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ACDSee Photo Studio Home 2020 Review

21 May

The post ACDSee Photo Studio Home 2020 Review appeared first on Digital Photography School. It was authored by Glenn Harper.

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It’s not unusual for photo-editing software to be multifunctional. Any combination of browser, raw processor and pixel editor is normal. ACDSee Photo Studio Home 2020 offers a slightly different blend of digital asset management (DAM) and pixel editing. In this article, we’ll see what this combo can do for you.

ACDSee Photo Studio Home 2020 - View Mode
View Mode in ACDSee Photo Studio Home 2020

What is DAM Software?

Many programs that help you organize photos are, rightly or wrongly, described as DAM software. An example of this is the now-discontinued “Picasa.”

With that popular program, you could browse photos, edit them, add metadata, assign keywords, create albums, mark photos as favorites, and so on. It was comprehensive. But was it DAM?

What is DAM?

A defining feature of real DAM software is its ability to create a database of your photos. Lightroom does that, as does ACDSee Photo Studio Home.

These products aren’t just an extension of your OS. They record things, like the location of your photos and all the metadata attached to them. And they create thumbnails so you can fly through your collection at high speed whether you’re connected to it or not. This is what separates DAM software from fancy browsers.

First three modes for browsing and DAM

In ACDSee Photo Studio Home 2020, the first three modes are for browsing and DAM. The modes are as follows:

  • Manage Mode is where you can browse folders, filter out photos, create stuff like slideshows and contact sheets, and send images to various photo platforms. You can switch between photo editors from here, too, in case you have other software with different functionality. Manage Mode is the hub of the software. You can even add geographical data to photos from here using the Map tool and reverse geocoding.
  • Photos Mode is great if you want to see everything on your drive within a short space of time. Let’s say you need to root out photos without any keywords or identifying data—this is the place to do it. This mode lets you see all content at once, whether it’s in folders or subfolders, so there’s no hiding place when you’re trying to find specific pictures.
  • View Mode gives you a nice big preview of your photos one-by-one, and it’s quick. This is a good place for assessing the content of your photos and grading them. (In another article, I suggest a workflow for this software). You can scrutinize the technical quality of TIFFs and JPEGs* in this mode, too. A nice feature of View Mode is the set of experimental tools it gives you, which you can apply to the picture without committing to the edit.

*Note that View Mode is not a good place for assessing critical sharpness in raw files, as the software displays the embedded JPEG to maintain speed. This JPEG looks especially poor at 100%, but it’s fine for assessing content and composition.

Fast photo browsing in ACDSee Photo Studio Home 2020
Photos Mode. This mode shows all images, whether in folders or subfolders.

Importing and Cataloging

When it comes to importing files into ACDSee software, you don’t need to do it at all.

The software accesses the folder system of your OS, so it’s enough just to copy and paste the files onto your hard drive. They are added to the ACDSee database automatically when you browse them later. That being said, you can import files via the software if you want and adjust filenames or add metadata while you’re doing it.

If you need to catalog lots of pictures without browsing them all first, you can do that too in Manage or Photos modes. This is especially useful when you first start using the software, though you must wait a while for the process to complete.

Getting organized

It’s all very well cataloging your photos, but there’s still a way to go before they’re genuinely searchable.

In Manage and View Modes of Photo Studio Home 2020, you can open the Properties panel to the right-hand side. It’s here that you add keywords, captions, ratings, color labels, and categories to your photos.

ACDSee Photo Studio Home 2020 - IPTC data
I advise working on keywords in the ACDSee Metadata tab, then copying and pasting them into the IPTC field if you want them to be readable elsewhere. Alas, there’s no button to make this task quicker.

You can use any or all of these features to make your photos searchable, grade them, and track them in your workflow. In a recent sponsored article, I suggested using ratings to grade the quality of your photos and color labels to mark your workflow progress. This is a common use of these tools.

Keywords

Keywords make your photos searchable using a variety of criteria. For instance, you can add different photographic techniques to keywords as well as describing the subject of the photo. How thorough you should be in keywording depends on your needs, but you can import keyword lists to avoid having to create them yourself. That’s a new feature in 2020, and it saves loads of time.

Keywords
This was a raw file developed in ACDSee Photo Studio Home 2020. The conversion is fine for non-problematic images that you want to quickly get online or share without changing your camera settings.

To Tag or not to Tag

To the top left of the properties panel is a check box for “tagging” images. This is a good way to highlight your keepers and reject the rest (or vice versa).

It’d be nice if ACDSee added the ability to proactively reject photos with a dedicated reject flag. As things stand, an untagged file could be one that you’ve simply missed.

Image Baskets

A favorite ACDSee feature of mine is the image basket. This is like a virtual folder, where you can gather image files from various places without physically moving or copying them. It’s very handy for working on quick projects without cluttering up your drive with duplicate files. You can use image baskets for purposes of viewing, editing and sharing.

Face Detection and Recognition

ACDSee software is good at detecting faces, at least when they’re not obscured, and it’s impressively good at recognizing them thereafter.

Often, you only have to name a person once for the software to learn facial features. There are obvious limitations. It won’t necessarily recognize faces across several decades, for instance. But this feature is decidedly useful for cataloging pictures of friends and family.

Face detection technology - face recognition technology
ACDSee software asks for confirmation that this is Marcel Proust. It’s seen one picture of him at this point, so that’s pretty good going.

Edit Mode

Two-thirds of ACDSee Photo Studio Home 2020 is DAM software, aimed at getting your photos organized and being able to find them with ease. If that was all you got for your money, it’d already be good value. But there’s also an Edit Mode where you can work on rendered files (e.g. JPEGs, TIFFs) and get them looking good.

What about raw files?

You can open most types of raw files in Photo Studio Home 2020, but there’s no develop module like there is in ACDSee Ultimate, for instance, so you don’t get to choose the processing parameters.

If you want to benefit fully from shooting raw, you should link this ACDSee software to a raw editor and switch between programs. That, theoretically, would be a higher-quality workflow than having to address technical issues after conversion. And you still have the DAM side of the software for cataloging and grading your raw files.

ACDSee Photo Studio Home 2020 - raw files
This is why you can’t judge the technical quality of raw files in ACDSee View Mode (where they’re best viewed at low magnifications). The inset shows the same file at 100% in Edit Mode.

Edit Mode features

A bit like Photoshop Elements vs Photoshop CC, there are things missing in ACDSee Photo Studio Home 2020 that aren’t missing in ACDSee Ultimate. For instance, there’s no 16-bit color support, no layers, no perspective tool, no dehaze, no dodge and burn, and no Color EQ™. But these absent features are all forgivable since there’s a ton of stuff you do get.

Photo watermarks and logos - ACDSee Photo Studio Home
Using the watermark feature in Edit Mode to place a logo (quickly created elsewhere) into the corner.

Color and Tone

For basic work on color and tone, there are the usual levels and curves tools.

In fact, these tools are nicely implemented by ACDSee, with a built-in histogram and an exposure warning that tells you when you’re losing detail with your edits. You also get a basic version of the proprietary Light EQ™ tool, which lets you adjust shadows, mid-tones, and highlights separately.

Given that many people only use the basic version of this tool anyway, this is a valuable inclusion.

Photo exposure warning - clipping display
The levels tool in Edit Mode. The exposure warning draws attention to blown highlights and blocked shadows.

Cloning and Healing

I should mention once more that the clone tool does not work for me in ACDSee Photo Studio Home 2020 (nor its predecessor). I just get a black screen. That seems trivial when set against everything that does work, but it’s still a tad irritating. I can use the heal tool a lot of the time instead, though its pixel-blending function is a bit different.

Creative Tools

ACDSee could be forgiven for providing the bare minimum of Editing tools, but they go beyond that. You get a cross-section of some of their most creative features. Under the “Add” filter menu, for instance, you’ll find Special Effects. And there are many of them for you to try.

