There are things that are known, those which are unknown, and inbetween are the doors of digital perception, when these are opened the world will appear to the viewer as it truely is…infinite.

Words are power and when arranged in the right way they form phrases, which can become insiprational bits of revolution. The Red Scarlet has been called a DSLR Killer in various online forums, and this naturally makes the mind think twice. DSLR Killer? How does one kill the embodiment of the whole digital photography industry, the marker by which all other digital imaging products are measured? Of course, there area calls of impossibility. What! How can one company challenge the Old Guard of Canikon and repell attacks by the 800 pound Sony DSLR Gorilla?

Red has released the specs of the SCARLET and EPIC Digital Still & Motion Camera (DSMC) systems.  The images and specs were released on the reduser.net and included the DSLR-like configuration shown above. What, you want to shoot full-frame 35mm, oh…, no, you want to shoot in full-frame 645, ahhh, ok, you’d prefer to shoot in the  digital 617 format today?  NO PROBLEM.  The new SCARLET and EPIC cameras are completely, 100% modular, upgradable, and fully custimizable to whatever shooting setup you want.  The base SCARLET Brain (imaging sensor body) will go for only 2500 USD.  Of course you need to add on a lens,  viewfinder, etc.  But the SCARLET now fullfills the desire of many serious photogrpahers, because you can build the camera you want to use.  Detractors have said to compete with Canikon RED is at a disadvantge, since they need lenses to compete.  Well, RED offers a full range from f/2.8 zooms to f/1.5 primes including some with image stabilization – simply awesome. Or, you can just get a Canon or Nikon lens mount and use any of the millions of compatible lenses already on the market. YES! The SCARLET allows three lens mounts, including Canikon and RED. At the heart of the new SCARLET and EPIC systems is the ability to choose the sensor size you need.  Sizes include 2/3”, 35mm full frame, and then go on up to 186×56 mm. In megapixels this means a range from 4.9 up to 261 MegaPixels. The Mysterium-X, Monstro, and Mysterium sensors offer A/D conversions from 12-16 bit, and 11-13 stops of dynamic range. The maximum frames per second are 25-120fps. And since the system is fully modular, you can even do things like putting two Brains together and shooting directly for 3D with a stereo camera setup.  And of course, since the system is modular, as sensor technology improves, you just buy a new one, a concept which should have been implemented 4 or 5 years ago by Nikon or Canon.

RED of course, has an advantage against the old skool camera makers.  They are a very forward looking company, which has designed their cameras exactly how new technology should be developed – without the lethargy of an old skool company which simply increments old designs.  Why do we fly in airplanes with static wings while birds have aeroelastically adaptable wing structures?  Why do we produce energy from coal when there are abundent sources of clean power?  Because too often companies introduce technology in small increments instead of challenging the concept of their product line. As a technology fanatic and one who thinks in moving pictures instead of still images, it’s obvious that the SCARLET is, in fact be the first step in killing off the DSLR. The truth is, the DSLR has been heading towards the meat packing district for sometime now. The resolution limit of DSLRs, has for all practical reasons been reached. The funtionality and draw of the DSLR has been that if offers higher picture quality than small compacts, but is more affordable and functional than medium format digital back systems. But things change.

The Sony A900 now offers near medium format back quality in a small and relatively affordable package, while the next generation of pro high resolution handheld cameras are coming in the form of the Leica S2 and Nikon D4 (or whatever Nikon calls it), the former already released, and the latter rumored to be ready for 2009, and both having a larger than full-frame 35mm sensor. With advancements in the pocket camera market, such as the Panasonic LX3, Ricoh GX200, Canon G10 and a host of followers, why do people need the DSLR construct? The Canon 5D-II is only a relevant design because of it’s video capabilies.  Most people will be buying it to mix photo and video in one package, or as a high quality HD camera. I would rather have a high tech cinema camera that shoots stills than a high quality DSLR which does video. So why do DSLRs exist at all? A long time ago in a world very close to the Earth, the ability to develop chemicals on paper to reveal an image was far easier to realize than painting a portrait. The large format film camera was replaced with medium and now the small 35mm format film cameras, and now that digital imaging has enabled the packaging of high-quality video in a hand-held package, I wonder, what is the point of shooting with a DSLR, an instrument which is simply the latest design iteration to solve the problem of communicating with visual imagery?

