Best high-end digital camera | WJHL

Which high-end digital cameras are the best?

If you have the latest smartphone, purchasing a high-end digital camera may seem redundant and unnecessary. However, digital cameras have advantages that smartphones won’t be able to match for some time. Additionally, a high-end digital camera offers improved flash technology and a larger image sensor that allows you to truly capture the beauty you see. If you’re looking for the best high-end digital camera that professionals use, check out the Sony A7 III.

What to know before buying a high-end digital camera


Resolution may seem simple, but it requires a delicate balance. Megapixels refer to the pixels on a digital camera’s sensor. In general, the amount of megapixel resolution determines the maximum size you can print your photos.

This is because the higher the number, the higher resolution you get in your final print. However, more megapixels is not necessarily a good thing.

For example, a higher megapixel count often means that the pixels are smaller to fit the camera’s sensor. This can lead to not-so-optimal photos in low-light settings.

Sensor size

Digital cameras use built-in sensors to capture photos and videos. A larger sensor is best for people who want to capture larger views such as a wedding dance or a landscape shot.

Professionals usually use some of the best DSLR cameras as their high-end digital camera for work because of their large sensors. However, as a general rule of thumb, keep in mind that a larger sensor also increases the total cost. In addition to the view, the sensor size plays an important role in the depth of field. This means that if you have a smaller sensor, the image will appear zoomed in.

The majority of high-end digital cameras use image sensors that are at least one inch in size. In general, using a Micro Four Thirds or APS-C camera is best for amateur and professional photographers, with the full-frame sensor models better suited to professionals with bigger budgets.


A high-end digital camera should feel comfortable in your hands. You need to consider the different types of lenses you will use when capturing the world through your eyes.

Larger lenses may seem light and easy to carry around. However, after a few minutes of trying to hold your camera up, you start to feel the effects of the added weight.

Any high-end digital camera you get should feel like an extension of your arm with every control within comfortable reach of your fingers.

What to look for in a high-end digital camera

Wi-Fi connection

While analog photography has its charms, technology has benefited today’s photographers by reducing their workflow. Most high-end digital cameras now feature near-field communication or Wi-Fi connections so photographers can quickly transfer photos.

The connection usually takes place through an application connected to your smartphone. While this doesn’t necessarily affect your photos, it’s a convenience that shouldn’t be taken for granted.

Increased stabilization

Have you ever experienced taking the perfect shot, but it was blurry because your hands were shaking with excitement? Not only does significant movement blur the final picture, but even small incremental movements can ruin the perfect shot.

Fortunately, many high-end digital cameras have optical stabilization that helps with the inevitable small movements, such as pressing the shutter button.

You can take it a step further by finding compatible lenses that also have their own image stabilization technology.

Lens compatibility

The type of work and photos you take with your high-end digital camera determines the variety of lenses you need in your tool kit. However, any photographer can tell you that the cost of purchasing several high-quality lenses can add up quickly.

This is why many amateur and professional photographers look for more budget-friendly lenses that may be a different brand than their camera. However, not all cameras are compatible with every lens.

Be sure to double check the system to see if it meets the requirements and is compatible with the lenses you will be using.

How much you can expect to spend on high-end digital cameras

Depending on the brand and various features, you can expect to spend between $500-$5,000 on high-end digital cameras.

High End Digital Camera FAQs

Do I need all the extra accessories?

A. It may be tempting to go out and buy every accessory available to help capture the perfect shot, but it’s not necessarily budget-friendly or required. However, a few accessories can greatly improve the photo quality you have in your toolkit. Some of them include a tripod, filters, external drives and cleaning kits.

What determines the image quality in a high-end digital camera?

A. The image quality in a high-end digital camera is determined by the resolution measured by the pixel count. Typically, a higher number of pixels means you can take larger photos without the risk of them becoming grainy.

What are the best high-end digital cameras to buy?

Top high-end digital camera

Sony A7 III

What you need to know: The Sony A7III is a serious camera for photographers looking to take their skills to the next level.

What you’ll love: This camera captures stunning 4K videos and HD images that display stunningly true-to-life colors. It also comes ready with a 28-70 millimeter zoom lens that allows you to quickly take shots from a reasonable distance.

What you should consider: The features and menu take some getting used to, especially for those new to photography.

Where to buy: Sold by Best Buy

Top high-end digital camera for the money

Panasonic LUMIX FZ300 slow zoom digital camera

Panasonic LUMIX FZ300 slow zoom digital camera

What you need to know: This high-end digital camera is a budget-friendly option with plenty of features that are easy to use for beginners.

What you’ll love: The Panasonic LUMIX FZ300 is a durable camera that has 12.1 megapixels and can shoot in 4K. Users can use the three-inch touchscreen display to focus an image up to 24X using the camera’s long zoom. It is one of the more ideal cameras for macro photographers, allowing them to take clear photos as close as one centimeter away from their subject.

What you should consider: It may not produce the clearest photos in low-light settings.

Where to buy: Sold by Amazon

Worth checking out

Canon EOS 5D Mark IV

Canon EOS 5D Mark IV

What you need to know: Canon designed this camera to have all the features that any advanced photographer requires.

What you’ll love: The EOS 5D Mark IV is a full-frame 30.4-megapixel camera that shoots up to 7.0 frames per second. In addition to its high-quality sensor and processor, it can serve as a webcam for any content creators or business meetings.

What you should consider: It’s designed with advanced users in mind, so it has a steep learning curve.

Where to buy: Sold by Amazon

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Christopher Lee writes for BestReviews. BestReviews has helped millions of consumers simplify their purchasing decisions, saving them time and money.

