accounts for camera movement forward and back, a typical occurrence when moving in close for a macro shot as photographers rock back and forth, or a flower blows in the wind.

Once in your hands, you can immediately feel the ergonomic improvements of the Canon EOS 7D camera, starting with a new super-fluid body design with continuous curves outlining the top of the camera and a revised grip that fits better in a user’s hand. The camera has a new Quick Control Button, which opens an easy-to-navigate menu on the camera’s LCD screen. From this menu, users can adjust all camera settings including AF modes as well as set custom button functions, an insightful new feature that can easily customize each button’s function to the photographer’s preference. Another new feature is the RAW/JPEG toggle button providing quick dual-format shooting, allowing photographers to quickly add large JPEG or RAW file formats to their already selected shooting mode at the touch of a button.

The Canon EOS 7D camera also features a new large, clear 3.0-inch solid structure Clear View II LCD screen with 920,000 dot/VGA resolution for enhanced clarity and color when viewing images. The camera’s nine internal seals enhance weather resistance, and its 150,000-cycle shutter durability positions the EOS 7D as a “workhorse” for professionals in any photography discipline.

New Wireless Connectivity
Canon is announcing the availability of the new WFT-E5A wireless file transmitter (WFT) exclusively for the EOS 7D Digital SLR camera. The WFT-E5A wireless transmitter offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. The WFT-E5A wireless file transmitter opens the door to new possibilities in remote and Geotagged shooting applications. Photographers can fire up to 10 cameras simultaneously from across the room or across the country while maintaining control over camera settings and remote live view on a laptop or smart phone.[i] The WFT-E5A wireless transmitter can also transfer and display images on DLNA (Digital Living Network Alliance) compatible televisions and photo frames. Geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.

Pricing and Availability
The Canon EOS 7D Digital SLR camera is scheduled to be delivered to U.S. dealers at the end of September, and will be sold in a body-only configuration at an estimated retail price of $1,699.00[ii]. It will also be offered in a kit version with Canon’s EF 28-135mm f/3.5-5.6 IS USM zoom lens at an estimated retail price of $1,899.00[iii]. The Canon WFT-E5A wireless file transmitter is scheduled to be available in early November and sell at an estimated retail price of $699.99[iv].

CANON U.S.A. INTRODUCES THREE NEW EF AND EF-S LENSES, INCLUDING THE FIRST CAMERA LENS FEATURING HYBRID IMAGE STABILIZATION

Introducing the EF 100mm f/2.8L Macro IS USM,
EF-S 15-85mm f/3.5-5.6 IS USM, and EF-S 18-135mm f/3.5-5.6 IS Lenses

LAKE SUCCESS, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, continues its advancement of EOS lens technology with the introduction of three new EF and EF-S lenses – EF 100mm f/2.8L Macro IS USM, EF-S 15-85mm f/3.5-5.6 IS USM and the EF-S 18-135mm f/3.5-5.6 IS, lenses. The new EF 100mm f/2.8L Macro IS lens is the world’s first camera lens featuring Canon’s new Hybrid Image Stabilization (Hybrid IS) technology*, compensating for both angle camera shake and shift camera shake, up to four shutter speed steps. The EF 100mm f/2.8L Macro IS USM lens is compatible with all EOS cameras, while the EF-S 15-85mm and EF-S 18-135mm zoom lenses are designed specifically for Canon digital cameras that are compatible with EF-S lenses.**

EF 100mm f/2.8L Macro IS USM lens
The EF 100mm f/2.8L Macro IS USM lens could very well be the essential multipurpose lens for every camera bag due to its ability to capture sharp close-up images of small objects as well as beautiful portrait-length telephoto shots. The incorporation of Canon’s new Hybrid IS in this L-series macro lens allows it to compensate more effectively for camera shake during close-up shooting and marks a significant improvement for professionals and advanced amateurs utilizing macro photography for portrait, nature or wedding shoots.

