Moments Through Our Eyes, The Year In Pictures

A year in the life -- of our community, of our neighbors, our heroes and people we didn't know but felt in our hearts.

The images of them are subtle, soulful reminders of the fragility and the majesty of life. At year's end, they bear witness to the reality that joy and sorrow are interconnected in the continuum of our lives.

We wish this wasn't so, but the pictures don't lie. We hoped for joy in the year gone by, and we felt joy, but it came with pain, too.

The bitter and the sweet are like our region of two rivers that replenish and renew even as they threaten and sometimes deliver danger.

We had ourselves a year in this community of ours, didn't we? -- Marcos Breton

(24 images)

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Jacob Caneba, 11, and his sister Kate, 8, hold an American flag Thursday to honor Marine Staff Sgt. Sky R. Mote, 27, of El Dorado, who was killed in Afghanistan on Aug. 10, 2012. As a motorcade carried Mote's body from McClellan Air Park to Green Valley Mortuary, area residents waved flags from freeway overpasses and lined streets along the route in El Dorado Hills, where he attended elementary and middle school. The Sacramento Bee / Jose Luis Villegas

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Source : blogs[dot]sacbee[dot]com

Dance Away the Evil Spirits (7 Photos)

Dance Away the Evil Spirits (7 Photos)

  © Jill Waterman.  Eva as Kukeri, New Year 2012 in Razlog, Bulgaria.

For the past 30 years, Jill Waterman has traveled annually to a different location to photograph traditional celebrations of the New Year. A year ago, she photographed in the mountain village of Razlog, Bulgaria, where goat-skin clad creatures called Kukeri and exuberant villagers in ceremonial Turkish attire parade through the streets on January 1 in a vigorous dance to ward off evil spirits.

Waterman, author of the 2008 book Night & Low Light Photography and editor for PDN Custom Media, is now in the mountains near Salzburg, Austria, to document the ominous masked figures called Perchten that visit small local villages in “the raw nights” between Christmas and Epiphany on January 6.

For more of Waterman’s New Year’s images from around the world, visit www.NewYearPhotos.com.

© Jill Waterman. Kukeri, Razlog, Bulgaria on New Year 2012.

© Jill Waterman. New Year Brides, Razlog, Bulgaria.

© Jill Waterman. New Year 2012, Traditional Dancer, Razlog, Bulgaria.

© Jill Waterman. Nighttime Procession, New Year 2012 in Razlog, Bulgaria.

© Jill Waterman. New Year Bells, Razlog, Bulgaria.

Tags: Bulgaria, Jill Waterman, Kukeri, New Year's Eve

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This entry was posted on Monday, December 31st, 2012 at 12:00 pm ET by Amber Terranova and is filed under Documentary, Personal, Weddings/Events.

Source : pdnphotooftheday[dot]com

Object of Desire: Bird Photo Booth

Object of Desire: Bird Photo Booth

DECEMBER 28, 2012

One of the most difficult things about bird photography is finding the right fine-feathered subjects. But what if the birds came to you instead of you looking for them? That’s the thinking behind a clever device called the Bird Photo Booth, which is a bird feeder that remotely snaps close-up photos of winged visitors.

The Bird Photo Booth is designed to look like a classic Polaroid Land camera from 1950s but open the front of this hardwood feeder, and there’s a spot to place an iPhone, iPod Touch or GoPro camera. Move away to a discreet location and you can monitor birds swooping in for a bite at the feeder in real time on an iPhone, iPad, and other mobile devices or computers via Wi-Fi or Bluetooth.

When you see a bird you want to photograph or capture video of, just hit the virtual button on the Bird Photo Booth’s companion app, and you’re done.

The device was invented by ornithologist Bryson Lovett, and while it was still a Kickstarter project at the time of this writing, it was on its way to meeting its pledge goal. If all goes as planned, the Bird Photo Booth is expected to ship in March 2013.