I like the “Orton” effect, which smooths details for a dream-like appearance.

ACDSee Photo Studio Home 2020 - special effects
The Purple Haze special effect at 50% opacity. Try experimenting with blending modes to see what else you can achieve with these effects.

You can modify all edits with blending modes, opacity, gradients and the Edit Brush. This means you can adjust localized areas of your photo a bit like you can in Adobe Lightroom and other programs. What you can’t do is work on multiple edits at the same time, but this is still useful versatility.

ACDSee Photo Studio Home 2020 Review - radial gradient
A radial gradient placed over a black and white LUT, causing color to fade out towards the edges. You can make this kind of localized edit using gradients or the Edit Brush. (Not all LUTs are color, despite ACDSee’s nomenclature.)

The Tilt-Shift filter appears under the “Add” menu.

The temptation with this is always to dig out high-angle views and create that miniaturized effect where buildings, people, and vehicles look like toys.

However, you can try this filter out on other subjects, altering their depth of field and bokeh. It works quite well on close-ups of flowers, for example.

tilt-shift filter on flower - ACDSee Photo Studio Home 2020
An atypical use of the tilt-shift tool, creating a very soft “bokeh” outside the center of this flower.

You’ll find the Convert to Black & White filter under the “Color” menu.

This lets you fine-tune your black-and-white conversions by adjusting brightness and contrast in all the colors that make up your picture. Also present here is the equivalent of Photoshop’s Channel Mixer, where you adjust the red, green, and blue (RGB) sliders to achieve your conversion, making sure the total value is at or under 100%.

convert to black and white ACDSee
Simple use of the Convert to Black and White filter. I’ve lowered brightness in greens and increased it in yellows and oranges to create pleasing contrast in this picture.

Color LUTs are found under the “Color” menu, too. These have become popular in recent years, allowing users to mimic the world of movie production by applying color grades to their pictures. The effect is often radical.

ACDSee comes with some color LUTs built in, but you can download more from various sources on the Internet.

Color LUT - orange and teal - color grading - ACDSee Photo Studio Home
The ACDSee “Film” color LUT adds a classic orange and teal look to pictures as well as increasing contrast. This color grading is often seen in movies or TV series.

Summing it up

Genuine DAM software, the kind that catalogs your photos, often costs well over $ 100. Or it’s part of a subscription plan that locks you in annually. ACDSee Photo Studio Home 2020 is appealing not only for its affordability but because it’s a great photo manager, period. On top of that, it’s a raw opener and pixel polisher with plenty of scope for creativity.

Orton special effect
“Orton” special effect, faded towards the top using a gradient.

If you’re sold on the benefits of shooting and editing raw files, you could pair this software with RawTherapee or DarkTable without spending more cash. Whatever you choose to do, rest assured it’s impossible to waste money on ACDSee Photo Studio Home 2020. This software is easy to use but has a depth that far belies its price.

Have you tried this software? Share your thoughts with us in the comments section.

The post ACDSee Photo Studio Home 2020 Review appeared first on Digital Photography School. It was authored by Glenn Harper.


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Slideshow: These are the shortlisted images for the Palm* Photo Prize 2020 contest

20 May

Shortlisted images for the Palm* Photo Prize 2020 contest

Palm* Studios recently announced the shortlisted images for its 3rd annual Palm* Photo Prize competition. Over 7,000 images were submitted from all over the world. 108 were selected for the shortlist and are now in the running for the annual prize. All of these photos are for sale as prints with 100% of the profits going directly to the artists.

The judging panel consists of Alastair McKimm, editor-in-chief of i-D, Karen McQuaid, senior curator at The Photographers’ Gallery, Sarah Allen, assistant curator at Tate Modern, David Campany, Jessica Lopez, photo editor at Polaroid Originals, and Lola Paprocka, founder of Palm* Studios.

Brooklyn, New York-based photographer Dino Kuznik is in the running for the annual prize.

20 overall award winners for the Judge’s Panel prizes, Peoples Choice Award, and Peoples Choice Instagram Award will be announced on May 30th. DPReview reached out to a handful of these shortlisted photographers and got the story behind their nominated images plus the information on the gear they used. Don’t forget to check out all the nominees and support their work.

Shortlist, 2020: Dimitri Djuric (London, United Kingdom)

Artist Statement: The image is a type of pylon for a high tension overhead power line. It’s part of an ongoing series of buildings and structures photographed at night.

Gear: Fujifilm XH1 camera and a big flash.

Shortlist, 2020: Ashley Bourne (Bristol, United Kingdom)

Artist Statement: My work centers around storytelling within society, drawing on ideas from personal experience to form the basis of my projects.

Gear and Film: Pentax 67 medium format camera, a 90mm lens, and Kodak Portra 400 film.

Shortlist, 2020: Mark Mahaney (San Francisco, California, United States)

Artist Statement: This is an image from my first book, Polar Night. The project is a passage through a rapidly changing landscape in Alaska’s northernmost town of Utqiagvik. It’s an exploration of prolonged darkness, told through the strange beauty of a snowscape cast in a two month shadow.

The unnatural lights that flare in the sun’s absence and the shapes that emerge from the landscape are unexpectedly beautiful in their softness and harshness. It’s hard to see past the heavy gaze of climate change in an arctic town, though Polar Night is a visual poem about endurance, isolation and survival.

Gear: Pentax 645z camera with manual focus 75mm lens.

Shortlist, 2020: Joseph Balestra (Philadelphia, Pennsylvania, United States)

Artist Statement: At the end of 2019, I spent a month out west in California as a way to wrap up the year and reflect. During this time I created a few portraits of local artist and personalities. This portrait was created on Venice beach of Artist Floyd Zion, a musician and model based out of LA. The shoot was approached in what is still to this day one of my favorite ways to work with a subject. No planning, just chasing light and enjoying a day of collaboration.

Gear and Film: Mamiya AFD II camera, Kodak film, self-scanned.

Shortlist, 2020: Alexander Beer (London, United Kingdom)

Artist Statement: Too many people stigmatize women who wear the hijab. There is nowhere in the the Holy Quran that tells them not to kick ass as human beings. These amazing girls and women are all taekwondo black belts.

Gear and Film: Asahi Pentax 67 6×7 camera, with 120 film.

Shortlist, 2020: Caitlin Chescoe (London, United Kingdom)

Artist Statement: My Father has been a life long KISS fan, we’ve grown up with bands like KISS playing throughout the house and it is very much a part of who we are as a family. On this occasion myself, Mum, Dad and Sister all dressed up as the band to watch a gig in Munich for KISS’ last ever world tour. We had front row seats and my Dad nearly cried he was so happy. This image represents an incredible memory that we all share together.

Gear: Hasselblad 500c/m camera.

Shortlist, 2020: Jan Kühr (Oslo, Norway)

Artist Statement: Ripe fruits and vegetables constitute a wild boar feast in the mountains in Alpilles, South of France.

Gear and Film: Mamiya 7 II camera with an 80mm lens, Kodak Porta 160 ISO film.

Shortlist, 2020: Rinchen Ato (Cambridge, United Kingdom)

Artist Statement: Rinchen Ato’s photographs are an exploration of her heritage and the fast-evolving culture of the Khampa people. Over multiple trips, spanning the past two decades, she has documented family, friends and the struggles and celebrations of the wider community of Tibetan people living in Kham.

It is an incredible place. The region is mountainous, consisting of high altitude grasslands, a remote and rugged land with a society where little had changed for centuries until recently. ‘My father often jokes that he was born in the Bronze Age and even in the 20 years I have been photographing there I have seen how quickly Kham has evolved.’ The inhabitants were mostly nomadic but, with rapid modernization, mass migration to the town of Jyekundo ????????????? and huge earthquake in 2010 which obliterated the area, many villages are now abandoned or only have a few families remaining.

Deeply aware of the visual tropes used by foreign photographers, depicting Tibetans as ‘other,’ Ato’s work employs a sensibility which comes from her connection to the community, a community which is familiar to her.