Copyright 2022 BestReviews, a Nexstar Company. All rights reserved.

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Delft Blue Night Watch Introduces Its First Physical and Digital NFT Art Masterpiece Collection

Unlock the World’s Best Art: Art Attainment’s First Phygital NFT Collection – The Delft Blue Night Watch

Amsterdam, Netherlands

–Live news–

The Artistic performance Collective is revolutionizing the art world by allowing art and history lovers to own and experience both digital and physical versions of the world’s greatest art masterpieces, as they are digitized and immortalized on the blockchain.

The Delft Blue Night Watch is Art Attainment’s first physical and digital NFT collection and it features the traditional Dutch ceramic interpretation of Rembrandt’s most iconic painting, “The Night Watch”. It is currently on display in the Royal Delft Museum in the Netherlands and measures a staggering 3.63m x 4.37m (or 12 by 14 feet).

“Our goal is to challenge the boundaries between the physical and digital art worlds.” NFTs are exciting because they give you a way to securely own and trade digital art – but you can’t display it in your home or office. We want to offer the best of both worlds and allow our holders to also experience their art in real life.”

The Delft Blue Night Watch is made of 480 tiles. Each tile will be represented on the blockchain by 3 unique NFTs. The NFT holders will also be able to claim a actual physical tile reproduction linked to their NFT.

  • The Delft Blue Night Watch is a work of art first phygital (physical and digital) NFT collectionwhich contains 480 tiles that will be divided into 3 NFTs, with a total of 1440 NFTs.
  • Every NFT owner can make a claim actual tile reproduction (equivalent to their NFT) that they can trade or display in their homes or offices.
  • The NFTs will go on sale in January 2023. The price and exact are yet to be announced.

We maintain close relationships with private collectors, and we are currently working on future drops featuring never-before-seen art from the likes of Picasso, Goya, Alberto Giacometti, and more.

We want more people to own and enjoy a digital and physical experience of the most remarkable, historic and iconic masterpieces.

“We know that for most people, getting inspiration from art is limited to sporadic museum visits, and owning art is exclusive to the ultra-rich. We believe it shouldn’t be that way.” – says Vivek Joshi, CEO of Art Attainment. “Our goal is to allow more people to experience art in a new way – digitally and physically – while making it secure and eternal on the blockchain.”

About art performance

Art Attainment is founded by a collective of digital and physical art collectors. We work closely with museums and private art owners to digitize the world’s most famous, unique and remarkable works of art. We start with the Delft Blue Night Watch, hand painted by 2 master painters of the Royal Delft Company – the last remaining Delftware factory from the 17th century.

Website: https://delftbluenightwatch.com/

Twitter: https://twitter.com/dbnw_nft

Instagram: https://instagram.com/dbnw_nft

Published by New Sequence – newsequence.xyz – web3 venture studio.


Vivek Joshi – Co-Founder and CEO

[email protected]

Art Attainment only sells digital art as NFTs. The NFT holders will have the option to claim a free physical reproduction of their digital tile image as a gift. We hold all rights to Delft Blue Night Watch, and we do not sell any rights to claim, own or use the original Delft Blue Night Watch. Instead, we use our IP to create a digital experience based on the original art.

Contact details

Artistic performance

Artistic performance

[email protected]

Company website


View source version on newsdirect.com: https://newsdirect.com/news/delft-blue-night-watch-introduces-its-first-physical-and-digital-nft-art-masterpiece-collection-447782742

2022 News Direct Corp.

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NTWRK is partnering with KNOWN to host a digital art fair

But against this unlikely backdrop, new life – or at least new industry – is setting up shop in the region. The Salton Sea, it turns out, is rich in lithium, an element that has taken center stage in the world’s transition to clean energy and its ever-growing demand for batteries. From smartphones to electric vehicles, there’s a pretty good chance the last battery you used had lithium ions inside. Prices for the metal peaked in September, and futures are up more than 400% since the start of 2021. With Biden’s new economic policies outlined in the Inflation Reduction Act, there are strong financial incentives to bring back battery production move to North America.

If that happens, the Salton Sea could very well become the lithium capital of North America, or to paraphrase Governor Gavin Newsom, the region could become the “Saudi Arabia of lithium” and the players are already starting to gather.

Currently, there are three companies seeking to set up plants in the Salton Sea for direct lithium extraction: EnergySource Minerals, Controlled Thermal Resources and BHE Renewables, a branch of Berkshire Hathaway. All three companies have similar high-level business strategies, all involving geothermal power plants. Common in many parts of the world, these plants draw hot, salty water from deep in the ground to create steam that drives a turbine to produce electricity. What makes the Salton Sea so special is that its geothermal brine happens to contain lithium.

In a 2017 study, researchers from the US DOE Office of Energy Efficiency and Renewable Energy analyzed more than 2,000 samples of geothermal fluid from US sources and found that only 1% had significant lithium concentration. This rare coincidence of geothermal activity and lithium presence presents an opportunity for companies to generate electricity and mine lithium simultaneously.

Beyond their marriage of geothermal energy and lithium mining, the three companies are beginning to diverge.

According to former dot.LA engagement editor Luis Gomez—whose newsletter Lithium Valle is essential reading on this topic—EnergySource appears to be ahead early.

“They claim they have the technology patented, they claim they’ve done the research, they claim they have the financing, and they claim they’re ready to go and start production,” Gomez says. “They’re kind of considered the canary in the coal mine.”

According to a report from the United States Department of Energy, EnergySource plans to eventually scale production to more than 20,000 metric tons of lithium hydroxide per year using its proprietary integrated lithium adsorption-desorption technology.