New Hybrid IS Technology: Designed Especially for Macro Photography
The world’s first* optical image stabilizer for SLR cameras was introduced in the EF 75-300mm f/4-5.6 IS USM in 1995. Since then, Canon has made continual advancements in IS systems to enhance panning capability and improve compensation for camera shake. Now, in a move aimed at extending image stabilization to the macro realm, Canon introduces its Hybrid IS in the new EF 100mm f/2.8L Macro IS USM – another first for Canon and the world.

Conventional image stabilization technology is useful for reducing the effects of camera shake in non-macro shooting situations. When shooting handheld close-ups at 1x, however, camera shake makes it difficult to achieve acceptable results even with lenses incorporating conventional image stabilizers. Now, thanks to the Hybrid IS found in the EF 100mm f/2.8L Macro IS USM, Canon extends IS technology to the macro realm, making it easy to obtain clear handheld close-ups – a world first* and a definite advantage in environments where use of a tripod is not an option.

In order to combat the effects of camera shake in a macro lens, the IS system must be able to compensate for both angular camera shake and shift camera shake – problems that become more apparent as magnification increases. The effects of shift camera shake are rarely noticeable when shooting outside the macro realm, such as in landscape photography. But when shooting extreme close-ups, even the slightest amount of camera shake, either of the angular or shift variety, can adversely affect image quality.

In macro photography, shift camera shake and angular camera shake affect both the image formed on the sensor and the image shown in the viewfinder. This is especially relevant to handheld shooting at 1x, since the inability to properly compose and focus due to a shaky image in the viewfinder makes it extremely difficult to record sharp images.

Conventional image stabilizers of the type found in Canon IS lenses incorporate an angular velocity sensor (vibration gyro) to compensate for angular camera shake. Based on the amount of camera shake detected by the sensor, the IS system calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the shake. However, this type of image stabilizer can neither detect nor correct shift camera shake common to handheld macro photography.

The Hybrid IS includes an acceleration sensor in addition to the conventional angular velocity sensor (vibration gyro). Based on the amount of camera shake detected by the two sensors, a newly developed algorithm calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the two types of shake – a first in an interchangeable lens for SLR cameras and an excellent way to solve the problem of camera shake in macro photography.

EF-S 15-85mm f/3.5-5.6 IS USM lens
The versatile focal length, extreme wide angle and stunning image quality of Canon’s new EF-S 15-85mm f/3.5-5.6 IS USM lens makes this the ideal multipurpose wide-angle zoom lens for the photographer shooting a wedding or exotic vacation. Featuring three aspherical elements and one UD glass element for outstanding image quality, the zoom range of this lens is equivalent to 24-136mm on a full-frame camera. When coupled with Canon’s new EOS 7D DSLR, this lens provides moviemakers and videographers with a phenomenal focal range for wide-angle scenic footage and zoomed in telephoto shots.

EF-S 18-135mm f/3.5-5.6 IS lens
Canon’s new EF-S 18-135mm f/3.5-5.6 IS lens is the perfect Image Stabilized lens for advanced photographers looking for a wide-angle zoom lens with telephoto capabilities. Featuring a compact IS unit with shake correction up to four shutter speed steps, the zoom range of this lens is equivalent to 29-216mm on a full-frame camera.

Pricing and Availability
The Canon EF 100mm f/2.8L Macro IS USM and EF-S 18-135mm f/3.5-5.6 IS lenses are scheduled to be available at the end of September and sell at estimated retail prices of $1,049.00 and $499.99, respectively[i]. The Canon EF-S 15-85mm f/3.5-5.6 USM is scheduled to be available in late October and sell at an estimated retail price of $799.99[ii]

[Canon]

Ask a Pro: How to Shoot (and Not Get Shot) In a War Zone

Ever wonder how war photographers survive out there? We’ve enlisted Teru Kuwayama—a photographer who has covered conflicts in Iraq, Afghanistan and other hotspots for Time, Newsweek and Outside—to explain the perils of working in a war zone.

Among military planners, there’s an aphorism that states: “Amateurs talk tactics, professionals talk logistics.”

The daily mechanics of photographing in a “war zone” don’t have much to do with photography—mostly it’s about getting from point A to point B without getting your head cut off, then finding a signal and an outlet.

