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2013年1月29日星期二
Purported ‘iPad 5′ case with major redesign revealed in leaked photos
Purported ‘iPad 5′ case with major redesign revealed in leaked photos:
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Apple 中國陷兩難困境：市場還是品質？
Apple 中國陷兩難困境：市場還是品質？: 
Apple 在中國：是放低身價迎合低端用戶，還是繼續保持優良的品質？ 導語：國外媒體撰文稱，隨著 Apple 整體業績增速的放緩，中國市場可能會成為該公司的重要著眼點。然而，究竟是放低身價迎合低端用戶，還是繼續保持優良的品質，卻成為其部署中國戰略的過程中面臨的兩難選擇。 以下為文章全文： 兩難困境 ...
Apple 在中國：是放低身價迎合低端用戶，還是繼續保持優良的品質？ 導語：國外媒體撰文稱，隨著 Apple 整體業績增速的放緩，中國市場可能會成為該公司的重要著眼點。然而，究竟是放低身價迎合低端用戶，還是繼續保持優良的品質，卻成為其部署中國戰略的過程中面臨的兩難選擇。 以下為文章全文： 兩難困境 ...
Include The Foreground For Dramatic Landscapes
Include The Foreground For Dramatic Landscapes:
When I came upon this small cascade, I felt it would make a nice image. I began working up close and felt like something was missing. Then I walked further downstream and found these interesting rock formations. Camera was Canon EOS 5D Mark III, with EF 17-40mm f/4L. Exposure was 2.5 sec., f/18, ISO 100.When photographing landscapes, it’s very easy to get lost in the grandiosity of the overall view, and sometimes , lose sight of what could be a better image. Many times, I’ve been taken in by a grand expanse that was simply beautiful to look at, but was unable to translate that beauty into a compelling image. In the past few years, one of my favorite landscape techniques is to use an ultra wide angle lens to emphasize the foreground and use that beautiful expanse as background for an image.
I was never what one would call a true “wide angle shooter”, but as I began exploring landscape photography more and more, I fell in love with lenses such as the 16-35mm f/2.8, the 14mm f/2.8, and the 8-15mm Fisheye Zoom. These lenses have become my go-to lenses when shooting landscape images. They allow me to capture wide expanses, while emphasizing elements of the composition immediately in front of me.
The dune grass created a lot of foreground interest for me, with a nice texture that pointed towards the lighthouse. A low shooting angle ensured I'd be able to include that dramatic sky as well. Canon EOS 5D Mark III, with EF 8-15mm f/4L Fisheye Zoom. Exposure 1/60, f/16, ISO 100. The perspective was then corrected in Photoshop.The first thing to realize when shooting with these lenses is that you have to be close to that foreground element. It needs to be prominent and stand out. Being able to spot those elements that will do that for your image is a skill that requires some practice to perfect. It took me some time to learn to “see” like a wide angle lens would. But now I constantly pick out elements and frame my image around that element being right in front of the camera, rather than looking at the bigger picture first and accidentally getting a nice foreground.
It’s important to take into account point of view when placing your foreground in the scene. Too often I see photographers extending their tripod legs to the height that would be best for them standing at their full height. The problem with this is that this is the height at which most people look at things, so for the most part the point of view in the scene won’t be too different from everyone else’s point of view. I prefer to be able to get low when possible, and really get close to the foreground. It’s a point of view most people don’t bother to get to, and it also makes the chosen foreground element that much more prominent in the scene. By being low, there’s also the added benefit that if the sky is dramatic, you can angle the camera up just a bit to include more of the sky.
These rocks made a beautiful foreground to place against the warm tones created by the sunset. EOS 5D Mark II with EF 14mm f/2.8L II. Exposure was 2.5 sec., f/11, ISO 100.Once you have that foreground element in place, you want to be sure it’s in focus. But more than that, you want to be sure EVERYTHING that you want to be sharp, IS sharp. To do this, you’ll have to figure hyperfocal distance. Hyperfocal distance is defined as the closest distance at which a lens can be focused while keeping objects at infinity acceptably sharp. When the lens is focused at this distance, all objects at distances from half of the hyperfocal distance out to infinity will be acceptably sharp. There are two ways to figure this out. The first way is to do some math. Math makes my head hurt, so I do it the easy way and use a depth of field calculator on my smart phone. There are several out there, so I’d suggest trying some of the free ones first before spending money on the paid apps. Once you tell the app what camera you are using (sensor size), focal length, and f-stop, as well as the distance to the foreground element you want in focus, the calculator will tell you what the hyperfocal distance is- the distance you should focus your lens to, as well as the near limit- or how far the nearest area of sharp focus is from the camera. Everything beyond that point should also be acceptably sharp all the way to infinity.
Of course, the foreground does not always lend itself to being included in our compositions. These are choices we as photographers must make for every image we take. As I said, it can be very easy to be sucked in by a beautiful vista. But it’s just as easy to be turned off when the vista is only so-so. By looking at all areas of the scene, the foreground, as well as the middle ground and background, more options open up to your camera, and of course, more photos.