Construction on the plant was due to start earlier this year, but has been delayed. EnergySource has said publicly that lithium production could begin in the second quarter of 2024, but it is unclear whether this date will also be pushed back. The company has a long history of operations in the region, and has operated the John L. Featherstone geothermal plant since 2012. The new venture into lithium will utilize that same facility, but without more details on how their own technology works, there’s not much to do but wait and see.

One potential problem facing all three lithium mining companies is that the Salton Sea geothermal brine is not the same as the brine in evaporation ponds similar to those in Argentina, Chile and Bolivia, where more than half of the world’s lithium is produced. Specifically, the deep geothermal brine in the Salton Sea contains more silica and transition elements, which can complicate the chemistry of purifying the lithium. Still, many researchers are extremely positive about the prospect of utilizing these reserves. Alex Grant, the principal at Jade Cove, a research organization focused on direct lithium extraction technologies, says that much of the skepticism surrounding the technology can be attributed to competing financial interests trying to destroy the nascent technology’s potential in favor of an established method.

Lithium mines in the Atacama Salt Flats, Chile from an altitude of 15 km via Google Earth. The facility is approximately 10 km wide.

Google earth

In turn, BHE Renewables, operating as CalEnergy, operates a fleet of 10 geothermal plants in the Imperial Valley. The company previously announced its intention to set up a direct lithium extraction demonstration plant sometime before the end of 2022 to determine the viability of lithium mining. If that pilot program goes well, the company could build a commercial-scale facility as early as 2026 with a projected annual capacity of 90,000 metric tons of lithium.

Clearly, backing Berkshire Hathaway has benefits and capital. Add another $15 million in DoE grant money secured last winter to the equation, and BHE appears well-positioned to be a major player in the long term.

Finally, there are controlled thermal resources. As the only company not already operating a geothermal business in the region, CTR is something of an outsider and dark horse. By 2024, the company hopes to build both a geothermal energy plant and a direct lithium extraction plant to operate in parallel, projecting a capacity to extract 300,000 metric tons of lithium carbonate equivalent annually by 2030. As dot.LA previously reported, Controlled Thermal Resources has partnered with Statevolt, a company that plans to build a $4 billion gigafactory nearby that will run on power from CTR’s geothermal plant and make batteries from the lithium it extracts. It’s a beautiful closed-loop business model. But again, this all relies on the direct lithium extraction technology, and details are few.

According to Gomez, despite the typically cut-throat nature of the energy industry, the relationship between the three upstarts in the Salton Sea is often surprisingly close at the moment.

“They want the others to succeed because that kind of gives them the confidence that their technology will eventually succeed as well,” he says. “It gives investors confidence.”

That’s all to say, there could very well be room for all three companies if the technology is as solid as they claim. If so, the Salton Sea and its surrounding region could have another miraculous transformation up their sleeve.

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NFC tag management platform ixkio adds support for NFT authentication to create digital twins • NFCW
DIGITAL TWINS: ixkio allows brands to verify to consumers the authenticity of physical products and the NFTs attached to them

EXHIBITOR NEWS: Token management platform ixkio has added a new feature that allows users to easily verify the authenticity of both a digital non-fungible token (NFT) and the physical NFC tag attached to it in a single interaction.

The new feature means brands can now verify the authenticity of both an NFC tag and an associated NFT in the same call – providing confidence that the combined physical and digital entities are connected.

NFTs are digital blockchain-based certificates that can be used to verify ownership of videos, online artwork, and other digital assets. Because they are uncopyable, they can address the issue of counterfeiting while also creating exclusivity.

There are many possible use cases, although one of the more promising is to create ‘digital twin’ products that exist in both the real world and in cyberspace.

“In many ways, people already have a digital twin of themselves – a virtual, online social identity. Therefore, it is logical that people’s physical purchases and interactions can also exist in parallel in the digital space,” said Phil Coote, CEO of ixkio, explained to NFCW. “When they own an actual item, an NFT gives them a digital twin that allows them to own it too within the virtual spaces they inhabit.”

For example, this means that a consumer who buys a pair of high-end sneakers can put on the same high-end shoes in their favorite online game.

An NFC authentication tag attached to the shoes contains a key that is then used to create a unique code with each scan. That unique code is verifiable on the ixkio server, providing confidence in confirming that the NFC verification tag is indeed what it claims to be, thus confirming that the sneakers it is attached to are genuine. The tag also links to the NFT of the digital shoes, so they can be imported into the game.

“With the continued growth of physical authentication with NFC, digital authentication with NFTs and the logical need to connect the two by creating digital twins, our customers are looking for easy ways to implement their projects,” Coote told NFCW.

“This new feature strengthens the ixkio platform’s ability to drive the connection between physical and digital, using NFC tags and NFTs that work together to help brands protect products from counterfeiting, promote exclusivity and extend reach knit.”

NFT Management is now available at no additional cost as part of ixkio’s Flex Alpha plan and enables users to manipulate NFT data directly via a web interface or – for integration with larger projects – through the platform’s management API .

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Stories We Missed: Adam Pendleton vs Alexander McQueen and the Question of Originality in the Digital Age

Back in October, the art world experienced its own row over intellectual property infringement when prolific American artist Adam Pendleton accused British fashion house Alexander McQueen of copying his art for the design of a clothing line. What an article in The New York Times dubbed ‘McQueen Graffiti’ – close-up printed patterns, spray-painted scribbles in black and white, applied to dresses, handbags and a particular skirt worn by Vogue editor Anna Wintour – looked remarkably like the artist’s canvases of densely layered graffiti. Pendleton, whose public visibility is underscored by his representation by blue-collar galleries Pace, David Kordansky and Max Hetzler, sent a letter to the fashion house through his lawyers. McQueen immediately promised an investigation and assured that the house “takes claims of intellectual property infringement very seriously,” according to The New York Times. However, the response showed little remorse: it was quickly concluded that these designs were in fact ‘independently created’, and no acknowledgment of the artist was necessary.

