June 18, 2017
Posted by on
yet more startling images found in the Guardian.
Known for his portraits of Spanish miners, Pierre Gonnord has turned his technique to young people, creating portraits that look like oil paintings. Light of the Soul by Pierre Gonnord is at Festival Portrait(s), Vichy, France, 16 June to 10 September. All photographs: Pierre Gonnord; he is represented by the Galería Juana de Aizpuru, Madrid
Nicola, 2010 ‘I know why I do portraits. For the opportunity of encounters. These life experiences. Learn from others, listen, watch, see, feel, express. It’s to open one’s eyes to the world, to know other universes, other realities in order to go beyond one’s own small frontiers in the urban environment and enter little by little into the sharing and the understanding of humanity’
Iris, 2011 ‘Installed in the silence of a room, generally a very small space, sometimes with daylight, sometimes with a lamp, a flash, just one spot … in a short distance, in the same living area, I can talk with the individual, my fellow, a chosen human being, and looking at him I repeat once again this old ritual. A very short moment. Probably the most ancient since man has been on Earth. Strip little by little all the details, and in silence try to catch what maybe is under the skin’
Adriano, 2010 ‘I chose the person, the individual, alone in the margins of his social group,’ says Gonnord. ‘When I travel and meet a community, I have time enough to establish contacts and connections, to know individuals that move me for their charisma, sensitivity, intelligence, shyness, beauty … and this is why I decide to invite them (and no others) to do a portrait’
Attia, 2010 ‘We are absolutely and irreparably involved in otherness. I would like for my portraits to situate us as spectators in front of this other that is at the same time our spectator. The other exists because we exist’
Remarkable aren’t they? see more here
Even better go and see his website here
June 16, 2017
Posted by on
Fascinating set of pictures found in The Guardian
Fabrice Monteiro travelled to the most polluted places in Africa and created terrifying characters who roamed their midst dressed in eerie debris. They are spirits, he says, on a mission to make humans change their ways
‘Who is fighting for clean water in the US? Native Americans. Who is fighting for land preservation in Australia? Aboriginals. The rainforest in Brazil? Indigenous peoples.’
‘When I started the project, I found out what Senegal’s biggest environmental challenges were and chose nine topics that seemed the most visual.’
The surreal figures wear costumes made in collaboration with Dakar-based designer Doulcy, from items found at each location.
Informed by Africa’s environmental problems, Fabrice Monteiro’s photographs aim to highlight urgent ecological issues all over the world. His series The Prophecy is on show at Photo Basel 2017 until 18 June. All images courtesy the artist, Photo Basel 2017 and Mariane Ibrahim Gallery
See more of these astonishing images here
And visit Fabrice Monteiro’s site here
June 9, 2017
Posted by on
When I am teaching I am often asked about cloud storage as a means of backing up images. It seems to me that most people shoot a lot and backing up to the cloud is OK if you have a fast broadband connection but there is the additional issue of cost. We have been seduced by the likes of Google and Amazon offering free or cheap storage but when that free storage is say 30GB that is not much use when you are regularly filling 32GB cards with images. Then came the options of unlimited storage, Amazon were one of the first in on this and it seemed a good deal but as we now learn from DIYPhotography this is coming to an abrupt end and if you have Amazon as your storage you have to look at what you are using because otherwise it might all disappear.
Clouds above Sydney Opera House
Google have been pushing people towards Google Photos as a means of cloud storage and you get 15GB free, less than one card! a 1TB of storage is $10 a month. Currently I use 3TB external hard drives to back up my images, so that would cost me maybe $30 a month with Google.
Cloud storage is fine if all you do is back up your phone snaps but for any serious photographer the cloud is adding to the expense. So you say external hard drives connected to the computer cost too, this is correct, my Western Digital drives cost about £70 so in 3 months or so I get free storage and the peace of mind knowing Google etc are not tracking my images.
I still like Flickr you get 1TB (1000GB) free and if you want a more pro feel you can upgrade for about £32 a year. It allows for RAW file storage unlike Google and although 1TB is not enough for all my images I use it for my personal work. The trick would be if you want more than 1TB then have more than one account, break your storage down into subject areas.
