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Posts Tagged ‘World’

Photograph Your Commute, See the World Differently

13 Feb

The post Photograph Your Commute, See the World Differently appeared first on Digital Photography School. It was authored by Charlie Moss.

photograph-your-commute

It doesn’t take long for our commute to become familiar and mundane. We make our way through the world on autopilot, not seeing the details that surround us. By taking the time to photograph your commute, you both improve your photography and start an exciting personal project.

As photographers, we should be learning to see the details around us even when we’ve seen them a thousand times before. Our eye needs continuous training to keep it in good shape, just like an athlete needs to train at their sport regularly. And a commute to work on foot or by public transport is an ideal time to flex your visual muscles.

Here are some reasons why leaving ten minutes early for your commute in the morning with your camera can help you train your eye and eventually become a better photographer.

Plan out your project

All of the images in this article came from a single challenge – to photograph my walk to work and to try and spot small details and moments I might ordinarily miss. Each day I was walking from King’s Cross to Camden in London, a journey of no more than a mile. It took me primarily through industrial areas, and I wanted to try and capture something interesting.

photograph your commute

All the images in this article were part of a project to photograph my London commute. These images: ISO100, 100mm, f2.8, 1/250th sec

You don’t have to plan your project in-depth, but it does help to have a general idea of where you want to go with it. In my case, I knew that I wanted to produce a series of black and white images that focussed on the architecture of the area.

It doesn’t have to be architecture photography. You might choose to shoot people going about their day. Or perhaps the urban wildlife that you see in the mornings if you get up extra early. Maybe you walk through a park with particularly lovely trees and landscapes.

The sky is your limit, but jot down a few ideas of how to photograph your commute to help you get started.

Choose the right kit

You don’t want to be lugging a huge camera bag to work every day on top of everything else you take, so figure out where you can slim things down when you photograph your commute.

Image: ISO100, 100mm, f2.8, 1/250th sec

ISO100, 100mm, f2.8, 1/250th sec

Most of the time, I chuck my camera and a single lens straight into my handbag protected by a simple wrap. It’s easy and does the job of keeping the camera scratch-free. It also doesn’t take up too much space.

If you want a bit more protection, you could look at once of the camera bag inserts that are purpose-made to fit inside any handbag or rucksack. They’ll allow you to organize your camera gear a bit more, and it’ll offer more peace of mind if you get jostled on your commute, or you drop your bag accidentally.

Don’t forget to consider your accessories too – an everyday carry kit in a small container might be just the thing to put together.

Practice makes perfect

Logic dictates that if you practice a skill regularly, you will improve over time. So practicing photography each day, even for a little bit, is a way to improve your photographic eye by leaps and bounds in a short space of time.

photograph your commute

Left image: ISO100, 100mm, f2.8, 1/400th sec Right image: ISO200, 100mm, f2.8, 1/200th sec

You don’t have to have your camera out and round your neck the whole time either. Just thinking ahead to a place where you can stop on your route and get your camera out for ten minutes would work.

If each day you pick a different place to stop and shoot, you’ll soon find yourself improving.

The key when you stop is to try and pick out a new detail to shoot. You could even try to shoot ten photos without moving your feet in a different location each day.

Pick a technique to improve

Without focus, you might find it harder to make significant improvements in your photography. So when you’re planning to photograph your commute, perhaps pick a technique to improve as well as a subject. Or maybe you could choose a technique to focus on per week or even per day.

Every commute will lend itself to a different set of techniques that you can practice to improve. But you might like to focus on some of the following areas:

  • Focussing accurately
  • Composition
  • Introducing motion blur
  • Capturing light and shadow
  • Experimenting with depth of field

Present your work

At the end of your project, or when you feel like you’ve exhausted everything your commute has to offer photographically, be sure to do something with the photos. Many of us are guilty of letting images languish on our hard drives without ever seeing the light of day.

At the very least, you could think about putting your pictures on social media.

Perhaps talk in the captions about the sights and sounds that were around you when you captured the image, or how you were feeling that day. You might be surprised to find that the kinds of photos you shoot relate to your emotional wellbeing and the way the environment makes you feel.

Image: ISO100, 100mm, f4, 1/1250th sec

ISO100, 100mm, f4, 1/1250th sec

You could also put together a book. It isn’t expensive any more to get a single book made of your photos, and there are lots of companies that offer this service. Consider if you want to include short pieces of writing alongside your photographs, just like you might on social media.

Lastly, you might want to consider an exhibition full of beautiful prints.

If you’ve never had a show before, this might feel both terrifying and unachievable. Every significant achievement starts with a small step.

Start by exploring local gallery spaces and seeing how you get your work in them. Some have open shows that you can submit work for consideration.

Others will want to show a whole series from a single artist and will tell you how they want to see your work. There are also some gallery spaces that you can hire for a week or two to show your work.

The choice is yours!

What about a 365 project?

It might be tempting to turn a daily practice into a 365 project. But I would like you to think hard before you commit to doing that. It sounds easy at first – just a single photo a day! And if you’re committing to taking your camera to work each day, then that might look easy.

photograph your commute

ISO100, 100mm, f4, 1/800th sec

But 365 projects can suck the fun out of photography if you’re not the kind of person who is really, really into them. If you want to do this kind of project, then perhaps consider a ’52’ version – just one image per week. That allows you to have bad days, and sick days, and days where you don’t want to look at your photos in the evening!

But whatever you do, and wherever you take this project, make sure it’s fun. It should be an enjoyable highlight in your day, not a daily slog. Spending a little bit of time every day with your camera should be something that brings you joy.

Have you ever taken the time to photograph your commute? Please show us the images in the comments!

The post Photograph Your Commute, See the World Differently appeared first on Digital Photography School. It was authored by Charlie Moss.


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Slideshow: Sony World Photography Awards 2020 finalist and shortlisted photographs

13 Feb

Sony World Photography Awards 2020 finalist and shortlisted photographs

The World Photography Organisation has announced the finalists and shortlisted photographers for its 13th annual Professional competition. The Sony World Photography Awards, 2020, received 345,000 entries from 203 territories for its 4 competitions, with 135,000 entered across 10 categories for Professional – the highest number to date. A new category, Environment, was introduced this year to raise more awareness around this increasingly important topic.

Photographers submitted entries as a series that consisted of 5-10 photographs. Finalist and shortlisted projects represent a diverse array of techniques, subject matter, and presentation methods that shed light on critical and little-known issues around the world. Projects from the Professional competition, along with Sony Professional Grant 2019 recipients, will be on display at Somerset House from April 17th to May 7th. The overall Photographer of the Year 2020 will be selected from the pool of Professional finalists and announced at the Sony World Photography Awards 2020 ceremony in London on April 16th.