Clothing from the ‘McQueen Graffiti’ range. Screenshot by Alexander McQueen

This flash is reminiscent of the hackneyed push-and-pull of originality and copying that has occupied the digitized fashion world for some time, which has led to its central arena, the Instagram account Diet Prada, since 2014, a whopping 3, amassed 3 million followers. In such forums, the potential socio-political gravity of copyright infringement (related to the exploitation of minority and independent creatives) is weighed against the opaque and anonymized mechanics by which corporate fashion is mass-produced – namely, that corporate fashion refuses to publicly disclose such mechanics to discuss with everyone. If not completely ignored, official responses to these kinds of accusations mostly reflect a particularly memorable retort by Kylie Jenner (paraphrasing her older sister Kim Kardashian) when fellow influencer Amanda Ensing accused the makeup mogul and reality TV star of directly lifting has a favorable attitude from her digital roster in 2019: ‘You’re not on my mood board, but I got my inspo from Pinterest.’

Adam Pendleton, Untitled (WE ARE NOT), 2022, installation view. Courtesy: the artist

Jenner’s pithy statement is useful in addressing the most arbitrary and banal ways in which art and fashion are connected through appropriation in the age of aggregator-consumer capitalism. ‘Moodboarding’ is not only a pervasive logic of mass digital consumption, but a central methodology in contemporary fashion design and styling, noted in its emerging practitioners in educational institutions such as London’s Central Saint Martins and Royal College or Art where many of the world’s top fashion houses, including McQueen, source their talent. The violence of the mood board (if we were to go that far) involves treating everything as a potential visual reference to be retrieved from a visual network and aggregated into a historyless yet hyperspecific ‘mood’. Jenner’s statement denies theft, but acknowledges reliance on the most advanced moodboard technology of all – Pinterest – where images, thanks to user uploads of JPEGs, live in various stages of pixelation and miscropping, completely without an original source. As such, moodboarding constitutes a totally different conceptual field of copying than standard theft, artistic appropriation and counterfeiting. The point is not whether Pendleton’s paintings were on the McQueen moodboard (although, to be fair, they probably were), but rather that Pendleton’s paintings already exist in a viral visual ecology of composite images that can use and will become to form products that claim originality: products such as a skirt. With the advent of digital AI image aggregator technologies like Dall-E and Google’s brand new ‘moodboard search’, it looks like we’re crossing another threshold. The fact that the artist regularly posts close-ups of his paintings to his 30,000 followers on Instagram is the clearest evidence of his willful participation in this ecology of ‘moods’, which is increasingly a prerequisite for all artists to succeed in a market to compete. -driven, digital art world.

Accessories from the 'McQueen Graffiti' line.  Screenshot by Alexander McQueen
Accessory bag from the ‘McQueen Graffiti’ line. Screenshot by Alexander McQueen

That Pendleton is singularly invested in visual aggregation as a critical strategy makes this particular case even more interesting. The artist’s work gained traction in 2009 when he began synthesizing ideas of Blackness and institutional critique by Xeroxing hand-copied passages of texts from a variety of artists and thinkers, including Hugo Ball, Stokely Carmichael, Sun Ra and Gertrude Stein. “The new work has become an alternative way of historicizing and organizing information,” he said in an interview for Art in America in 2009; the result, his award-winning book Black Dada Reader (2017), was about ‘radical juxtapositions’ of voices in a way that disrupted established histories and hierarchies between image and language. With an avant-garde tradition of montage and appropriation, the artist even went so far as to say: ‘I like the idea of ​​authorship as an accidental operation. Visually, systemic processes often lead to some of the most rewarding outcomes. If you look at what I actually did – how I put the work together – that’s where most of the information exists.’ Pendleton has since refined this technique of critical ‘organisation’ (what I would call collation) of information into his signature printed canvases where spray-painted words appear off-kilter, overlapping or cut off, especially as a result of perpetual copying (photography, layering, re-printing) . Unrecognizability, in other words, is precisely the point: it is the literal motif of the artist’s expensive canvases, albeit underwritten by a critical methodology of montage and appropriation. That Pendleton’s eventual outcome looks a lot like it real graffiti pushes his work into yet another visual tradition, one that has famously depended on deliberate and strategic obfuscation of authorship—not for reasons of critical appropriation, however, but because of legality concerns.

Adam Pendleton, Black Dada Reader, 2017, book cover. Courtesy: the artist, König Books, London and KW Institute for Contemporary Art, Berlin

The irony that it was Pendleton’s canvases that ended up being ‘moodboarded’ by a corporate fashion brand is not lost on the artist himself, it seems. In a statement to The New York Times, he noted: ‘I believe visual cultural exchange is essential, essential, happening all the time and should happen. But it is about how we assign value and acknowledge. It’s basically someone saying, “You’re not worthy. What you’re doing is not worth recognition.”’ Pendleton is apparently resistant when art is eclipsed by fashion at its own game because the critical condition of production is obliterated or lost somewhere in the post-industrial supply chain. What are considered valuable and where is of course precisely the tender point: both art and fashion make luxury products, but only one gets the distinction of criticism.

