The prize at stake: a Joby SLR-ZOOM Gorillapod plus the Joby Ballhead. (Joby was kind enough to write and offer to up the stakes of these contests a bit.)

For a little advice, check out this very apt guide on photographing Christmas lights.

The rules:

1. Submissions need to be your own.
2. Photos need to be taken the week of the contest. (No portfolio linking or it spoils the "challenge" part.)
3. Explain, briefly, the equipment, settings and technique used to snag the shot.
4. Email submissions to contests@gizmodo.com.

Send your best entries by Sunday at 6PM Eastern to contests@gizmodo.com with "Christmas Lights" in the subject line. Save your files as JPGs or GIFs at 800 pixels wide, and use a FirstnameLastname.jpg naming convention using whatever name you want to be credited with. Include your shooting summary (camera, lens, ISO, etc) in the body of the email. ALSO, AND THIS IS NEW FOR THIS WEEK, ATTACH A 2560x1600 JPEG AS WELL FOR PEOPLE TO DOWNLOAD AS WALLPAPER. [Flickr]

The official challenge is "Gray Winter." For fun, let's all shoot black and white in-camera and try to create most of the image without too heavy a hand in post production. If you nee advice/tips on shooting black and white landscapes, check here.

The rules:

1. Submissions need to be your own.
2. Photos need to be taken the week of the contest. (No portfolio linking or it spoils the "challenge" part.)
3. Explain, briefly, the equipment, settings and technique used to snag the shot.
4. Email submissions to contests@gizmodo.com.

Send your best entries by the end of SUNDAY (yes, we moved the contest days) at contests@gizmodo.com with "Gray Winter" in the subject line. Save your files as JPGs or GIFs at 800 pixels wide, and use a FirstnameLastname.jpg naming convention using whatever name you want to be credited with. Include your shooting summary (camera, lens, ISO, etc) in the body of the email.

Bonus points for extra depressing shots that destroy the hope of happy holidays for everyone.

*Note: we didn't run last week's Shooting Challenge (Thanksgiving) because we didn't receive enough entries. Meanwhile, the week before, we received around 75 shots. We'll do our best to keep the challenges interesting, but for Giz's weekly shooting challenge to stay afloat, we really need your free labor, I mean, participation! [Image]

First Place
8 Bigmacs. Two SB-800 speedlights and on-camera flash (nikon CLS kicks ass) Nikon D80 I think at 1/125 f/5.6. Fast enough to shoot hand-held before it would tip over. The macs are skewered with two wooden kebab skewers to a piece of plasticine (unfortunately visible). Some photoshop curves and black and white mixing. -Zach Slootsky

Second Place
The Coburg Cafe's monster burger. Regular sized burger on top for size reference; 1 lb. hamburger, ham, bacon, swiss & american, on an 8" bun w/all the fixins' -Trask Blueribbon [Ed note: remember to tell us your camera/settings!]

Third Place
This photo was taken at my son's school cafeteria. We had lunch together. It was abysmal. Jello was good though. I snapped this photo with my Verizon HTC Touch. Basic settings. My technique was to hold back the vomit before I barfed on my phone. -Robbie Amburgey

Thanks for the entries, and look for a more classic Shooting Challenge topic next Monday—something more along the lines of photography for photography's sake. (Not that I don't love watching you poison yourselves in the name of art.)

What the &*^@ is Micro Four Thirds?

Olympus and Panasonic co-developed what's called the Micro Four Thirds standard just last year. The biggest difference to the eye is the smaller-than-SLR lens mount that incompatible with SLRs unless you deploy an adapter. Internally, the standard ditches the mirrors used in SLRs and uses a four thirds CMOS (not micro four thirds chip!) to capture the image straight from the lens (just like a point and shoot). That sensor is roughly 30% smaller than that found in your average dSLR but 9 times bigger than what's in your average point and shoot. The result is a camera ever so slightly smaller than a dSLR that should give you a similar end image quality.

The end camera is just a tad smaller than a baseline dSLR:

But it's still way bigger than your average point and shoot:

The big not-so-secret

There are only four products on the market at this point (Panasonic G1, its video-centric brother, the GH1, Olympus E-P1 and, of course, the Panasonic GF1), and they all have the exact same 13MP Panasonic sensor. But only the latest two, the GF1 and the E-P1, have taken advantage of the smaller technology to create design-forward cameras.