The project has been described as a mix of nostalgia and realism. ‘To photograph is the act of capturing a moment and this is my attempt to record and hold on to something precious, like a love letter, an homage, to the people I hold most dear and the country that I adore.’

The project started in a naïve way. Twins are an obvious subject for photographers as the very notion suggests the mirror-like rhetoric that photography has with the world. It’s also interesting because when you shoot subjects so similar, under scrutiny, it highlights the differences between them and how we’re all individuals. But as the project now stretches over such a long period it has evolved into something more, an uninterrupted sequence, a body of work in it’s own right marking the passage of time. As they have grown and changed, so too has the environment around them, yet the resemblance between the girls remains constant.

In this image they were 15. We’d finished lunch and were sitting around chatting but this year was different. They dashed off to their room to get ready and were gone about half an hour. They came out wearing these incredible gingham dresses and matching watches. It felt like a real transition, they’d become conscious of their appearance. We stood on the balcony overlooking the town. The rabbits were a birthday gift and they wanted to hold them, and there it was, the shot.

Gear: Hasselblad 503CXI camera with film.

Shortlist, 2020: Lotte Van Raalte (Amsterdam, The Netherlands)

Artist Statement: This January (2020) I published my very first book, BODY. Over the course of 16 months I photographed 46 women in their most natural form including my mom. This picture was taken on the 16th of October 2018 at the beach in The Hague, the city where I grew up. My mom – who is terminally ill – had just told me some bad news. Minutes after, we were driving to the beach, during which I was still processing what she had just said.

As soon as we started shooting she was running, dancing and playing. One of her oldest friends was at the beach too, so I photographed them together. My mom absolutely loves the beach and although she’s ill, looking at the images afterwards, she looks so full of life and joy. It’s one of my favorite images of the book and I still am fascinated by the fact that her body actually created mine. The title of this image is ‘Judy and Lily.’

Gear: Sony a7RIII camera.

Shortlist, 2020: Jon Ervin (Brooklyn, New York, United States)

Artist Statement: This project aptly titled ‘Boys Will Be,’ which references the common phrase ‘Boys Will Be Boys,’ is an ongoing photographic journey exploring the various ways in which men perform and construct their identity. In this project I use the camera as an active agent to witness these gestures of masculine performance through documentation, portraiture, and staged scenarios.

By turning the camera on these men, I am encouraging them to perform for the ‘other.’ That performance, framed between the lines of the viewfinder, is a subjective choice to display their constructed identity to the camera, myself, and the viewer. The use of staged adolescent experiences creates scenarios where innocent horseplay can become something of consequence and for impalpable power dynamics that are threaded throughout our society to become tangible.

It is in those moments where boys learn their own power and how it can be used to influence others. Despite the relation to “Boys Will Be Boys,” this project does not adhere to the belief of so-called excusable male behavior that is at times aggressive, violent, and toxic; instead it has importantly left off the last word — ‘Boys.’ That distinction allows the men of this project to simply be.

Gear and Film: Pentax 67II camera with a 300mm f/4 lens and 1.4x teleconverter, Portra 400 film.

Shortlist, 2020: Dylan Lewis (Richmond, Virginia, United States)

Artist Statement: This image is from my larger body of work, a photo book titled ‘Dusker.’ The images in Dusker act as physical expressions of interior states. Situated between exhalation and incantation, they construct a space where the ontological unease of ‘documentary’ photography, the aestheticizing eye of fiction, and the emotional texture of dreams within an always-already fractured reality intertwine.

Shortlist, 2020: Pat Martin (Los Angeles, California, United States)

Artist Statement: It was Easter afternoon and we heard Jeff was feeling lonely. She had thought that her whole family had forgotten about her, but to her surprise, we all showed up with a pack of American Spirits, wine, and a pair up bunny ears. Jeff may be 98, but she’s still a party-girl and loves some good company.

Gear and Film: MF Pentax 67II camera, and printed in a color darkroom. All Kodak film, chemicals, and chromogenic darkroom paper.

Shortlist, 2020: Hua Jin (Montreal, Canada)

Artist Statement: This photo is part of my long-term and ongoing project ‘My Big Family.’ A project I document my extended families in China.

I call the woman in the picture ‘Aunt,’ she is a distant relative who lives nearby. When I took this photo she was trying to dig some coppers and wires from the demolition sites where the old farmer houses had been destroyed. She could make a small amount of money in the market by selling these materials.

While local people were trying to make small amounts of money from the ruins that used to be their homes, the government along with big companies were trying to redesign and reuse the land by building residential and commercial high rises, meanwhile, to change the traditional life-styles in the rural area.

Gear: Plaubel Makina W67 camera

Shortlist, 2020: Kamila Lozinska (Bristol, United Kingdom)

Artist Statement: This is a candid shot of my dear friend Jasmine basking in the sun.

Gear: Mamiya RZ67 camera.

Shortlist, 2020: Laura Pannack (London, United Kingdom)

Artist Statement: At the age of 16, Baruch chose to leave his Orthodox Jewish community and to study. The dramatic and challenging decision forced him to question his identity and future. Einstein says: ‘The important thing is to not stop questioning. Curiosity has its own reason for existing.’ The project explores how we choose our paths in life and questions how much control we have to change who we will become. The project was commissioned by 1854 Media and supported by Panasonic.

Gear: Panasonic SR1

Shortlist, 2020: Imogen Forte (London, United Kingdom)

Artist Statement: Last Summer, I moved out of my house, put my stuff into storage, and spent three months traveling the coast of England documenting the people and places I encountered. I wanted to explore more of the country I’d always called home and familiarize myself with new people and new places.

I met this girl in Cornwall, where she was stood in the street with her family. I approached and asked if she wanted a portrait and she agreed. I spotted this amazing backdrop in the cafe beside us and so we popped inside to have a drink and a chat and take some portraits.

Gear: Mamiya RZ67 camera.

Shortlist, 2020: Tais Sirote (London, United Kingdom)

Artist Statement: Tais Sirote, also known as Taisido, is a London-based photographer specializing in still-life and product photography. She has a background in graphic design and loves anything related to self-publishing books. Her style has always shown attention to lighting, showing her strengths on taking bold images, and having an eye for detail. Her pictures are sometimes mistaken for 3D renders and attempt to trick the eye of the viewer to make you wonder how it was taken.

Gear: Canon 5DS

Shortlist, 2020: Valeria Moreno (Richmond, Virginia, United States)

Artist Statement: This image is from a photo series meant to serve as an image as film sequence portraying young womanhood.

Gear: Panasonic Lumix G7 camera.

Articles: Digital Photography Review (dpreview.com)

 
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IBC 2020 latest show to be cancelled, go virtual as organizers fear ‘many unknowns’

19 May

The International Broadcasting Convention (IBC), scheduled to take place in Amsterdam this September, has become the latest industry exhibition to get canceled as the coronavirus pandemic continues to disrupt events around the world.

Organizers cited ‘many unknowns’ around the shape of restrictions for social distancing and measures that would have to be in place to make the show safe for visitors and exhibitors alike. ‘It has become clear that a return to (a new) normal is unlikely to be achieved by September’ CEO Michael Crimp says in a statement on the show’s website.

Crimp says the decision to cancel now, while the show was still four months away, was to allow exhibitors to plan for the future and not spend money and time on the event only to have it canceled at a later date. He also says the show will use its digital platform, IBC365, to support the industry and hints that there will be some form of a virtual show on the channel this year, before the physical show returns in 2021.
For more information see the IBC Show website.

Press release:

IBC2020 Cancelled due to Covid-19

I hope you are safe and well, as we continue to adapt to the changing world in which we find ourselves. Following on from my previous statement I wanted to give you an update on the developments and situation at IBC.

As previously outlined, the IBC team has been focused on assessing and developing appropriate plans for IBC2020 this September at the RAI Amsterdam.