From The Guardian a short gallery of the wonderful colour photography by Harry Gruyaert. He is one of the photographers we feature in our Composition In Photography course
USA, Las Vegas, International Airport, 1982 Pop artists such as Roy Lichtenstein and Robert Rauschenberg, and the video artist Nam June Paik, inspired a more experimental series of work, TV Shots, where he photographed news shows on a malfunctioning television set
Belgium, Antwerp, 1988 Using high contrast and rich colour, Harry Gruyaert fills his photography with heat and light. An exhibition, Western and Eastern Light, is at Michael Hoppen gallery, London, 9 May-27 June. All photographs: Harry Gruyaert/Magnum Photos/courtesy of Michael Hoppen Gallery
Egypt, 1987 His travels gave him a new appreciation for his homeland. ‘I had used colour in Morocco and India, places so vibrant they seemed to demand it. Previously, everything back home in Belgium had seemed grey to me. But when I discovered the beauty of banality, I was able to capture Belgium in colour’
USA, Los Angeles, 1982 Gruyaert studied at the School for Photo and Cinema in Brussels, before becoming director of photography for a TV channel alongside freelance advertising and fashion work
Harry is a Magnum photographer as featured in the last post, you can see more of his work on the Magnum site here
The rest of the Guardian article is here
April 5, 2017
Posted by on
This is a really interesting article about how digital cameras are perceived and why there is so little difference between them. Much like cars I think, any small car is much the same as any other, you choose one because of how it looks and is marketed. However pretty much all cameras look the same so why choose a Nikon or a Canon or any of the others? This article addresses some of the issues that I have seen come up in class with questions from students. The old assumption that a keen photographer would replace their camera every three years no longer holds. In fact if you have a camera from anytime in the last 4 or 5 years it might always do everything you want to a quality you are happy with. Here is the article by Temoor Iqbal is a London based street photographer and writer. You can find out more about him on his website
As camera makers struggle to innovate, consumers are finding little need to upgrade. The market is slowing to the point of inertia – manufacturers need to take a leftfield approach to stay competitive
In February, Nikon – the world’s second-biggest camera manufacturer by market share – published a notice of ‘recognition of extraordinary loss’. The statement admitted that, over the last nine months of 2016, the company had lost $260m…….
This decline is curious, at least in the way that it has played out. Aside from Nikon, few if any leading manufacturers have acknowledged that there is any problem. The former cancelled its planned DL series of mirrorless (high-end compact) cameras in the wake of the loss announcement, but market leader Canon released its newest professional model – the EOS 5D Mk IV – in September last year. The camera was universally recognised as an excellent, capable piece of technology, but a unifying feature of reviews was the suggestion that Canon had not changed enough from the previous model – the Mk III – to justify the upgrade……It’s often obscured by superficial features, but the fact is most high-end digital cameras are exactly the same as one another, and the same as older models from the last five years. What’s more, there’s little prospect of them changing much in the near future. As a result, there’s little incentive to upgrade as often as manufacturers would like, which is behind sluggish sales and rapidly stagnating production levels. “If you’re in the market to buy a new camera and don’t have one already…you’ll struggle to make a bad decision”, wrote tech journalist Vlad Savov for The Verge last year. “But if you already own a camera from the past half decade, you probably won’t feel any urge or need to upgrade. Digital imaging technology has matured [and] maturity brings with it a sort of developmental stagnation.”
Read the whole thing here
March 16, 2017
Posted by on
From the BBC, a place not adverse to using images that are of the poorest quality simply because they were taken by someone “there” (as in are you there, send us your pictures) doesn’t matter how bad they are!
There is a place where no emotion is understated. A place that pioneered “post-truth” before it was discovered by politicians. A place where both triumph and disaster are met with… perfect dentistry.
This is the land of stock pictures.
Even if you wanted to avoid it, you’ll have been there. News websites and social media have spread the air-brushed nirvana of stock pictures further than ever before.
They are part of the click-bait culture, exaggerated and attention-seeking.
But what kind of messages are they sending? Are they reinforcing stereotypes? Or do they do the opposite and create a fake utopia of gender and racial equality?
So it’s all over then. I thought things were looking bad for our relationship when you walked into the living room in a business suit and carrying half of a broken heart and a portable partition. We’ve all been there. Be strong. Thinkstock
Technology is always fake in stock images. Just as stock image people often live in empty rooms, the gadgets they use are blanks. This image showing “good news” is baffling on every level. If this is good news – what does tragedy look like? Thinkstock
“Business meeting, diverse.” Diverse, maybe. But completely bonkers. Imagine going to an away day with these smiling zealots. And any real meeting has at least half the participants surreptitiously checking their mobiles. This is a glimpse of the end-times, with flipcharts. Thinkstock
So next time you see a picture on the web, in a sales document, in fact almost anywhere that is not real think of stock photographers slaving away to bring you fake images.
