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Canon brings EOS movies to Final Cut ProCanon is developing a plug-in for Final Cut Pro users that will allow for 'quicker and easier' editing of movie footage shot using one of Canon's digital SLRs 8 February 2010 |
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 Camera test
Ricoh GXR tested
Ricoh broke the mould last year with the GXR, a hybrid modular camera that lets users swap interchangeable lens, sensor and processing engine units. Jonathan Eastland investigates
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 Lens test
Canon’s EF 100mm f/2.8L Macro IS USM tested
Canon has added a new 100mm macro lens to the ever-expanding EF range, this time bearing the L-moniker and debuting the maker’s latest Hybrid IS system. Kevin Carter reports
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 News report
After shocks
Haiti’s devastating earthquake has claimed the lives of 150,000 people so far, and given photographers and picture editors some difficult ethical dilemmas, finds Olivier Laurent
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 Working lives
Pictures of you
Marian Paterson has organised NME’s iconic cover and feature photography over the last eight years, finds Rob Hastings creating the photography that goes in it is a fine art
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 Exposure
Setting
sun?
This week the iPad launched – the touch-screen tablet computer that many believe will revolutionise magazine and book publishing. On the face of it, it’s a strange time to review an anthology of photobooks, but then photobooks are gaining
favour almost as fast as books are falling out of it, especially Japanese ones writes Diane Smyth
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 News
Apple launches iPad amid fanfare
Following months of speculation, Apple has introduced the iPad, a multi-touch tablet computer that looks like an oversized iPhone
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News
Getty plans subscription model
Getty Images is introducing a new subscription-based product under the Thinkstock imprint, which will pull royalty-free images from its collections and subsidiaries
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Comment
The business of suffering
On 12 January Haiti was hit by one of the worst earthquakes in its history, which killed more than 150,000 people. Dozens of journalists and photographers rushed to the island to cover the devastation, and help, through their images, raise millions of pounds in aid. But soon the debate shifted towards the journalists. Olivier Laurent asks if there were too many of them? Were they helping? Was their work exploitative?
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 Return to the top of The British Journal of Photography
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