Price: $149
www.birdphotobooth.com

Source : pdnonline[dot]com

Fishermen fear losing livelihood in Peru

EL CALLAO, Peru (AP) -- Fishermen living around Peru's largest port have harvested the sea as a means of survival since the 16th century.

Their way of life, however, is soon bound to change.

Many of them fear a project to modernize El Callao, transforming it into the most important port on South America's Pacific coast, will force them to abandon fishing.

Development of the port undertaken by APM Terminals, a global shipping industry giant based in the Netherlands, will expand port operations over the next several years.

The impact that modernization may soon have on fishing isn't the only worry weighing down on the port's fishermen.

Decades ago, Peru's coastline provided a plentiful bounty. But overfishing has depleted the waters of scorpion fish, horse mackerel and mullet.

Fishermen once arrived at El Callao's pelican-infested docks and sold as much as 110 pounds of fish. These days, no more than 15 pounds are offered. -- Photo package by Rodrigo Abd / Associated Press

(25 images)

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Marvin Vega unloads a crate of anchovies from the holding area of a "boliche," the Peruvian term for boats that are used by fishermen who fish with nets, at the port of El Callao, Peru on Dec. 12, 2012. Development of the Peru's largest and oldest port undertaken by a global shipping industry giant based in the Netherlands, will expand port operations over the next couple of years. Many fishermen fear the modernization of the port may have a negative impact on their livelihood. AP / Rodrigo Abd

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Source : blogs[dot]sacbee[dot]com

Arthur Meyerson: The Color of Light (10 Photos)

Arthur Meyerson: The Color of Light (10 Photos)

© Arthur Meyerson. Red Hat, Wyoming, 1989.

During a 40-year career as a commercial photographer, Arthur Meyerson has continuously created personal images that “are less about technique and more about a pure passion for seeing and capturing what I saw,” he says. That work is gathered in a new book, The Color of Light. Says Meyerson: “While the subject matter is diverse, the pictures are held together by the fact that they are made up of the three themes that interest me the most in photography; light, color and moments. Light produces color. Light can be soft or intense… color can provoke or excite. It can also inform. At their best, light and color can come together at a moment in time and create an atmosphere, emotional response and/or a sense of place. And for me, that is the power and joy of the color of light.”

© Arthur Meyerson. White Stallion, Mexico, 2004.

© Arthur Meyerson. Outdoor Restaurant, Vancouver, 2010.

© Arthur Meyerson. Flea Market, New Mexico, 1996.

© Arthur Meyerson. Window, India, 1993.

© Arthur Meyerson. Motor Scooter Rental, Victoria, 2009.

© Arthur Meyerson. Red Car, Havana, 2012.

© Arthur Meyerson. Rice Planting Festival, Kyoto, 1984.

© Arthur Meyerson. White Sands, New Mexico, 1995.

© Arthur Meyerson. Detour, Albuquerque, 2011.

Tags: Arthur Meyerson, The Color of Light

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This entry was posted on Friday, December 28th, 2012 at 12:00 pm ET by Amber Terranova and is filed under Documentary, Fine Art.

Source : pdnphotooftheday[dot]com

Lens Review: Canon EF 70-200mm f/2.8L IS II USM

Lens Review: Canon EF 70-200mm f/2.8L IS II USM

DECEMBER 27, 2012

By Dan Havlik

The Canon EF 70-200mm f/2.8L IS II USM lens has been around for a few years now but considering the long product life of its workhorse predecessor, which debuted in 2001, expect this essential zoom to be kicking it for quite a while. Announced, for some reason, in the lead up to the Consumer Electronics Show in 2010, the Canon 70-200mm f/2.8 IS II is the kind of lens every pro photographer has in his or her bag but, perhaps, never fully appreciates.

I tested the Canon 70-200mm f/2.8 II recently while reviewing the Canon EOS-1D X for the November 2012 issue of PDN and though Canon’s loaded new flagship DSLR provided the initial dazzle, it was my experience with the 70-200mm II that has stuck with me. Here’s what I liked about this solid and versatile zoom lens.