Fog and mist at sunrise obliterated the grander vista I had intended to shoot this morning. The lighthouse was shrouded in fog, but as the sun came up it created this beautifully soft light. A long exposure using a variable ND filter allowed me to give a misty effect to the water. The wet rocks glistening in the soft light gave the foreground added interest. Canon EOS 5D Mark II, EF 17-40mm f/4L. Exposure: 20 sec., f/11, ISO 800.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Include The Foreground For Dramatic Landscapes
When I came upon this small cascade, I felt it would make a nice image. I began working up close and felt like something was missing. Then I walked further downstream and found these interesting rock formations. Camera was Canon EOS 5D Mark III, with EF 17-40mm f/4L. Exposure was 2.5 sec., f/18, ISO 100.
I was never what one would call a true “wide angle shooter”, but as I began exploring landscape photography more and more, I fell in love with lenses such as the 16-35mm f/2.8, the 14mm f/2.8, and the 8-15mm Fisheye Zoom. These lenses have become my go-to lenses when shooting landscape images. They allow me to capture wide expanses, while emphasizing elements of the composition immediately in front of me.
The dune grass created a lot of foreground interest for me, with a nice texture that pointed towards the lighthouse. A low shooting angle ensured I'd be able to include that dramatic sky as well. Canon EOS 5D Mark III, with EF 8-15mm f/4L Fisheye Zoom. Exposure 1/60, f/16, ISO 100. The perspective was then corrected in Photoshop.
It’s important to take into account point of view when placing your foreground in the scene. Too often I see photographers extending their tripod legs to the height that would be best for them standing at their full height. The problem with this is that this is the height at which most people look at things, so for the most part the point of view in the scene won’t be too different from everyone else’s point of view. I prefer to be able to get low when possible, and really get close to the foreground. It’s a point of view most people don’t bother to get to, and it also makes the chosen foreground element that much more prominent in the scene. By being low, there’s also the added benefit that if the sky is dramatic, you can angle the camera up just a bit to include more of the sky.
These rocks made a beautiful foreground to place against the warm tones created by the sunset. EOS 5D Mark II with EF 14mm f/2.8L II. Exposure was 2.5 sec., f/11, ISO 100.
Of course, the foreground does not always lend itself to being included in our compositions. These are choices we as photographers must make for every image we take. As I said, it can be very easy to be sucked in by a beautiful vista. But it’s just as easy to be turned off when the vista is only so-so. By looking at all areas of the scene, the foreground, as well as the middle ground and background, more options open up to your camera, and of course, more photos.
