Hasta La Gadget!

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 In modern military parlance, the “battlefield” has been replaced by the “battlespace,” an all-encompassing realm that includes not just the landscape, but also the “hearts and minds” of a “human terrain,” and the airwaves and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.

This goes out to people who bought or want an entry-level DSLR, and wonder what’s the deal with interchangeable lenses. You really gonna buy that extra glass? It’s a beginner’s guide to growing as a photographer, preferably without going broke.

It doesn’t matter what brand of camera you bought—if it’s an entry-level DSLR, it was offered to you with an 18-55mm kit lens. I hope you took them up on that offer because no matter what you bought, that kit lens comes cheap, and is well worth it. Yes, of the five lenses covered here, that kit lens is numero uno.

KIT LENS
Like most bundle pricing, it’s cheaper than buying the camera body and lens separately, and most experts agree that an 18-55mm is actually the perfect lens for most immediate photographic needs, with both a decent wide angle plus the ability to zoom in on far away objects. In fact, if you take a look at the four shots below—all taken by me with kit lenses on basic DSLRs—you can see a foreshadowing of the four other lenses in this briefing—telephoto, wide-angle, portrait and macro:

But if you read Gizmodo enough, you know that we’ve made the case that lenses, and not the cameras themselves, account most for great pictures. Photography is an optics game first and foremost, and there’s a point at which that kit lens can’t achieve shots that your heart and soul tell you are achievable. There’s nothing wrong with your camera—seriously, there’s nothing wrong with it. You just need to get some more lenses.

In order to run this story I called some experts at Canon, Nikon and Sigma, which makes discounted lenses for most DSLRs. I could have called experts at [insert your favorite non-Canon or Nikon camera brand here] but early on, the advice was consistent and clear: Anyone who is really taking an interest in their camera should invest in a telephoto zoom next, followed by a fast “normal” lens, which you might call a portrait lens.

LENS LABELING
In the interest of speed, I can’t talk about lens anatomy, but there are some key attributes you need to know to read all lens retail listings: focal length and aperture.

In most cases, the lens categories here differ by the focal length, that is, how close a subject appears, indicated in millimeters. The human-eye equivalent is between 30mm and 50mm. A telephoto lens, which gets up close to things that are far away, can be as long as 500mm. A wide-angle lens, which makes close-up objects appear farther away, can be 10mm—still less if you want the bulbous fisheye look. A “zoom” lens simply means that it has a variable focal length—for instance, your kit lens, which can hit any length from 18mm to 55mm.

Because entry-level cameras have smaller (APS-C) sensors than professional APS) full-frame 35mm cameras, everybody makes two sets of lenses. Typically all lenses work on beginner cameras, but beginner lenses don’t work on pro cameras. If you stick with beginner lenses (denoted Nikon DX, Canon EF-S, Sony DT, Pentax DA, Sigma DC and Tamron Di II), you won’t have to stress, but if you want to buy a pro lens, or have some lying around, bear in mind that you need to multiply the focal length by 1.5 or so to get the equivalent focal length for your camera. A 50mm pro lens is really a 75mm lens on your beginner’s model. Why am I telling you this? Because there are new and used pro-level lenses out there for really good prices.

In one case below, what sets the lens apart is its large aperture. The aperture is the hole that lets in the light, and it’s measured by the f-stop. A wider aperture means more light comes in, and you have a better chance of getting nice shots indoors, in dimmer settings. A narrower aperture lets in less light. The trade-off is that a wide aperture can’t focus on as many things that are at different distances—it is said to have a “shallow depth of field.” Your main subject is clear, but the background is blurry—artistic in many cases, annoying in some. When you narrow the aperture, you can crisply resolve more elements, but only if there’s enough light. The wide aperture of a “fast” lens can always be narrowed, but there’s no way for a “slow” lens with a narrower aperture to bring in more light.

As if that wasn’t tricky, check this out: The f-stop is a fraction, and the number you refer to is on the bottom, so if it’s low (f/1.4), the aperture is wide, and if it’s high (f/6.0), the aperture is narrow. Got it? Zoom lenses at beginner prices tend to have variable f-stops, apertures that get narrower, and in need of more light, as you zoom in.