The 15 images presented in this slideshow were chosen from a group of 123. You are highly encouraged to check them all out. The 2021 competitions for Professional, Open, Youth and Student will start accepting entries on June 1st.

Professional competition, Sport, Shortlist, 2020: ‘19.01.19’ by Anton Dotsenko (Belarus)

Image Description: For an instance, the one approach that was chosen by Kirill Tereshin in form of injection into his arms consisting of substances only known to him, removal of which could lead to fatal outcome. Bodybuilding is the most practical form of Bigorexia nowadays.

Series Name: Bigorexia

Series Description: Bigorexia (arlso known as muscle dysmorphia) is a new phenomenon in the sports and fashion industries. This anxiety disorder causes individuals to believe that their bodies are small and lacking in muscle, despite the fact that many sufferers could be described as big and muscular. The condition can affect both men and women, but often goes undiagnosed.

Sufferers choose different approaches to build up muscles, from compulsively working out in the gym to injecting themselves with mystery substances. Some of these methods are dangerous, and occasionally deadly.

Professional competition, Still Life, Shortlist, 2020: ’04_Specimen07′ by Cecilia Manzanares Vargas (Mexico)

Image Description: “Log entry.

The specimen has reached its adult stage. Awaiting to be classified.”

—

In one of his aphorisms, Nietzsche states that “The real world is much smaller than the imaginary.” By that premise, which I return to constantly, and the curiosity I have had for the vegetal world, its textures and shapes since I was a child, is that ‘Specimen 07’ is born; a photographic series in which the apparently defined boundaries between vegetal and animal are diluted, get mixed, giving birth to beings from the imaginary that I have built in a kitchen, made by vegetable fragments that lose their original identity and acquire another one when joined.

In this series, the stages of development of one of these specimens is shown.

With this project, I question the way in which we see the ordinary and how we perceive reality.

Series Name: Specimen 07

Series Description: ‘Log entry. The specimen has reached its adult stage. Awaiting to be classified.’ In one of his aphorisms, Friedrich Nietzsche states: ‘The real world is much smaller than the imaginary’. I return to this premise constantly, as it expresses the curiosity I have for the textures and shapes of the vegetal world – something that has intrigued me since childhood. Specimen 07 is a photographic series in which the apparently defined boundaries between vegetal and animal are diluted and mixed together, giving birth to beings that originate in the imagination, and are created from vegetable fragments in my kitchen. These fragments lose their original identity, acquiring a new one when joined. This series shows the stages of development of one of these specimens.

Professional competition, Portraiture, Finalist, 2020: ‘Sephora’ by Denis Rouvre (France)

Image Description: My name is Sephora, I live in Kinshasa in the Democratic Republic of Congo. One morning, a prophet came to our house and accused me of being a witch. At Mama Olangi’s Church, I went through all kinds of exorcism rites, with the agreement of my aunt who made me fast every day from 6 am to 6 pm. She hit me, I had become the slave of the house. I was no longer even allowed to sit beside her children: she was afraid that I would “eat” them or that I would initiate them.

One day my aunt made me sit by her side. She suddenly became very loving and maternal and served me food. I had doubts and managed to spill a glass of water in the food. In his anger, cruel confessions escaped from his mouth: “If you had eaten, you would have ended up in the morgue today.”

I ran away and went to live on the street. I’ve been on the street since the age of 10. One day, boys older than me approached me. I refused to follow them, they took me by force and raped me, I became pregnant. Today I have two five year old twins.

Series Name: Unsung Heroes

Series Description: ‘Unsung Heroes’ is a project about violence against women around the world. In 2019, with support from international humanitarian association Médecins du Monde, I visited five continents and met more than 100 victims of violence. The women agreed to testify, their faces uncovered, in front of my camera. Some subjects had suffered violence linked to displacement following the war in Syria and in Colombia, others had survived domestic abuse, or the use of collective rape as a weapon in the Democratic Republic of Congo. Still more had faced moral violence, sexual exploitation, or discrimination against gender identity in Nepal, Cameroon and Uganda.

The women I met are shadows that enter the light. The bruises and creases on the surface of their skin tell a story. Added to this are the voices, the words, the intimate experiences of violence that were shared. I wanted to show the suffering experienced by these women, but also their strength and resilience – in short, their ability to get up and fight again.

Professional competition, Portraiture, Shortlist, 2020: ‘Hanoi fish man’ by Jon Enoch (United Kingdom)

Image Description: A man poses with his scooter in Hanoi with a delivery of pet fish, taken at the start of 2019. The riders have an amazing ability to transport all wonder of goods in amazing quantities. I spent a week chasing down amazing looking riders and their cargos and convincing them to pose for the camera.

Series Name: Bikes of Hanoi

Series Description: Delivery drivers on the streets of Hanoi, Vietnam, use their amazing balance skills to deliver goods to shops and vendors across the city. Some riders sell directly from their bikes. New legislation plans to ban motorbikes from the city by 2030 in a bid to improve air quality and reduce congestion.

In addition to this, the country’s rapid economic expansion is leading to an increased use of vans for commercial deliveries. When I read about this, it struck me that the age-old art of riding an overloaded bike might be coming to an end. As a result, I spent a week in Hanoi, chasing down riders and convincing them to pose for the camera. Their cargoes included footballs, water, car parts, eggs, pet fish and ice.

Professional competition, Natural World & Wildlife, Shortlist, 2020: ‘At the Pink planet’ by Yevhen Samuchenko (Ukraine)

Image Description: Lemurian salt lake, Ukraine

Series Name: At the Pink planet

Series Description: The first time you see the pink salt lakes of the Kherson region in Ukraine it feels as though you are looking at another planet. During the summer months, microscopic algae causes the water to turn pink and red. The view from above is literally out of this world, which is why I chose to use a drone to convey the atmosphere of this unusual place.

Professional competition, Natural World & Wildlife, Finalist, 2020: ‘robber fly 5x’ by Adalbert Mojrzisch (Germany)

Image Description: A robber fly viewed at 5x magnification

Series Name: Macro

Series Description: Most of my subjects are found dead on windowsills or in zoological gardens – in that sense you could say they are unremarkable. At first glance the insects appear grey and dirty, but when viewed at high magnifications (usually between 5x and 80x) interesting structures and beautiful colours begin to emerge.

Recording such fine detail requires specialist equipment, some of which I have developed and assembled myself. I use a homemade photo-tube, and microscope-lenses corrected to infinity, mounted on a homemade rail. The subject is lit via four flashes triggered by a homemade controller. Each image is a composite of between 200 and 600 individual pictures stacked and stitched together. The calculations are made using Zerene Stacker.