Within these plans it is crucial that IBC can deliver a safe and successful environment. However, as governments announce the route forward, it has become clear that a return to (a new) normal is unlikely to be achieved by September.

It has also become evident, through our dialogue with the IBC community, that an early decision is preferential for the industry so it can plan for the future.

Right now, despite the best work of the IBC team and our Dutch colleagues, there are still many unknowns. Therefore, we cannot guarantee that we will be able to deliver a safe and valuable event to the quality expected of IBC.

It is also evident that important aspects of a large-scale event such as IBC will be greatly altered by social distancing, travel restrictions, masks etc. so much so that the spirit of IBC will be compromised.

With that in mind and based on what we know at this point, it is with a heavy heart IBC has made the difficult decision to cancel the IBC2020 show. You may have seen IBC and the IABM surveys on this topic. Evidence gathered from these IBC stakeholders helps to confirm this decision.

Whilst this is hugely disappointing for us all, IBC will continue to play a vital role in supporting the industry to get back on track wherever we are able.

For more than 50 years, IBC has provided the central annual meeting place for the Media, Entertainment & Technology community. For example, over the coming months IBC will continue to engage with the industry through its digital platform IBC365. Details of our plans will follow soon.

Your views continue to help shape IBC. If you have suggestions, questions or concerns regarding this decision and announcement please do not hesitate to contact us using our dedicated email address: use our dedicated email address statusupdates@ibc.org

My very best wishes to all of you during this time of unprecedented challenges and I look forward to welcoming you next year at IBC2021, in Amsterdam.

Kind regards,
Michael Crimp
CEO IBC

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: GDT Nature Photographer of the Year 2020 winners

15 May

GDT Nature Photographer of the Year 2020 winners

Members of the Society for Nature Photography have selected the GDT Nature Photographer of the Year. The 7th annual competition received 5,046 submissions from 307 GDT (German Society of Nature Photography) members across 11 countries. Peter Lindel was declared the Overall Winner with ‘A Hare’s Dream.’

‘The European hare, once a common inhabitant of open country all over Germany, has become a rare sight. While the large number of hares that I used to spot every morning on my way to work in the fields and meadows North of Dortmund, prompted me twelve years ago to explore this area with my camera, it has now become increasingly time-consuming to find hares and present them in an appealing photograph,’ Lindel explains.

For the first time, voting was conducted online instead of a general meeting on account of the pandemic. 70 winners and finalists were selected by judges and members for the following categories: Birds, Mammals, Other Animals, Plants and Fungi, Landscapes, Nature’s Studio, and the Special Category: Water. All winning and finalist photographs can be viewed here.

While GDT Nature Photographer of the Year is open to the society’s members only, GDT’s European Wildlife Photographer of the Year competition is open to all photographers residing in Europe.

Overall Winner: ‘A Hare’s Dream’ by Peter Lindel

GNPY 2020, Peter Lindel, GDT

About this photo: ‘A hare’s dream was taken in July of 2019 when months of
searching a suitable location led me to a dirt road, which offered the most
beautiful morning light, lovely vegetation and … three hares. Dreamy,
curious, careful, anxious. These are the adjectives that I find describe the
expression of “my hare” best,’ says Lindel.

Winner, Other Animals: ‘Danger in the Mud’ by Jens Cullmann

GNPY 2020, Jens Cullman, GDT

About this photo: Crocodile in a drying mud pool.

Winner, Nature’s Studio: ‘Flooded with Light’ by Jan Piecha

GNPY 2020, Jan Piecha, GDT

About this photo: A blackbird perches on a branch in North Hesse, Germany.

Winner, Landscapes: ‘Magic Light’ by Benjamin Waldmann

GNPY 2020, Benjamin Waldmann, GDT

About this photo: Tree in the mist at the Albtrauf.

Winner, Birds: ‘Take-off’ by Flurin Leugger

GNPY 2020, Flurin Leugger, GDT

About this photo: Coyote panics geese.

2nd Place, Mammals: ‘Glowing Fox’ by Mohammed Murad

GNPY 2020, Mohammed Murad, GDT

About this photo: Arabian red fox in Kuwait City.

2nd Place, Special Category, Water: ‘Milk and Honey’ by Sandra Bartocha

GNPY 2020, Sandra Bartocha, GDT

About this photo: Reflection of the chalk coast, England.

4th Place, Special Category, Water: ‘Poseidons Wrath’ by Christian Wappl

GNPY 2020, Christian Wappl, GDT

About this photo: A top-down view of Waves, La Palma.

5th Place, Nature’s Studio: ‘Refraction’ by Burkhard Hillert

GNPY 2020, Burkhard Hillert, GDT

About this photo: Refraction of light in the cobweb.

10th Place, Atelier Natur: ‘Iceland Going Abstract’ by Uwe Hasubek

GNPY 2020, Uwe Hasubek, GDT

About this photo: Painting of a river, Iceland.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Launching Two New Mirrorless Cameras in 2020

12 May

The post Nikon Launching Two New Mirrorless Cameras in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

dps-new-nikon-mirrorless-news

While Canon’s soon-to-debut mirrorless offerings have dominated the news, we have a new Nikon rumor to report:

The imaging company will release two mirrorless cameras before the year is out.

While the details of these cameras are uncertain, previous rumors have indicated that a Nikon Z8 is currently under development; this will be a “pro” body à la the Nikon D850 series, one that features a 60 MP sensor, a rugged build, and dual card slots.

And given that the Z8 has been given a suggested “late 2020” or “early 2021” release date, such a camera would certainly fit the bill.

As for the second model, Nikon Rumors suggests several possibilities. These include a Z30, which would be an APS-C mirrorless body with no viewfinder, and would sit under Nikon’s only current APS-C mirrorless offering, the Z50.

Additional options include a Nikon Z6 successor, which would fit with a standard two-year launch cycle (the Z6 launched back in fall of 2018), or a Nikon Z5, a lower-level alternative to the Z6.

The Nikon Z8 may debut in 2020

Given that Nikon’s current mirrorless lineup only consists of a Z50, a Z6, and a Z7, Nikon fans will appreciate any additional options. A Z30 model would make a lot of sense, given Nikon’s complete lack of a true budget mirrorless model. But the Z lineup is also missing a lower-end full-frame camera to compete with the Canon EOS RP or even the upcoming Canon EOS R6, so I wouldn’t be surprised to see the so-called Z5, either.

Here’s the bottom line:

If you’re a professional looking for a true “pro” mirrorless camera from Nikon, you’ll probably be seeing it before the year is out. And if you don’t get a Z8 in 2020, it’ll almost certainly drop in the first half of 2021.

Also, if you’re a hobbyist DSLR shooter waiting for a budget mirrorless option from Nikon, you may be in luck; the Z5 will probably be a nice upgrade from several current Nikon DSLRs, while the Z30 will make for a cheap way to break into the mirrorless world.

Now over to you:

Which Nikon mirrorless models are you hoping for in 2020? And which do you think is more likely: a Nikon Z5, a Nikon Z30, or a Nikon Z6 replacement? Share your thoughts in the comments!

The post Nikon Launching Two New Mirrorless Cameras in 2020 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Adobe’s MAX 2020 ‘Creativity Conference’ will be a free, online-only event this year

12 May

Just a week after announcing its 99U conference will be online-only this year, Adobe has announced it’s annual MAX conference, originally planned to take place in Los Angeles, California in late October, will be a free online-only event this year due to the ongoing COVID-19 pandemic.

In an announcement on the Adobe MAX website, Adobe writes the following under the headline ‘ADOBE MAX 2020 — The Creativity Conference goes online:’

‘The health and safety of Adobe customers, partners, and employees is and always has been our top priority. To that end, we’ve made the difficult decision to cancel the in-person MAX event and make MAX 2020 a digital experience. And while we won’t be seeing you in person, we’re planning an immersive event that stays true to the MAX spirit of mind-blowing creativity and inspiration.’