TELEPHOTO ZOOM
Lenses in many ways are about reach, about bringing faraway subjects closer to your camera’s sensor. “The low-end customer, who may take out their DSLR only occasionally, says, ‘I want to shoot a picture of the moon, or animals at the zoo, or kids playing soccer,'” says Dave Metz, a lens specialist at Sigma. Even when that kit lens is cranked to the max, it’s only giving you a 55mm focal length, which is why most DSLR makers have a very well-priced 55-200mm lens waiting at the ready. Prices range from $120 to $250, and it’s usually the easiest purchase to make.

Credits: Lindsay Silverman – Nikon; me with Nikon; Robert O’Toole – Sigma; Stephen Lang – Sigma

Another telephoto zoom lens you’ll see is the 18-200mm, which can cost anywhere from $350 to $600. That’s a hefty premium to pay just so you don’t have to schlep around two lenses, and generally speaking, the broader the focal length range, the more corners are being cut in performance. That lens is a pass.

If you are feeling particularly far out, both Metz and Nikon’s camera marketing guru Steve Heiner suggest a 70-300mm lens. Sigma’s model sells for under $200, Nikon’s most recent model, with built-in image stabilizing, is just over $500, and there are 70-300mm lenses for everyone else ranging from $130 to $850, all with variable f-stops of either f/4.0-5.6 or f/4.5-5.6. Better yet, these lenses are spec’d for pro-grade full-frame cameras, so they’re exceptionally zoomy on your beginner’s camera, more like 105-450mm. Hey, don’t think about it too much, just enjoy it.

NORMAL (AKA PORTRAIT)
As much traction as you’ll get from a zoom lens, it doesn’t really teach you much, except maybe how to compose without cropping. I personally learned a hell of a lot more about photography when I started playing with f/1.8 50mm lenses. This is called a “normal” lens because, says Heiner, “It was all you could get on a camera in the ’50s and ’60s.” In fact, he jokes that even though younger people are snapping up this relatively cheap lens ($100 to $150), he and his ilk “couldn’t wait to get away from it” when zoom lenses started hitting the market.

What does it do? As a “fast” lens, it can shoot really well in low light. Keep the aperture wide, get up in your subject’s grill, and start clicking. You’ll see parts of their face sharply resolved while other parts are softly blurred. Tighten the aperture a tad, and your subject’s whole head is clear while the backdrop is soft and peaceful, even if it’s a Manhattan street corner at rush hour. What doesn’t it do? It doesn’t zoom, and because it’s usually rated for pro cameras, it’s about the equivalent of 75mm on an entry-level DSLR—which is roughly the preferred focal length for portrait shooting—so you often have to step back to get a decent shot.

Credits: Me with Canon; Joe DiMaggio – Sigma; Joe DiMaggio – Sigma; Lindsay Silverman – Nikon

Alternatives to the cheap f/1.8 lens are an even faster one, f/1.4 ($300 to $500), or a 30mm or 35mm that gives entry-level cameras more of a “normal”—what your eye can see—perspective.

At this point, in addition to the original cost of your camera, you’ve spent less than $500, and you’ve added immeasurable functionality and artistic wiggle room. You can stop here, and you won’t be judged. But, if you like, I can tell you about two more lenses that might rock your casbah.

ULTRA-WIDE ANGLE ZOOM
That kit lens brings you down to 18mm, which is enough for you to stand in a corner of a room and shoot pretty much anything going on in that room. But what if you’re not in the corner? The same twist of fate that makes pro-level telephoto lenses even more zoomy on your entry-level DSLR makes wide angles trickier—or at least more expensive—to attain.

Why is this? Film is flat, so light can come in at any angle, and the film will mostly record it. But camera sensor pixels are concave, and don’t do well with light coming in from the side. Think of the pixels as little water glasses, says Sigma’s Dave Metz. “You can fill them up with water by pouring it in from above, but try shooting it in from the side with a garden hose, and it’s going to go all over the place.” A telephoto by definition is pulling in light from directly in front of it, whereas a wide angle by definition is bringing in light from the sides, too. Hence the trouble, and the added expense.

But if you have the means, it’s the consensus of my experts that you should pick yourself up an ultra-wide-angle zoom lens (10-24mm, 10-22mm or 10-20mm). Just be very careful that it’s one built specifically for entry-level DSLRs, with the arcane designations I mentioned in the “Lens Labeling” section. Discounted on Amazon, Nikon’s is selling for $809 while Canon’s is around $730. Tamron and Sigma make them for Canon and Nikon for just under $500.

