Photo This & That

Olympus PEN E-P5 Preview

terakopian — Tue, 04 Jun 2013 18:08:42 +0000

Hands On Test With The E-P5

The Olympus PEN E-P5 with the Olympus 45mm f1.8 and 75mm f1.8 lenses at Olympus’s UK press event launching the new camera. *NB-Image shows an initial production camera* London, UK. May 29, 2013. Photo: © Edmond Terakopian

I was fortunate to be at the press launch for the new Olympus PEN E-P5 in London last week. Olympus had kindly arranged for a couple of models and I managed to get some time to try out the new E-P5 and a range of Olympus’s rather cool fast prime lenses. Before I carry on with this preview, it’s imperative to let you know that the camera was an IP model (Initial Production, meaning not yet final production) and the firmware was pre-production. Also, as the camera is so new (not available for purchase yet) my choice of image processing software, Aperture, does not yet support the RAW files, so all images here, as well as comments on image quality are based on the camera’s jpegs (which were then processed as needed in Aperture). Needless to say the RAW files will improve things further (better colour, more highlight and shadow detail as well as less digital noise at high ISOs).

Test shots with the Olympus PEN E-P5 at Olympus’s UK press event launching the new camera. *NB-Image taken on an initial production, pre-final firmware camera* Model Sonia Yasmin Ali. London, UK. May 29, 2013. Photo: © Edmond Terakopian
Technical notes: jpeg image processed in Aperture and Nik Software Silver Efex Pro 2. ISO 3200, Olympus 45mm f1.8 lens

When Olympus brought out the first PEN, the E-P1, I was very impressed and really liked the camera. The Olympus PEN E-P2 improved things further, including adding the ability to add an EVF (electronic viewfinder) and video shooting, including adding an external microphone for better sound. I was so impressed with the E-P2 that I added one to my toolset and shot with the camera extensively.

The E-P5 has moved things on much further. It’s definitely the best PEN by far. The design looks superb and looks a little more like the original PEN cameras from the days of film and more importantly, the ergonomics are great. The specification sheet is very impressive; 16 megapixels, super fast (and accurate) AF, 9fps (yes, nine frames per second!), full 1080p HD video, built in 5 axis image stabiliser, manual focus with focus peaking assist, built in WiFi and a brand new 2.36 megapixel external electronic viewfinder; the VF-4.

I’ll get straight to my conclusion; I loved this camera. Extremely responsive, small, unobtrusive with some stunning Olympus prime lenses. It behaved exactly as a camera should; it was an extension to my wish to shoot pictures and never got in the way. Although I didn’t get a chance (due to time restraints at the press launch party) to thoroughly explore the camera and drill down into the menus and customise settings as I would want them, I can already say that I love this camera and won’t hesitate from recommending it. Having shot extensively with the E-P2 and to a lesser extent the E-P1, I know the heritage of the digital Micro 4/3 PENs and the E-P5 has taken this line and just made it so much better.

During my time with the camera, I shot 159 images, both indoors (dark) and outdoors (around 8pm). The combination of the camera and I managed to get one shot out of focus; everything else was in focus; bang on. This is extremely impressive.

I’m one of these photographers who likes to use cameras as they were meant to be used; to the eye! The new VF-4 is a great addition and I would say is a must have accessory. It’s pin sharp, bright, fast to refresh and just absolutely usable. I never once felt I was looking through an electronic finder.

Since I had my E-P2, Olympus has brought out some extremely impressive prime lenses and I got a chance to shoot with these too. I shot with the Olympus M.Zuiko Digital 17mm f1.8, 45mm f1.8 and the 75mm f1.8. As Micro 4/3 cameras double these, the equivalents are 35mm, 90mm and 150mm. All of these impressed thoroughly; optically superb and very fast to focus. The thought of having a 150mm f1.8 lens should be a great comfort to a news or wedding photographer!