The online version of Adobe MAX 2020 will take place from October 19–21 and registrations will open ‘later this summer,’ according to Adobe’s FAQ section. Adobe says it’s ‘pleased to offer all MAX 2020 keynote and breakout sessions for free.’

You can keep up with the latest Adobe MAX 2020 developments by following MAX on Facebook and Twitter, as well as signing up for the Adobe MAX 2020 newsletter.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: Winners of All About Photo Awards, the Mind’s Eye, 2020

06 May

Winners of All About Photo Awards, the Mind’s Eye, 2020

The 5th Annual Mind’s Eye competition from All About Photo attracted submissions from all over the world. Even though a majority of the entries were color photographs, 4 out of the 5 top category winners are black and white and came from women. The Photographer of the Year 2020 was awarded to Monica Denevan (United States) for her image ‘Across the River, Burma’ from the series ‘Songs of the River: Portraits from Burma.’ She received a $ 5,000 cash prize.

A panel of 7 jurors selected the 40 winning and finalist images. Compared to previous years, they were more inclined to choose calming images compared to those depicting unsettling or violent situations. ‘Perhaps a subconscious need has arisen in each one of us to escape the terrible events that are happening in the world right now,’ reads the official press release.

In a field dominated by men, women received a majority of the top honors in this competition. Elena Paraskeva was recognized in the Particular Merit Mention category for her image ‘The Lost Swimmer.’

Winners will be showcased on the daily fine art photography site Lenscratch, art streaming platform Daylighted, All About Photo’s online gallery, and in the print edition of AAP Magazine. All About Photo hosts a variety of competitions, year round, that can be found on their ‘Photo Contests’ page.

1st Place Photographer of the Year: ‘Across the River, Burma’ by Monica Denevan (United States)

Artist Statement: From the series ‘Songs of the River: Portraits from Burma.’

2nd Place Winner: ‘Florida’ by Gabriele Galimberti (Italy)

Artist Statement: Avery Skipalis (33) – Tampa, Florida / THE AMERIGUNS – In the States there are more guns than people. ‘120.5 registered firearms for every 100 residents’ and the statistic doesn’t count ‘not-registers firearms.’ As a European, I started wondering if owning many weapons by a single person or family is a common habit in the US. I traveled across the US and created a series of 45 portrait of families or single individuals, including all races and beliefs, together with their firearms.

3rd Place Winner: ‘Philomena’ by Rebecca Moseman (United States)

Artist Statement: A little Irish Traveler girl looks out of her family car before going home to her family’s Illegal encampment.

4th Place Winner: ‘Sustenance 4’ by Nadia De Lange (Switzerland)

Artist Statement: Desert: ‘a waterless, desolate area of land with little or no vegetation, typically one covered with sand.’ And yet, there is life in the desert. More than most people realize. In the Namib this is thanks to the wonderful miracle of fog – the clouds that roll in from the Atlantic Ocean bring with them moisture that sustain the fauna and flora living in this beautiful, harsh landscape.

5th Place Winner: ‘Jump of the Wildebeest’ by Nicole Cambre (Belgium)

Artist Statement: Annual migration of the wildebeest at Northern Serengeti, Tanzania. This wildebeest did not wait for its turn and jumped on top of the others.

Particular Merit Mention: ‘Polarbearpet’ by Marcel Van Balken (Netherlands)

Artist Statement: Climate change, and the loss of sea ice habitat, is the greatest threat to polar bears. More and more polar bears are being forced ashore, away from their sea-ice hunting grounds. But it does not make sense to make your home (or bathroom) available as a haven for the polar bear. It’s better to spread awareness about the real and pressing threat of climate change.

Particular Merit Mention: ‘Untitled’ by Kosuke Kitajima (Japan)

Artist Statement: A monkey entering a Japanese hot spring. Had various expressions like a person.

Particular Merit Mention: ‘Break Away’ by Tony Law (Australia)

Artist Statement: A man falling off a bull in a rodeo event held in Taralga, Australia.

Particular Merit Mention: ‘Untitled’ by Yoni Blau (Israel)

Artist Statement: This image was taken while on a trip to the Suri tribe in the Omo Valley in Southern Ethiopia.
The model was not dressed, simply recorded as is. No artificial lighting was used.
The picture was taken within a dark tent with the light coming in from the entrance of the tent.

Particular Merit Mention: ‘Woman Mursi’ by Svetlin Yosifov (Bulgaria)

Artist Statement: The Mursi tribe are an African tribe from the isolated Omo valley in Southern Ethiopia near the border with Sudan.

Particular Merit Mention: ‘Eye Sea’ by Anuar Patjane (Mexico)

Artist Statement: A school of Bigeye trevaly and divers at Cabo Pulmo National Park, Mexico.

Particular Merit Mention: ‘Beyond the Wall’ by Francesco Pace Rizzi (Italy)

Artist Statement: Sometimes a shot cannot contain emotions, memories, moods…you need more … you have to ‘chisel’ the image to make that evolutionary-creative leap necessary to reach the right size.

This photo is intended as a small tribute to a great Master: Henri Cartier Bresson, the one who first knew how to show me the reality of ever with new eyes: more human, artistic, poetic. His photos taken between the 1950s and 1970s in Basilicata (my homeland) and around the world have changed the perspective of things in me, creating a fantastic ‘imprinting’ and becoming a source of great inspiration.

Particular Merit Mention: ‘Untitled’ by Chin Leong Teo (Japan)

Artist Statement: The Wallace’s Flying Frog is a moss frog found in Malaysia and western Indonesia. It is generally quite photogenic given its large size, brilliant colors and calm temperament. This is a shot taken of a specimen swimming in water, with full extension of its beautiful long legs.

Particular Merit Mention: ‘Step by Step’ by Mustafa AbdulHadi (Bahrain)

Artist Statement: Impression Lijiang is a cultural show which demonstrates the traditions and lifestyle of local Naxi, Yi, and Bai ethnics of the area. It is the second outdoor production of famous film director, Zhang Yimou, which debuts an open-air performance at the foot of Yulong Xueshan (Jade Dragon Snow Mountain) about 3,500 meters above sea level. The performance stage is specially designed to showcase the mountain as the best backdrop of the show. More than 500 local people from ten ethnic groups (participate).

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony a7 III vs. Canon EOS R vs. Nikon Z7 2020 rematch!

02 May

Since Chris and Jordan last compared entry-level full-frame mirrorless cameras head-to-head-to-head, Nikon and Canon have offered significant updates to the Z7 and EOS R via firmware. Take a look as they revisit their previous rankings to see how these cameras now compare to the class-leader – the mighty Sony a7 III.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Displays
  • Lens selection
  • Autofocus
  • Handling
  • Video
  • Image quality
  • Which is right for you?

Articles: Digital Photography Review (dpreview.com)

 
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Is This the Best Camera Gear of 2020? Tipa Awards Results

21 Apr

The post Is This the Best Camera Gear of 2020? Tipa Awards Results appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

tipa award results 2020

The Technical Image Press Association (TIPA) has just announced its 2020 TIPA World Award results, which seeks to recognize the best photography-related gear of 2020.

TIPA announces its winners

The winners include a mix of cameras, lenses, post-processing software, tripods, flashes, and more, all honored in categories tailored to 2020 photography interests and needs.

Awards were determined by representatives of TIPA’s member magazines. Note that TIPA magazines are a diverse collection of imaging-related publications from across the globe, including:

  • Camera Australia
  • Practical Photography
  • Luminous Landscapes
  • Photo Life
The Fujifilm X100V

While TIPA awards are normally determined by an in-person body of magazine representatives, this year’s judging process proceeded differently (due to COVID-19 concerns). Instead of taking place in a Las Vegas assembly, voting was done online.