Credits: Stephen Lang – Sigma; David FitzSimmons – Sigma; Carol Polich – Sigma; Joe DiMaggio – Sigma

And the aesthetic pay off? As Metz tells it, “I am sure you’ve seen a beautiful mountain scene; in the foreground there’s beautiful little flowers. Because they’re so close, they appear out of perspective. You effectively enlarge the flowers.” It’s also, as he points out, the best way to make sure that all the uncles and aunts are included in the family portrait you take at the Christmas dinner table.

MACRO
The final stop on our survey of lens-topia is the macro—or big hairy bug—lens. “When I try to show people about macro photography, they say ‘What is that?'” says Lisette Ranga, a Canon camera marketing specialist, “but when they look through the viewfinder, and see how close you can get, they get it.” While I don’t understand why people like taking pictures of bugs and flowers so much, I am a victim of the chronic urge to do so. Though some are 50mm or thereabouts, many macros are telephoto lenses. The ideal, it seems, is to shoot stuff up close that you wouldn’t even want to get near—he who snaps the most snakes and scorpions wins.

Credits: Canon 60mm Macro sample; Canon 60mm Macro sample; David FitzSimmons – Sigma; Lindsay Silverman – Nikon

So what do you look for? Typically, macro lenses have a fixed aperture of f/2.8 (sometimes f/2.5). Sigma has five lenses, ranging from 50mm ($300) to 180mm ($900), all fixed, plus a few zooms such as the one I personally want to try out, the 24-70mm ($570, compared to well over $1,000 for the equivalent Canon or Nikon). What’s cool is that when you’re not photographing scorpions (or stamps or coins or documents), you can use these for portraits and other “normal” shooting, but with such sharp resolve that some even recommend a bit of digital softening.

So you see, adding those final two lenses more than doubles your investment, and for a diminished payoff. That’s what you would buy next, but for most of you, it’s not what you should be buying.

IMAGE STABILIZATION, LENS MOUNTS AND YOUR DADDY’S LENS COLLECTION
Though some readers probably gave up on this story a long time ago, I have made every attempt to keep it clear and moving. In doing so, I skipped over lots of hot topics, including image stabilization and lens compatibility.

Canon and Nikon currently promote the hell out of image stabilizing lenses, in large part because their cameras do not have in-camera image stabilization like Sony, Pentax and Olympus. While image stabilization does tend to matter, its location doesn’t seem to matter as much. The consensus on the internet is that it’s a drag to have to buy IS in lenses over and over, and from what I’ve seen, there is a clear added cost when buying lenses a la carte. Nevertheless, there’s a premium for buying Nikon and Canon because they are consistently the best reviewed and the biggest sellers, so there’s no right or wrong. It’s just something to look for when buying lenses, and to discuss with your favorite camera nerds.

The main reason Canon and Nikon don’t have IS in their cameras is that the camera technologies pre-date the digital revolution, and it was harder to do with film. The flipside is this: Older film-based lenses from Canon and Nikon work on newer Canon and Nikon digital cameras. For Canon, it’s the EF standard, which dates back to 1987. If the lens says EF on it, it will work. If it says EF-S, it was specifically made for entry-level DSLRs, and won’t work on pricier pro models. If you put an EF lens on a camera that typically takes EF-S lenses, remember to multiply by 1.6 to figure out the real focal length.

For Nikon, it’s a tad weirder: Any F-mount lens dating back to 1959 will fit on the thing, but only the lenses labeled AF-S will definitely work with D40/D60/D90/D3000/D5000 class of entry-level DSLRs. If the lens doesn’t say “DX” on it, multiply the focal length by 1.5 to see what it really is. If your dad hands you a bag of Nikon lenses, accept them graciously, and try them all out, but be ready for weird results, or at the very least, a sudden lack of autofocus and auto metering.

LENS QUALITY
I want to leave you with one final bone of contention—the quality of the lenses. I recognize that I have made many suggestions that seem like go-out-and-buy-’em recommendations. I do think that shopping for new lenses on a tight budget is a good way to expand as a photographer, but this is not a “buyer’s guide.”