Body and Build
At first glance, the Canon 70-200mm f/2.8 II looks remarkably like its predecessor but that’s to be expected: Pro lenses don’t vary dramatically in their appearance through the years. But look closer at this EF-series Canon white lens and you’ll notice some subtle changes.

Specifically, there is the wider, rubber focusing ring on top of the lens barrel, which I really appreciated when shooting while wearing gloves. The small ribs on the ring helped me get a good grip to set precise focus adjustments both with gloves on and without.

The same was true of the zoom ring, which seemed about the same size as on the previous model, with larger rubber ribs that also offered a good grip. Zooming in and out with the lens was smooth but firm, and I experienced no lens creep issues with the Canon 70-200mm f/2.8 II  (i.e., it did not inadvertently extend from its own weight).

Speaking of weight, the 70-200mm f/2.8 II is on the heavy side, weighing in at over three pounds and, believe me, you feel every ounce of it. I used the lens as part of an ongoing wildlife photography project I’ve been shooting, which requires a lot of trail riding on mountain bikes. Stuffing the lens and DSLR combo into a photo backpack seemed like a good idea at first but after a day on the trails, my backside was feeling it. You also probably don’t want to hand-hold this lens for extended periods of time so I’d suggest also bringing a monopod or tripod.

There’s a reason behind that weight: This lens is built tough. With weather and dust sealing throughout, the 70-200mm f/2.8 II is designed to withstand a variety of shooting conditions. For my wildlife photography project, which took me to foggy, moisture-rich swamps and marshes, the lens experienced no problems. If you anticipate you’ll be stuck in some heavy downpours though, I’d suggest bringing some fully waterproof rain covers for both your camera and lens.

The 70-200mm f/2.8 II has a new bayonet mount on the front that lets you lock on the included lens hood so it doesn’t accidentally go askew or slip off.

Image Stabilization: The Next Generation
As indicated by its model name, the Canon 70-200mm f/2.8 features new IS (Optical Image Stabilizer) technology, which Canon says offers up to four stops of correction against camera shake across the entire focal range. In contrast, the previous version of IS in the Canon 70-200mm f/2.8 offered only a reported three stops of correction.

While this spec is notoriously hard to test—it depends on what your definition of an acceptably sharp image is—I was very impressed with the new IS, which is actually the third generation of this technology for Canon. With the Optical Image Stabilizer engaged on the new 70-200mm lens, I got a larger number of useable images at 200mm when shooting at slower shutter speeds of up to one-tenth of a second hand-held than any other zoom I’ve tried.

Again it depends on your definition of useable and how shaky a particular photographer’s hands are, but I’d say at least 75 percent of my hand-held shots at up to one-tenth of a second were acceptable. Admittedly, as the day went on and my hands got more tired holding the heavy camera and lens, that percentage went down but results were pretty remarkable nonetheless.

I was also impressed with the Canon 70-200mm II’s autofocus system, which was fast and incredibly quiet; a perfect combination when photographing wildlife. Part of this faster focusing is likely due to a new AF algorithm Canon’s deployed in the 70-200mm II. Overriding autofocus takes just a turn of the ample focus ring to bring the lens under manual control.

Speaking of focus, the lens’s close-up ability has improved from the previous model. Though it’s hardly an ideal macro lens, the Canon 70-200mm II has a minimum focusing distance of just under four feet throughout the entire zoom range, letting you get closer to your subject while keeping the image sharp and tightly cropped. This should come in handy for portrait and headshot photographers.

Fringe Elements
The other big change to the Canon 70-200mm f/2.8 II is its new internal optics. The lens now uses one fluorite element and five UD glass elements designed to boost contrast and resolution while reducing chromatic aberrations.

I got excellent image quality results with almost no chromatic aberrations, which are sometimes identified by the purple fringing you see in areas of high contrast such as branches against a sky. It was hard to pick out any chromatic aberrations in my outdoor wildlife shots, even when zoomed in to 100 percent in photos ringed with trees.