The E-P1 would run into noise issues above 1250 ISO. The E-P5 produced beautifully smooth 3200 ISO shots. Remember, we’re judging from a jpeg here! The ISO range goes all the way up to 25,600 ISO, so it will be interesting to see how high one can go to make usable images. You can see the full specification sheet here.

The Micro 4/3 mount has come a long way. One of the huge strengths is the ability to practically mount any lens onto it. I have adapters for Leica M, Nikon and Canon lenses. The mount is so flexible that Black Magic have chosen it an option to include on their digital cinema cameras. This flexibility lets the photographer not only use any current lenses they may have, but to search out old and interesting lenses to use, each bringing with them unique characteristics.

Is everything perfect on this camera? Not quite; I would love to see the EVF built in to the camera in place of the flash. A viewfinder on the rear top left corner, similar to a Leica M, would be perfect. As the camera already has a tiltable rear screen losing the tiltability of the EVF is no big loss. Having a built in EVF would just make the camera perfect. I would also like to see a microphone input (and ideally a headphone socket to allow monitoring of audio) getting built in too, rather than using the SEMA-1 accessory.

All in all though, these negatives don’t detract. Definitely get your hands on the camera and give it a try; you’ll be impressed.

For a full GALLERY of images, please visit my Flickr Set on the E-P5.

A couple of images of me trying out the Olympus PEN E-P5, kindly supplied by Claire Voyle:

Photographer Edmond Terakopian trying out the new Olympus PEN E-P5 at the launch event in London. May 29, 2013. Photo: Claire Voyle / http://www.facebook.com/ClaireVoylePhotography

The Life of Chris Hondros

terakopian — Sun, 26 May 2013 16:24:38 +0000

Hondros: A Life in Frames

One of the saddest moments of my life was hearing that Chris Hondros and Tim Hetherington had been killed whilst on assignment in Libya; it was a devastating loss for all of us.

Greg Campbell and Daniel Junge are setting out to make a film about Chris, exploring his work and telling the story behind his powerful and moving work. The film is going to be called “Hondros: A Life in Frames”. As it’s an independent production, the film makers are looking for donations to help fund the film. I think it’s of importance to make this project a reality, so do make a donation if you can.

Scout Tufankjian

terakopian — Wed, 22 May 2013 09:36:57 +0000

Photographing Presidents & Revolutions

Here’s a great interview by Civilnet with my friend and Polaris Images colleague, photojournalist Scout Tufankjian on her experiences covering the Obama Presidential campaign, the Egyptian revolution and her project on the Armenian diaspora (Scout is an Armenian American from new York).

Platon

terakopian — Fri, 10 May 2013 10:05:03 +0000

Power Through Portrait

An absolutely fascinating presentation by Platon about his portraits of the planet’s leaders; those in power. Naturally this covers the politicians but goes much further, covering the tech leaders and finishes with the leaders of the Egyptian revolution. Very inspiring work and interesting stories about the portraits.

Photographer Platon Reveals Power Through Portrait from WIRED on FORA.tv

The Copyright Killings

terakopian — Thu, 09 May 2013 07:01:26 +0000

Webinar Recording On Copyright Issues

An interesting and must watch webinar on copyright, IPTC, orphan works and related issues. In light of recent events in the UK which could have catastrophic affects on photographers, anyone who uploads images to the internet should watch this. Please post this link around as there are a lot of interesting things being discussed.

Visit the Picturepark website for further information and resources discussed in the seminar.

Sebastião Salgado – TED Talk

terakopian — Wed, 01 May 2013 21:10:09 +0000

The silent drama of photograph

A wonderful TED talk by my favourite photographer, Sebastião Salgado, where he discusses his work and what led him towards creating his most recent project, Genesis.

Further Reading:

Salgado’s Genesis Project.