Many photography enthusiasts believe buying a cheap lens to attach to your camera would be like buying a used prophylactic to… well, I’ll spare you the imagery. But the point is, there is surely a reason why third-party ultra-wide-angle zoom lenses cost half as much as big name versions, just as there is surely a reason why Canon’s 50mm f/1.4 costs nearly four times as much as its 50mm f/1.8. There are real differences in lenses, and I’m happy to invite you to discuss them below.

The Gadget: Today Eye-Fi Wi-Fi-enabled SD cards have been upgraded with a 4GB Pro version with new features like support for RAW files, selective uploading and the ability to send files straight to your computer with via an ad-hoc network.

The Price: $150

The Verdict: The best keeps getting better. We already knew that Eye-Fi cards were great at their main task of delivering photos wirelessly to both your computer and photo sharing sites like Flickr and Facebook, but a steady stream of upgrades has vastly improved the card’s capabilities. In addition to the new Pro features announced today, previous cards have added larger capacities, video support, geotagging and hotspot access.

In a nutshell, everything worked great. As always, setting things up with the Eye-Fi manager was a breeze and within minutes I was sending images and video to my desktop and to various sites across the web. Plus, the addition of selective uploading means that I could pick and choose which photos I wanted to send over the network instead of sending the good and the bad en masse (this function is handled by marking images with your camera’s “Protect” feature.)

Obviously, a Wi-Fi SD card is not going to be all that helpful when you are away from your network or a hotspot, but the ad-hoc support bridges the gap a bit by delivering the content straight to your computer—freeing up space on the card to take more shots. As for RAW files, I have to admit that I’m rocking a point-and-shoot here—not a DSLR. However, given the near flawless performance of Eye-Fi’s cards, I can’t imagine why it wouldn’t work. In fact, the only real drawback of the card that I can see is that there is no way to discern the status of your upload from the camera itself. Still, in the event that you cut off a shot in mid-transfer, the process will resume as soon as you turn your camera back on. Sure, $150 isn’t cheap for a SD card—but if you take a lot of photos the Eye-Fi Pro is worth it.

Performance was nearly flawless.

The addition of selective uploading and ad-hoc network support are useful upgrades for amateurs and pros alike. Support for RAW files will appeal especially to the hardcore crowd.

$150 price includes a lifetime subscription to geotagging suppport.

Owning an Eye-Fi entitles you to download their new iPhone app for free.

Hotspot access is free for a year, but you will have to pay beyond that.

There is no way to determine the status of the uploads from the camera itself.

EYE-FI UNVEILS 4GB WIRELESS MEMORY CARD WITH RAW IMAGE SUPPORT

The Eye-Fi Pro Card Supports Transfers without the Need for a Router or Internet; Users Can Now Select What Uploads

MOUNTAIN VIEW, Calif., June 10, 2009 – Eye-Fi Inc. today unveiled the Eye-Fi Pro, a new wireless SDHC memory card for digital cameras that allows professionals and photo enthusiasts to automatically upload images straight from their camera to their computer and the Web. Available today, the Eye-Fi Pro includes RAW image support and peer-to-peer connectivity for a direct connection between the camera and a computer, no router or Internet connection required (also known as ad hoc).

Eye-Fi also announced today that all Eye-Fi card users can now select which photos or videos they want to wirelessly transfer from their camera to their computer or the Web, using the new Selective Transfer feature.

“People are engaged in photography at a deeper level than ever before. They have moved from being casual photographers to passionate enthusiasts, shooting in RAW for more extensive editing, adding geotags for a richer experience or using an online gallery to share their work,” said Jef Holove, CEO of Eye-Fi. “These people are looking for tools that advance the art of photography and make it more efficient – and the Eye-Fi Pro does both.”

About the Eye-Fi Pro

The Eye-Fi Pro lets users wirelessly upload more file types, including JPEG and RAW images and videos. The Eye-Fi Pro also allows users to create an ad hoc connection through their computer or other mobile device to wirelessly upload media files while away from a wireless router.

“The Eye-Fi Pro has streamlined my workflow. It lets me quickly upload files in the background while I continue my photo shoots. My clients can choose their best shots in near real time,” said Jeff Sockwell, an Eye-Fi Pro beta user and professional photographer who used Eye-Fi in a portrait session with more than 150 dance students. “I also have assurance that photos are automatically saved both on my computer and my Eye-Fi Pro.”