‘Adam Pendleton vs Alexander McQueen and the Issue of Originality in the Digital Age’ is part of a series of short essays on the events and trends we missed in our coverage of arts and culture in 2022. Read more – and last year’s stories – here

Main Image: Adam Pendleton, Untitled (WE ARE NOT)2022, silkscreen ink on canvas, 3.05 x 5.94 m. Courtesy: the artist

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Innovative technique uses AI and a digital camera to monitor blood pressure

Monitoring blood pressure with a digital camera could soon be the norm, thanks to an innovative technique demonstrated by Australian and Iraqi researchers.

The new technology that demonstrates how a camera and artificial intelligence can be used to extract heart signals from a person’s forehead. Image credit: University of South Australia

Using the same remote health technology they pioneered to remotely monitor vital health signs, engineers from the University of South Australia and Baghdad’s Middle Technical University have designed a non-contact system to accurately measure systolic and diastolic pressure.

This could replace the existing uncomfortable and cumbersome method of tying an inflatable cuff to a patient’s arm or wrist, the researchers claim.

In a new paper published in Inventionsthe researchers describe the technique, which involves filming a person from a short distance for 10 seconds and extracting heart signals from two regions in the forehead, using artificial intelligence algorithms.

The systolic and diastolic readings were about 90 percent accurate, compared to the existing instrument (a digital sphygmomanometer) used to measure blood pressure, which itself is subject to error.

Experiments were performed on 25 people with different skin tones and under changing light conditions, overcoming the limitations reported in previous studies.

“Monitoring blood pressure is essential to detect and manage cardiovascular disease, the leading cause of global death, responsible for almost 18 million deaths in 2019,” says UniSA Remote Sensing Engineer Professor Javaan Chahl.

Furthermore, the number of adults with hypertension has risen from 650 million to 1.28 billion worldwide in the last 30 years. The health sector needs a system that can accurately measure blood pressure and assess cardiovascular risks when physical contact with patients is unsafe or difficult, such as during the recent COVID outbreak. If we can perfect this technique, it will help manage one of the most serious health challenges facing the world today.”

Professor Javaan Chahl, UniSA Remote Sensing Engineer

The cutting-edge technology has come a long way since 2017, when the UniSA and Iraqi research team demonstrated image processing algorithms that could extract a human’s heartbeat from drone video.

In the past five years, the researchers have developed algorithms to measure other vital signs, including breathing rate from 50 meters away, oxygen saturation, temperature and jaundice in newborns.

Their non-contact technology was also deployed in the United States during the pandemic to monitor for signs of COVID-19 remotely.


University of South Australia

Journal reference:

Al-Naji, A., et al. (2022) Contactless blood pressure estimation system using a computer vision system. Inventions. doi.org/10.3390/inventions7030084.

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Yes, digital cameras are still a thing in 2022 – BC Catholic

Despite smartphones, digital cameras are still in demand

Yes, digital cameras are still a thing, despite the fantastic photographic capabilities of today’s high-end cell phones.

When I began my annual survey of cameras in mid-November, I expected to see yet another sharp decline in the variety and number of models for sale, driven in part by changing technology, but also by the lingering misery of the COVID -19 pandemic, now approaching the three-year anniversary.

However, as I write, I already have a little over two hundred camera models and packages listed on my survey site, with more likely to be added. At this point, still before the Black Friday sales hoopla, I’m only slightly down on last year’s tally and will likely match or even exceed it by the end of the year.

Again, then, here’s a recap of my annual survey of digital cameras for sale in the Vancouver area, something we’ve been doing in this space since 2002, and, in a slightly simpler form, all the way back to 1996 , when a sub-megapixel camera went for around $1,000.

As in the last two years, I was surprised how many models of cameras remained from the previous year’s list, certainly more than 80 percent. Some new models appear to be little more than tweaks and renamings of last year’s models. Like a year ago, prices appear to be higher than those of the previous year, sometimes significantly so. Buyers should be careful as some stores seem to be re-listing discontinued models as current listings.

Those who do develop an interest in photography through their experience with today’s sophisticated smartphones tend to migrate to advanced digital cameras, mostly bypassing the point-and-shoot or compact models that once dominated the market.

While the camera market has long been dominated by the big two, Canon and Nikon, there is an argument to be made that the new big two are Sony and Fuji. Both have extensive product lines, and they are not Johnny-come-lately to the field.

A recent article headline underscores the inroads Fuji has made. The parent company noted that it is temporarily pausing orders for its wildly popular X100V camera, the fifth generation of that model. According to the company, it simply could not keep up with demand. And that’s for a camera with real knobs and dials that sells in the $1,700 range here in Canada. The question is vlogging, video blogging, on platforms like TikTok.

Here are some more of the cameras that are making waves with vloggers: Sony’s ZV-1 and ZV-1F, Nikon’s Z30, Panasonic’s GH5/GH6 units and Sony’s ZV-E10. Vloggers demand high-quality 4K/30 fps video or better, a bright lens, and a sensor that facilitates background defocusing.

For those considering a foray into still photography or vlogging on a mobile phone, check out our dedicated single page website, https://vandigicams.ca. Updates are made every day until January 6th. Links are also provided to the surveys from previous years to enable price comparisons.

Cameras on the site are primarily those advertised on retailer websites and from print ads in Vancouver’s major dailies, and in flyers accompanying local community newspapers.

Prices on the site, rounded to the nearest $5 increment, are the lowest found in the November-December survey period, which often occurs in mid-November. If you decide to buy a listed unit, you may be able to convince the salesperson to roll the price back to the earlier low if it has risen in the meantime.

Individual cameras and camera packages in the survey are assigned a single line on the https://vandigicams.ca site. Each listing is linked to the corresponding manufacturer’s website for that camera’s full specifications. Along with the camera sensor megapixel rating, there’s an optical zoom value, an overview of about half a dozen features, and “street” prices from up to three local retailers.