Canon 85mm f/1.2

The TIPA chairperson explained:

We believe that now more than ever our support of the industry and the people who work so hard, be it in production, distribution, or marketing, deserve credit and our thanks and appreciation for their efforts to continue to develop new and exciting products and grow into the future. Of course, while the process of nomination and selection of award winners had to adapt to the circumstances, we maintained our usual rigorous standards in our considerations.

Read on to discover TIPA’s choices for the best camera gear of 2020.

Canon 90D DSLR

You’ll probably notice quite a few familiar products. But you may also notice some new ones worth checking out.

And then, when you’re done, leave your thoughts in the comments section. Let us know how you feel about the winners!

Do you agree? Disagree? Are there any cameras, lenses, or additional gear that you’d like to have seen on the list? And what is your favorite camera, lens, photo editing software, and accessory of 2020?

2020 TIPA World Awards winners

Cameras

Sony a7R IV

Best Full Frame Professional Camera: The Sony a7R IV

Best Full Frame Camera Expert: The Sigma fp

Best APS-C Camera Professional: The Fujifilm X-Pro3

Best APS-C Camera Expert: The Sony a6600

Nikon Z50

Best APS-C Camera Advanced: The Nikon Z50

Best DSLR Professional Camera: The Canon EOS 1D X Mark III

Nikon D780

Best DSLR Expert Camera: The Nikon D780

Best DSLR Advanced Camera: The Canon EOS 90D

Best Full Frame Photo/Video Camera: The Panasonic Lumix DC-S1H

Best Medium Format Camera: The Fujifilm GFX100

Best Expert Compact Camera: The Sony RX100 VII

Canon G7 X Mark III

Best Vlogging Camera: The Canon PowerShot G7 X Mark III

Fujifilm X100V

Best Premium Compact Camera: The Fujifilm X100V

Best Photo Smartphone: Huawei P40 Series

Lenses

Best DSLR Prime Lens: Tamron SP 35mm f/1.4 Di USD

Best DSLR Macro Lens: Laowa 100mm f/2.8 2x Ultra Macro APO

Best DSLR Wide Angle Zoom Lens: Tokina 11-16mm f/2.8 CF

Best DSLR Professional Lens: Nikkor 120-300mm f/2.8E VR

Best Micro Four Thirds Lens: Panasonic Leica 10-25mm f/1.7

Nikkor Z 58mm f/0.95 S Noct

Best Mirrorless Prime Standard Lens: Nikkor Z 58mm f/0.95 S Noct

Best Mirrorless Prime Wide Angle Lens: Samyang AF 14mm f/2.8 RF

Best Mirrorless Wide Angle Zoom Lens: Sigma 14-24mm f/2.8 DG DN Art

Canon RF 70-200mm

Best Mirrorless Telephoto Zoom Lens: Canon RF 70-200mm f/2.8L IS USM

Best Mirrorless Standard Zoom Lens: Sigma 24-70mm f/2.8 DG DN Art

Canon RF 85mm f/1.2L

Best Professional Portrait Lens: Canon RF 85mm f/1.2L USM

Accessories and software

DxO PhotoLab 3

Best Imaging Software: DxO PhotoLab 3

Best Inkjet Photo Paper: Hahnemuhle Natural Line

Best Portable Photo Printer: Fujifilm Instax Mini Link

Best Imaging Storage Solution: SanDisk Extreme Pro CFexpress 2.0

Best Portable Flash: Nissin MG80 Pro

Best Professional LED Light: ARRI Orbiter

Best Tripod Head: Gitzo 3-Way

Best Travel Tripod: Manfrotto BeFree GT XPRO

Best Professional Photo Monitor: BenQ PhotoVue SW321C

Best Professional Video Monitor: LG UltraWide 38WN95C

Best Mobile Accessory: Godox R1

Best Color Management Solution: X-Rite i1Display Studio/i1Display Pro Plus

WhiteWall

Best Photo Lab: WhiteWall Masterprint

Best Photo Service: CEWE Photobook

Best Photo Innovation: Sony Real-Time Tracking technology

The post Is This the Best Camera Gear of 2020? Tipa Awards Results appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Slideshow: 2020 World Press Photo contest winners

17 Apr

2020 World Press Photo contest winners

The World Press Photo Foundation recently announced the results of its 63rd annual World Press Photo Contest. World Press Photo of the Year, Story of the Year, plus winners across all 8 categories were included in Thursday evening’s announcement. Nearly 74,000 images were submitted by 4,282 photographers. 44 winners, 30 which are recognized for the first time, hail from 24 countries.

The jury, consisting of 17 professionals from 6 continents, selected ‘Straight Voice’ by Yasuyoshi Chiba (which was featured in our nominee coverage a few months back) as Photo of the Year. ‘This moment was the only peaceful group protest I encountered during my stay. I felt their undefeated solidarity like burning embers that remain to flare up again,’ says Chiba of his winning photo.

‘Kho, the Genesis of a Revolt’ by Romain Laurendeau, which documented the unease of Algerian youth that led to the biggest protest in decades, was selected as World Press Photo Story of the Year. ‘It was impossible for a part of me not to recognize myself in these young people. They are young but they are tired of this situation and they just want to live like everyone else,’ explains Laurendeau.

Elsewhere, fans of the Tiger King docuseries on Netflix will recognize Kevin Antle in Steve Winter’s ‘The Tiger Next Door’ image, which won Second Prize in the Contemporary Issues – Stories category. All digital storytelling contest winners can be viewed on the World Press Photo homepage.

Winning photographs and multimedia will be on display during year-long worldwide exhibition, which premieres every year in Amsterdam. The launch date has been postponed due to the current pandemic. Those interested in attending events can check in with the World Press Photo event calendar.

World Press Photo Story of the Year: ‘Kho, the Genesis of a Revolt’ by Romain Laurendeau (France)

Caption: Football fans gather in the street and sing during a match that is taking place behind closed doors due to violence, in Algiers, Algeria, on 22 November 2014.

Story: Young people make up more than half of Algeria’s population, and according to a UNESCO report 72% of people under 30 in Algeria are unemployed. Pivotal moments in Algerian history, such as the ‘Black October’ revolt of 1988, have had angry youth at their core. Black October was harshly suppressed—more than 500 people were killed in five days—and was followed by a ‘black decade’ of violence and unrest.

Thirty years on, the effects of that decade are still present. In a traumatized country, high unemployment leads to boredom and frustration in everyday life and many young people feel disassociated from the state and its institutions. In neglected working-class neighborhoods such as Bab el-Oued in Algiers, young people often seek refuge in diki—private places that are ‘bubbles of freedom’ away from the gaze of society and from conservative social values. But the sense of community and solidarity is often not enough to erase the trials of poor living conditions.

In February 2019, the United States of young people from working-class neighborhoods again took to the streets in what became a nationwide challenge to the reign of long-time president Abdelaziz Bouteflika.

Kho (the word means ‘brother’ in colloquial North-African Arabic) is about the genesis of a revolt. It is the story of the deep unease of youth, who, by daring to challenge authority, inspired the rest of the population to join their action, giving birth to the largest protest movement in Algeria in decades.

World Press Photo Story of the Year Nominee: ‘Ethiopian Airlines Flight 302 Crash Site’ by Mulugeta Ayene (Ethiopia)

Caption: Onlookers inspect debris at the crash site of Ethiopian Airlines Flight ET302, near Addis Ababa, Ethiopia, on 11 March 2019.

Story: On 10 March, Ethiopian Airlines Flight ET302, a Boeing 737 MAX, disappeared from the radar six minutes after take-off from Addis Ababa airport and crashed into a field, killing all 157 people on board. The impact was so great that both engines were buried in a crater 10 meters deep.

A week after the crash, empty coffins were buried at a ceremony at the Holy Trinity Cathedral in Addis Ababa, as victims were unable to be identified. Officials gave relatives bags of earth from the crash site. On 14 November, eight months after the crash, the site of the impact was covered and the unidentified remains of victims buried in rows of identical coffins.