Like the Eye-Fi Explore Video, the new Eye-Fi Pro will automatically upload images and videos direct to more than 25 online photo and video sharing sites. It also lets users upload away from home at more than 10,000 Wayport and open hotspots, and will automatically geotag photos with information about where the images were taken. The Eye-Fi Pro is now available at Amazon.com and www.eye.fi for an MSRP of $149.

Selective Transfer

Also announced today is Eye-Fi’s newest feature, Selective Transfer, that gives users more control over which photos and videos to upload. Using the standard “protect” or “lock” feature in any camera’s menu, users can select which files to wirelessly upload. Any “protected” photo or video will automatically be uploaded, and all photos and videos will remain on the memory card until the user manually deletes them. Selective Transfer is free and available now for all Eye-Fi card users through the Eye-Fi Manager.

At the Leading Edge of Camera Technology – Eye-Fi Connected cameras

In effort to meet prosumers’ increasing camera feature set demands and widen wireless adoption, manufacturers are offering Eye-Fi card recognition and optimization. The Eye-Fi Connected camera features range from power setting optimization to on-camera notifications while photos and videos are wirelessly uploaded. These new cameras include Nikon’s latest model, the D5000 (which follows in the footstep of the already Eye-Fi Connected D60 and D90), as well as the entire spring line-up of Casio cameras, including the Casio EX-S12, Casio EX-S5, Casio EX-FS10, Casio EX-FC100 and Casio EX-Z29.

Eye-Fi’s complete line-up of wireless SD and SDHC memory cards range in price from $49-$149 and are available at www.eye.fi, in store at Apple Retail Stores and Best Buy locations, and at major online retailers such as Amazon.com, Walmart.com and Costco.com.

Eye-Fi has received numerous product awards including Popular Science’s “Best of What’s New” for 2008 and PC World’s “The 100 Best Products of 2008.”

For more information, please visit www.eye.fi, or follow Eye-Fi on Twitter @EyeFiCard

[Eye-Fi]

Nikon’s D5000 and Canon’s Rebel T1i are the two hottest sub-$1000 cameras ever created. But which one is hotter? The specs and shots below say plenty—but tomorrow we give you the final verdict.

Let’s go over the basics. The cameras, with 18-55mm image stabilizer lenses, have MSRPs within $50 of each other, the Nikon at $850 and the Canon at $900. Spec-wise, that extra $50 goes a long way:

• Nikon has a 12.3-megapixel CMOS, while the Canon has a 15.1 megapixel CMOS.

• The Canon’s 3″ LCD screen has 920,000 dots; Nikon’s 2.7″ LCD only has 230,000 dots, but it gets bonus points for the “vari-angle” adjustable mount.

• HD video shooting is the selling point for both, but while the Nikon can handle 720p, the Canon can shoot up to 12 minutes per burst of full 1080p high-def video (though at a minimal 20 frames per second). Both have HDMI outputs, to prove how dedicated they are to high-def video.

• ISO wise, they’re pretty evenly matched, from 100 to 3200, with a Hi ISO bump at 6400. (The Canon has an additional ISO 12800 high setting.) The key here is which one is noisier at the higher levels; I have my guesses, but we’ll just have to see.

• Getting deeper into camera-nerd territory, the Nikon has an 11-point autofocus, compared to Canon’s 9-point AF. They both boast the usual proprietary engines, for Canon the DIGIC 4 imaging processor, and for Nikon, the “exclusive” EXPEED image processing system. And obviously, both can be fitted with a huge number of lenses from their specific manufacturer, lens compatibility usually being the deciding factor for people who already have huge glass investment.

What does it all mean? I have no doubt that both cameras are worthy sons of bitches, and like their predecessors, many of their idiosyncratic ticks—visual menus vs lists, etc.—are well known and documents. Some conclusions are already in sight, given the fact that the D5000 is a direct descendant of the D90, whereas the T1i comes straight from the 5D Mk II‘s loins, both heavily reviewed already.

Still, over the next day, I’ll be shooting hundreds of photos in different lighting conditions, in order to make sense of this two-headed temptation. Here’s some further reading While U Wait:

News announcements on Giz:
Nikon D5000
Canon EOS Rebel T1i

Product Pages:
Nikon D5000
Canon EOS Rebel T1i

The rumors were true. Canon has crammed the $1500 50D‘s sensor and 5D-Mark-II-like 1080p video capture into an $899 entry-level Rebel. We ran it through its paces for a few hours, and it’s awesome.