Fog and mist at sunrise obliterated the grander vista I had intended to shoot this morning. The lighthouse was shrouded in fog, but as the sun came up it created this beautifully soft light. A long exposure using a variable ND filter allowed me to give a misty effect to the water. The wet rocks glistening in the soft light gave the foreground added interest. Canon EOS 5D Mark II, EF 17-40mm f/4L. Exposure: 20 sec., f/11, ISO 800.
Post originally from: Digital Photography Tips.
Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.
Include The Foreground For Dramatic Landscapes
蘋果發佈新聞稿，128GB iPad 4將在2月5日發售！
蘋果發佈新聞稿，128GB iPad 4將在2月5日發售！:
就在前幾天傳出謠言，蘋果將推出128GB大容量的iPad消息，沒想到這麼快，在美國時間2013年1月29日，蘋果就發佈了一則新聞稿，表示iPad 4在一週之後，也就是2月5日，就會開始販售128GB版本的iPad 4，包括Wifi版本，以及Wi-Fi + Cellular版本。
128GB版本比起現行的最高容量64GB還要多一倍，售價也只多100美金，來到Wifi版本799美金，Wi-Fi + Cellular版本929美金，包括黑色和白色。
至於台灣地區預期應該會稍晚一些才會開始正式鋪貨，有大容量需求的朋友，可以多一個選擇了。
128GB版本比起現行的最高容量64GB還要多一倍，售價也只多100美金，來到Wifi版本799美金，Wi-Fi + Cellular版本929美金，包括黑色和白色。
至於台灣地區預期應該會稍晚一些才會開始正式鋪貨，有大容量需求的朋友，可以多一個選擇了。
Canon 在 CP+ 前發佈 PowerShot A2500、ELPH 330 HS、115 IS 消費型數位相機
Canon 在 CP+ 前發佈 PowerShot A2500、ELPH 330 HS、115 IS 消費型數位相機:
雖說 Canon 在今年的 CES 丟出了個有趣的方型相機，但總覺得他們在當家的消費型數位相機產品戰線上，似乎還有點保留。今天，該公司搶在今年的 CP+ 開展之前為此系列產品增添了三部新款機型，再度補足了該公司今年的產品行列。首先登場的是 ELPH 330 HS，其規格與不到一個月前推出的 130 IS 很接近，但變焦範圍則是由 8x 增進到了 10x 的光學變焦範圍（最廣角可達等效 24mm）。330 HS 採用了 1,210 萬畫素的 CMOS 感光元件，搭載的是 Digic 5 的影像處理器、46.1 萬點的 3 吋螢幕並且內建了與 S110 相同的 Wi-Fi 無線網路規格。
第二部新機 ELPH 115 IS 則是搭載了 1,600 萬畫素的 CCD 感光元件，可錄製 720p 的動態影片。它採用了一顆最廣可達等效 28mm 的 8x 光學變焦鏡頭，並可在機背上見到一顆 23 萬點的 2.7 吋螢幕，而這部 2013 年的新款相機，則是也理所當然地搭載了 Canon 近期主打的節能模式。最後，來到了 A 系列的新機 PowerShot A2500，他的基本規格與 115 IS 差異不大，同樣搭載了 1,600 萬畫素的 CCD 感光元件、720p 的錄影與相同規格的螢幕，但採用的是 5x 光學變焦，等效焦段為 28-140mm 的鏡組。
發售資訊方面，將會在 3 月開賣的 ELPH 330 HS，它的價位為 US$230（約 NT$6,800 / HK$1,800），並將提供黑、粉紅與銀色的機身顏色。一樣在同月份發售的，還有要價 US$170（約 NT$5,000 / HK$1,300）的 115 IS，而且它比起 330 HS 還多了藍色的機身顏色。最後，將於稍晚在 4 月份推出的 A2500，則是將以最優惠的 US$130（約 NT$3,800 / HK$1,000）價位標籤上架，並提供黑、銀與紅色的機身顏色選項。不知道各位是考慮較高階且價位相對高的機型，還是等待價位較便宜的機型上市才準備入手呢？在決定之前，可以先透過引用來源的完整官方新聞稿內容裡多研究看看吧。
雖說 Canon 在今年的 CES 丟出了個有趣的方型相機，但總覺得他們在當家的消費型數位相機產品戰線上，似乎還有點保留。今天，該公司搶在今年的 CP+ 開展之前為此系列產品增添了三部新款機型，再度補足了該公司今年的產品行列。首先登場的是 ELPH 330 HS，其規格與不到一個月前推出的 130 IS 很接近，但變焦範圍則是由 8x 增進到了 10x 的光學變焦範圍（最廣角可達等效 24mm）。330 HS 採用了 1,210 萬畫素的 CMOS 感光元件，搭載的是 Digic 5 的影像處理器、46.1 萬點的 3 吋螢幕並且內建了與 S110 相同的 Wi-Fi 無線網路規格。
第二部新機 ELPH 115 IS 則是搭載了 1,600 萬畫素的 CCD 感光元件，可錄製 720p 的動態影片。它採用了一顆最廣可達等效 28mm 的 8x 光學變焦鏡頭，並可在機背上見到一顆 23 萬點的 2.7 吋螢幕，而這部 2013 年的新款相機，則是也理所當然地搭載了 Canon 近期主打的節能模式。最後，來到了 A 系列的新機 PowerShot A2500，他的基本規格與 115 IS 差異不大，同樣搭載了 1,600 萬畫素的 CCD 感光元件、720p 的錄影與相同規格的螢幕，但採用的是 5x 光學變焦，等效焦段為 28-140mm 的鏡組。
發售資訊方面，將會在 3 月開賣的 ELPH 330 HS，它的價位為 US$230（約 NT$6,800 / HK$1,800），並將提供黑、粉紅與銀色的機身顏色。一樣在同月份發售的，還有要價 US$170（約 NT$5,000 / HK$1,300）的 115 IS，而且它比起 330 HS 還多了藍色的機身顏色。最後，將於稍晚在 4 月份推出的 A2500，則是將以最優惠的 US$130（約 NT$3,800 / HK$1,000）價位標籤上架，並提供黑、銀與紅色的機身顏色選項。不知道各位是考慮較高階且價位相對高的機型，還是等待價位較便宜的機型上市才準備入手呢？在決定之前，可以先透過引用來源的完整官方新聞稿內容裡多研究看看吧。
大美風光 那些留在相機里的美景
大美風光 那些留在相機里的美景: 
熱愛旅行，或許是想逃離一個沒有歸屬感的自己，在旅途上的每一秒都值得去記錄，而那些留在相機里的美景卻是一次旅行最珍貴的回憶！（內容來自：中國視覺聯盟） 圖片來源︰其他
熱愛旅行，或許是想逃離一個沒有歸屬感的自己，在旅途上的每一秒都值得去記錄，而那些留在相機里的美景卻是一次旅行最珍貴的回憶！（內容來自：中國視覺聯盟） 圖片來源︰其他
Apple’s 128GB iPad shows the world exactly what Apple does best
Apple’s 128GB iPad shows the world exactly what Apple does best:
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