Is The UK Government Trying To Kill Off Photographers

terakopian — Mon, 29 Apr 2013 10:02:27 +0000

New Act Makes It Legal for Photographs to Get Used Without Payment to Their Authors

Yes, you did read that correctly. I’m in a state of disbelief and utter disgust with our Government. Appalling behaviour. Before I continue, it’s imperative to understand that my post not only applies to professional photographers whose livelihood just got taken away by this Act, but also amateur photographers too. Also, this applies to photographs worldwide; any photographer, from anywhere can be affected by this.

Firstly, by taking a picture (any picture, be it a family snap or an amazing news picture, wedding picture, landscape etc) you create it and have copyright and ownership of that image. This is the law and a human right.

In a nutshell, the new Act (Enterprise and Regulatory Reform Act, which received Royal Assent) that got voted through by government allows all work considered to be an orphan work to get used for free. Orphan works are those works whose creator cannot be found. One could immediately jump to the conclusion that this means purely photographers (this applies to more than photography, and to creatives as a whole) who have died and are uncontactable. It does not just mean this. It means any work. Consider for a moment that the billions of images that get uploaded to various websites, on the whole, have their metadata stripped out. IPTC and metadata is something most enthusiast photographers bother with (you should!) but the majority of photographers, especially those in the editorial markets, always fill in full IPTC which show’s the author of the image, copyright, contact details and so on. Well, the majority of websites, social networks and so on strip out ALL of this data. Your work, even something you shot a minute ago and uploaded, just became an orphan work. As such, it can now be used for free and for whatever purpose the thief of the image wants to use if for.

The corporation or individual stealing your work has to show that they diligently searched for you, the author, before just taking your work and using it for their purpose, often commercially, so making them money from your work, for which you will not see a penny. Well, I guess it’s easy to say I looked but the billions of images online meant I couldn’t find the author. Also the wording is so loose and legally ambiguous that it’s left to interpretations.

Although this Act still has to get made into actual legislation, no Act has been voted down since 1979, so it’s considered a formality. This is happening. The first steps have been taken and the wording is paving way for the legislation to follow. This is extremely worrying and nobody who uploads photographs to the internet can afford to be complacent.

For those who don’t know, a professional photographer’s income also comes from licensing of images. For some, this is the majority of their income. It is our livelihood. The government just took that away. For some, this could well mean bankruptcy and unemployment. Why would a government elected to serve it’s people take away their right to work and make a living? This is beyond me. How can this be considered serving the people? The photographer get’s abused, their rights to their own creations taken away, just so corporations (multi billion pound behemoths in most cases) can save a very small fraction of their costs by getting their photography, for commercial use, for free. Also keep in mind the rights of your subjects being abused.

I’m utterly disgusted.

What To Do?

I suggest anyone (amateur or professional) who uploads pictures to the internet (Facebook, Twitter and so on) immediately learns how to watermark their pictures. Watermarking means putting text and / or a logo onto your pictures to say who they belong to, before uploading the images. It’s easy to do and only takes seconds. For my main photography I use Aperture (and have presets with my logos made up – very simple) and for my iPhone photography I use Marksta (very simple to use and an excellent piece of software). Lightroom, Photoshop and so on can be used for watermarking. There are also apps for Android phones and so on. Spend a few minutes and Google how to do this. Safeguard your work.

A watermark, comprising of a logo graphic file (bottom left) and a text (central) applied using the iPhone Marksta App. Photo: ©Edmond Terakopian

Watermarks should be placed on the image itself. You should also have a creation year, so the central text reads “©Edmond Terakopian 2013″. You can also, like in this case, be subtle but still brand your work. If you look at previous posts on this blog, you will notice that I have a specific blog watermark on the images. Also, by looking through my Flickr, you can see watermarking there too. Facebook friends will also notice how I watermark all images there too. Protect yourself, your work and your subjects too. Take action.

Following on from this, we need to try and get this Act killed off. Lobby your MPs and speak to any photography associations and organisations (BPPA, NUJ, MPA, SWPP etc) you belong to and ask them to campaign against this (some are already doing this, but all the social/wedding associations need to act too).