The spoiler

However, if you're going to buy one of these cameras, you probably want the GF1 ($900 with 14-45mm lens). It couples all the good stuff from Panasonic's existing line with a retro body that's eerily similar to the Olympus E-P1.

The build

The GF1 is too big, and it's too heavy. The Panasonic GF1 is indeed smaller than my Canon XTi, but it still won't fit in your pocket.

Yet I love carrying it around. Why? The body feels solid, as if it's from another era, a Utopian time when men were men and companies built hardware to last—before we valued sissy silver painted plastic more than the metal it was emulating.

The GF1 (and the Olympus E-P1 for that matter) feels like a small tank in your hands, an element of war that won't give up after being tossed in a bag recklessly. If dropped on an iPod from over 3 feet, the iPod would certainly be crushed.
There are neither too many buttons nor too few. A familiar circle rotates between shooting modes naturally and burst and timer modes share a switch right in front of it. A d-pad toggles functions like ISO while a clever clicking dial allows you to adjust shutter speed and f-stops.
A few buttons earn their very own functions, like focusing mode, exposure lock and, maybe most cleverly, video. Hitting this little button to the right of the shutter release switches you to video no matter what mode you're in.

Given the almost retro-style build, however, it was tough for me to lose an optical viewfinder (though a digital optical add-on is available). It's a heavy camera to hold outstretched while framing shots on the viewfinder. But luckily, the 3-inch LCD's 460,000 pixels mean you can just manage to find critical focus, thanks to the screen auto-zooming to your subject during manual focusing, though it can be tough to be sure you've really nailed it.

That screen resolution is below a premium dSLR, but it's about twice as sharp as the E-P1—and you'll notice.
And then there's the flash. Unlike the E-P1, the GF1 has one of these bad boys, and Panasonic has celebrated that fact by designing what must be the most complicatedly mechanical flash on the market. Watching it snap from the camera body is both impressive and worrisome. Can these little struts really hold up? Regardless, it's handy to have, even though a perk of buying such a big, expensive camera is avoiding flash photography.

The pictures

Check out all of my GF1 test shots on Flickr, untouched JPEGs pulled right off the GF1. Or see compressed versions in our embedded gallery.

Honestly, there's not much we can say about the quality of the GF1's sensor that hasn't been said (by us, even.) The biggest particular problem is ISO noise, as you can see in the gallery below. Bottom line: the GF1 supports ISOs up to 3200, but you probably don't want to reach beyond 800.
However, with that disclosure out of the way, I'd like to make a few points.

1. Shooting on the GF1 feels like shooting on an SLR. I'm not just talking about the ease of tweaking advanced controls. I mean, you pull the trigger, the camera takes a shot RIGHT THEN. For dSLR owners, that's nothing new. For P&S owners, that's a revelation.

2. There is undoubtedly more noise with Panasonic's sensor in high ISOs than you could find in dSLRs for a similar price. But, the image quality you can achieve—I mean that intangible mix of sensor size and great glass that makes your photos feel professional—is undoubtedly beyond the realm of point and shoots, well in the SLR ballpark.

The BEST shot I was able to recreate of that watch above on my Canon P&S?
Needless to say, pretty gross stuff.

3. The Live View system features what's, hands down, the best function I've ever see on any Live View system yet. Holding a Shutter Mode Effect button previews the motion blur you can expect in your final shot—saving you the heartache of the perfect preview and horrible blurry-faced end product we've all experience on point and shoots.
The only catch? The system didn't work well in daylight, when you might want to use Live View to preview sports motion blur. Note that this car didn't blur at all in my preview, nor did about 20 similar test shots I took in identical conditions.
However, low light tests worked fine.

The 720P video I'd describe as solid but not extraordinary. The AVCHD (or motion JPEG) video, while inherently better than P&S systems or Mino HDs, is not razor sharp. Without side by side comparisons or the wonderful popping colors you get with a bit of sunlight (it rained through my entire testing period), I can't make any definitive statements. But what I've seen from the T1i seems better (richer colors, sharper figures), and not just because it's 1080P.