The GigaPan is one of those, I have to have it gadgets that any no-life photographer salivates after. The concept is simple and perfect, turn a pocket camera into a Gigapixel producing machine. It was developed at Carnegie Mellon University with support by Google, CMU and the NASA/Ames Intelligent Robotics Group. The term Gigapixel became popular a few years ago in Geek photo circles when people started stitching multiple images together to create extremely high resolution images. This allows the creation of images which could provide for the archiving and exploration of our world in a way never before possible. The super-high resolution image can be zoomed in on, and minute details of the world explored. This is all great, but when I finally received my GigaPan from the Beta program, I sort of lost interest in creating gigapixel images. What was probably one of the first GigaPans in Switzerland sat on my desk for a week, and in the interest of actually using it for something I loaned it out to a photographer who had time to play with it. Then I got inspired again and took it back. The point of the GigaPan is to take a large number (like 50, 100, 200 exposures) of images with the camera set on it’s maximum focal length (and therefore it’s highest resolution for a given scene). These are then stitched together, creating images in the 50 Megapixel (at the low end) to the multi gigapixel range. This is great, and I’m sure many photographers are using the GigaPan for it’s intended purpose, so the scientific researcher in me decided to go rogue and mount a wide angle Ricoh GR Digital instead of a normal point-and-shoot digital like a GX200 or Canon G9/G10.

My desire is to eventually use the GigaPan to create automated panoramic images for 360 degree visual environments as one would find at VRMag. As I don’t know how to make these interactive environments just yet, I started by taking more traditional mountain landscape panoramas. There’s an advantage to using a wide angle camera with the GigaPan. If you use a camera with a long focal length (100-200mm) which is continually zoomed to it’s maximum focal length, then it will be difficult to take descent images with foreground objects, since these will most likely be out of focus with respect to the background. With a wide angle lens and small aperture however, it is much easier to get both the foreground and background sharp in focus. Thereby you can create panoramas that better represent the local environment around the GigaPan, instead of just capturing a far-off scene.  For this intended application, the Ricoh GR Digital with it’s fixed 28mm, and add-on 21mm and 40mm lens options seemed like the perfect camera to use with the GigaPan.

My first outing with the GigaPan was to the Jungfraujoch, “the Top of Europe.” My parents were in town and I took them up to the Jungfraujoch, a train stop and observation station at something like 3454m in the Swiss Alps. It’s a “must stop” on numerous Swiss tours and is a fantastic money-maker for the region. Actually, I think the entire tourist economy of the Swiss Alps is tied to the Jungfrau Bahn, and without the train the country would fall into a crippling recession (yes, I exaggerate). Since the GigaPan is realistically too large, bulky, and heavy to take on a climbing trip, the Jungfraujoch provided a painless way to test the GigaPan in the mountains. The weather was as perfect as I have ever seen in the Alps.  I shot with the Ricoh  GRD and the 40mm GT-1 add-on lens.  This allowed me to test how well the GigaPan and panoramic software would work with a moderately wide angle lens, and provide a good technical basis for later projects, which will utilize the 21mm lens.

Setup

Ricoh GR Digital
Ricoh GT-1 40mm lens
Manfrotto 055PROXB
Manfrotto 486RC2 Ballhead
GigaPan Robotic Head

Ease of Use

The GigaPan is easy…I mean, jaw-dropping-drunk-dialing easy to use. There’s some video tutorials on YouTube, but I was able to figure it out before the first video was halfway finished. There’s only a few buttons to push, and all you do is set the top left and bottom right hand corner of your panorama and push the start button. The field of view of your camera can be calibrated, so you can use wide angle or long focal length lens without any fuss. The battery life of the GigaPan is supposed to be an issue, but it outlasts the batteries of my Rioch, so I’d say I haven’t found the battery life to be an issue. I used basic rechargeable AA’s, I imagine battery life would become an issue at low temperatures.