Comparisons were made with the crash of a Lion Air aircraft, also a 737 MAX, 12 minutes after take-off from Jakarta in October 2018. Countries across the world, initially with the exception of the US, grounded the 737 MAX. First reports showed that pilots had been unable to prevent the plane repeatedly nosediving, despite following procedures recommended by Boeing.

It appeared that in both cases pilots were struggling to deal with an automated safety system designed to prevent stalling, which was repeatedly pushing the nose of the plane down. It seemed that the system was being activated, possibly due to a faulty sensor, even though nothing was wrong.

It later emerged that American Airlines pilots had confronted Boeing about potential safety issues with the MAX. Boeing had resisted their calls but promised a software fix, which had not been done by the time Flight ET302 crashed. Planes remained grounded into 2020.

Contemporary Issues – First Prize, Stories: ‘The Longest War’ by Lorenzo Tugnoli (Italy) for The Washington Post

Caption: An Afghan National Defense and Security Forces (ANDSF) anti-mine team detonate an improvised explosive device (IED) found on the Ghazni-Kandahar highway in eastern Afghanistan, on 2 December 2019. IEDs are one of the leading causes of casualties among civilians and members of the ANDSF.

Story: The Taliban made significant territorial gains and increased their influence in Afghanistan in 2019. Eighteen years after the US invasion, and five years since the Afghan National Defense and Security Forces (ANDSF) have been responsible for securing Afghanistan, the Taliban control or contest around half the country, in some districts acting as a shadow government.

Peace talks began in January appeared to be nearing agreement in August, but were scuppered by US president Donald Trump in September. Fighting escalated during talks as both sides tried to gain leverage, while on the ground the talks provided the Taliban with increasing political legitimacy. The frequency and spread of Taliban violence left the ANDSF overstretched and in some cases overwhelmed, with a high casualty rate.

The escalation of the conflict also severely impacted the civilian population, resulting in high casualties, forced displacement, extreme insecurity, lack of access to education and a weakened public health system. A report published in June 2019 by the Institute for Peace and Economics named Afghanistan as the world’s “least peaceful” country, replacing Syria, though by early 2020 it seemed that a peace agreement was once again a possibility.

Contemporary Issues – Second Prize, Stories: ‘The Tigers Next Door’ by Steve Winter (United States) for National Geographic

Caption: Kevin Antle poses with his staff in a swimming pool they use in a tiger show, at his Myrtle Beach Safari entertainment facility in South Carolina, United States, on 30 April 2019. Tourists pay upwards of USD $ 399 each to join a morning tour, during which they play and are photographed with cubs.

Story: Between 5,000 and 10,000 tigers live in captivity in the US. Roadside zoos and other businesses breed tigers and charge guests to pet and pose with them. Individuals also keep tigers as pets. By contrast, there are only 3,900 wild tigers in Asia and 1,659 in accredited zoos worldwide.

Many of America’s exotic pets are not covered by the 1973 Endangered Species Act, which applies only to those taken from the wild, not those bred in captivity. Four US states have no laws on keeping big cats as pets, and in ten others, although a permit is required, once secured for a small pet it can be used to acquire a larger animal such as a tiger.

By the time cubs bought as pets are four months old they become too large and dangerous to keep domestically, and are sold on, opening concerns that this feeds the highly lucrative illegal international trade in tiger parts. Investigations by the US Department of Agriculture (USDA), which is tasked with enforcing the Animal Welfare Act, dropped by 92% between 2016 and 2018.

In June, the US House of Representatives reprimanded the USDA for redirecting its focus from active enforcement to providing ‘teachable moment’ interactions with the public. A federal Big Cat Public Safety Act has now been proposed. It will address the gap in state laws and prohibit the private ownership of big cats, and ensure that if they cannot be returned to the wild, they can be transferred to accredited sanctuaries.

Contemporary Issues – Third Prize, Stories: ‘Exodus’ by Nicolò Filippo Rosso (Italy)

Caption: Migrants crowd onto a truck near the Colombia-Venezuela border, in La Guajira, Colombia, on 6 July 2018.

Story: A political and socio-economic crisis in Venezuela, from 2016 onwards, led to an increasing outflow of migrants from the country. Venezuelans said they were compelled to leave for reasons of insecurity and violence, lack of access to food, medicine and essential services, and loss of income due to the political situation. Colombia feels the impact of this exodus most keenly.

According to the UNHCR, by October 2019 approximately 4.5 million Venezuelans had left the country, of which 1.6 million were in Colombia. Others had moved through Colombia before going on to surrounding countries. Even though Venezuela officially closed its land border with Colombia in February, around 300 clandestine crossing points remained active. More than half of Venezuelan migrants in Colombia lacked regular status, and so had no access to health, education or legal employment.

Charity organizations and NGOs helped supply people with medical attention and food, but many ended up in informal settlements or living on the streets. Early in 2020, the Colombian government announced two new Special Stay Permits that would allow more than 100,000 Venezuelans to stay and work in the country, and ruled that children born in the country to Venezuelan parents could acquire Colombian nationality, but vast numbers of people remain dispossessed.

Environment – Second Prize, Stories: ‘Fading Flamingos’ by Maximilian Mann (Germany)

Caption: Farmers harvest apples near Lake Urmia, Iran, on 14 September 2018. The region is known for its apple production.

Story: Lake Urmia, in northwest Iran, once one of the largest salt lakes in the world, is drying up. In the 1990s, it was twice the size of Luxembourg, but intensified droughts and elevated summer temperatures have sped up evaporation. In addition, illegal wells together with a proliferation of dams and irrigation projects along the lake’s tributaries have diverted water to farm fields.

Research by an international group of scientists conducted in 2014 showed that the lake had shrunk to about 12% of its size in the 1970s. In addition, environmentalists argue that a 15-kilometer-long causeway that cuts the lake in two, built in 2008, contributes to the drying as it inhibits water flow between the two sides.

The exposed lakebed forms a vast salt desert that cannot support agriculture and is susceptible to salt storms which adversely affect surrounding agriculture, and cause eye, skin and lung disorders. Residents in the area, for whom the lake was once a leisure spot, are moving away. The desiccation also affects food sources for migratory birds such as flamingos, ducks and egrets.

President Hassan Rouhani of Iran has pledged US$ 5 billion over ten years to revive Urmia, and the United Nations Development Programme is working with farmers to introduce more sustainable working practices.

General News – Second Prize, Stories: ‘Chile: The Rebellion Against Neoliberalism’ by Fabio Bucciarelli (Italy) for L’Espresso

Caption: Demonstrators resist water-cannon jets during clashes in Santiago, Chile, on 28 November 2019.

Story: In the most extensive civil unrest in Chile’s recent history, people rose throughout the year in protest against economic inequality. Despite being one of the region’s most prosperous nations, Chile is the most unequal country in the OECD group of nations, according to a United Nations report. Just 1% of its population controls 33% of its wealth.

The trigger for the unrest was an increase in subway fares instigated by President Sebastián Piñera on 18 October. A peaceful rally in the capital Santiago sparked further protests leading to a nationwide uprising. Demands grew to include comprehensive economic reform and the replacement of the constitution, which was drawn up during the reign of Augusto Pinochet in the 1980s and which created a legal basis for a market-driven economy and privatized pensions, health and education.

Demonstrations grew in size—the largest comprising more than one million people on 25 October—and became increasingly violent. According to Human Rights Watch, the authorities used excessive force against demonstrators, including pellet shotguns that caused numerous eye injuries, and were accused of abuse, including rape, of people in detention.

Women played a prominent role in the demonstrations, particularly after reports of human-rights and sexual offenses against female protesters by security forces. On 15 November President Piñera announced a referendum on a new constitution to be held in 2020, but unrest continued with demands for an inquiry into human rights violations during the protests and an immediate overhaul of the pension, health and education systems.