Professional competition, Landscape, Shortlist, 2020: ‘Urban Explorers – tunnel/05’ by Jeroen van Dam (Netherlands)

Image Description: Within this daunting urban landscape, there is always a human factor: a single person in his or her (un)natural habitat.

Series Name: Urban Explorers

Series Description: This project is about the secret life of urban explorers – people who venture into hidden manmade landscapes. The places these individuals explore are often in the middle of cities, and yet off-limits and unknown to the public. There are risks involved in accessing these locations, but urban explorers like to leave a place as they find it – their motto is ‘Take nothing but pictures, leave nothing but footprints.’

I follow these people all over the world documenting their adventures. This particular series features tunnel systems, which are often intriguing and architecturally pleasing due to their circular shapes and massive scale. Photographing someone in such an unnatural setting really appeals to me. These urban locations lend themselves to aggressive postproduction, moody tones and vivid colours – the overall effect is one that questions our relationship with the city.

Professional competition, Landscape, Finalist, 2020: ‘Japanese concentration camp site #05’ by Chang Kyun Kim (United States)

Image Description: The lower part of the image shows the massive grids where the prison barracks of Topaz War Relocation Center that incarcerated 10,000 Japanese people living in U.S. were constructed. I tried to show the long lasting artifact and the harsh landscape that surrounds the camp site. It was taken with my drone in Nov 2019 in Delta, Utah.

Series Name: New Home (Japanese concentration camp sites in U.S.)

Series Description: This series is about Japanese internment camps that were built in remote and harsh areas of the United States during the Second World War. These camps imprisoned 120,000 people of Japanese ancestry – more than 60% of them were U.S. citizens.

Working on the project reminded me of the racial antagonism we have witnessed in recent history, and led me to consider how radically our view can alter when war and terror affect our lives. History can always be repeated if not properly recalled or told. The pictures here were taken between 2018 and ‘19 in California, Arizona and Utah. For the aerial shots, I used a drone to capture the camp sites – these locations are so harsh and remote that no one would try building anything here.

Professional competition, Environment, Finalist, 2020: ‘Siberia Lettuce’ by Luca Locatelli (Italy)

Image Description: The great indoors provides optimal growing conditions for lettuce and other leafy greens at Siberia B.V. in Maasbree, Netherlands. Each acre in the greenhouse yields as much lettuce as 10 outdoor acres and cuts the need for chemicals by 97 percent.

Series Name: THE FUTURE OF FARMING

Series Description: By 2050 our planet will be home to as many as ten billion people. If increases in agricultural yield are not achieved, a billion or more people could face starvation. Today, however, technology proposes a solution. For centuries, greenhouses have been used to shield crops and maximise yield, but in recent years technological advances have led to a revolution in food production.

This series portrays some of the most promising high-tech agro farming systems in the world – systems that may allow us to reduce dependency on water by as much as 90% and, in some cases, almost completely eliminate the use of chemical pesticides on plants in greenhouses. It’s a possible solution to the hunger crisis that may emerge in future decades, but a dystopic view of the future of farming.

Professional competition, Environment, Finalist, 2020: ‘Wahala 7’ by Robin Hinsch (Germany)

Image Description: Natural Gas Flaring Site in Ughelli, Niger Delta, Nigeria.

Series Name: Wahala

Series Description: Covering 70,000 sq km (27,000 sq miles) of wetlands, the Niger Delta was formed primarily by sediment deposition. The region is home to more than thirty million people and 40 different ethnic groups, making up 7.5% of Nigeria’s total land mass. It used to boast an incredibly rich ecosystem, containing one of the highest concentrations of biodiversity on the planet, before the oil industry moved in. The Nigerian department of petroleum resources estimates that 1.89 million barrels were spilled in to the Niger Delta between 1976 and 1996. What’s more, a report from the United Nations suggests there have been a total of 6,817 spills between 1976 and 2001, amounting to some three million barrels of oil.

So far, the authorities and oil companies have done little to clean up and neutralise the Delta, and oil spills are still very common. Half of the spills are caused by pipeline and tanker accidents, while others are the result of sabotage (28%), oil production operations (21%), and inadequate production equipment (1%). Another issue in the Niger Delta is gas flaring, a byproduct of oil extraction. As the gas burns it destroys crops, pollutes water and has a negative impact on human health. Wahala was shot in Nigeria in 2019 and draws attention to untamed economic growth and its negative impact on ecology.

Professional competition, Documentary, Shortlist, 2020: ‘SN7’ by Nicholas Moir (Australia)

Image Description: a lone fire truck with a wall of flame and a fire tornado when the Green Wattle fire erupted out of the bush and hit properties in Sydney south west

Series Name: The burning

Series Description: A three-year drought, combined with staff cuts and political debate over the effectiveness of hazard-reduction-burn (a deliberately-lit fire intended to reduce the fuel available for a wildfire) has led to a series of catastrophic bushfires in Australia. These fires have killed 20 people, destroyed thousands of homes, and led to the deaths of hundreds of millions of native animals. These pictures show several of the largest and most intense fires in South East Australia.

Professional competition, Discovery, Shortlist, 2020: ‘sand elephants memories’ by Massimo Gurrieri (Italy)

Image Description: Memories, dust, religion and pollution, kumbh-mela 2019.

Series Name: Tutto Scorre, India’s flow

Series Description: India is a country that never sleeps; a land that reawakens the senses and encourages people to embark on a journey of self-discovery. Traveling the roads here is as much an inner as an outer journey. Daily life unfolds, interspersed with religious rituals. Embarking on a walk allows thoughts from the depths to rise to the surface. The cold, the night, the fog, an awakening – anyone who visits India can choose to see metaphor or reality. I choose both, following the flow of events as I transform my experiences into images.

Professional competition, Creative, Shortlist, 2020: ‘Rumi and Scarlet, 2019’ by Joseph Ford (United Kingdom)

Image Description: I’ve photographed a range of ages for this project, and the idea of recreating a messy teenager’s bedroom appealed to me.

I prepared by posing a model in a jumper covered in gaffer tape. I added accessories around him, drawing matching lines on the taped jumper. I then photographed the annotated top and marked it up with colour indications. This gave me a model to brief the knitter, allowing precise placement of lines to match the accessories.

Series Name: Invisible Jumpers

Series Description: I’m a big fan of optical illusions. For this series I matched people to their surroundings through custom-made knitwear. Knitting is the ultimate analogue medium, complete with imperfections and replete with detail. At a time when it’s often assumed that any photographs out of the ordinary are the result of Photoshop or CGI, it’s satisfying to work with a slow, hand-crafted medium. The results aren’t perfect – there are often bits that don’t match up. Each of these pictures took weeks to research and plan. I worked with an amazing knitter, Nina Dodd, who hand-made all of the knitwear.