Versus the EP-1

There are definitely a few key advantages to buying a GF1 instead of Olympus' E-P1. They include:

• Sharper screen
• Faster autofocus (I'd estimate about 3x faster—it's noticeable)
• Built-in flash (the Olympus requires an optional mount)

But it should be noted, the E-P1 has its image stabilization inside its body while Panasonic relies on its IS kit lens. In other words, every lens the Olympus uses will have inherent image stabilization. Also, Olympus allows autofocusing on all Micro Four Thirds and Four Thirds lenses. The GF1 can accept these lenses, but it only retains autofocus on its own brand. So lens fanatics may find the E-P1 the better bet. And if you find one or the other on some super sale, well, it's a toss-up.

Confession

The real reason I enjoyed shooting on the GF1, and the real reason you're interested in Micro Four Thirds if you are indeed interested, has nothing to do with practicality.

I just feel cool using it.
I like walking around Chicago with the GF1 on my shoulder. It gives me that feeling of Leica superiority without the expense. The Micro Four Thirds system may have originated in Japan, but the romance of shooting on the latest systems is purely European. For the first time in a long time, a piece of electronics has made me long for an era and a place that I never knew.

Every soccer mom tourist in Chicago has a dSLR. They may take prettier photos than I do, but damn do I long to be different once in a while. And I'm here to say that, if you crave a Micro Four Thirds for the same reason, it's my opinion that the GF1 works well enough that, well, that's OK. I'm just not trading my dSLR for one.

Incredibly solid build

Best screen in class

Unique shutter blur preview

General stylishness and badassery

Video is good, not great

Same CMOS found in earlier version/competition

IS in kit lens, not camera

The RS DR-1 Double Strap is John Woo's take on wedding photography, a means to shoot two lenses at once, in different directions if necessary. Because you never know when the bride will attack her sister from one angle, while the groom passes out intoxicated from another.

Priced at $130, the optional black trench coat is not included. [BlackRapid via pdn Gear Guide via Crave Asia via Crave]

• 14.6MP sensor with 5.2 FPS shooting
• 3-inch VGA LCD with LiveView
• 720P, 16x9 video at 30FPS
• Integrated HDR (High Dynamic Range) Mode (this feature is essentially an automated bracketing system, but I think that's sorta neat)
• Updated image processing, dust removal and AF systems
•And much, much more!!

Still no word on price or availability, but head on over to the link to see the full rundown on the Pentax K-7. [RiceHigh's Pentax Blog]

Nishi Lab and Tani Electronics co-developed a new tool/method to measure the effects of camera shake. What they found is that SLR cameras lose 1/4 of their resolution to mirror shock—the vibration from the camera's internal mirror bouncing up.

To make matters worse, the team discovered that this mirror vibration can be exacerbated by mounting the camera to a tripod under 3.3lbs.

Of course, even a light tripod can thwart general human shakiness. So while a tripod may enhance mirror shake, it's still probably helpful in eliminating human shake. And I'm guessing the human shake is a bigger problem for most amateur photographers. [Tech On! via Crave]

Its longevity is nifty, as its 50-year history means you can take advantage of lenses crafted long before your DSLR. But as BoingBoing Gadgets reader Mat Halprin points out, Nikon yet to do anything wicked like release an anniversary DSLR that looks like the old school F-series camera pictured above, but stuffed with a D700 sensor, or something else that would tap that history while making us drool at the same time. We demand sexy history, dammit.

In the meantime, how do you think Nikon should celebrate? [Nikon BoingBoing Gadgets, Image: darksida/Flickr ]

Twelve megapixels is, I think, enough for covering most applications most customers need...we have no intention to compete in the megapixel wars for E-System.

He's referring to cameras like the $700 Olympus E-620, which like most cameras, could benefit a lot more from an engineering focus on low-light performance and color reproduction than just some extra megapixels.

Now if only we can explain that more megapixels isn't always better to every consumer at best buy picking out a camera from an endless line of point and shoots. [ZDNET via bbGadgets]

This monstrous ring light features 64 oversized LEDs—that's 32 around the lens and an extra 16 on each flexible flank. With light approaching your subject from every visible angle, the Digi-Slave is a very simple way to eliminate shadow in macro photography.