A key to creating good stitched panoramas is accurately centering the camera on your panoramic mount and figuring out things like the nodal point of the lens and other important details I don’t care about. I deal with technical details in my research work, I avoid them with my photography. In this respect the GigaPan rocks, because it has a marker for exactly where the lens should be in relation to the camera mount, so all you have to do is attach your camera with a screw and center it on the mount. I’m under the impression that given the small physical size of a compact camera lens, the exact location of the nodal point of the lens in relation to the rotating base isn’t as critical as with a DSLR. There’s a bubble level on the GigaPan which makes leveling the camera quick and painless, which is also important for creating images which are aligned well and makes the stitching process easier. My Ricoh GRD with the GT-1 40mm lens just barely fits on the GigaPan, but this is because the 40mm add-on lens is wider and physically larger than the GigaPan was designed for. For the automation process, a robotic arm depresses the shutter release on the camera to take a picture, and then moves to a new position and takes another image, and so on till the pano is finished. The camera has to be pre-focused (generally focused to infinity) and the exposure needs to be locked so the images can be accurately stitched together without exposure mismatches between images. In this regard the Ricoh GRD, GX100 and GX200 cameras are perfect, because all those operations are extremely easy to do on those camera models.

Design

This is element which stands out in my mind. The GigaPan looks like it was designed in a lab because it looks like a piece of boring lab equipment. I say this from the viewpoint of an academic researcher who has spent various nights in front of boring box-like designed lab equipment pieces, and who is now dreaming up designs for his own furniture. I mean, seriously, it’s beige, it’s made of bent metal, and the body is as angular and unsexy as possible. In the future, I highly recommend that the GigaPan design be outsourced to the CMU School of Design as a student project. I had high hopes of being able to take the GigaPan on climbing trips, but my climbing partner nearly flogged me to death with a quickdraw when he saw that I had taken my Fuji GA645w, Rioch GRD, and a small Velbon Sherpa tripod on our last Alpine attempt up the North ridge of the Weissmies. So, tossing the GigaPan and full tripod in my climbing pack is sort of out of the question. As I’ve left the academic research world and become a full-time simulation/optimization engineer, I know for certain that the GigaPan could be redesigned to be lighter and more functional. Future versions are said to include plans for a DSLR GigaPan, and I can’t imagine how large and heavy such a design would be if the current GigaPan were simply scaled up.

Panorama Processing

As part of the GigaPan program, free stitching software is available from the GigaPan website. This is great, except that I use a dual 1 GHz G4 PowerMac and the software only runs on Intel macs. This was fine though, because I purchased PTGui Pro, which is one of the best panoramic stitching programs on the market. I chose PTGui because Hugin, the free Canon stitcher, and Photoshop CS3 all proved inadequate for the job of stitching 20-200 images together. Plus, as I’m using a wide angle lens for my panos, I figured it was better to use software optimized for different panoramic stitching techniques, where I can choose and optimize my control points, image distortion, and exposure of the images. I’m pretty sure that the GigaPan stitcher software was programed with the idea of people shooting with their cameras zoomed in to the maximum focal length, on the order of 100-200mm, which is exactly what I’m not doing. PTGui Pro is as painless to use as the GigaPan, and makes quick work of any number of images which require stitching. It just takes a while to stitch 200 images because my computer is slow by today’s standards.