So what we have here is almost the exact sensor from the 50D—a 15.1 megapixel CMOS with sensitivities up to ISO 12,800 at its top-end H2 boost setting. And almost the exact same HD capture from the 5D Mark II—the only change is that 1080p video is captured at 20fps, down from the 5D Mark II‘s 30fps. You can step down to 720p video at 30fps, though, for the same buttery smoothness we’ve seen on the 5D Mark II. Other aspects of the video capture mode have actually been improved over the 5D Mark II, which we’ll get to in a second.

But as far as the specs go, it’s almost a pure hybrid of the 50D and 5D Mark II, two cameras that are decidedly more pro-leaning, positioned into the top-end of their entry-level Rebels (above the XS and XSi). Crazy stuff:

• H.264 video capture @ 1080p/20fps and 720p/30fps with mono sound

• DIGIC 4 processor

• Nine-point autofocusing

• 3.4fps burst shooting for 170 JPEGs or 9 RAW files

• The 50D’s lens peripheral illumination correction

• Three-inch, 920,000-dot LCD (same as the 5D Mark II’s)

• Built-in sensor dust removal system

• Live view

• Canon’s “Creative Auto” mode for light exposure tweaks on full-auto

• Saves to SD/SDHC cards (class 6 or higher recommended)

• $899 with kit lens, $799 body only, available early May

We had a few hours to shoot photos and video with a pre-production unit of the EOS Rebel T1i in Manhattan, and here’s our impressions:

Image Quality

I’ve never shot with the 50D, but from what I’ve read, the 50D’s sensor is about as big as Canon can and should push an APS-C sensor, megapixels wise, while still preserving image quality and high-ISO performance. When it came out just seven months or so ago, it was found to be a good performer but not significantly better than the 10-megapixel 40D at high-ISO.

Here, you’re getting effectively the same sensor (Canon says there are a few minor differences that shouldn’t effect output in any significant way) for almost half the cost. So while you still won’t be on the noise-busting level of the full-frame 5D Mark II, you’re going to come mighty close, especially at 1600 and below. Here’s a quick unscientific comparision @ ISO 6400:

And, shots moving through the full ISO range of the T1i, starting at ISO 12,800 (H2) and moving on down to ISO 400:

Video Capture Mode

And here’s where things get crazy—the T1i’s video capture mode is almost exactly the same as the 5D Mark II, short of 10 extra frames per second at 1080p made possible by the 5D’s beefier processing power. But still, shooting at 720p will serve most people just fine (and it’s as high as you can go on Nikon’s D90, keep in mind). You do notice the lower framerate at 1080p, especially if you’re panning a shot, but for slow-moving subjects, it’s not significantly jerky. Some people may even prefer the ability to switch-up frame rates.

But aside from that, everything else from the 5D Mark II is there: the ability to capture stills while video is rolling, the same slow AF system, etc. In fact, the T1i actually makes some improvements over the Mark II—a quick menu summoned via the SET button can change resolution and video settings easily while you’re shooting, and the movie capture mode has conveniently been moved to its own spot on the mode dial, rather than only being accessible via live view.

Here’s our test footage so you can see for yourself (the file below was compressed into a 30fps Flash movie, but you can still see the slight difference in the 20fps 1080p shots):

Buying Decision

You can’t imagine Canon moving a lot of 50Ds once this puppy is out—and that camera was just announced at the end of last summer. So you have to expect Canon is up to something in their mid-range line. But with the T1i, Canon has taken a big lead in the HD capture arms race over Nikon, whose only video-capable camera is the mid-range D90 which costs a couple hundred bucks more. The resolution advantage is somewhat moot, as most people will opt for 720p @ 30fps over 1080p @ the jerkier 20fps. But here’s how everything stacks up, money-wise:

Rebel T1i: $899 MSRP with kit EF-S18-55mm f/3.5-5.6 IS zoom lens, $799 MSRP body only

Nikon D90: $1,149 (street) with kit lens, $889 (street) body only

Canon 50D: $1,389 (street) with kit lens, $1,199 (street) body only

So with the T1i, you get a sizable chunk of the more expensive 50D’s imaging performance plus an arguably better spec-wise video capture mode than the D90—a pretty sweet deal here at an entry-level price where even the MSRP beats the street price of the 50D and D90 both.