I’m probably not the right person to be give advice on war photography, since I don’t even count myself as a war photographer—but for one reason or another, I’ve spent the better part of the last decade in places like Iraq and Afghanistan. I was a young photographer when these wars began—I’m not anymore, and from all indications, the “long war” is just getting started.

For what it’s worth, here’s some advice for first timers heading out to the badlands.

Wear Your Seat Belt
I get questions on a daily basis from journalists heading for Afghanistan—most of them are about body armor—but it’s the traffic that’s most likely to kill you. The stretch of Islamist insurgency that arcs from Southern Philippines to Somalia hasn’t produced exceptional snipers, but it’s home to some of the most lethal drivers on Earth. On my last trip to Pakistan, I flipped a car four times within 72 hours of arrival. My bulletproof vest is still wrapped in plastic somewhere in Islamabad.

Learn How To Say “Hello” and “Thank You” and To Count To Ten
Most tourists wouldn’t go to France or Italy without packing a phrasebook, but a surprising number of photographers set off to Iraq or Afghanistan without learning how to make the most basic conversation. I recently found myself explaining to an “experienced war photographer” that Afghans don’t speak Arabic.

Stop Looking For the “Front Line”—It’s a Mirage
The awkwardly named “global war on terror” might be the undeclared World War III of the 21st century, but it doesn’t play out like WWI and WWII, and counterinsurgency isn’t done in trenches. In modern military parlance, the “battlefield” has been replaced by the “battlespace,” an all-encompassing realm that includes not just the landscape, but also the “hearts and minds” of a “human terrain,” and the airwaves and webspace across which an “information war” is being waged.

Equip Yourself With the Right Gear
War zone propeller-heads can talk endlessly about their toys, so here, in bullet points, are a few tips:

Avoid the faux-commando stuff – An entire paramilitary equipment industry has emerged, selling “special operator” products ranging from “tactical flashlights” to mercenary-chic cargo trousers. Private military contractors love this overpriced war-schwag, but since you are not a highly paid, heavily armed, former Navy SEAL, it’s probably best that you avoid dressing up like one. When you’re on the side of the road, getting shaken down for your money and/or your ID, you really don’t want to pull it out of a camouflage passport holder that says “Operation Iraqi Freedom” all over it. (It won’t make you especially popular in the airport in Paris or Dubai either).

Bring plastic (not your credit cards) – In places like Iraq and Afghanistan, you will encounter an unimaginable variety of dirt, dust, sand and, in the rare event of rain, mud that falls from the sky. These abrasive, corrosive, gear-choking forces are probably more destructive than any known insurgent militia, and they will eat you and your expensive toys alive. Zipties, ziplock bags, crazy glue and plastic packing tape will help you patch it together. Skip the army-navy outfitter, and go to Home Depot and the 99-cent store.

Pack your go bag – AKA, your grab bag, jump bag, snatch bag, bug-out bag, etc. Since you’re out there looking for trouble, be prepared to find it. Your go bag is the essential kit, packed in advance, that you head for the door with when things get hectic. Beyond your go bag, keep an ultra-light bare-bones survival pack—and keep it strapped to your body. When things go bang, you may be semi-conscious, crawling out of a destroyed building or a wrecked vehicle, and even your go bag may go sideways. Military bases and hotels with foreign guests are natural magnets for missiles and explosives, so expecting to be blown out of bed is not necessarily an irrational thought. Similarly, you are exceptionally vulnerable when traveling by road, and in the event of an accident or an ambush that you are lucky enough to survive, you won’t get a time-out to collect your stuff.