Brass-Tacs

The GigaPan is a fantastic piece of equipment for the lazy panoramic photographer, or those who actually want to make Gigapixel images for research and exploration of our world, or photo geeks in general. It’s painless to use, portable for many applications, and is pretty hard to screw up due to its simple design. I didn’t find battery life to be an issue and it’s pretty cool to shoot with. Everyone stops by to check out what you’re doing when you shoot with a GigaPan. Kids will be amazed that you’re shooting with a camera that looks like a mini anti-aircraft weapons system, their Dads will ask you questions, and in general women will probably be turned off by the fact that you have the least sexy panoramic camera mount a person can buy. But I digress, good design is the combination of form as well as function, and what the GigaPan lacks in style it makes up for in terms of function. In some ways shooting with the GigaPan is like wearing a colorful pair of Onitsuka Tigers on a fine Autumn afternoon. You get noticed wearing Tigers and it’s the same with the GigaPan. Now, Imagine if the GigaPan were designed with a body style other than “as-unsexy-as-possible” and a color other than beige? Imagine the possibilities when I could wear my Onitsuka Tigers and shoot GigaPan Berlin city panoramas in style with an air of well-designed confidence.

Essential Links

GigaPan.org
Global Connection Project
GigaPan Video Tutorials

For the first two years of it’s genre, the Ricoh GRD, GX100, and Canon G7 were the top compact cameras in the marketplace. This has changed as camera companies have realized that yes, photographers do want high quality image making ability in the palms of their hands. Currently, the high quality compact camera field includes the Ricoh GX200, Ricoh GRD (II), the Canon G10, the Nikon P6000, and the Panasonic LX3 (we’ll ignore the Leica clone model). Ah, and the Sigma DP1. Many reviews are out on these tools, but I have a will to be weird, so when Matt emails me and says we should test out his new LX3 in my new home studio, I says “Hell Yes” in my heads.

Matt picked up the Panasonic LX3 for an upcoming bike tour in Asia, I just got a studio background system, Matt has a set of Elinchrom Ranger Rx flashes, and I have a new coffee pot and set of vintage coffee cups. The keen reader might be able to guess what’s coming next, but I’m about to tell you so it’s irrelevant. There’s a shot I’ve been replaying in my head for a while, a person trying to sip a bit of coffee as it flies through the air, just out of reach of their lips. This is easy to imagine, but slightly more complicated to realize. You need good lighting, a fast shutter speed to capture the coffee in the air (with tack sharpness) and you need a place to do it. With Matt’s email, I knew all the elements were now in place.

Now, we had other tools to do this shot, I have a Minolta 7D, Matt shoots his professional jobs with a Nikon D300, and we both have access to excellent rental shops in Zurich, where you can get whatever you need from Canon to Mamiya, from Leaf to Phase One. But we wanted to explore the LX3 and see how it works in the studio. Does it make sense to use a $2000 lighting kit with a pocket camera? Hell Yes I says in my heads.

Technical Details

The Elinchrom Ranger system was fired using the Skyport radio trigger system, as the LX3 has a hot shoe, this worked flawlessly. The Ranger RX system has a flash duration around 1/2250 sec. depending on the power setting (according to the Elinchrom specs). This is one reason to use a top-of-the-line lighting kit like the Ranger system over my Strobist-inspired Contax and Metz flashes for capturing coffee in the air. With such a short flash duration, you can freeze moving liquids with super precision. Additionally, we used Matt’s Elinchrom Octa box, which provided beautiful wrap-around lighting – and makes my small Alzo softboxes look like, well, small, inadequate light modifiers (for this application).

The full setup included an Apple Green background, and me kneeling on the floor with a few towels laid down to protect the paper from the incoming coffee splatter (only partially effective). We had a system, Matt counted one….two….three, and at each number I moved….left…..right…..left, and at the same time propelled the coffee cup in the air and tried to catch the flying liquid with my lips. Then I would wipe up all the coffee splatter that missed the towels and had landed instead on my new wood floor. This took a few shots to get the timing down, but after a few tries and two beers we were getting acceptable results. One main difference between DSLRs and compacts is shutter lag and focusing time. To get around these limitations Matt pre-focused and locked the focus on his LX3. This essentially eliminated the shutter lag problem. He shot with a shutter speed of 1/1000 and an f-stop of f/8. There were no problems syncing the flashes at this speed, the Skyport system worked much better than my Chinese radio triggers in this regard (high speed syncing). This of course highlights one reason to use the LX3 instead of a DSLR or a digital back system, theoretical high-speed syncing on the order of 1/2000. Chase Jarvis did something similar in his Kung Fu water droplet tutorial. But you really don’t need a $40,000 camera system to capture liquid in the air. In fact, you’re a tad limited if you do pick the Hasselblad because if you use a $40,000 Hassy system you’re limited by the sync speed of the camera. With the LX3 and it’s high-speed sync abilities, you just point and shoot, which is the whole point in using a point-and-shoot camera.