Each picture began with an idea – could I photograph someone blending into cherry blossom, or disappearing into a cliff edge, for example. With a concept in mind I would then set out in search of the perfect location, before coming up with a brief detailing how the design should match the background. The locations needed to be eye-catching, but simple enough to be translated into knitwear. They also needed to be places that weren’t going to change too fast, as the knitting takes a few weeks. It would be terrible to prepare a sweater and then not be able to get the shot because the location has altered beyond recognition.

Professional competition, Creative, Shortlist, 2020: ‘XT1876’ by Reuben Wu (United States)

Image Description: Salar de Uyuni

Series Name: FIELD OF INFINITY

Series Description: Field of Infinity is a continuation of my personal project, Lux Noctis, a series of photographs depicting landscapes unbound by time and space. These pictures are influenced by ideas of planetary exploration, 19th century sublime romantic painting and science fiction. Every day we are overwhelmed by beautiful images of the familiar. In my work, I imagine these scenes transformed into undiscovered landscapes that renew our perceptions of the world. I recently had the opportunity to continue my series in Bolivia during a week-long road trip. I photographed in remote and extreme locations using a Phase One XT camera and a drone modified with a powerful LED light to illuminate the landscapes at night.

Professional competition, Architecture, Finalist, 2020: ‘IX – Of the Formalisms I series’ by José De Rocco (Argentina)

Image Description: Walls to the step…

Series Name: Formalisms I

Series Description: As a graphic designer, I’m drawn to bold colours and shapes. Formalisms I is the result of three years walking the streets and searching for beauty in places that most people pass by. I tend to take a record shot when I spot something interesting, and then return repeatedly until I get what I need. Form is the main theme for this series, but colour is really important too. Most of the pictures were taken in Argentina, except one that was made in Uruguay.

Articles: Digital Photography Review (dpreview.com)

 
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GoPro Karma drones around the world were grounded due to GPS glitch

07 Jan

GoPro introduced its first—and only—drone in September 2016 to much fanfare. Unfortunately, the Karma, as the action camera company named it, was plagued with issues from the very beginning. Besides poor reviews that pointed out its lack of standard safety features, reports of Karma drones losing power, mid-flight, and falling from the sky became rampant to the point where GoPro recalled it on the same night as the U.S. Presidential election in November 2016.

While the number of sales is undisclosed, the Karma was purchased by drone enthusiasts even after it was discontinued in January 2018. The users that held onto their Karma discovered that it wouldn’t take off at the beginning of this year due to a glitch in the GPS and GLONASS systems of the drone. User complaints surfaced in dozens of forum posts and tweets as first pointed out by The Verge.

‘I recently got a karma and am having an issue with compass calibration. For some reason this doesn’t work: as soon as I select compass calibration in the controller, within half a second (not enough time to pick up the drone and start calibrating), I get the message ” calibration failed, try again”. It also gives a message about not being able to calibrate the compass without a GPS signal. I am trying this in a field and had the drone there for at least 10 minutes…’ lamented one user in GoPro’s forum. The Karma’s firmware has not been updated since September 26, 2018.

Most tech companies update their software consistently to avoid the same issues the Karma experienced as the new year rolled in. GoPro’s dilemma is likely the result of the GPS clock “rollover” phenomenon, which happens once every 1,024 weeks, or every 19.7 years. If a company’s software is not updated, it may automatically reset the date which can corrupt navigation data and throw off location estimates. GPS needs these precise figures to properly function.

After receiving enough media attention, a GoPro spokesperson has announced that the company’s engineering team is “actively troubleshooting” the issue.

Articles: Digital Photography Review (dpreview.com)

 
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Canon PowerShot G7 X III review: the compact camera that lets you broadcast to the world

20 Nov

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Silver Award

81%
Overall score
Jump to conclusion

The Canon PowerShot G7 X III is the third in a series of 1″-type sensor compacts aimed at smartphone camera upgraders and enthusiast photographers looking for a small second camera. Its core photography features – notably its fast 24-100mm equivalent F1.8-2.8 lens – are very similar to the G7 X II that preceded it, but Canon has given the Mark III a new Stacked CMOS sensor and Digic 8 processor that together promise better image quality and performance.

The biggest changes in the G7 X Mark III are to its suite of video features, which now includes the option to live stream video: a useful feature for vloggers. Resolution has been bumped up to 4K, with 30p available out of the box and 24p coming via a future firmware update.

Key Specifications:

  • 20MP 1″-type Stacked CMOS sensor
  • 24-100mm equiv. F1.8-2.8 lens
  • Built-in 3-stop ND filter
  • Touchscreen tilts up 180° and down 90°
  • 8 fps burst shooting with autofocus, 30 fps Raw burst mode
  • 4K/30p and 1080/60p video recording
  • Microphone socket
  • Live YouTube streaming support built-in
  • Vertical video capture
  • 1080/120p slow motion video (with no audio or autofocus)
  • Wi-Fi + Bluetooth wireless connectivity
  • USB 3.1 (with USB-C connector) for data transfer and charging
  • 235 shot battery life per CIPA standard

Aside from the lens, the majority of the features highlighted above are new, so the Mark III isn’t just a small upgrade, even if it’s hard to differentiate cosmetically from its predecessor.

The G7 X Mark III is priced at $ 749 and comes in silver/black and black finishes.

What’s new and how it compares

The G7 X III has a new sensor, new processor and a first for a compact camera: live video streaming.

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Body, controls and handling

The design of the G7 X III has barely changed compared to its predecessor, and that’s not a bad thing.

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Image quality

While its lens isn’t the sharpest, the G7 X III’s image quality is still very good.

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Autofocus and video

The G7 X III is good, but not great, in terms of both autofocus and video quality.

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Conclusion

Find out if the Canon PowerShot G7 X Mark III is the right camera for you.

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Sample gallery

View over 100 photos taken with the G7 X III to evaluate its image quality with your own eyes.

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Articles: Digital Photography Review (dpreview.com)

 
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These are the winning photographs of the 2019 Nikon Small World photography competition

25 Oct

2019 Nikon Small World photography competition

The winning photographs of the 2019 Nikon Small World have been revealed, showcasing an incredible collection of shots captured in the contest’s 45th year.