A look at my general kit:
notebooks
passports x2
sim cards -af, pak, india, thuraya,usa
2 x mini waterproof case – credit cards, cigarettes, etc
ziplock bag – currency – af, pak, indian, euro, pounds sterling,
dollars canadian, USD, UAE dirhams
IDs – press cards, military embed badges, etc
med pack + personal hygiene
batteries – AAA, AA, 123
power strip/surge protector – universal/multi port for regional power plugs
steel cable/TSA locks X5
AC/DC car power transformer – cig port to US power socket.
box o’ electronic shit – chargers, adaptors, usb cables, etc
zip ties, ziplock bags, packing tape, contractor grade heavy duty garbage bags
protective cases with camera memory cards
laptop
mini-pelican case with 3x 500GB external harddrives
2x headlamps w/red gel

I keep my shooting gear in a big Pelicase:
2x Holga
2x Widelux
2x Leica (M6, M8.2)
1x Canon G10
3x batteries for G10 and M8.2
2x charging units for G10 and M8.2
light meter
audio recorder
gps navigator
folding stereo headphones
mini screwdriver set
knife
2x multi-tool (large with wire cutters, small w/scissors)
2x mobile phone (US + overseas)
film + memory cards + video tapes

Plus I carry…
body armor (level 4 stand-alone rifle plates, carrier harness + kevlar helmet)
boots, trainers, local sandals
ultra light sleeping bag + bivy sack + all purpose dhoti/sheet
waterproof river-rafting bag
survival blanket/camping tarp
compression straps, rope/cable
clothing – western + local

Embedding Has Both Perks and Consequences
For better, and for worse, the military has provided training wheels for rookies. On the upside, embedding takes care of the serious logistical challenges of transportation, shelter, security and food and water. There’s not a lot of bed-and-breakfasts to be found in Fallujah or Kandahar, so that’s not a small consideration. On the downside, embedded reporters operate on a very short leash with ever-increasing restrictions from their military handlers. Independent reporting is critical for getting an accurate view from these places, but it’s dangerous, difficult, expensive, and it’s being done less and less by the international press. Embedding provides a particular but extremely limited view of the battlespace. You can spend an entire deployment embedded with the US Marines in Diyala or Helmand, but don’t fool yourself that you know anything about Iraq or Afghanistan—what you’ve seen is the inside of an armored bubble.

Get In Shape Before Deploying
If you’re going to hang out with the war jocks, get in shape. No one expects you qualify for Special Forces school, but if you’re an overweight chain-smoker, you’re not going to inspire a lot of confidence in the infantry unit you want to tag along with, and you’re likely to get left back at base (for your own good, and theirs). I’m 5’6″, 140 lbs, and 38 years old, which means I should probably be behind a desk somewhere, but somehow ended up living in mountains and deserts with soldiers and marines who are literally twice my size, and half my age—while I’m hauling a backpack that’s more than 50% of my body weight. Those are unsympathetic mathematics that destroy knees, spines and ankles. Do whatever you can to rebuild your most basic equipment—running, lifting, swimming, wall-climbing, yoga, whatever—just do it, and don’t wait till the week before you ship out.

Fixers: The Tour Guides of War Reporting
Sometimes they’re local journalists, sometimes they’re taxi drivers or doctors who speak English and know how to get things done. If they were American or European, they’d have more glamorous titles like “field producers” or “media consultants.” But in Iraq and Afghanistan, they do journalism’s heavy lifting for a $100 a day, and they’re left back in the shit when their clients are telling war stories back at home. Respect them, their knowledge, and the risk they face to make your work possible—but don’t trust them blindly. Some of them are shady, and all of them are winging it, just like you are. I avoid fixers because so many of the ones I’ve worked with are dead now.

Don’t Follow the Pack
For most of the last eight years, Afghanistan was the “Forgotten War”, and Iraq was the “Central Front”. The US government has now reversed gears, and the US media is now falling over itself to relocate all the balls it dropped. As mainstream journalists are beginning to grapple with the complexity of Afghanistan-plus-Pakistan, special operations are quietly moving on to the Horn of Africa. Try to think outside the extremely cramped box—by the time it’s “news,” it’s pretty old.

Read. Think. Ask questions – and triple check before you start believing.
Some suggested reading:

Descent into Chaos – Ahmed Rashid
The Gamble – Tom Ricks
29 Articles – David Kilcullen
War and Anti-War – Alvin and Heidi Toffler
The Last True Story I’ll Ever Tell – John Crawford

Visit Lightstalkers.org
Five years ago, while I was working in Iraq, I teamed up with my brother, a web developer, to launch a web-based data-sharing network of people who do inadvisable things in sketchy places. When you have a bizarre question that no travel agent can answer, try our site, lightstalkers.org. Someone out there will have advice for you—heed it at your own peril.