Meanwhile, the overall contrast in my images was strong and natural looking, giving my shots that crisp, life-like look that’s a sign of good glass.

The Bottom Line
If there’s anything I can say against buying the EF 70-200mm f/2.8L IS II USM it’s that there’s a reason the previous lens was in Canon’s line-up for so long. The older 70-200mm f/2.8 is an excellent piece of glass and the type of workhorse that’s hard to put out to pasture. But if you’re in the market for a new 70-200mm, this version II sharp shooter from Canon is probably the best investment you will make. Yes, it’s expensive and heavy but the improvements in the lens’s Optical Image Stabilizer, its speedy-but-silent autofocus and the superior new internal optics, make this versatile EF-series zoom from Canon a real thoroughbred.

Pros: Improved Optical Image Stabilizer lets you hand-hold lens at slower shutter speeds while getting sharp results; excellent sharpness overall; fluorite and UD glass elements nearly eliminate chromatic aberrations; fast and quiet autofocus; wider focus ring lets you adjust while wearing gloves

Cons: Previous lens is still a very solid option; heavy; expensive

Price: $2,499; www.canon.com

Related Article:

Camera Review: Canon EOS-1D X

Source : pdnonline[dot]com

Left Behind (10 Photos)

Left Behind (10 Photos)

 © Jonathan Hollingsworth

Every year since 2001, no less than 150 sets of the decomposed or skeletal remains of border crossers entering the U.S. from Mexico have been discovered in remote areas of Arizona’s Sonoran Desert. In his book, Left Behind (Dewi Lewis Publishing), photographer Jonathan Hollingsworth delivers a sobering look at those who do not survive the Arizona border crossing and the personal effects they’ve left behind.  Hollingsworth traveled to Nogales (site of the largest border patrol station in the U.S.) and Green Valley, where he photographed belongings left on the desert floor by migrants awaiting roadside pick-up at the end of their days-long journey. The work also takes the viewer through the day-to-day operations of the Pima County Forensic Science Center, which analyzes and stores the border crossers’ remains, and works to identify the unknown. Hollingsworth devotes a large segment of the images to the center’s archive of personal effects, creating a quiet memorial for those who died alone, without ceremony, and who in most cases, are still unknown.

© Jonathan Hollingsworth

© Jonathan Hollingsworth

© Jonathan Hollingsworth

© Jonathan Hollingsworth

© Jonathan Hollingsworth

© Jonathan Hollingsworth

 © Jonathan Hollingsworth

 © Jonathan Hollingsworth

 © Jonathan Hollingsworth

Tags: Dewis Lewis Publishing, Jonathan Hollingsworth, Left Behind

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This entry was posted on Thursday, December 27th, 2012 at 12:00 pm ET by Amber Terranova and is filed under Documentary.

Source : pdnphotooftheday[dot]com

Reed . . . by Guest Contributor

Reed . . .     by Guest Contributor

« The Girl at #53

Go Random

© 2012 Guest Contributor. All Rights Reserved (see policies). Contact for Use.

Guest contribution by Tom S Johansen

Keywords: black and white, high key, Nature, reed

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African Theater (10 Photos)

African Theater (10 Photos)

© Patrick Willocq

Patrick Willocq’s project “On the road from Bikoro to Bokonda,” which he created by photographing villages in a Western province in his native Democratic Republic of Congo, was recently awarded the Prix AFD, given by the French Development Agency. The project, Willocq writes, “is a testimony of everyday Batwa Pygmies and Bantu life in the province of Equateur.” Willocq directs the villagers in his photographs to create “Africain tableau,” which is concerned with “human relationships and the role of women and men, the role of the forest, nourishing heart but under daily pressure from the villagers and, traditions still entrenched but sometimes disappearing in favor of more westernized tools and behaviors.”
“I also wanted to witness the peace that prevails in the West, with the complicity of the villagers themselves actors committed to contributing to our project,” Willocq adds. “A different reality than the Eastern Congo. A reality that Western media regularly focus on and, although dramatic, stigmatizes the whole country.”