General News – Third Prize, Stories: ‘ISIS and its Aftermath in Syria’ by Ivor Prickett (Ireland) for The New York Times

Caption: Two men walk through a destroyed neighborhood in Raqqa, northern Syria, on 4 April 2019. Very few families returned to live in Raqqa after the city’s liberation from IS.

Story: By early 2019, the territory held by the Islamic State group (IS) in Syria had reduced to a four-square-kilometer patch in the southeast, centered on the village of Baghuz. The IS retreat from northern Syria took place under the onslaught of the combined militias of the Syrian Democratic Forces (SDF), led by the Kurdish People’s Protection Units (YPG) and supported by an international coalition of primarily US troops.

As IS drew back, tens of thousands of people emerged from the enclave, many of them the wives and children of foreign IS fighters. Numerous IS fighters themselves surrendered or were captured. The Kurds were left with the conundrum of what to do with so many prisoners, many of them under 18 and orphaned or separated from their families. Then, at the beginning of October, US president Donald Trump ordered US troops out of northern Syria.

On 9 October, Turkey—which regarded Kurdish forces on its border as a security threat, given the decades-long Kurdish insurgency against Turkey—invaded northern Syria, aiming to end Kurdish control over the territory. As Kurdish forces refocused their attention on a new opponent, the fate of the many thousands of prisoners grew even more uncertain.

Long-term Projects, Second Prize: ‘Haf?z: Guardians of the Qur’an’ by Sabiha Çimen (Turkey)

Caption: Students sing religious farewell songs, at their graduation ceremony from a Qur’an school in Istanbul, Turkey, on 23 April 2017.

Story: Muslims who completely memorize the Qur’an are allowed to use the title ‘Haf?z’ before their names. They believe that whoever memorizes the holy book and follows its teachings will be rewarded by Allah and will rise in status in Paradise.

The practice dates back to the days when illiteracy was widespread and paper and vellum were prohibitively expensive, so haf?zes were seen as guardians of the holy word, keeping it alive for future generations. The Qur’an has 6,236 verses, and memorizing is usually achieved by repetition and recitation.

In Turkey, thousands of Qur’an schools exist for the purpose and many are attended by girls. Ranging in age from eight to 17 years old, most take three or four years to complete a task that requires discipline, devotion and focus. After graduating, most of these girls marry and have families but still retain the holy text word for word.

The photographer attended a Qur’an school with her twin sister when they were 12, and so is able to reveal a world unknown to many. Her project follows the daily lives of boarders at Qur’an schools and shows not only their emotions as they try to memorize the sacred texts, but how they retain the dreams of young women their age, as well as the rule-breaking practices and fun of school life when they are not studying.

Nature – Second Prize, Stories: ‘Pangolins in Crisis’ by Brent Stirton (South Africa) for National Geographic

Caption: A man reaches for a pangolin that is about to be slaughtered and prepared for a meal in a restaurant on the outskirts of Guangzhou, China, on 4 January 2019. Pangolin meat at the restaurant sells for around US $ 376 per kilogram.

Story: Pangolins are scaly-skinned mammals, and while sometimes mistaken for reptiles, they are more closely related to dogs and bears than anteaters or armadillos. They range through Asia and parts of Africa, and vary from the size of a domestic cat to over a meter long. They are solitary animals, meeting only to mate and produce a litter of one to three offspring, which are raised for around two years.

Pangolin scales are highly prized in some parts of Asia for traditional medicine, and the meat is considered a delicacy. A 2017 report by Traffic, the wildlife trade monitoring network, states that pangolins are currently the most illegally traded animals in the world, with at least one million estimated to have been poached in the last ten years. All eight pangolin species are protected under national and international laws, and two are officially listed as critically endangered.

Portraits – Second Prize, Stories: ‘Between Right and Shame’ by Tatsiana Tkachova (Belarus)

Caption: Natalia (62) was pregnant at the time of the explosion at the Chernobyl nuclear power plant. Although the baby was born healthy, she didn’t dare risk another pregnancy as she feared the effects of radiation. She also felt she could not cope with two children, so had an abortion the second time she conceived. Taken 22 April, 2018.

Story: Belarus abortion laws allow termination on request up to 12 weeks of pregnancy, and in certain medical or social circumstances up to 28 weeks, which places them among the most liberal in Europe. Nevertheless, abortion is still a taboo for many women, and many are reluctant to admit they have had a termination. ‘No abortion week’ campaigns are held annually, and the decision to have a termination is often accompanied by a sense of shame.

In this project, Belarusian women who have considered or undergone abortion tell their stories. The women had a range of concerns behind their decisions surrounding abortion—from contamination after the Chernobyl nuclear disaster to fear of poverty, not wanting to be a single parent, or a background of sexual abuse. As their decisions were often made with difficulty, in this story they did not want to show their faces and their names have been changed.

Sports – Second Prize, Stories: ‘The Gouandé Gazelles’ by Olivier Papegnies (Belgium)

Caption: Bélassé Tchari (left), in Gouandé, Benin, gets up every morning to work in her field to feed her seven children. She works hard to put Virginie and her two sisters through secondary school and encourages their footballing ambitions. Taken 21 February, 2019.

Story: The Gazelles de Gouandé from Gouandé village in northern Benin is one of 16 football teams set up across the country with the aim of giving young women more control over their futures through sport. The project, established by the Plan International organization, aims to empower women by promoting self-confidence, widening educational opportunities, and through advocacy against early marriage.

Following the 2019 Women’s World Cup, there was an international surge of interest in women’s football, and projects like the one in Benin can be seen as part of a wider view of the power of sport to unify and spread social awareness. In January 2019, Benin hosted a delegation from FIFA, football’s international governing body, aimed at supporting a new sports strategy in schools, and Beninese president Patrice Talon announced plans for four new football schools, including one for women.

Spot News – Second Prize, Singles: ‘Nairobi DusitD2 Hotel Attack’ by Dai Kurokawa (Japan)

Caption: Women are evacuated as security forces look out for perpetrators of an attack on the DusitD2 luxury hotel and business compound, in Nairobi, Kenya, on 15 January 2019.

Story: Five attackers threw bombs at vehicles in the parking area before entering the hotel lobby, where one staged a suicide bombing. At least 700 people were evacuated from the complex, with 21 killed and 28 wounded. The Somalia-based Islamist extremist group al-Shabab claimed responsibility for the attack, releasing a statement that called it a response to US president Donald Trump’s decision to recognize Jerusalem as the capital of Israel.

The DusitD2 complex houses a number of international companies, and is frequented by government officials and foreign visitors, making it a target that would draw media attention. The attack and subsequent security operation lasted 20 hours, and ended with all five attackers being killed.

Spot News – Second Prize, Stories: ‘Australia’s Bushfire Crisis’ by Matthew Abbott (Australia) for The New York Times

Caption: Aluminum, which melts at 660.3ºC, has streamed from a burning car in Conjola Park, a town where bushfires razed more than 89 properties, in New South Wales, Australia, on 31 December 2019.

Story: The annual fire season in Australia began early and was exceptionally severe—following months of record-breaking drought and fanned by strong winds. Far stronger wildfires than usual, mostly battled by volunteer firefighters, raged through New South Wales and Victoria as well as areas in South Australia and Queensland, laying waste to bushland and rainforest and destroying homes.

By the end of January 2020, more than 30 people had been killed, 3,000 homes lost, and around 12.6 million hectares of land burned (nearly three times the size of the Netherlands). Wildlife was harshly hit. Local scientists estimated that up to one billion animals perished, and more than 50% of the Gondwana rainforest traversing New South Wales and Queensland was burned.

In December, while the intensity and speed at which many bushfires were spreading increased, Australian prime minister Scott Morrison went on holiday to Hawaii, and was prompted to return only after the death of two volunteer firefighters. He continued to champion a pro-fossil-fuel policy and held back from linking the fires to the climate crisis.

Articles: Digital Photography Review (dpreview.com)

 
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