Founded in 1974, Nikon Small World aims ‘to recognize excellence in photography through the microscope’ and ‘is widely regarded as the leading forum for recognizing the art, proficiency and photographic excellence involved in photomicrography,’ in Nikon’s own words. Below is a list of the judges for this year’s competition:

  • Dr. Denisa Wagner, Edwin Cohn Professor of Pediatrics at Harvard Medical School and the head of the Wagner Lab at Boston Children’s Hospital.
  • Dr. Rita Strack, Senior Editor at Nature Methods.
  • Tom Hale, Staff Writer at IFLScience.
  • Ben Guarino, Science Reporter at The Washington Post.
  • Eric Clark (Moderator): Research Coordinator and Applications Developer at the National High Magnetic Field Laboratory at Florida State University.

Over 2000 entries were submitted for the 2019 competition from scientists in nearly 100 countries. After being ‘evaluated on originality, information content, technical proficiency and visual impact,’ microscopy technician Teresa Zgoda and university graduate Teresa Kugler took home first prize for their incredible capture of a turtle embryo that was created using fluorescence and stereo microscopy. The image is a result of the duo taking hundreds of images and stacking them together to create the final image, ‘as the organism’s size meant only very small parts of the turtle could be imaged on the focal plane at a time,’ according to Nikon’s press release.

We’ve rounded up the top 15 images from the contest and shared them in the following gallery to enjoy. Images and information were kindly provided to DPReview through Nikon Small World.

1st Place

1st Place — Teresa Zgoda & Teresa Kugler, Fluorescent turtle embryo

Location: Campbell Hall, New York, USA

Methodology: Stereomicroscopy, Fluorescence, 5x (Objective Lens Magnification)

2nd Place

2nd Place —Dr. Igor Siwanowicz, Depth-color coded projections of three stentors (single-cell freshwater protozoans)

Location: Ashburn, Virginia, USA

Methodology: Confocal, 40x (Objective Lens Magnification)

3rd Place

3rd Place — Daniel Smith Paredes & Dr. Bhart-Anjan S. Bhullar, Alligator embryo developing nerves and skeleton

Location: New Haven, Connecticut, USA

Methodology: Immunofluorescence, 10x (Objective Lens Magnification)

4th Place

4th Place — Jan Rosenboom, Male mosquito

Location: Rostock, Mecklenburg Vorpommern, Germany

Methodology: Focus stacking, 6.3x (Objective Lens Magnification)

5th Place

5th Place — Caleb Foster, Snowflake

Location: Jericho, Vermont, USA

Methodology: Transmitted Light, 4x (Objective Lens Magnification)

6th Place

6th Place — Javier Rupérez, Small white hair spider

Location: Almáchar, Málaga, Spain

Methodology: Reflected Light, Image Stacking, 20x (Objective Lens Magnification)

7th Place

7th Place — Dr. Guillermo López, Chinese red carnation stamen

Location: Alicante, Spain

Methodology: Focus Stacking, 3x (Objective Lens Magnification)

8th Place

8th Place — Garzon Christian, Frozen water droplet

Location: Quintin, Cotes-d’Armor, France

Methodology: Incident Light, 8x (Objective Lens Magnification)

9th Place

9th Place — Andrei Savitski, Tulip bulb cross section

Location: Cherkassy, Ukraine

Methodology: Reflected Light, 1x (Objective Lens Magnification)

10th Place

10th Place — Jason M. Kirk, BPAE cells in telophase stage of mitosis

Location: Houston, Texas, USA

Methodology: Confocal with Enhanced Resolution, 63x (Objective Lens Magnification)

11th Place

11th Place — Dr. Yujun Chen & Dr. Jocelyn McDonald, A pair of ovaries from an adult Drosophila female stained for F-actin (yellow) and nuclei (green); follicle cells are marked by GFP (magenta)

Location: Manhattan, Kansas, USA

Methodology: Confocal, 10x (Objective Lens Magnification)

12th Place

12th Place — Anne Algar, Mosquito larva

Location: Hounslow, Middlesex, United Kingdom

Methodology: Darkfield, Polarizing Light, Image Stacking, 4x (Objective Lens Magnification)

13th Place

13th Place — Dr. Emilio Carabajal Márquez, Cuprite (mineral composed of copper oxide)

Location: Madrid, Spain

Methodology: Focus Stacking, 20x (Objective Lens Magnification)

14th Place

14th Place — Antoine Franck, Femail Oxyopes dumonti (lynx) spider

Location: Saint Pierre, Réunion

Methodology: Focus Stacking, 1x (Objective Lens Magnification)

15th Place

15thPlace — Marek Mi?, Pregnant Daphnia magna (small planktonic crustacean)

Location: Suwalki, Podlaskie, Poland

Methodology: Modified Darkfield, Polarized Light, Image Stacking, 4x (Objective Lens Magnification)

Articles: Digital Photography Review (dpreview.com)

 
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Photo Books: Value and Worth in Today’s Digital World

25 Oct

The post Photo Books: Value and Worth in Today’s Digital World appeared first on Digital Photography School. It was authored by Adam Welch.

photo-books

Imagine the internet never existed. I know – you’re reading this while on the internet – but bear with me. As a photographer, how would you show your photographs to other people? There would be no Instagram, no Flickr, no Facebook. The reality of this fictional internetless world would leave you with limited outlets for your work. In short, you would have to find a way to physically park your photos in front of the eyes of other humans. Galleries would certainly be an option; magazines and journal publications would be another. Of course, there would be another option; the construction of a photo book.

Aside from a solo exhibition, there is perhaps no better way for a photographer to express their exact creative vision than with a well-executed photo book. Even in today’s elevated climate of digital photography, photo books have managed to keep their foothold as one of the most impactful methods of distributing photographs to the masses, all the while maintaining allegiance to the original photographs as we meant for them to be viewed.

Photo Books: Value and Worth in Today's Digital World

Photo books aren’t nearly as prevalent (or produced) as they once were. However, if you are truly serious about yourself and the photographs you produce, then a photo book might be a wonderful conduit for you to express your photographs – I know it was for me. As paradoxical as it might sound, producing photo books today has never been easier.

In this article, we’ll look at some of the reasons, methods, and considerations you might want to examine if you’ve ever felt the need for something more than just condensing your photographs into social media posts and online galleries.

But…why a book?

We’ve already touched on some of the other ways that you might present your work to the public, so why are photo books so special? Well, it comes down to control, fidelity to your original vision, and the importance you place on both.

Photographs are finite in their original incarnations, meaning there was a time when you didn’t always have to guess how your photos would appear on the different devices. Even photos in widely-circulated publications like magazines would essentially be faithful to whatever the final press copy of the image might have been.

Herein lies the immense benefit of photo books; they are an end in themselves.