We don’t want to get too gushy without giving this camera a serious real-world run-through, but as of now, the only major negative we can see is the ridiculous name. T1i? What? Why Canon USA doesn’t use its handy three-digit designation for the entry-level Rebels like it does in Europe (where the T1i is known as the 500D, matching with two-digits for the mid-range and single-digits for the pros) I will never know. I think Andre Agassi is to blame.

Look for more on this puppy when we’ve had a chance to really sink our teeth in.

CANON U.S.A. INTRODUCES THE EOS REBEL T1i DIGITAL SLR CAMERA, THE FIRST REBEL DSLR TO FEATURE HD VIDEO CAPTURE

Canon Breaks the $1,000 Mark Again with the First EOS Rebel Camera to Feature

HD Movie Recording Capabilities, DIGIC 4 Imaging Processor and 15.1 Megapixel Resolution

LAKE SUCCESS, N.Y., March 25, 2009 – Canon U.S.A., Inc., a leader in digital imaging, today introduced a new addition to its Rebel lineup, the EOS Rebel T1i Digital SLR camera, the first in the Rebel line to feature Full HD video capture. The new Canon Rebel T1i SLR incorporates some of the best technologies from the EOS 50D and EOS 5D Mark II models into an entry-level juggernaut. With a 15.1 megapixel CMOS sensor and HD video capture, along with the DIGIC 4 Imaging Processor, the Rebel T1i gives aspiring photographers plenty of reason to step-up to the latest and greatest model in the Rebel lineup.

The new Canon EOS Rebel T1i raises the entry-level bar with a host of enhanced Canon technologies now available in an entry-level DSLR. Along with the boost in megapixels and Canon’s most advanced imaging processor to-date, this latest Rebel camera has also been enhanced with HD video capture, a 3.0-inch Clear View LCD (920,000 dots/VGA) monitor and user-friendly functions such as Auto Lighting Optimizer, Creative Auto Mode and Canon’s Live View modes, all the right tools to open new doors for imaging enthusiasts. From high-resolution to high-definition, the new EOS Rebel T1i Digital SLR camera helps to give creative consumers a jumpstart on the next evolution in digital imaging.

“We are witnessing the emergence of a new phase in digital imaging history, as high-resolution still images and HD video can now both be produced in a hand-held device, for under $1,000. This is truly a great time to be involved in digital imaging as the advent of online communities are helping usher in this next great era in imaging,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The muscle behind Canon’s new EOS Rebel T1i camera is the DIGIC 4 Imaging Processor with 14-bit analog-to-digital conversion and the ability to process full HD video. The Canon EOS Rebel T1i Digital SLR offers continuous shooting at 3.4 fps for up to 170 large/fine JPEG images or up to nine RAW images in a single burst when using a class 6 or higher SD or SDHC memory card. Whether capturing wildlife on the run or a child mid-stride on the soccer field, users will appreciate the fast shooting capabilities of the Rebel T1i Digital SLR camera.

With the combination of its 15.1-megapixel APS-C size CMOS image sensor and the powerful new DIGIC 4 image processor, the Canon EOS Rebel T1i camera provides ISO speeds from ISO 100 up to ISO 3200 in whole stop increments, along with two additional high-speed ISO settings – H1: 6400 and H2: 12800.

The EOS Rebel T1i Digital SLR utilizes a precise nine-point Autofocus (AF) system and AF sensor for enhanced subject detection. The new EOS Rebel T1i DSLR provides a cross-type AF measurement at the center that is effective with all EF and EF-S lenses, while providing enhanced precision with lenses having maximum apertures of f/2.8 or faster. The cross-type AF measurement reads a wider variety of subject matter than conventional single-axis AF sensors and thus increases the new camera’s ability to autofocus quickly and accurately when shooting still images.

The EOS Rebel T1i camera is compatible with Canon’s complete line of over 60 Canon EF and EF-S lenses, to help provide an incredible variety of visual effects to both still and video imaging capture, including ultra-wide-angle and fish-eye to macro and super-telephoto. This includes all of Canon’s large-aperture EF L-series professional lenses.

