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Portrait of a robot takes 3rd place in prestigious Taylor Wessing Portrait Prize

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

A portrait of an android woman has beaten over 5,700 pictures of humans to take third place in this year’s prestigious Taylor Wessing Portrait Prize. The portrait of Erica secured Finnish photographer Maija Tammi the £2,000 third place in the competition, as well as the £5,000 John Kobal award for a photographer under the age of 35.

First place in the contest was awarded to Spanish journalist and documentary photographer Cesar Dezfuli, who received £15,000 for his striking portrait of a 16-year-old Malian migrant, Amadou Sumaila, rescued from the Mediterranean Sea off the coast of Libya. The picture was taken as part of a project covering the activities of a search and rescue vessel working in the central Mediterranean looking for migrants in trouble.

A similar theme runs through the second placed picture, taken by Abbie Trayler-Smith. She was working for Oxfam outside Mosul as the population was fleeing the crisis in the city caused by the so-called Islamic State. Her image was shot as part of a series documenting the effect of war on women, called Women in War: Life After ISIS.

Tammi’s 3rd placed portrait of the android Erica was taken in a research laboratory in Osaka University. Erica is a highly advanced robot with artificial intelligence that is said to extend to the expression of a range of emotions. The picture is part of a series called One Of Them Is Human, which compares robots to humans and explores what it means to be alive. The judges were not told that Erica is a robot until after the winners were chosen.

As part of her John Kobal award, Tammi also gets to shoot a commission for the National Portrait Gallery.

This year’s competition attracted entries from 2,423 photographers across 66 countries and 5,717 images in total—59 of those, including the winning pictures, will be shown in an exhibition at the National Portrait Gallery in London until the 8th of February. Full priced tickets cost £6, while gallery members get in for free.

For more information see the National Portrait Gallery website.

Press Release

CÉSAR DEZFULI WINS TENTH ANNIVERSARY TAYLOR WESSING PHOTOGRAPHIC PORTRAIT PRIZE 2017 FOR HIS PORTRAIT OF A RESCUED MIGRANT

César Dezfuli has won the Tenth Anniversary Taylor Wessing Photographic Portrait Prize 2017 for his portrait of a migrant rescued in the Mediterranean Sea off the Libyan coast, the National Portrait Gallery has announced. The £15,000 award was presented to the Spanish photographer at an awards ceremony on Tuesday 14 November 2017.

His sitter Amadou Sumaila, a sixteen-year-old from Mali, was photographed in the Mediterranean Sea, in international Waters 20 nautical miles off the Libyan coast. He has since been transferred from a rescue vessel to a temporary reception centre for migrants in Italy. The portrait was taken as part of Dezfuli’s work as a freelancer, documenting the search and rescue of migrants on board an NGO vessel in the Central Mediterranean Route.Dezfuli, who was born in Madrid of Persian descent (10.01.1991), works as journalist and documentary photographer, and focuses on issues of migration, identity and human rights.

‘I think Amadou’s portrait stands out because of the emotions it transmits,’ says Dezfuli. ‘He had just been rescued by a European vessel, apparently fulfilling his dream. However, his look and his attitude show fear, mistrust and uncertainty, as well as determination and strength.’

Judges’ comments: ‘Against the balance and precision of Dezfuli’s composition, the directness of Sumaila’s gaze is striking and unsettling. The portrait powerfully conveys his loss, solitude and determination.’

The winner of the £3,000 Second Prize is Abbie Trayler-Smith for her photograph of a girl fleeing ISIS in Mosul, Iraq. Trayler-Smith was there undertaking a commission for Oxfam documenting the camp where the charity was providing aid, talking to women who had lived under ISIS who were prepared to be photographed.

The winner of the £2,000 Third Prize and the John Kobal New Work Award for a photographer under 35, is Maija Tammi from Finland for her portrait of a Japanese android called Erica. This is the first time in the competition’s history that one of the photographers shortlisted for a prize has also won the John Kobal New Work Award which offers a cash prize of £5,000 to include undertaking a commission to photograph a sitter for the Gallery’s Collection.

The winning portraits will be on display at the National Portrait Gallery as part of the Taylor Wessing Photographic Portrait Prize 2017 exhibition from 16 November 2016 to 8 February 2017. While the photographs are judged anonymously from prints this was the first year in which the competition permitted digital entries for the initial sift.
The prize-winning photographs and those selected for inclusion in the exhibition were chosen from 5,717 submissions entered by 2,423 photographers from 66 countries.