Oh, and sure, a lightbox might do the same thing. But it's not nearly as portable, nor does it have that deadly deep sea creature look with the lights off. $360 [Digi-Slave via Core77]

The E-620 is a 12.3 megapixel Four Thirds DSLR—the company says it borrows tech from its big brother, the E-30, and crams it into a body not unlike the tiny (and slightly underperforming) E-420. In-camera image stabilization, which has the dual advantages of keeping low-light images from blurring and negating the need for buying expensive anti-shake lenses, is included, as are a variety of new software filters, image manipulation software and "Shadow Control", which sounds a bit like the highlight/shadow controls found in Photoshop and Lightroom. A range of live view options, such as white balance previewing and aspect ratio previewing, are available via the 2.7in LCD screen, which can swivel around to accommodate plenty of shooting scenarios.

Aside from the articulated LCD screen, nothing stands out as particularly innovative. It's the fact that it's able to include most of the standard features of a much more expensive model that makes the E-620 interesting. The E-620 will ship in May for $700, body-only, or for $800 with a 14-42mm f3.5/5.6 lens. Press release and full rundown available at [DPReview]

The creepy SLR guy always carries a camera—often two or more—and uses amatuer cosplayers and paid models alike as some part of a bizarre mating ritual involving using a zoom lens (his not so indiscreet phallus) from three feet away.

So from now on, every time you browse some shady forum looking at a girl dressed up as a Final Fantasy character while showing a tad too much cleavage, know that this is how it really happened. Her legs aren't glistening in the light; they're covered in second hand sweat and geek pheromones. And a single hot shower can't undo that viscous coating. Sources: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20

A special thanks to Erica Ho for trudging through some truly nasty waters to acquire these shots.

In our original post, we speculated that using a gun stock for shooting a camera seemed like a good way for a photographer to get shot. And we wondered how common these stocks could be. Duran wrote back with a short, informed response, but I was able to twist his arm into telling us a bit more.

Pointing a long lens mounted on a stock is indeed a recipe for getting shot if you're not careful. In fact in training at Fort McCoy, Wi., I was "shot" by Soldiers on practice missions.

I was not where they expected me to be... i.e. mixed in with the opposition who happened to be shooting at them at the time. Thus, I was "shot" at with blanks during the training even though I was in uniform. They *saw* what they assumed was a rifle in an area where bad guys were shooting at them..

This, of course, is why we train. Even as military media, we need to train in realistic conditions. It was a learning event for both myself and the Soldiers in training.

At Kajaki Dam in Afghanistan, I was there to get some on the ground coverage for the International Security Assistance Force (ISAF) and the Afghan National Army. The Afghan National Army troops there are "spot on" as the Brits say and the dam has great strategic importance. There are lots of bad guys.
I took my Bushhawk stock along for the ride out to Kajaki. The stock is of limited use as in remote regions such as this, the local population has never seen a DSLR so they limited trust when you're pointing a long lens at them. In operations where we were going patrols or at night with night vision I'd use it a lot. However, when going where the bad guys are, there is little worry as I was with some of the best Soldiers in the world.

Okay, so why risk losing your life. Good question. Lemme see if I can figure it out.

Ok. It is an extremely stable platform to shoot pictures with (i.e. that's why rifles are designed that way). It is very natural and comfortable which results in good images. When using long lenses, holding the camera steady is damn important.

Plus, you can sling the camera stock while walking. This is very important when trying to keep up with Soldiers that are in *much* better shape than you (lost 20 pounds during the tour). Although I'm a Reservist, there's only one standard... so I have the keep up with Olympic-grade athletes when on Active duty.

Monopods work very well but are a pain in the ass when on the move. You have to open them, then close them when you're going to roll out. Which happens unexpectedly at times :)

Handholding with two hands is about the only way and how most of the world gets it done. I would not advise *any* media in a war zone to use a stock. In my case, I'm a member of the armed forces and I'm with the guys with the guns. We used to joke about it in that the Taliban would wonder if we bought some some secret weapon since we were the only Americans at Kajaki. Either way, the bad guys would shoot at me anyway on any patrols with little regard if I had a camera or a rifle.

My main thing was not to make the local population feel threatened...
I have to say that there is something inherently fun about shooting a camera like a rifle. It is really more fun than I should admit. I found myself grinning every time I used the darn thing.

I guess there's just something obsessive with me and rifle stocks for cameras. I actually designed one in drafting class in high-school but it wasn't until this last tour that I ponied up the cheese to buy one. It's just a lot of fun.