Willocq collaborates with the villagers on more than just photographs. In addition to his photographic work, Willocq leads “community-based and fair-trade tours” for people who want to meet with the villagers. He writes: “I have always been struck by the beauty, simplicity and dignity of daily life, despite all the hardship they face.”

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

© Patrick Willocq

Tags: Equateur Province, Patrick Willocq, Western Congo

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This entry was posted on Wednesday, December 26th, 2012 at 12:00 pm ET by Amber Terranova and is filed under Documentary, Fine Art.

Source : pdnphotooftheday[dot]com

O Big Steel Town of Bethlehem (6 Photos)

O Big Steel Town of Bethlehem (6 Photos)

All photos © Joseph E. B. Elliott.

Many photographers have documented the monumental steel mills of Bethlehem, Pennsylvania (one of more than a dozen US cities named for the holy site on the minds of Christians this day). They include Walker Evans, who photographed the city in the 1930s for the Farm Security Administration. Joseph E.B. Elliott, who specializes in photographing historic industrial and architectural sites, took more than 1,000 images of the mills from 1989 to 1996, when Bethlehem Steel closed down. His new book of photographs, The Steel, will be published in February by Columbia College Chicago Press. “I certainly feel that I followed the footsteps of Walker Evans,” says Elliott, who shot black-and-white film using a Horseman monorail and an old Linhof Techinika. “I tried to maintain Evans’ dispassionate stance and clarity, but occasionally slipped into a more romantic response to the overwhelming scale and beauty of the place.”

A professor of art at Muhlenberg College in Allentown, Pennsylvania, Elliott has been published in Smithsonian, Wired,  Metropolis and other publications, and his photos are in the collection of the Library of Congress. “In that sense, they reside near Evans’ great FSA work,” he says.

Photo above: “Last Night at the Coke Works.”

© Joseph E. B. Elliott. A view of the furnace.

© Joseph E. B. Elliott. “No. 2. Shop Side Bay.”

© Joseph E. B. Elliott. “Waiting for a Heat of Steel.”

© Joseph E. B. Elliott. “Welfare Room, Central Tool Shop.”

© Joseph E. B. Elliott. “Looking West Towards Blast Furnaces in Snow, After Shutdown.”

Tags: Bethlehem Steel, Joseph E.B. Elliott, Pennsylvania, steel mills

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This entry was posted on Tuesday, December 25th, 2012 at 12:00 pm ET by Holly Stuart Hughes and is filed under Architecture, Documentary, Fine Art.

Source : pdnphotooftheday[dot]com

PDN 2012 Photo Gear of the Year

PDN 2012 Photo Gear of the Year

DECEMBER 24, 2012

By Dan Havlik

The photo industry rebounded in 2012 with some of the best photo gear releases we've seen in years. Starting with a wave of full-frame digital SLR launches from Canon, Nikon, and Sony; to a variety of (finally!) pro-worthy mirrorless, compact system cameras; along with intriguing new video cameras capable of capturing the latest industry buzzword known as 4K, serious digital imaging was back on track in 2012.

Unfortunately, there are a few noticeable absences in our annual Gear of the Year rundown, namely some of Sony's latest professional cameras, which we were unable to get our hands on to test this past year. (Supply doesn't always meet demand.) Aside from that, however, we put plenty of other fantastic imaging products though their paces in 2012 and here's our pick of the very best.

Camera of the Year - Canon EOS-1D X
The 18.1-megapixel, full-frame Canon EOS-1D X was easily our favorite DSLR to shoot with last year and that’s saying something since there was a wave of excellent camera releases in 2012. With its incredibly fast frame rate and breakneck overall performance speed; its beautiful image quality even in extremely low light at extremely high ISOs; its tough, sturdy build and excellent pro camera design; and a boatload of features, most of which are highly useful, X marked the spot in 2012: the EOS-1D X is our pick for camera of the year.