I also feel, and have done for years, that metadata should not be editable by anyone else but the photographer (or their picture desk). IPTC should have a password protect feature, much like locked PDF files. It should also be illegal and technically impossible for metadata to be changed or erased from an image by websites it is being uploaded to. Perhaps this is an avenue worth exploring?

Sign The Petition

There’s a petition, kindly drawn up by Will Nicholls. Whilst the initiative is great, it is missing some key elements. Regardless, as it’s the only petition out there, I have signed it and would suggest everyone does too:

Stop Legalised Theft Of Copyrighted Works

Hopefully one of the associations will draft up a more comprehensive petition covering all aspects. As soon as this is available, I would urge all to join me in signing that one as well. The more pressure we can bring, the more chance we have of safeguarding our industry. We must stand up for our rights as no one else will.

Summing Up

Regardless of if you’re a proud parent taking pictures of your children or a professional photographer photographing news, weddings, portraits, landscapes and so on, all photographs uploaded to the internet will soon be in danger of getting stolen and used without your permission. Not only are you losing control of your images, but your subjects’ rights are also being violated. All legally. All thanks to the Enterprise and Regulatory Reform Bill (ERRB) which received Royal Assent and is now an Act. This paves way for legislation. The fact that no Act has been stopped from becoming legislation since 1979 makes this extremely dangerous for anyone who takes pictures and puts them on the internet; FaceBook, Twitter and so on.

This will effect EVERYONE so act NOW.

Further Reading:

Photographer David Bailey’s letter to George Osborne in full:

Dear George

I am writing because I am appalled at what the government is doing to our rights in the ERRB (Enterprise and Regulatory Reform Bill). Why the ERRB by the way? Why can’t copyright be dealt with properly in a proper Copyright Bill? I’m told everyone will be able to get their hands on our so-called “orphans” so libraries and museums can publish old photographs whose authors have long been forgotten. But never mind what’s lying around on dusty old shelves, what about the millions of “orphans” that are being created now every day!

Why? Because social media, and everyone else for that matter routinely strip our names and contact details from our digital files. They simply should not be allowed to get away with this. They can because our government refuses to give us the right to our names by our pictures (Moral rights). So now commercial organisations will be allowed to make money from our “orphans”, but not us, the creators.

This legislation should never have been even considered without first giving us our moral rights, and is contrary to our rights under the Berne Convention. Why the rush? A scheme, the Copyright Hub – a scheme backed by the government – is being developed to ensure that those who wish to find our pictures can not only do so quickly online, but also find the contact details of the pictures’ owners. You are about to put the cart before the horse.

I’m told the real reason for speed is that “releasing” orphans will create growth. We all understand the need for growth. But where’s the evidence? The seemingly impressive financial figures presented originally in the Hargreaves Review have mysteriously had to be revised – down by 97%! Which now apparently amount to no more than 80p per taxpayer per year. Given the damage this legislation will now cause to taxpaying creators, damage no-one has so far taken into account, the effect of this legislation on economic growth will in fact be negative.

It’s not too late to think again!

Best,

David Bailey

René Burri

terakopian — Wed, 24 Apr 2013 22:11:30 +0000

Magnum Photos Photographer

Magnum photographer René Burri at his book signing in the Photographers’ Gallery book shop, Ramillies Street, London. April 24, 2013. Photo: Edmond Terakopian

I always enjoy meeting photographers’ whose work I’ve admired for decades; whose images I’ve grown up with and have helped form my interest in photography and further my understanding of it. It’s even a bigger joy when the person in question turns out to be a wonderful person. I’m thankful to say René Burri certainly fits the bill (as did Sebastião Salgado recently).