The 24-megapixel sensor class once again dominates this year’s survey, mostly with units from Canon, Fuji, Nikon and Sony representing just under 40 percent of the cameras, followed by the slightly lower resolution 20-megapixel units with approx. a quarter These two classes together make up two thirds of all the cameras in the survey. The once dominant “16” class dropped to fifth place. The remaining 20 percent or so of the recording is fragmented across classes ranging from 12 to an impressive 100+ megapixels.

As in past years, the survey identifies several cameras as best buys, an optimal combination of features and price within a given class. When you’re considering buying a camera, be sure to check the manufacturer’s website (they’re all listed at the bottom of the recording website) to make sure the model stays up-to-date.

Want an inexpensive point-and-shoot digital camera? The Canon ELPH 360 with a 3-inch screen costs about $300. An entry-level digital single-lens reflex (DSLR) camera like Canon’s T7 with a basic kit lens can be picked up for around $600. At the other extreme, you’ll find a 102-megapixel unit from Fuji, a holdover from last year, for around $13,000, and a 50-megapixel Hasselblad for $21,000. If you really want to get carried away, there’s a $30,000 Leica unit tagged for musician-photographer Lenny Kravitz.

Looking for a rugged camera? The Olympus TG-6 (shockproof, freezeproof, waterproof, dustproof and pressureproof) remains popular. Sony and Ricoh also offer rugged units. Prices range from $400 to around $1,000, the latter for a unit designed for harsh environments.

As for a solid general-purpose camera, how about something like the Nikon P950 with an incredible 83× zoom lens. Priced in the $1,000 range, this unit takes good outdoor photos and also perfectly acceptable indoors, something often lacking in lower cost units. Its successor, the P1000, is the first unit to pass 100× zoom, offering an incredible 125×, at around $1,300.

Some other manufacturers still offer high-zoom models in their ranges. Examples include Panasonic’s FZ80 (60×, $400), and Canon’s SX70 (50×, $800). However, Panasonic may be nearing the end of the road as a camera supplier, at least for its range of point-and-shoot units. It appears that the company may instead turn its attention to its mirrorless camcorders such as the GH series.

Want a DSLR package with two lenses, say a basic 3× zoom and a telephoto? Canon and Nikon used to have several such packages around the $600 mark, but those have mostly disappeared for 2022. This year, for example, you can consider the Canon T7 package with 18–55mm and 75–300mm lenses for $720, same price as last year.

MILC units (mirrorless interchangeable lens cameras) have now overtaken DSLRs in popularity. Canon’s EOS M and R lines are good examples, as are Sony’s Alpha series and Nikon’s Z series.

There are even indications that new DSLRs may no longer appear. Canon and Nikon came late to the MILC party, first dominated by Fuji, and to a lesser extent by Olympus and Sony. MILC units represent nearly 65 percent of listings in this year’s survey (up from 40 percent two years ago). DSLR units, by contrast, fell to just 15 percent.

Take a look at this year’s recording list. https://vandigicams.ca. You’ll find cameras at every price point, from a few hundred dollars to $10,000 and more. In between, you’ll find cameras equipped with Wi-Fi, GPS, and organic light-emitting diode (OLED) touchscreens, and numerous other features and technologies. Digital cameras are indeed still a thing.

Follow me on Facebook (facebook.com/PeterVogelCA) or on Twitter (@PeterVogel).

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Multiplex by Barry Anderson” Commerce Bank Digital Art Wall – KC STUDIO

Barry Anderson with his installation “Fragments of Space: Multiplex” at Commerce Bank

The future is here, and so far it hasn’t taken the form of flying cars, robot servants, convenient interplanetary travel, or most of the other technological promises offered by 20th-twentieth-century creative media.

Rather, it is the ubiquity of screens in our daily lives that stands in as a demarcation between the quaint analog past and modernity. And so it’s fitting that Barry Anderson’s installation, “Fragments of Space: Multiplex,” reaches out to the world from four flat monitors located in the Commerce Bank Building’s fitting Digital Art Wall.

Part of a broader series of work begun in 2015 titled “Fragments of Space,” the “Multiplex” exhibition takes viewers on an imaginary tour of both physical and psychological spaces. By playing a continuous cycle, the video flows from each screen to the next, leaving all four panels slightly ahead or behind their neighbors. This perpetual motion, coupled with the deliberately skewed positioning of each screen, may be jarring at first, but the ability of an intangible artistic experience to conjure an almost physical response in its audience represents a triumph, not a flaw. not. Once viewers have taken a moment to adjust to the rhythm of the piece, they are likely to settle on a single screen to watch, perhaps pausing to focus their attention on the gestalt of the four screens interacting .

Created using Cinema 4D and After Effects software, the actual content on the screens works in tandem with the infinite loops in which they play. Passers-by who linger to view an entire cycle of the installation will be rewarded with multiple visits to two distinct realms. The more easily recognizable landscape, a sleek maze, places viewers in a first-person perspective moving through a post-industrial labyrinth, complete with quick turns and dead ends.

The purpose of the maze remains a mystery; Anderson’s work embraces the premise that the journey matters more than the destination. Traversing the digital warren happens quickly, almost to the point of feeling frantic and claustrophobic. Viewers can notice their lack of agency quite sharply, as all decisions about which way to go take place on the other side of the monitors. Someone who might have chosen to go right will find themselves going left.

To further excite the audience, Anderson’s maze is populated with terrain and artifacts that practically beg for a closer look. But alas, the movement of the video takes us past flooded rooms, a doll and even a partially submerged cow at a speed that defies any close scrutiny. Those with the courage for multiple viewings, of course, can have an opportunity to enjoy the details that a more cursory observation would miss.