Click here to read our full review of the Canon EOS-1D X.

Click here to read a round-up of some other cameras that rocked in 2012.





Pro DSLR of the Year - Nikon D800
If you need massive amounts of detail in your images but might not want (or simply can't afford) a medium-format camera system, the 36.3-megapixel, full-frame D800 was the camera to turn to in 2012. The incredible amount of resolution and gorgeous image quality, were what impressed us most about the D800, making it an excellent camera for both studio work and outdoor landscape photography. Despite a relatively small pixel size, the D800 produced surprisingly low noise at high ISOs. It also has a lightweight but solid camera build and an excellent 1080p HD video mode.

Click here to read our full review of the Nikon D800.

Prosumer DSLR of the Year - Nikon D600
There was such a run on DSLRs with full-frame image sensors in 2012, they started invading the prosumer space. The 24.3MP Nikon D600 was one of two prosumer full-framers that turned a lot of heads last Fall -- the other being the Canon 6D, which we are currently testing for a PDN review next year -- and we enjoyed shooting with the D600 so much, we could see pros turning to it as a back-up body. The D600 produced excellent all-around image quality and had a strong feature set without any significant “dumbing down” of functionality to appeal to less experienced photographers. It also has a solid but lightweight build that still felt comfortable for those with large hands; great HD video quality; and most importantly for those on a budget, it's reasonably priced.

Click here to read our full review of the Nikon D600.

Medium Format Camera of the Year - Leica S
Ok, this is admittedly a bit of a fudge. We haven't been able to put the 37.5MP Leica S, which was announced at photokina 2012, through a thorough test yet but we got enough hands-on time with the camera during the show, to know its quite a performer. While it looks a lot like its predecessor -- the Leica S2 -- and uses the same 45 x 30mm Kodak-built CCD sensor, there are over 80 upgrades including doubled internal memory buffer speed letting you fire off up to 32 RAW DNG images; a new sensor board, which lets the camera shoot at a native ISO of 100 with increased dynamic range; built-in GPS; and a revamped LCD screen. Add in some design tweaks including a five-direction joystick on back and a new autofocus module, for quicker focusing in low contrast shooting conditions, and Leica has another medium-format winner on its hands.

Click here to read our photokina preview of the Leica S.

Click here to read a round-up of our other favorite medium-format camera gear of 2012.





Compact Camera of the Year - Canon PowerShot G1 X
Small was also beautiful in 2012 as evidenced by 14.3MP Canon PowerShot G1 X. While calling the G1 X a "compact" is a bit of stretch -- it's too big to fit in your pocket -- the G1 X is quite portable and its relatively large 1.5-inch (18.7 x 14mm) CMOS imaging chip produced superb image quality with surprisingly low-noise results without significant loss of detail at up to ISO 6400. The G1 X also has a very nice 3-inch, vari-angle LCD; and shoots great 1080p HD footage with stereo sound.

Click here to read our full review of the Canon PowerShot G1 X.






Mirrorless Compact System Camera - Fujfilm X-Pro1
With the 16.3MP Fujifilm X-Pro1, mirrorless cameras finally got serious in 2012. This retro, rangefinder-style, compact system camera, not only looks great, it shoots fantastic photos, producing excellent skin tones, right out of the camera. The X-Pro1 is also relatively compact and somewhat inconspicuous, making it an excellent shooter for street and candid photography. And while it may look a lot like a Leica M-series digital rangefinder, it won't set you back nearly as much, retailing for around $1,500, body only.

Click here to read our full review of the Fujifilm X-Pro1.