Photo Books: Value and Worth in Today's Digital World

With final archival quality of inks, papers and bindings, and even the varied perception of our own eyes aside, a photo book can be your final say on how your work should look. Much like a print, the extent of your involvement in the production process of your photo book (more on this shortly) means you can virtually maintain complete discretion on how people view your images.

This means that a person in Singapore will see the same colors and contrasts a person viewing your photo in Australia, Canada, or Wales.

Three stages of producing your photo book

I’ve condensed the steps of producing a photo book into three broad sections. That being said, a book could be written on each one of the steps themselves. So, we’ll just hit the high points.

1. The inception of the Idea

Of course, this is where any photo book should begin. With some extremely rare exceptions, your photo book should revolve around a central theme or concept. It could be something you care passionately about photographing or something you want to learn more about and show the world. The weird thing about ideas is that they are notoriously fluid, meaning that even though you have a general direction to aim your energy (and your camera), you should remain open to the organic evolution of your initial idea or concept for your book.

In the case of my photo book, “Faces of Grayson,” I initially had no intention of producing a book at all. I was just a person out in the wilderness with a camera. It was only after I examined a few of my images that I instantly knew I wanted to do more with the subject matter and eventually produce a book.

Image: The photo that started it all.

The photo that started it all.

Unless your photo book is strictly for your own personal use and enjoyment, I’d suggest that you don’t approach your idea for your photo book in retrograde. It’s likely not a good practice to simply go through all your photos and force yourself to find a common theme. If you begin with a solid idea that you care about, you’ll ultimately end up with a more cohesive finished work.

We’ll talk a bit more about the actual shooting and choosing of the book images in the next section.

2. Compiling the images

We’ve touched briefly on how it’s usually not advisable to base your photo book on photos already in your image archive. It’s just not a good idea. So, once you’ve decided on the subject of your photo book, approach the acquisition of your content with a Zen-like state of relaxation. Don’t force the work, and don’t force yourself to produce the work quickly.

With that said, pay careful attention that you don’t forget that these images are specifically intended to be part of your photo book. You should always keep the overall theme, feel, and concept in line with your original idea even if that idea evolves along the way.

Don’t rush things

For my photo book, I shot images for roughly two years. In the end, I had a multitude of photos from which I could choose the absolute best.

There is no time limit for obtaining your images. Please, please, PLEASE don’t rush yourself. A rough estimate of when you would like to see your book finally come to life is perfectly healthy. Conversely, subjecting yourself to a self-imposed “deadline” is not. So if there’s one piece of advice I could give when it comes to shooting the photos for your book, it would be not to rush. Instead, be deliberate, take your time, and get it right the first time.

Sequencing your photos

After you’ve completed the principal photography work for your book, it’s time to put it all together. Ask yourself a few questions: Is your book a narrative? Does the story you want it to tell depend on the order of the images?

Some photo books work very well with sequential arrangements based on the chronology of time and the progression of the subject matter through that time. If this is the case for your photo book, then make sure how you assign your images to the pages conveys this dynamic to the viewer.

If your book is not a narrative and instead is more of a compilation of place or subject with no need for sequential ordering, then the arrangement of the photos become less important. However, it should still remain a focus of great consideration.

Photo Books: Value and Worth in Today's Digital World

Once you have completed the task of choosing and sequencing your photos, it’s time to choose layouts and fonts, image sizing and orientation. Also, chooses the amount of supplemental textual narration you wish to include (or not include) with the images.

The majority of this will be left to your discretion unless you conscript outside help from a designer. Deciding on the final flavor of the book is the most difficult and most exciting aspect of putting together any photo book.

3. Printing

All right. This is where things get truly slippery. You’ve completed work on obtaining the photos for an idea that you absolutely love. The images are outstanding, sequencing is beautiful, and you know every last detail of your final grand vision. It’s all going to be perfect!

Well, I’m sorry to break it to you…

It won’t be.

Yes, I know. That truth hints at an underlying pessimism, but it’s intended to be constructive. You see, the key to sustained success with your photography is to maintain a realistic handle on your expectations. If you enter the printing process believing nothing will go wrong, and there will be no unforeseen challenges, then you will be quite discouraged when these inevitable issues arise.

Now that’s out of the way, let’s look at some common (but not all) options you might have for getting your photo book printed.

Photo Books: Value and Worth in Today's Digital World

Print-on-demand

A commonplace service in the literary world, the print-on-demand model is perhaps the easiest and most cost-effective method for getting your photo book published and printed. It also involves the least investment on your part in terms of personal control.

Print-on-demand means just what the name implies; you provide the finished content design, and a printer/publisher/distributor will print a copy of the book each time a copy gets ordered. This is a wonderfully cost-effective way to print small or large numbers of your photo book with virtually no waste. Your book gets printed only when there is an order. Often this method also includes a free ISBN and other perks.

This is also a great option to get your photo book printed and sold with as little overhead as possible. However, there are some downsides to this process. Namely, you will have little or no creative control over paper types, bindings, inks, and other nuances of the book printing process.

Amazon, Blurb and a growing number of other well-known book merchants have begun offering these types of services to photographers wishing to get their photo books distributed to the masses. For users of Lightroom, you can design and send your book to Blurb direct from the Lightroom software too.

Traditional book printers

If you want to go big with your photo book endeavor and have the financial (and marketing) resources to sit at the table, then you might be interested to know that even independently published photographers can have extremely high-quality photo books printed which offer enormous creative control over virtually every aspect of the printing process. This means that you will usually be able to select paper types and binding materials along with physically proofing prints so that your photos look exactly the way you want them to display.

Photo Books: Value and Worth in Today's Digital World

Unfortunately, this isn’t always the most forgiving option for those who are creating their first photo book or have limited means for producing their published work. It involves the willingness to exercise ultimate creative judgment on all aspects of your book, which can be highly stressful. Furthermore, the majority of these types of printing firms have strict minimum printing runs for all printed books.

So, unless you need and are ready to store and distribute upwards of 1,000 copies of your book, this might not be the best route for your project. At the same time, if you do have the logistics in place and the demand is high enough for the quantity involved, the per-copy price of high-volume printers like these translates to relatively attractive profit margins when you consider the quality versus the cost of the product.

I went via this route with my first photo book. It involved organizing an overwhelmingly successful Kickstarter campaign along with a highly aggressive marketing strategy to source the funds I needed to cover the cost of printing. Would I do it again? Honestly, probably not, at least not this way, which brings me to our next option.

photo-books

Limited quantity printing

If you’re looking for a careful balance between precise creative control, costs, and volume, this is likely the best choice for your photo book.