I attended a book signing of René Burri’s new book, Impossible Reminiscences at the Photographers’ Gallery book shop. I must admit, at first look, it was not what I was expecting. I hadn’t seen this side of the work and it’s absolutely fascinating. A combination of great reportage, street photography, social commentary in a quirky way (well before Martin Parr made it trendy), in colour, all published in one beautiful book. It’s well worth checking out. Whilst there I also took advantage and got a copy of René Burri Photographs which is just wonderful; filled with the images he is perhaps best known for. A title worth having for any photographer.

The evening concluded with a fascinating talk about various images and assignments, focusing mainly on the new book and the imagery within. Very enjoyable and interesting indeed!

Fleet Street Photo Exhibition

terakopian — Sun, 21 Apr 2013 20:32:52 +0000

50 Press Photographs at ”The Fleet Street Press” Coffee and Tea House

Fleet Street is synonymous with British Newspapers – the “press”. Even though the last newspaper left the street over 20 years ago, the industry is still referred to as “Fleet Street” and as such, the street has a special symbolism for press photographers and journalists alike.

Setting up the Fleet Street Photo Exhibition at “The Fleet Street Press” Coffee and Tea House, 3 Fleet Street, EC4Y 1AU, London. April 21, 2013. Photo: ©Jonathan Buckmaster

The exhibition is a collection of work from press photographers working for the national papers, international wire agencies and local papers around the country. It’s an insight into the world of press photography, covering wars, politics, features, portraits, disasters, press conferences and sports.

Setting up the Fleet Street Photo Exhibition at “The Fleet Street Press” Coffee and Tea House, 3 Fleet Street, EC4Y 1AU, London. April 21, 2013. Photo: ©Jonathan Buckmaster

Images that are hard hitting, thought provoking or quirky; you’ll find the full gamut. We are not the paparazzi and as such, you won’t find any of that genre of image here. We are where the news is; we find the truth, we witness history and we are the eyes of the British public who rely on us to bring the news.

Setting up the Fleet Street Photo Exhibition at “The Fleet Street Press” Coffee and Tea House, 3 Fleet Street, EC4Y 1AU, London. April 21, 2013. Photo: ©Jonathan Buckmaster

On a personal level, it’s with great pleasure that I share the news that two of my images have been selected to be exhibited in the Fleet Street Photo Exhibition:

Poo And The Band. Winnie The Poo lines up with the band in the forecourt of Buckingham Palace for the children’s party. June 25, 2006. Photo: ©Edmond Terakopian

Love Your Job. A heavy downpour of rain soaks pedestrians and a businessman, as they pass an illuminated advertising sign saying “Love Your Job”. Hammersmith, London. January 14, 2011. Photo: ©Edmond Terakopian

The exhibition will be open to the public from Monday, April 22nd, 2013 and is going to be a long term, evolving exhibition of work by press photographers. The images on display will be for sale. Each of the 50 photos is 40cmx30cm (A3′ish, including border) and printed on fibre based Baryta paper. Each sale will be printed to order and posted to the buyer within 7-10 working days. Each image is £150 and will be embossed with the Fleet Street Photograph logo. It’s a great opportunity to buy some great images at a great price.

Venue Details

“The Fleet Street Press” Coffee and Tea House, 3 Fleet Street, EC4Y 1AU, London. Opening times are 6.30am to 6.30pm, Monday to Friday. 10am to 5pm on Saturdays and 10am to 4pm on Sundays. You can follow The Fleet Street Press on Twitter and on their FaceBook page.

Sebastião Salgado: Genesis

terakopian — Wed, 10 Apr 2013 23:34:12 +0000

The Unspoilt Planet

Sebastião Salgado: Genesis from Edmond Terakopian on Vimeo.

In 2004, Sebastião began the Genesis project, aimed at presenting the unblemished face of nature and humanity. Genesis consists of a series of landscape and wildlife photographs, as well as photographs of human communities that continue to live in accordance with their ancestral traditions and cultures, shot across 32 countries, over an eight year period. This body of work was conceived as a potential path to humanity’s rediscovery of itself in nature.