HD and SD Video Capture

After the introduction of the EOS 5D Mark II in September 2008, the Company’s first HD video DSLR, Canon has integrated this must-have feature into the new entry-level flagship EOS Rebel T1i camera. The camera features 16:9 720p HD video capture at 30 fps as well as a Full HD 1080p video capture at 20 fps, and a third option to record 4:3 standard TV quality (SD) video capture at 640 x 480 pixels and 30 fps. The video capture mode is part of the camera’s Live View function, using the Picture Style that has been set for Live View still image shooting. The camera allows skilled photographers and enthusiasts to adjust image sharpness, contrast, color saturation and white balance, and have those settings apply to the movie image as well. When recording video, the camera’s rear LCD screen is letter-boxed by a semi-transparent border to match the aspect ratio of the movie recording size.

Like the EOS 5D Mark II model, the EOS Rebel T1i camera will record video up to 4GB per clip equaling approximately 12 minutes of Full HD video, 18 minutes of 720p HD video, or 24 minutes of SD video depending on the level of detail in the scene. Video clips are recorded in .MOV format using an MPEG-4 video compression and sound is recorded using linear PCM without compression. The camera features a built-in monaural microphone to record sound. To help show off those fantastic movies as well as still photos, the EOS Rebel T1i camera includes an HDMI (High-Definition Multimedia Interface) output to display crisp, clear images on a High-Definition TV.

Live View Shooting

Much like the EOS 5D Mark II, the Canon EOS Rebel T1i camera features Live View for both still images as well as video. The Rebel T1i features the Company’s three Live View AF modes – Quick, Live and Face Detection Live mode – which can be used to capture still photos or video images. Quick mode automatically sets One-Shot AF using the camera’s phase detection AF system. It also allows users to select the AF point, even while the Live View image is displayed. Although the camera’s reflex mirror must be lowered briefly to take an AF measurement in Quick mode, it is the fastest way to set focus automatically when the Rebel T1i camera is set for Live View.

Live mode uses contrast-detection AF with the image sensor and here, as with Quick mode, users can change the location of the active AF point using the Multi-controller. Face Detection Live mode uses contrast AF to recognize human faces. When multiple faces are detected, the largest face closest to the center of the frame is targeted as the AF point. While Live View is engaged, users can still change settings including the AF mode (Quick, Live, Face Detection Live mode), drive mode, ISO speed, Picture style, White Balance and more.

Auto Lighting Optimizer

Canon’s Auto Lighting Optimizer technology helps ensure that the subject of each picture is clearly visible by analyzing image brightness and automatically adjusting dark areas in images so they appear brighter. This is ideal when shooting high-contrast situations that include harsh shadow areas, such as landscape images where the foreground is brightly lit and the background detail blanketed in dark shadow. In a scene such as this, the EOS Rebel T1i camera’s Auto Lighting Optimizer technology maintains exposure of the highlight areas while lightening shadow areas for a more enjoyable and evenly illuminated image. The EOS Rebel T1i also supports Peripheral Illumination Correction for up to 40 Canon EF and EF-S lenses.

Canon’s Creative Auto Mode

Canon’s “CA” Creative Full Auto setting available on the EOS Rebel T1i, EOS 50D and EOS 5D Mark II cameras allows users to make image adjustments such as exposure compensation, aperture or shutter speed through a simple navigation screen on the camera’s LCD screen, allowing them to “blur the background” or “lighten or darken the image” with ease. These easy-to-understand image options allow learning-photographers to experiment with image options while still shooting in an automatic mode.

EOS Integrated Cleaning System

With the introduction of the EOS Rebel T1i camera, the entire Canon EOS system is now equipped with the highly acclaimed EOS Integrated Cleaning System. The Self-Cleaning Sensor Unit for the Canon EOS Rebel T1i has been upgraded with a fluorine coating on the low-pass filter for better dust resistance.

Pricing and Availability

The Canon EOS Rebel T1i Digital SLR Camera is scheduled for delivery by early May and will be sold in a body-only configuration which includes a rechargeable battery pack and charger, USB and video cables, a neckstrap, an EOS Solutions Disk CD and a 1-year Canon U.S.A., Inc. limited warranty at an estimated retail price of $799.99 . It will additionally be offered in a kit version with Canon’s EF-S18-55mm f/3.5-5.6 IS zoom lens at an estimated retail price of $899.99 .