The Results

The combination of studio lighting and the LX3 really surpassed what I was expecting. The light quality produced with the Octa box combined with the short flash duration of the Rangers made it possible to freeze the flying coffee with a texture and definition I was not expecting. When combined with the resolution of the LX3, and it’s superb Leica lens, you get a tack-sharp image with excellent color and dimension. The combination of a small sensor camera with a small aperture also meant sharpness across the image. As the LX3 RAW format is not widely supported, Matt shot in JPEG, which was fine for this application. We’re not planning on blowing these images up to large sizes and the exposure was perfect, so the difference between a RAW and JPEG image in this shoot was fairly minimal.

There’s one thing I’ve learned since I started shooting with a Ricoh GRD a year ago, and is reinforced here: pocket cameras, like all tools have limitations, but when the right light is used, the resulting images can be as jaw dropping as those taken with DSLRs. Lighting and composition are generally more important than megapixels, and it’s one reason why I’ve added more flashes and modifiers to my toolbox instead of a new DSLR (but the Sony A900 is oh, so, so tempting). Still, if you’re getting a pocket camera, it’s good to know it can be used in a variety of situations. Like the Ricoh GRD, the Panasonic LX3 works great in the studio environment. When Matt emailed me about shooting with the LX3 in the studio I was afraid I would be motivated to pick up an LX3, but the experience was worse, because now my eyes are set on the new BXri 250/500 Elinchrom flashes announced at Photokina.

About the photographers:

Matthew Anderson recently moved to Switzerland and is currently engaged in the art of producing beautiful wedding photography and the precision of imagery for commercial clients.

I technically didn’t do much photography here, and was more of an art director, have little of a life and fill the void with photo gear.

BarCamp Berlin 3 was, as can be best described in the popular vernacular of an MTV generation, “Off the Fucking Hook.” It was a barcamp by which future barcamps will be measured, it will always exist as a whisper in the internet night, lingering in the back of blogger minds until the apocalypse. As an American living in Zurich who happens to know a few people from the city, my view is that if you’re attending a cool party around Zurich, it’s probably being hosted by someone from Berlin. Expectations were high as I landed at Tegel Flughafen, and they were fulfilled in every tech geekiness sense.

The point of a barcamp is the free exchange of ideas. These ideas are mainly directed towards the internet technology sector, but all are welcome. So what were the great ideas that I was exposed to at BarCampBerlin 3.0? Some highlights from my view include ZooTool, presented by Hartmut Wöhlbier from Mannheim, it’s an interactive tool to replace bookmarking in the internet. I’ve started using ZooTool, but find it more useful for images, as it scans a page to see what content can be saved, and so far I’ve found it less useful for saving articles or text.  Alex Kawas received the most enthusiastic applause of the weekend for his talk about optimizing your sleep to improve your productivity. I asked him why when I have a few beers, my next day is extremely productive, but he admited that he did know. I respect this type of answer, becuase it’s far more useful than when a person starts bullshitting an answer to cover the fact that they dont’ know.