You could easily call this printing method could easily “artisan” printing. It involves a low number of meticulously crafted books, often with finely curated materials and craftsmanship, which can be purveyed more as a personal statement than a mass-produced product.

Limited quantity printing is perfect for face-to-face marketing, where the photo book itself becomes an art piece. Printing costs are relatively high, so in most cases, quantities of twenty or more copies could become slightly awkward. However, books of this nature can demand higher sale prices from collectors and impassioned patrons, and rightfully so.

Value in the effort?

It might be difficult to believe, but there is so much more to say about the in’s and out’s of making a photo book; at least one that you intend to make for the enjoyment of others.

A photo book is more than just making photos and finding a way to bind them into pages. Is it worth it? Does the reward justify the risk? It depends. Have you felt strongly about your subject and feel equally compelled to make photographs of that subject which you then work to compile into a photo book? If so, you’ve already committed a piece of yourself to the project. Anything that carries that much personal investment is, by definition, a success.

So, yes, there is still value in photo books. In a sense, books such as these carry even more value today. We live in a world saturated by the instantaneous. Producing a photo book requires time, deliberate intent, and the willingness to slow yourself down to focus on your true goal.

Will your photo book sell a million copies? Well, it’s doubtful.

However, depending on your expectations, making a photo book could very well be the most memorable, rewarding, and ultimately challenging mission you ever undertake as a photographer. There truly is no other feeling than seeing your own book sitting on your shelf. Believe me.

 

 

The post Photo Books: Value and Worth in Today’s Digital World appeared first on Digital Photography School. It was authored by Adam Welch.


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Gnarbox 2.0 SSD is now available around the world starting at $499

03 Oct

MyGnar Inc. has announced worldwide availability of the Gnarbox 2.0 SSD. Originally funded on Kickstarter, the Gnarbox 2.0 SSD is now available to purchase from retailers around the globe and brings with it a few new features.

As detailed in our original coverage, Gnarbox 2.0 SSD is a rugged storage solution that works hand-in-hand with a collection of apps to make it easy to import, sort, edit and export multimedia content while on the go.

The Gnarbox 2.0 SSD offers a 2.4 Ghz Quad-Core processor, 4GB of RAM and up to 1TB of NVMe SSD storage. Photos and videos can be imported to the device using the onboard SD card slot (up to 75MB/s) or one of the two onboard USB-C ports (up to 350MB/s) and Micro HDMI port is onboard to show photos off on any HDMI comparable display. The battery inside is charged via USB-C and is rated for three to six hours of use.

Gnarbox has also announced two new features the Gnarbox 2.0 SSD supports. First, MyGnar has partnered with Camera Bits, Inc. to power its Gnarbox Selects App using Photo Mechanic’s image processing technology, Raw file support and metadata tagging tools. Additionally, the Gnarbox 2.0 SSD can now be connected to iPad Pro devices via USB-C if you prefer a tethered connection.

Although the specs themselves are impressive, it’s the connectivity that makes the Gnarbox 2.0 SSD shine. When used with iOS devices, the Gnarbox 2.0 SSD works seamlessly with Lightroom CC and video editing application LumaFusion, making it easy to edit media when out and about.

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The Gnarbox 2.0 SSD is available in 256GB, 512GB and 1TB capacities for $ 499, $ 599 and $ 899, respectively. In addition to Gnarbox’s website, it’s also available at Amazon and B&H Photo.

Articles: Digital Photography Review (dpreview.com)

 
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Nitecore leaps into the world of optics with 5 new full-frame cinema lenses

26 Aug

Nitecore, a Chinese company known for its rechargeable flashlights and third-party battery equipment, has taken an unexpected leap into to the world of optics with its Superior Prime lineup, a collection line of prime cinema lenses for full-frame camera systems.

The five lens lineup includes a 25mm T2.1, 35mm T2.0, 50mm T2.0, 75mm T2.0 and 100mm T2.0. The exact specifications for each lens are detailed in the below graphic, but across the board, the lenses measure 117mm long (with the PL mount) and 95mm diameter for seamless swapping when using gears and other cinema equipment. Nitecore says the lenses will be available with interchangeable PL, Canon EF and Sony E mounts, but will ship with the PL mount in the original packaging.

The exact details on the coating technology used aren’t specified, but Nitecore says the lenses ‘are designed with a unique optical coating which ideally controls dispersion while retaining plentiful details to create low contrast and a stylized flare.’ The 75mm T2.0, in particular, is also ‘specially optimized on the skin details in a portrait,’ although we’re not exactly sure what they’re referring to with that statement.

There are currently no details on pricing or availability. We have contacted Nitecore in an attempt to get more information and will update this article accordingly if we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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Sony World Photography Awards adds new 2020 category, reveals grant recipients

10 Jun

The Sony World Photography Awards has a new ‘Environment’ category under its Professional competition, the World Photography Organization has announced. Under this category, photographers are challenged to ‘address environmental concerns affecting the world today.’ Additionally, the 2020 Awards will also feature a new Youth competition that allows photographers ages 12 to 19 to submit up to three images per months through December 2019.

The 2020 Sony World Photography Awards kicked off its Youth competition this month; its deadlines are the last day of each month from June to December. Under the competition, photographers as young as 12 and as old as 19 can submit up to three single images each month. Every month has its own theme and will result in one winner and a shortlist.

In addition to the new Youth competition, the 2020 Awards will feature a new ‘Environment’ category in the Professional competition, which has a January 11, 2020 deadline. According to the organization, winning and shortlisted photographers will get a ‘global platform’ for showcasing their work.

The 2020 Awards will also include the Open competition with a January 7, 2020, deadline and the Student competition with a November 29 deadline.

In addition to revealing the new Environment category and Youth competition details, the organization has announced the 2019 Sony Grant recipients. In the Professional competition, 2019 Sony Grant recipients get $ 7,000 each alongside Sony photography gear. Recipients of the Student grant receive $ 3,500 each and will work together as a team to provide commissioned images.

The 2019 Sony Grant recipients are:

Professional category:

– Yan Wang Preston (UK)
– Ed Thompson (UK)
– Kohei Ueno (Japan)
– Thomas Uusheimo (Finland)

Student category:

– Joel Davies (Central St Martins, UK)
– Sam Delaware (Pacific Union College, USA)
– Tobias Kristensen (Danish School of Media & Journalism, Denmark)

You can find a gallery of the 2018 Sony World Photography Awards competition in our previous coverage.