Between journeys through the maze, Anderson takes his viewers into an even more surreal environment that manifests as iridescent, geometric shapes that expand and fold back in on themselves. And while these series are more abstract, there is something about the undulation of light and color that evokes calm. One interpretation could be that these segments represent the inner psychological workings of humanity. Another could see the artist gracious to his audience, giving them a meditative reprieve between forays through the more cognitively and emotionally taxing labyrinthine components of the work.

In the end, the reason for the animations, which represent great technical skill, is less important than the fact that they exist. Anderson’s art is deliberately minimalist, both aesthetically and in terms of the context it provides.

People spend a tremendous amount of their waking hours staring at screens. To do so in a way that promotes reflection and elicits an emotional catharsis is a unique and rare experience. To that end, Anderson is very successful in creating digital art for a digital age.

“Fragments of Space: Multiplex” continues at the Commerce Bank Digital Art Wall., 1001 Main St., through Oct. 4. Hours are 8am to 5pm Monday-Friday. For more information contact Robin Trafton, Curator, Commerce Bank, 816.760.7885 or [email protected]

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Pipilotti Rist’s serene ‘pixel forest’ explores the chaos of our digital lives

Written by Rebecca Cairns, CNNHong Kong

In a dark room in the middle of Hong Kong, there is a new reprieve from the bustling city. It’s a forest — although it looks nothing like the dense greenery that covers the nearby mountains.

This one glows. The so-called “pixel forest” consists of 3,000 LED lights, suspended by plastic cables that twist like vines, flashing red, blue, green, yellow and pink, in tandem with the music. The shiny black floor forms a glassy lake that reflects each rough, glittering crystal, creating a kind of infinity.

The immersive work of multimedia artist Pipilotti Rist was inspired by her experience using virtual reality glasses. Although she said she could feel the room around her, the 60-year-old “felt extremely lonely,” she recalled.

Rist explores the internal chaos of our digital world through what she called a “rough, raw virtual reality” that viewers can touch and explore. Walking through her pixel forest, it’s hard not to imagine yourself in a phone or laptop screen—or to see some kind of beauty in this broken-down and blown-up version of our digital world. The experience can help visitors realize how easy it is to get lost in technology.

“It’s an illusion sometimes. People think, ‘Oh, we’re totally in touch,’ but actually together (in person) is something completely different,” Rist said.

The installation is among nearly 50 of her works on display at her first solo exhibition in Hong Kong, “Behind Your Eyelid”, which showcases three decades of work at the JC Contemporary gallery. In it, Rist also considers the things that separate us, and the facades we must pierce through to connect with each other.

“I’m trying to bring the electronics in front or out of the screen — to bring it more into the room,” Rist said.

Light from unlikely places

Born in Grabs, Switzerland in 1962, Rist has been a fixture on the visual arts scene since the 1980s. But she unexpectedly entered the mainstream consciousness in 2016, when it was suggested that Beyoncé’s music video “Hold Up” took inspiration from the installation “Ever is Over All”.

Beyoncé never formally credited the artist’s 1997 work — which depicts a carefree Rist in red heels and a blue dress, bounding down a street and brandishing a long-stemmed red flower — as an inspiration. However, the scene was instantly recognisable: a woman nonchalantly jumping down a car-filled street and smashing windows, baseball bat in hand.

“Ever is Over All” (1997) is a two-channel video: one side shows fields of flowers, while the other side (photo) shows Rist jumping down a car-lined street, flower in hand. Credit: CNN

Rist, who creates her work with a team of audio, lighting and video technicians, was flattered by the apparent nod. “I thought it was cool that people who might never go to art exhibitions suddenly got the reference to a video artist,” she said. “Maybe they didn’t even know (‘Ever is Over All’) existed.”

The baseball bat brought a “certain aggression” to the scene, Rist said — while her own flower-turned weapon was a more playful comment on female power and autonomy, a key theme in Rist’s work. Rist even speculated that she was drawn to her chosen medium, video art, because “it wasn’t taken by men.”

While both women and men appear in her videos, the former dominates. Still, she takes exception to the idea that she has a preference for profiling women: “The power structure is such that we take (women) as an exception. For me, I’ve always tried to say: ‘No, it’s human. ‘ “

In her Hong Kong exhibition, depictions of female torsos hang from the ceiling, a Pop-Art twist on Greek and Roman sculptures. One is a tight yellow swimsuit, with a small ’90s-style television balanced in the hollowed-out crotch, while another has light emanating from where the legs should be.

Rist’s video installation “Digesting Impressions” (1993/2013) features a looped video played on a television in a swimsuit. Credit: Rebecca Cairns/CNN

Light emerging from pelvises is a common motif in Rist’s art. (“It’s where we saw the light when we came out to our mothers,” she explained.) And her humor is also on display in her chandelier of underpants, which plays with the ambiguity of “light” meaning both shine and be lightweight.

“(The pelvis) is controversial for us, between shame and passion and stink and joy,” Rist said, pointing to the idiom, “not to air one’s dirty laundry” and what it says about keeping our darkness, our problems and our struggles, a secret. “I wanted to make it light.”

Pull back layers

Across the three-story exhibition, Rist showcases her incredible range: Decades-old works sit alongside new, site-specific installations, while entire immersive rooms are followed by single screens. In one case, a small screen the size of a ping-pong ball is embedded in the floor, showing the 1994 six-minute looping video “Selbstlos im Lavabad” (Selfless in The Bath Of Lava) featuring a screaming woman trapped in a fiery purgatory.