Teru Kuwayama has made more than 15 trips to Iraq, Afghanistan, Pakistan and Kashmir, traveling both independently, and as an embedded reporter with US and NATO military forces, as well as Afghan, Pakistani, and Indian armed forces. In 2009 he received the Dorothea Lange-Paul Taylor award for his work in Pakistan, and a fellowship from the South Asian Journalists Association.

He is a 2009-2010 Knight Fellow at Stanford University, a contributor to Time, Newsweek and Outside magazines, and a contract photographer for Central Asia Institute, a non-profit organization that builds schools for children in remote areas of Afghanistan and Pakistan.

He is also the co-founder of Lightstalkers.org, a web-based network of media, military, and aid and development personnel, and the curator of Battlespaceonline.org, a traveling exhibition of photographs from the wars in Iraq and Afghanistan.

A special thanks goes out to Teru. Immediately after sending Gizmodo this piece, Teru returned to Afghanistan and Pakistan.

Inside Sonys New SLRs

sony final.JPGSony’s new SLRs have some special sauce inside.  
They execute Live View mode (when you use the LCD screen as a viewfinder, just like shooting on a compact point and shoot) differently than most cameras. On most SLRs that offer Live View shooting, auto-focus slows down significantly.  But not on Sony’s SLRs.
In general, SLR camera auto-focusing systems are much faster than those on point-and-shoot cameras. That’s because they have a separate smaller sensor that is dedicated to performing auto-focus.  (See the “optical viewfinder” image, left).
Most SLRs that offer Live View execute this feature by bypassing the dedicated AF sensor  and using the main image sensor to perform AF; and provide an image on the LCD screen, just like on a point and shoot. (See  the “Live View” image). Problem is, using the the main image sensor for Live View slows down auto-focusing, because the sensor is performing two tasks (sending a real-time image to the LCD and perform AF). And the larger the sensor, the longer it takes to process the image, and the longer it takes to auto-focus.
The Sony cameras are able to retain the fast AF speed SLRs offer when using the viewfinder (and dedicated AF sensor) by adding a third sensor near the viewfinder.  When in Sony’s Live View, this third sensor provides an image on the LCD (see the “Quick AF Live View” image).
For more info and hands-on images of Sony’s new SLRs, see PC Mag.com news story.

Sony Alpha 500 DSLR gets a hands-on

Sony’s announcement of the three Alpha line cameras just came today — but we’re already seeing plenty of them. Pocket Lint’s got a fairly extensive hands-on with the Alpha 500, which boasts an Exmor CMOS 12.3-megapixel sensor, an ISO range of up to 12,800, with a four frames per second continuous shooting. It also packs an HDR shooting mode, and an HDMI output. The Alpha 500 will be out in October, and it will run you $750. There’s one more shot after the break — hit the read link for the full set.

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Sony Alpha 500 DSLR gets a hands-on originally appeared on Engadget on Thu, 27 Aug 2009 20:24:00 EST. Please see our terms for use of feeds.

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More Sony Alpha 500, 850 info leaked?

We’ve already seen plenty of leaked info on Sony’s upcoming Alpha DSLR — the 850 (including what is presumably its user manual). Well, now the German site DigitalKamera’s got some more info on it, as well as the a500. First up, the a850 will boast a 24.6 megapixel sensor, a 35mm CMOS sensor, an ISO range of 100 to 6400, and will be capable of shooting 3 frames per second, with a 3-inch, VGA display. The a500 — about which a lot less info has been previously leaked — will have a 12.3-megapixel sensor, an up 12800 ISO, with two live view modes (quick autofocus and direct view). There is still absolutely no official word on either of these bad boys, though we’re hearing September — so maybe we’ll catch a glimpse of them at IFA — we’ll keep our eyes peeled until then. There’s a shot of the a500 after the break.

[Via 1001 Noisy Cameras]

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More Sony Alpha 500, 850 info leaked? originally appeared on Engadget on Tue, 25 Aug 2009 10:28:00 EST. Please see our terms for use of feeds.