Press Release:

Sony World Photography Awards reveals new categories for 2020 and latest Sony Grant recipients

?Photography’s power to capture environmental issues recognized in new dedicated category
?Sony Grants awarded to four exceptional professional artists and three student talents
?Youth competition restructured to give young photographers more opportunity
?Exhibition tours to Japan, Italy, Germany and beyond in 2019

June 4, 2019, London: Submissions for the 13th edition of the internationally acclaimed Sony World Photography Awards are now open and free for all to enter at www.worldphoto.org.

The 2020 Awards are marked by the introduction of an Environment category to its Professional competition, recognizing the importance of the subject for contemporary artists, and a new format for the Youth competition, to engage and reward young photographers working worldwide.

The Awards also announced today the recipients of the 2019 Sony Grant. Chosen from the winners and shortlist of the 2019 Sony World Photography Awards, the Sony Grant give artists the freedom to create new bodies of work or develop long-term projects. In clear demonstration of this, a new film by 2018 Photographer of the Year Alys Tomlinson funded by her Sony Grant will be premiered at Rencontres d’Arles, France, this summer. The film is an extension of the artist’s 2018 award-winning series Ex-Voto.

Having been seen by 25,000 people in London, the exhibition of winning and shortlisted works from across the 2019 Awards will now tour internationally. Opening in Japan on June 1, the exhibition will travel to Germany, Italy, India, and Mexico giving audiences worldwide the opportunity to see the very best in contemporary photography from the past year.

Environmental issues highlighted in new Professional category

The Professional competition seeks serious bodies of work across ten diverse categories by artists working across fine art photography and photojournalism, and rewards those pushing the boundaries of what photography can do. The new Environment category will challenge artists to address environmental concerns affecting the world today and winning and shortlisted photographers are given a global platform upon which to showcase their work.

Speaking about the direct results of winning, Italian artist Federico Borella states: “Winning the 2019 Photographer of the Year title is one of the most important things for my career and my life. This kind of visibility is amazing because it allows me and my work to reach a global audience. My phone started ringing straight after the announcement and it hasn’t stopped ringing since! People want to listen to the story I want to tell. How can I ask for more?”S

Judges selected Borella as the overall winner in 2019 for a powerful photographic essay on the human effects of climate change in Tamil Nadu, India.A

New opportunity for young emerging photographers

The new Youth competition will give young photographers aged 12-19 the opportunity to enter up to three single images per month from June – December 2019. Each month will have a different theme and judges will select one winner and a shortlist per month. The seven monthly winners will then compete to be named Youth Photographer of the Year.

The monthly structure has been implemented to give emerging photographic talent more opportunity to be discovered and will be accompanied by expert advice on the monthly theme to help those entering.

In addition to the Professional and Youth competitions, the 2020 Awards includes the Open competition, rewarding outstanding single images across ten categories and the Student competition, for photography students worldwide. The National Awards program also runs in 60+ countries and celebrate local photographic talent.

The Awards are judged anonymously, giving all photographers across the world equal opportunity to be seen by juries of industry leading experts and win.

A total prize fund of $ 60,000 (USD) plus Sony digital imaging equipment is shared between winning photographers, with many also being flown to London to attend the annual awards ceremony. All shortlisted photographers are given exposure via the Sony World Photography Awards Exhibition which opens in London before touring globally. The 2019 Awards saw 327,000 entries from 195 countries. For more details about all the competitions and categories please go to www.worldphoto.org/swpa

2019 Sony Grant recipients
The World Photography Organisation and Sony are committed to supporting contemporary photographers and contributing to the further development of photographic culture worldwide.

The Sony Grants program, introduced in 2016, is open to winning and shortlisted photographers of the Awards’ Professional and Student competition. Recipients of the 2019 Professional grant are Yan Wang Preston (UK), Ed Thompson (UK), Kohei Ueno (Japan) and Thomas Uusheimo (Finland). Each receive $ 7,000 (USD) and Sony digital imaging equipment to create work of their choice.

The 2019 Student grant was awarded to Joel Davies (Central St Martins, UK), Sam Delaware (Pacific Union College, USA) and Tobias Kristensen (Danish School of Media & Journalism, Denmark). Each receive $ 3.500 (USD) and have been commissioned to create a new body of images, working as a team.

The results of all grant recipients work will be shown at the 2020 Sony World Photography Awards Exhibition. Find out more about the Sony Grant at www.worldphoto.org/sony-grant

2020 Competition deadlines
?Youth competition: Last day of each month from June – December, 2019
?Student competition: November 29, 2019
?Open competition / National Awards: January 7, 2020
?Professional competition: January 11, 2020

About World Photography Organisation
The World Photography Organisation is a global platform for photography initiatives. Working across up to 180 countries, our aim is to raise the level of conversation around photography by celebrating the best imagery and photographers on the planet. We pride ourselves on building lasting relationships with both individual photographers as well as our industry-leading partners around the world. The World Photography Organisation hosts a year-round portfolio of events including the Sony World Photography Awards, one of the world’s leading photography competitions, and PHOTOFAIRS, leading international art fairs dedicated to photography. For more details see www.worldphoto.org

Articles: Digital Photography Review (dpreview.com)

 
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World Press Photo disinvited photographer after reports of ‘inappropriate behavior’

19 Apr

For the first time in its history, the World Press Photo Foundation disinvited a photographer from its awards ceremony. The organization announced its decision to withdraw photojournalist Andrew Quilty’s invitation following allegations of ‘inappropriate behavior,’ according to the Columbia Journalism Review (CJR).

According to CJR, World Press Photo Foundation managing director Lars Boering confirmed Quilty was disinvited from the awards ceremony held in Amsterdam earlier this month after the foundation received ‘reports of inappropriate behavior’ made against the photographer. Details about the allegations haven’t been made public, however.

Boering shared a statement with CJR, which states, in part:

Our protocol is that when we learn from reliable sources that someone associated with us has allegedly engaged in inappropriate behavior we take action. Because of our protocol, we called him on 2 April to say he was not welcome at our Awards Show and Festival. We cancelled his invitation to the Awards Show, the Festival, and his flight and accommodation.

Quilty still received his award, with Boering explaining that the foundation’s current rules did not provide a basis for revoking the award. However, World Press Photo plans to review its rules ahead of the 2020 contest, Boering said.

In response to the foundation’s decision, Quilty said in a statement provided to CJR via his lawyer:

No allegations of inappropriate behavior have been made known to me. As a supporter of my female colleagues and the #MeToo movement, I would frankly and openly address any concerns about my conduct, if raised.

Quilty is known for his work in Afghanistan; his images have appeared in a number of notable publications, including The New York Times, The Washington Post, Time, and National Geographic. Quilty was previously awarded a George Polk Award, six Walkley Awards, a Sony World Photography award, and more, according to his website.

Articles: Digital Photography Review (dpreview.com)

 
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