Many of the pieces were created decades ago, yet Rist’s art is somehow “always adapted to the latest technology,” said exhibition curator Tobias Berger. He highlights the 1996 work, “Sip My Ocean,” a two-channel video that, in its original form, would have shown on a much smaller projector. Now the work fills two walls, floor to ceiling, on a theater-sized screen. Improvements in audio technology also add another dimension to the works, Berger added, “so even the old works in each exhibition are almost site-specific new works.”

The “Central Hong Kong Chandelier” (2021) sits next to “Big Skin” (2022), which blurs the mundane and the fantastic. Credit: Rebecca Cairns/CNN

The exhibit, which originally opened in 2019, before the pandemic, was two years in the making. But Berger believes that the isolation and anxiety of Covid-19 has made the show – and the recurring theme of human connectedness – more relevant than ever. Rist herself experienced isolation while preparing for the exhibition, spending 21 days in quarantine last year to enter Hong Kong and get a feel for the gallery space.

Rist created two completely new works for the exhibition. Outside, a massive projection turns the former prison yard in which the gallery is located into a “glade in the city,” where Rist hopes people will come together and connect personally.

And inside, the new “Big Skin” installation ties together the exhibition’s central metaphor: membranes. Semi-translucent white “sheets” hang from the ceiling, while video projections depicting galaxies and natural landscapes—a mix of real footage and animations—play across their surfaces. Like floating clouds, they absorb and emit light, creating eerie shadows even as they show soothing scenes of autumn leaves.

For Berger, the authenticity of Rist’s art is part of the charm — because despite its surrealism, none of it is computer generated. “I think that’s what the fascination is, why people are so attracted to her work: There is nothing fake, everything is real,” he said.

"Water Tiger Color Balm" (2022) is an outdoor video installation, created for the space outside the JC Contemporary Gallery in Tai Kwun, Hong Kong.

“Water Tiger Color Balm” (2022) is an outdoor video installation, created for the space outside the JC Contemporary Gallery in Tai Kwun, Hong Kong. Credit: Tai Kwun

The final room, “The Apartment,” gives a former woman’s prison cell the appearance of a home: A dining table and chairs, a sofa and sideboard, and a day bed, are surrounded by the jumble of domestic knick-knacks, of which many from Hong Kong, and a painting by a local artist. But projections move across space like ghosts, a setup more strange than familiar.

As in the pixel forest, Rist immerses the viewer in a dreamlike combination of lights, colors and sound that foil the everyday. She gives weight to emotions and ideas — thereby giving body to the invisible lines that connect us.

“We are so much more alike than we are different,” she said.

Behind Your Eyelid” shows at JC Contemporary at Tai Kwun, Hong Kong, until 27 November 2022.


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felipe pantone’s manipulable works reflect on digital revolution at gallery common in tokyo

Felipe Pantone Exhibition Gallery COMMON’s “MANIPULABLE”

From June 3rd to July 17th, 2022, Tokyo-based Gallery Common will announce Felipe Pantone’s solo. Exhibition Operation possibleFeaturing a completely new athletic work Interactive installation space.marking Argentina-Spanish artist The first major exhibition in Japan since 2014, the show focuses on dynamism, transformation and the digital revolution. All artwork was created for viewers to touch and rearrange.

“Manipulable” features new dynamic work in a fully interactive installation space

All images are courtesy of Gallery Common

Interactive works correspond to today’s world of self-curation

“Manipulable” is a Latin word with roots in the Manus (hand), which means “something that can be moved or manipulated by hand”. What can be controlled, controlled, or molded. ” Similarly, the exhibition presents a set of interactive artwork that visitors can interact with and modify. With a background as a graffiti artist and a graduate of art in his work, Pantone combines his street experience with academic knowledge to create a vibrant and unique language. The work in the exhibition raises questions about how we consume visual information, especially in the digital age.

“Currently everything is controllable. Instead of listening to the radio, we manage our own playlists. We don’t watch TV. We choose the shows to stream. The internet can configure the information itself. I made it. the Artist stock. “Light, movement, and color define everything I do, and by adding touch elements, everyone can get closer to work. For the first time, all my work for the exhibition, It was designed to be composed of viewers. I think it’s very modern to be able to interact with what the audience is consuming, and create artwork that accommodates today’s world of self-curation. I wanted to. “

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
The show reflects the themes of dynamism, transformation and the digital revolution

Bridging the gap between art and the audience

As awareness of interaction has evolved over the last few years, Pantone has experimented with different methods and approaches to break down communication barriers, including touchless ways to interact with your work via VR and remote control apps. rice field. Now that he has more options for face-to-face interaction, he explores how touch and physical interaction closes the gap between the artist and the audience.

To commemorate the exhibition, Felipe Pantone has also released a limited edition print entitled “CDM32-P”. This piece uses UV printing on an aluminum sheet to create a print with a smooth reflective texture that changes in light. Available in a limited edition of only 35, this work is 70.7×50 cm in size. gallery Until the end of the session.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
Pantone combines street experience with academic knowledge to create a vibrant and unique language.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
The work casts doubt on how we consume visual information, especially in the digital age.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
The show features a series of eye-catching pieces with vibrant colors and reflective textures.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
All artwork was created for viewers to touch and rearrange

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.
Pantone explores how touch and physical interaction closes the gap between the artist and the audience.

Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo. Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo. Felipe Pantone's manipulable work reflects the digital revolution in a typical gallery in Tokyo.

Project information:

name: Operation possible
Artist: Felipe Pantone
position: Gallery Common, Harajuku, Tokyo
date: June 3rd-July 17th, 2022

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