See the rest of this article and examples on the BBC website here
February 21, 2017
Posted by on
Sometimes the most startling things show up and it is with thanks to the Guardian this time. Aida Muluneh is a photographer and film-maker from Ethiopia.
Born in Ethiopia in 1974, Aïda left the country at a young age and spent an itinerant childhood between Yemen and England. After several years in a boarding school in Cyprus, she finally settled in Canada in 1985. In 2000, she graduated with a degree from the Communication Department with a major in Film from Howard University in Washington, D.C.
After graduation she worked as a photojournalist at the Washington Post, however her work can be found in several publications.
Her work is beautiful and surprising in colour and presentation and also quite wonderful.
Memory of Libya
Sai Mado. The Distant Gaze
The Morning Bride Muluneh has had an uprooted existence since her birth in Ethiopia, living in Yemen, the UK, Cyprus, Canada and finally the US, where she worked as a photojournalist for the Washington Post
Age of Anxiety She has since returned to Ethiopia, a move she describes as ‘a lesson in humility, and what it means to return to a land that was foreign to me’
Denkinesh Birth on Ground These works are from her series The World Is 9, named after a saying of her grandmother: ‘The world is nine, it is never complete and it’s never perfect’
See more of these images here on the Guardian page
Visit Aida Muluneh site here
February 15, 2017
Posted by on
So something that I find really confusing is the way that Canon name or more correctly number their cameras. So at the moment you have the entry level 1300D then you have the 750D then the 80D, then the 7D, 6D, 5D and 1D in ascending order or professional type cameras and of course cost. So they have just announced the 800D but this seems to be step down in the ‘professional’ category, but at the same time they also have announced the 77D which is said to occupy the space sitting below the 80D in the lineup, so logically is the replacement for the 750D. Canon need to get their numbers people together and bash their heads about a bit.
So the new 77D shares the 80D’s 24.2MP sensor with Dual Pixel autofocus and adds an updated Digic 7 processor to the mix. Users opting to focus using the optical viewfinder will be greeted with a 45-point all-cross-type AF system and 7650-pixel RGB+IR metering system, which work together for better accuracy and subject recognition.
Rounding out the package is an ISO range of 100-25600, continuous 6 fps burst shooting with autofocus (4.5 fps when using Live View), 1080/60p video capture and wireless connectivity featuring NFC and Bluetooth LE.
Canon EOS 77D smaller in the hand
The EOS Rebel T7i and EOS 77D (same camera different names in different parts of the world?)both feature an optical viewfinder with a 45-point All Cross-type AF system* to help enable more precise focusing. In live view mode, both cameras utilise Canon’s Dual Pixel CMOS AF to deliver the world’s fastest AF focusing speed of 0.03 seconds.1 This technical achievement allows users to find their subject, focus accurately, and capture the shot more quickly than ever before. Both models also have built-in Wi-Fi®2, NFC3 and Bluetooth®4 technology for easy transfer of images.
In addition to the focusing enhancements, common features of the EOS Rebel T7i and EOS 77D cameras include:
- Optical Viewfinder with a 45-point All Cross-type AF System*
- Fast and accurate Dual Pixel CMOS AF with Phase-detection
- 24.2 Megapixel CMOS (APS-C) Sensor
- DIGIC 7 Image Processor, ISO 100–25600
- Built-in Wi-Fi®2, NFC3 and Bluetooth®4 technology
- Vari-angle Touch Screen, 3.0-inch LCD
- Movie Electronic IS
- HDR Movie & Time-Lapse Movie
- High-speed Continuous Shooting at up to 6.0 frames per second (fps)
The EOS Rebel T7i is the first camera in the EOS Rebel series with a 45-point, all cross-type AF system* within the Optical Viewfinder. It is also the first in the series with Dual Pixel CMOS AF with Phase-detection and the first with a DIGIC 7 Image Processor. Creative filters for both still images and video will allow users to customise the look and feel of their content in new and imaginative ways.
Much of this information comes from DP Review and they have a full list of specifications here
The camera should be available in April and cost £830 for the body only
The 3″, 1.04 million-dot touch-sensitive rear LCD works in concert with a generous suite of physical control points to allow control over every aspect of the 77D’s operation. In live view and movie modes, the screen can also be used to set focus point by touch. Dual Pixel autofocus means that like the EOS 80D, servo AF can be used in these modes, too.