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Microsoft Unveils HD 720p LifeCam Cinema Webcam

MS lifecam cinema.jpg

On the heels of its Windows Live Movie Maker release, Microsoft on Thursday also unveiled a new high-definition webcam, dubbed the LifeCam Cinema.

The LifeCam records video at 720p HD in 16:9 widescreen up to 30 frames per second, Microsoft spokesman Brandon LeBlanc wrote in a blog post. It uses ClearFrame Technology and an updated de-noiser.

“The improved de-noiser reduces image graininess – especially in low light. It also has a faster image-processing technology that keeps video smooth at any resolution,” LeBlanc wrote.

It will be released in September and will sell for $79.95.

LeBlanc also promised less blurriness thanks to the glass element lens. The LifeCam also takes 5-megapixel still photos, includes a noise-canceling microphone, and a flexible attachment base to fit on LCD monitors, notebook screens, or the side of a desk.

To use the webcam, you’ll need to install the LifeCam software, available for download now. It is compatible with Windows Live Photo Gallery and Movie Maker.

Canon PowerShot S90 Pro Point-and-Shoot: Yes Pleeeeease

I thought Canon’s new G11 pro point-and-shoot—decked out with everything but HD video, depressingly—would make me drool the most, but I was wrong: Canon’s pocketable pro point-and-shoot, the S90 is fapfreakintastic.

The design is exactly what I want in a high end point-and-shoot—it’s svelte, but not too puny, and the black metal finish feels sturdy, without the whole thing feeling like a little brick. (I hope you like black, since it comes in black and…black.) It really manages to achieve that zen balance level between feeling professional and consumer, though it makes me want to run around shooting only in black and white. What slew me, though, was the clicky control ring around the lens, which you can use to adjust almost any setting—it can change the ISO, focus or zoom. As you know, real gadget people love dials and gauges things that actually click and feel like they actually control things in this age of silent squeegee presses on glass screens, and it taps into that pretty hard.

I almost don’t know why you’d even go for the G11 with the S90 on the table—the S90 uses the same high sensitivity sensor, meaning you should get the same kind of image and low-light performance, which I can’t wait to check out in depth, since Canon’s using the same size sensor as the G10 used to use, but actually cut the megapixels down to get better light sensitivity. The S90 also has a fast F/2.0 lens, and it’s not the size of a gorilla fist. Did I mention it was cheaper too? $430 to the G11’s $500.

The only real problem I see right now is that it doesn’t shoot HD video, just standard VGA. But if it shoots truly gorgeous pictures—which we intend to find out shortly—I can let that go.

iPhone Becomes Flickrs Top Camera

Which camera is dominating Flickr? Is it a high-end D-SLR or a moderately priced point and shoot? Nope, it’s that cheap little thing that’s built into the iPhone. Apple’s popular little handset recently overtook Canon’s pricey Digital Rebel XTi, becoming the top picture-taking device for the photo sharing site.

The phone has been hovering around the number two spot for a while now, finally edging to number one, perhaps due to a number of improvements introduced with the iPhone 3GS. A Flickr spokeswoman told The LA Times,

The graph in Camera Finder updates at every moment so there’s no specific reasoning behind the changes. One can assume though that with the recent iPhone 3GS launch, the iPhone now includes two models whereas other manufacturers separate out their models, which could explain the inflated numbers.

InFocus Adopts UWB for Wireless Projection

InFocus logo.JPG

InFocus has signed on to use ultrawideband technology in conjunction with its line of digital projectors, although it’s still unclear what it will cost.

Company representatives emailed a press release to PCMag.com reporters this week, explaining that a new DisplayLink Wireless System is currently compatible with the InFocus IN1100 and IN3100 series, and will be available soon on the IN1500, IN5300 and IN5500 series as well as future DisplayLink-enabled projectors.

The modules contain chips from Wisair, one of the few remaining UWB technology providers. Users shouldn’t have to worry about data loss, as long as the projectors are in the same room as the source: the adapters are rated for 99 Mbits/s, within distances of 30 feet.