Graduate Photography and Digital Imaging

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and this one’s not bad either:

vimeo DirektUsing Photographs to Enhance Videos of a Static Scene

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The Red One records motion in a whopping 4,096 lines of horizontal resolution—”4K” in filmmaker lingo—and 2,304 of vertical. For comparison, hi-def digital movies like Sin City and the Star Wars prequels top out at 1,920 by 1,080, just like your HDTV. (There’s also a slightly higher-resolution option called 2K that reaches 2,048 lines by 1,080.) Film doesn’t have pixels, but the industry-standard 35-millimeter stock has a visual resolution roughly equivalent to 4K…

The full story from Wired…

By MARY PANZER
Wall St. Journal, August 6, 2008

When, back in February, Petters Group Worldwide, current owner of Polaroid Corp., announced that it would stop producing instant photography film, the company left the door open for any interested party to acquire the technology needed to manufacture the film for whatever customers remained. As a result, investor and philanthropist Daniel H. Stern and long-time Polaroid artist John Reuter now have “an agreement in principle” to produce the chemicals and related products essential for making Polaroid images. But don’t expect to buy film for your old SX 70 or Swinger.

Their company, 20X24 Holdings LLC, will support only the Polaroid 20×24, which produces images two feet high and 20 inches wide. Polaroid introduced the model in the late 1970s as a glamour product. According to Eelco Wolf, director of world-wide marketing at the time, the gamble paid off. No conventional camera could make film negatives this large, or match the intense colors and the thick, almost three-dimensional quality of the images
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This 1979
self-portrait
of Chuck Close
was created using
a large Polaroid
20×24 camera.

BBC

8.12.08

1: “A pretty girl who won national fame after singing at the opening ceremony of the Olympic Games was only miming…But the singer was Yang Peiyi, who was not allowed to appear because she is not as “flawless” as nine-year-old Lin.”

2: “Viewers around the world saw a display in which 29 firework “footprints” travelled across Beijing from south to north…This was provided to broadcasters for “convenience and theatrical effects”, according to Wang Wei…”

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Peter Van Agtmael is a war/conflict photojournalist who covers the front lines of Iraq and Afghanistan and the aftermath that befalls soldiers when they return home. He recently joined the Magnum photo agency at the age of 27. In conjunction with an exhibit of 8 photojournalists at the Randall Scott gallery in Washington, he spoke at the Corcoran last night. There was an interesting discussion on the specific article that Craig posted a few days ago about censorship of images of dead or wounded soldiers. Agtmael indicated that he was given unfettered access to all aspects of the conflict, but he clarified that there was a distinction between his photographs, done for a freelance project, and those done by photographers working for major publications, who have in fact been forced to leave Iraq because their photographs were deemed objectionable. In the discussion that ensued, it seemed likely that censorship is imposed at many different levels…ranging from the corporate level, to editors, to the military, to the photographers themselves in some instances. For more on the exhibition, try this link.

BEIJING — The Chinese government has confirmed what journalists arriving at the lavishly outfitted media center here have suspected: contrary to previous assurances by Olympic and government officials, the Internet will be censored during the upcoming Games.

The International Olympic Committee quietly agreed to some of the limitations, according to a press official, Kevin Gosper, the Reuters news agency reported.

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