World premiere of Sebastiao Salgado’s Genesis Exhibition at the Natural History Museum in London, UK. April 09, 2013. Photo: Edmond Terakopian

Sebastião Salgado’s photographic exhibition Genesis is unveiled for its world premiere at the Natural History Museum on Thursday 11 April (and will run until September 8th, 2013). Edited, designed and curated by Lélia Wanick Salgado, the exhibition includes 200 epic black-and-white photographs that celebrate the majesty of nature and examine the balance of human relationships with our fragile planet.

World premiere of Sebastião Salgado’s Genesis Exhibition at the Natural History Museum in London, UK. April 09, 2013. Photo: Edmond Terakopian

Accompanying the exhibition is an equally amazing book published by Taschen. For the collector, there are bigger, limited edition volumes, with photographic prints.

Since elephants are hunted by poachers in Zambia, they are scared of humans and vehicles. Alarmed when they see an approaching car, they usually run quickly into the bush. Kafue National Park. Zambia. July and August 2010. Photo: © Sebastião SALGADO / Amazonas images/nbpictures

Speaking about the exhibition, Sebastião Salgado commented, ‘Genesis is about beginnings. It is about the unspoiled planet, the most pristine parts, and a way of life that is traditional and in harmony with nature. I wanted to present places that were untouched and remain so to this day.

World premiere of Sebastião Salgado’s Genesis Exhibition, Natural History Museum, London. April 09, 2013. Photo: Edmond Terakopian

I want people to see our planet in another way, to feel moved and be brought closer to it. I want them to become more conscious of the environment, to feel respect for nature because this is something that is relevant to everyone.’

Iceberg between Paulet Island and the South Shetland Islands on the Antarctic Channel. At sea level, earlier flotation levels are clearly visible where the ice has been polished by the ocean’s constant movement. High above, a shape resembling a castle tower has been carved by wind erosion and detached pieces of ice. The Antarctic Peninsula. January and February 2005. Photo: © Sebastião SALGADO / Amazonas images/nbpictures

Sebastião Salgado was a driving force behind me taking up photography as a career. When I first saw his image, often referred to as “the crucifix” from the open gold mine in Brazil, I was totally stunned; my mind and eyes were opened like never before, as I discovered a new way of seeing and an epic way of using a camera to convey a story. Personally I have never looked back. They say, one should never meet one’s heroes as disappointment is guaranteed. I’m thankful to say that when I met Sebastião Salgado and his wife, curator and editor Lélia Wanick Salgado at their book signing in Taschen’s London store, it was a special moment. Genuinely lovely, passionate and talented with absolute modesty and elegance. My career has always been inspired by the work and now I’m glad to say that it continues to be inspired by the person too.

Sebastião Salgado: Genesis book signing. Photographer Sebastião Salgado. TASCHEN Store London, 12 Duke of York Square, London. April 10, 2013. Photo: Edmond Terakopian

As a press launch (just like a private view) is never the best time to see an exhibition; one’s always busy working. From the parts of the exhibition I did manage to see, I cannot recommend this exhibition highly enough. I foresee that I’ll be visiting it several times over the coming weeks and months. It should be on everyone’s “to do” list. It is quite literally awesome. I also cannot recommend the book highly enough either. It’s an amazing body of work, with an extremely important message. Go see it.

Addendum: I went to see the exhibition and spent several hours wondering around the various rooms, exploring various aspects of the project. It is magnificent. Amazing imagery, amazing prints and very well curated too. One gets really drawn into the images, discovering amazing details and subtleties. Equally, stepping back from some of the images, brings the graphic elements of the composition to play. I cannot recommend this exhibition highly enough. Book your ticket and time slot and visit; it is quite literally awesome.

Sebastião Salgado: Genesis book signing. L-R: Lélia Wanick Salgado (wife, curator & editor of the book) and photographer Sebastião Salgado. TASCHEN Store London, 12 Duke of York Square, London. April 10, 2013. Photo: Edmond Terakopian