Of course, as a photography-centric blogger, I was highly attuned to the imagery topics. For a while I’ve been looking for a way to produce custom messenger bags with original artwork, and by the grace of the divine spirt a German company is doing exactly that. CROW’n’CROW GmbH allows you to create and eventually market your custom bag designs on their site.  This is similar to something like CafePress, but the quality of their bags is superior to anything I’ve seen so far, and I plan on getting a few bags from them. Currently their site is in German, which is great for me but so far they’re only targeting the German and European markets, watch them for eventual expansion to the States.  I talked briefly with their reps, and Steve said large orders to the US might be possible, contact them for details. On the photography front, Ole Begemann gave a demonstration on using Strobist inspired small-flash photography techniques. Ole is one of those new-breed digital photographers, who produces fantastic imagery despite not having a degree from the Brooks Institute. His Flickr stream has inpiring images from Berlin to Bolivia, and and many areas inbetween. Ole took me on a photo-tour of Berlin before the barcamp and now I’m highly motivated to go back to Berlin to shoot at the locations we scoped out.

Bar Camp Berlin 3 was really a well-organized event.  The only problem was in the acoustics of the event.  The sessions were held in an open hall with dividers for to create small rooms, but the sound went up and reflected off the ceiling, making it hard to hear what was being presented. A minor thing. All in all Bar Camp Berlin rocked, and I couldn’t thank the organizers and sponsors enough. The event was held in the Hauptstadtrepräsentanz of the Deutsche Telekom. Every time I head to a barcamp I give a talk, and my talk at BarCamp Berlin 3.0 was on Sunday morning, centered on the use of visual imagery for blogs and the internet. This was an interesting experience, because I didn’t find anytime to sleep between Saturday night and Sunday morning. Although I was coherent, I somehow didn’t push the right button on my Zoom H4, and therefore the audio of the session was not saved for posterity.

The real fun was later on Sunday afternoon when the city began to take on an unrealistic feel, and I felt like I was walking through a Pink Floyd video. I’m sure that Alex Kawas would have recommended sleeping at some point, but I had no desire to. The true value of a BarCamp is inspiration, and I got a lot of that in Berlin. I spend four days in Berlin, the first two were spent on photography and writing, going nowhere and doing nothing. I had my Zoom H4 with me and recorded sounds of Berlin, and plan to do some visual poetry combining the visual images and Berlin sounds. Hunter S. Thompson used to say that the weird never die, but I think we just like waiting until we have a reason to. He found his time, but I’m still waiting for mine.

Photography and text-based web publishing are fantastic tools for communicating ideas across the world. However, they have their limitations. I think in a 3D moving picture mindset, and therefore, it made sense to start communicating using moving pictures and spoken words. Concept to Photo – Urban Dry Tooling is a video tutorial about starting with a concept, and then translating that inspiration into a final photo.

This isn’t a new idea, there are many photography related video tutorials on the web. However, I rarely find one I want to watch for more than 30 seconds, because they’re either boring, or filled with the least relevant information possible. Another problem is that in many ways the photography tutorial video genre has become a dumping ground for marketing videos from photographers trying to emulate Chase Jarvis – the famous commercial photographer from Seattle who is often credited with starting the photo-video marketing movement. However, he’s a unique gem in the chaotic video landscape of the internet, and his videos have yet to be matched for style or content. I’m not a photographer posting a video to show off my equipment and pretend like I have a cutting edge production studio. I’m a guy in an apartment with an old G4 Macintosh and an old Minolta 7D DSLR who likes to think up concepts and express them.

The concept behind this video is simple, compress my creative and photo production process into the upper attention span limit of an average internet video viewer.

This video tutorial was created to fulfill three functions: first, as an exercise for me in producing a video I would want to watch (but I’m weird so this probably doesn’t apply to the average internet viewer). Second to help me understand my creative workflow by packaging it in a video form (teaching to others is the best way to learn). And Third to give other photographers, creatives, and anyone else interested in a new (or old) perspective on the creative process as applied to photography.

Audio was recorded using my Zoom H4, screen capture video was obtained using Snapz Pro X, music was obtained from Kevin Mcleod’s music collection, and the rest is just still images and titles. Some say that soon cameras and camcorders will be one and the same, and they’re right. But in transitioning to the video world I wanted to start simple, and that meant using primarily still images.