- Jeff Duran

or Staff Sgt. Jeffrey Duran one weekend a month, two weeks a year (unless called to go to far away places and meet new people... and take their picture).

A special thanks to Staff Sgt. Jeffrey Duran for writing in and sharing his experiences. You can see more of his photos here and here.

For decades, photographers have engineered little tricks to get the most out of their cameras, and most of them have carried just fine over the digital divide. Here are a few, with some newer additions collected by our friends at Lifehacker.

Build your own stabilizer out of string
Shooting long exposures without something to prop your camera on is a pain in the ass, not to mention a blurry mess. So is carrying a tripod. This video shows how to build a pretty effective foot-looping camera stabilizer out of some string, a bolt and a washer. The results are surprisingly good.

Build your own L-bracket, for serious stability, vertical mounting
If you're doing portrait photography, or have a dumpy old tripod that can't accommodate vertically oriented cameras, you can build a sturdy L-bracket for about $30. It's a bit more involved than the piece-o-string stabilizer, but it's also a lot better, and much cheaper than something you'd pick up at Wolf.

The "David Pogue Special": Use a lamp as a tripod
To round out the camera-steadying tools, here's what I call the David Pogue Special, and it's great: Many lampshade mounts share a diameter and thread size with the tripod mount screw on the bottom of your camcorder, point-and-shoot or DSLR, providing quick and dirty stabilization in a bind.

Scrounge up household flash diffusers
Shooting with flash indoors is often necessary, but can wash out your subjects, making them look sheet-white, greasy and demon-eyed. With a diffuser, the light is softened and the photos are dramatically improved. Commercial flash hoods and diffusers cost money, but aren't much more effective than what you can make yourself. A coffee filter held in front of a flash, a translucent film canister with a notch cut into it, a simple piece of A4 paper or even a piece of matte Scotch tape over the flash lens will measurably improve your drunk party photography.

Calibrate color temperature with free flooring samples
Shooting a piece of paper, gray notecard or painted wall can give you OK white balance calibration, but this guy has a better idea: snag some free floor laminate samples and built a proper calibration board.

Make flash deflection umbrellas from actual umbrellas
If you really want to go pro-hobo, you can repurpose old umbrellas into flash-directing photography umbrellas. After all, there are always plenty lying around. Here's how you do it. If you're feeling lazy, you can even get away with just an old sheet and some tape.

Build still-life photography studio for free(ish)
Ever wonder how that creepy old photographer got such a soft, vivid, dreamy picture of you and your prom date all those years ago? This is how. The project doesn't call for much more than large pieces of paper and tape—relying on indirect sunlight for the adequate lighting—but the results are impressive. It is just a small-scale testbed though, so you'll be limited to shooting Lego models, action figures and the like, but what else were you going to shoot anyway?

Snap magazine-style portraits, beautiful macros with a homemade ringlight
Flickr user jedrek has written out a detailed how-to guide for converting your external flash into a ringlighting rig, mostly using kitchen wares. If you've never heard of ringlighting, have a look at this. The technique is usually reserved for professional photographers, because real ringflashes are comically expensive. This one costs a few bucks.

Foam-fit an old bag to hold your gear
If you're packing a DSLR with lenses and accessories, carrying a full-fledged camera bag is usually ideal, but they're expensive and tend to draw attention to your cargo. With some foam, cardboard and a ratty old military-surplus bag, you can put together a stylish, stealthy and highly-functional camera bag that won't make you feel like a snap-happy father of four.

Top image of proto-pro-photo-hobo Miroslav Tichy.

Dealzmodo Hacks are intended to help you sustain your crippling gadget addiction through tighter times. If you come across any on your own that are particularly useful, send it to our tips line (Subject: Dealzmodo Hack). Check back every other Thursday for free DIY tricks to breathe new life into hardware that you already own.

The technology isn't extremely complicated, just clever. Each LP-E6 battery pack contains a microchip with an 8-character serial number. In the camera menu, the battery/chip can be registered to be tracked by the camera.

From there, the Mark II tracks the battery's charge by single percentages along with how many shots the battery has already captured. Put a photographer in a dark room and multiply his battery load by six, and it becomes obvious why many pros and consumers alike will take advantage of this feature. [Canon via Engadget]

[Photojojo via Lifehacker, Gadget Lab]