Video Camera of the Year - Red Scarlet-X
While calling the 4K-shooting Red Scarlet-X a mere "video camera," is like calling a Lamborghini just a "car," this digital cinema machine presented one of the best options for photographers interested in crossing over into serious filmmaking. Capable of producing mind-blowing 4K video that will put that 1080p you shot with your HD-DSLR to shame, the Red Scarlet-X offers the imaging power to make the leap from shooting HD clips to creating gorgeous feature films. Meanwhile, the free Redcine Pro software lets you easily pull high-resolution stills from the video, if you find you still need those. But believe us, after shooting video that's four times the resolution of HD with this rad-looking, small and rugged camera, you just may put still photography in the rearview mirror.

Click here to read our full review of the Red Scarlet-X.

Click here to read our round-up of 13 products you need to add video to your business.






Lens of the Year - Tamron SP 24-70mm F/2.8 Di VC USD
Tamron's new 24-70mm f/2.8 lens is more than just a great bargain, it's a great piece of glass. Retailing for just $,1299, this 24-70mm workhorse has a solid but lightweight professional-grade build and boasts Vibration Compensation image stabilization that helps for shooting at slower shutter speeds in low light (something the high-priced competition doesn't even offer.) The lens also has fast and virtually silent focusing; and great resolving power that produced excellent image quality results.

Click here to read our full review of the Tamron SP 24-70mm F/2.8 Di VC USD.

Click here to read a round-up of our other favorite lenses of 2012.





Printer of the Year - Canon PIXMA Pro-1
There's no getting around the fact that the Canon PIXMA Pro-1 is vey large, 13-inch printer but it produced photo prints that were among the best we've seen from an inkjet. In fact, the Pro-1's sturdy build, actually helped stabilize it during output. The Pro-1 was had extremely fast prints speeds for such high quality prints and it was so quiet you might not even notice it's printing. Both color and black and white photo prints had superb dynamic range and detail, making the Pro-1 a great tool for your next gallery show.

Click here to read our full review of the Canon PIXMA Pro-1.





Bag of the Year - Gura Gear Kiboko 22L+
Good photo backpacks are a dime a dozen. Truly great photo backpacks are a rare breed. Put Gura Gear’s Kiboko 22L+ designed by wildlife and safari photographer Andy Biggs based around input from his customers in the uncommon “great” category. The Kiboko 22L+ is a lightweight, durable, and comfortable pack designed for long photo treks. It has a padded sleeve for laptops unlike the bigger, step-up model and it's made from lightweight, water-shedding sailcloth that’s abrasion and tear resistant

Click here to read our full review of the Gura Gear Kiboko 22L+.

Click here to read about our other favorite camera bags and cases of 2012.

Software of the Year - Alien Skin Exposure 4
There's tons of software on the market that digitally simulates the look of classic film stocks but Alien Skin Exposure 4 was the most comprehensive -- and most fun! -- plug-in we've tried. Exposure 4 has a clean and fast revamped interface and has added many new film and photography effects including cyanotype, lith printing, and wet plate photography. Most importantly for analog lovers, the app's simulated film stocks very true to their originals

Click here to read our full review of the Alien Skin Exposure 4.

Click here to read about our favorite software for managing your studio & photography business.




Photo Accessory of the Year - Tripad
It’s true there are some products where you go: “I can’t believe nobody thought of that before.” While the TriPad is not really that type of product, when you start using this clever mobile workstation that fits over your tripod in your studio or on location, you just might say: “I wish somebody had thought of that before!”

Click here to read our full review of the Tripad.

Click here to read a round-up of our other favorite photo accessories of 2012.

Photo Paper of the Year - Olinda Fine Art
And finally, if you want to make beautiful photo prints of all those wonderful images you've been shooting all year, Olinda Fine Art paper is a great choice. Because of its subtle and muted effect – particularly for color prints – fine art matte paper might not appeal to every photographer. But if you like printing on matte, Olinda's paper is one of the best of this genre we've tried, producing attractive results capable of turning your photos into frameable works of art.

Click here to read our full review of Olinda Fine Art.

Click here to read about our other favorite inkjet photo papers of 2012.

Source : pdnonline[dot]com