By default, the 77D uses Canon’s standard UI, but it can be switched to the more beginner-friendly graphic UI also found in the new T7i (shown above) if desired.
February 15, 2017
Posted by on
DP Review has a hands on look at this new camera from Canon.
The T7i will be sold with a new kit lens: the Canon EF-S 18-55mm F4-5.6 IS STM. This new zoom is 20% smaller than its predecessors and a little slower, but in terms of handling, it suits the equally diminutive camera quite well. According to Canon, image stabilization should produce up to four stops of shake reduction.
Able to focus in just 0.03 seconds in Live View, the Canon EOS 800D Digital SLR Camera Body is a high-quality DSLR that boasts the world’s fastest Live View AF system. It features a 24.2-megapixel sensor and fast DIGIC 7 image processor, which together deliver ready-to-print, detailed images. Its dual pixel CMOS AF mode tracks subjects as they move, focusing smoothly for professional results
On the left of the top-plate you can see the tiny LED light which indicates when the camera’s built-in Wi-Fi is active. Speaking of Wi-Fi, the T7i has that plus NFC for easy pairing with Android devices and Bluetooth LE for instant photo transfer to a compatible smartphone. It’s also compatible with Canon’s new BR-E1 Bluetooth remote control.
A brand new user interface guides beginner photographers through the process of choosing the right exposure modes and settings to get the shots they want.
A fully-articulating 3″, 1.04 million-dot touch-sensitive LCD makes video shooting easy. In live view and video modes, focus can be set by touch. For video shooters, a 3.5mm diameter stereo mini jack is available for recording sound via an external microphone.
Key Features: Canon EOS 800D Digital SLR Camera Body
- 24.2-megapixel sensor
- DIGIC 7 image processor
- 6 frames per second continuous focusing
- Bright optical viewfinder
- 45 cross-type autofocus points
- Vari-Angle touch screen colour LCD screen
- World’s quickest Live View AF system* focuses in as little as 0.03 seconds
*Among interchangeable-lens digital cameras with APS-C sized sensors with phase-difference detection AF on the image plane as of 14th February 2017, based on Canon research.
- Built-in flash with Guide Number of 12
- Able to record 1080p Full HD video
- Dual pixel CMOS AF tracking for focusing on moving subjects
- In-body 5-axis image stabiliser
- HDR movie shooting allows users to capture detail in shadows and highlights
- WiFi, NFC, and Bluetooth connectivity
- The body only will cost about £780 and available from April
February 12, 2017
Posted by on
The question I always impress on my students that they should ask themselves is Why? Why are you taking this picture, interrogate the reasons that made you stop and look and raise your camera. If you can understand why that will help you to point the camera at the right bit of your subject but also tell you how to set the camera. I ask my students to employ a simple technique which I describe as close, closer, still closer. By looking harder, pausing and thinking about why, taking a picture, then getting closer and doing the same you learn how to understand what about the subject moves you
Launceston Gorge Tas Au © Keith Barnes
This article on Digital Photo School A Post By: Kim Manley Ort explains this in a different way but I totally agree with the ideas here. If you want your pictures to improve read this and learn what it is that makes a photographer.
At the end of each year do you find yourself with thousands of photos and wonder what to do with them all? Or wondering if you should even keep them? This is a lament that I often hear in my photography workshops and have experienced the same problem myself. Sometimes, this is a result of being too quick to click. You see something that excites you photographically and proceed to snap away, hoping that you’ll cover all the bases and that at least one shot will be a keeper. Sometimes this works and you do get one that you like, but often you find yourself disappointed because there isn’t even one that truly reflects your experience.
Luna Park, Sydney,Aus ©Keith Barnes
Kim Manley Ort says But what if you could take a different approach to your photography? One where you make fewer and also perhaps better photos? I’ve found that the simple practice of pausing before clicking the shutter can make a huge difference in the quantity and quality of your photographic output and enjoyment…..read more here
Peacock tail ©Keith Barnes
Pausing is the practice of checking in with oneself. When something stops you and you want to make a photograph, take a moment to notice what’s happening and ask yourself a few questions.
- What do I see, smell, and hear?
- What stopped me?
- Was it a colour, shape, or texture?
- What am I feeling? What do I like about it and why?
- Does it mirror something going on in my life at this moment?
If this sounds like navel-gazing to you, believe me, it’s not. Many photographers over the years have said that a photograph says something about the creator. Your choice of subject matter reveals a lot about you. By becoming more aware of why you photograph what you do, you will gradually uncover your photographic vision…..read on