£3,000 Second Prize: Abbie Trayler-Smithfor Fleeing Mosul from the series Women in War: Life After ISIS

Abbie Trayler-Smith (20.05.1977) is a documentary and portrait photographer born and raised in South Wales. Travelling extensively her work covers women’s rights, social development and the aftermath of conflict. Her shortlisted photograph was shot outside Hasan Sham IDP camp in Northern Iraq. Trayler-Smith was there undertaking a commission for Oxfam documenting the camp where the charity was providing aid, talking to women who had lived under ISIS who were prepared to be photographed. A convoy of buses arrived from Mosul, bringing people to safety who had escaped the battle just hours before. ‘I just remember seeing her face looking out at the camp,’ says Trayler-Smith,’ and the shock and the bewilderment in her’s and other’s faces and it made me shudder to imagine what living under ISIS had been like. To me the uncertainty in her face echoes the faces of people having to flee their homes around the world and references a global feeling of insecurity.’

Judges’ comments: ‘The colour and texture of the portrait has a painterly quality, created by the mud-streaked glass through which the young woman is framed. Her haunting expression quietly suggests the unimaginable horrors of life under occupation.’

£2,000 Third Prize and £5,000 John Kobal New Work Award: Maija Tammi for One of Them Is a Human #1 (Erica: Erato Ishiguro Symbiotic Human-Robot Interaction Project.)

The winner of the Third Prize and the £5,000 John Kobal New Work Award is Maija Tammi(05.06.1985) a Finnish artist, with a background in photojournalism, whose photographs engage with science and aesthetics. Tammi’s work has been exhibited in Europe, North America and Asia. She regularly works with scientists and is currently finishing her studio-art-based doctoral thesis. Tammi’s sitter is Erica, a highly advanced robot, programmed by her creator, Hiroshi Ishiguro, to understand and respond to a range of questions and is able to express different emotions via dozens of pneumatic actuators embedded beneath her silicone skin. One of Them Is a Human #1 is part of a broader series which presents androids alongside one human and asks questions about what it means to be alive. The photograph was taken at Ishiguro Laboratory, Department of Systems Innovation at Osaka University, in an experiment room where researchers work with Erica. ‘I had half an hour with Erica and a young researcher in which to take the photograph. The researcher told me that Erica had said she finds Pokemon Go scarier than artificial intelligence.’

Judges’ comments: ‘During the judging process, only the title of each portrait is revealed. It was unclear whether the girl was a human or an android, and this ambiguity made the portrait particularly compelling. Tammi’s portrait offers a provocative comment on human evolution.’

The John Kobal New Work Award is given to a photographer under thirty-five whose work has been selected for the Taylor Wessing Photographic Portrait Prize exhibition. The winner receives a cash prize of £5,000 to include undertaking a commission to photograph a sitter connected with the UK film industry for the Gallery’s Collection.

The annual Taylor Wessing Photographic Portrait Prize exhibition is one of the most prestigious photography awards in the world and showcases new work that has been submitted by some of the most exciting contemporary photographers. Since the international competition began in 1993, it has remained a hugely important platform for portrait photographers and offers an unparalleled opportunity for celebrated professionals, emerging artists and amateurs alike. The competition is in its tenth year of sponsorship by Taylor Wessing.

The competition judges have no knowledge of the identity of the entrants, and the diversity of styles in the exhibition reflects the international mix of entries as well as photographers’ individual and varied approaches to the genre of portraiture. For the third time, photographers were encouraged to submit works as a series in addition to stand-alone portraits, and there was no minimum size requirement for prints. For the second year running, the rules also allow photographers to submit photographs on different supports to the competition – to encourage the demonstration of a range of different photographic processes.

Dr Nicholas Cullinan, Director, National Portrait Gallery, says: ‘Many congratulations to all the prize-winners and selected photographers for their remarkable portraits. I hope that visitors to this tenth anniversary Taylor Wessing Photographic Portrait Prize will enjoy this exhibition of the very best contemporary photography from around the world.’

Tim Eyles, Managing Partner, Taylor Wessing LLP, says: ’Our huge congratulations to everyone shortlisted in this exceptional exhibition, and most especially to the winners. As a law firm we believe strongly in the importance of creativity in bringing solutions to our clients’ business challenges. Encouraging creativity in all of us is at the heart of our philosophy, and what better way than through immersion in the arts. We are privileged to be able to support the Gallery and this remarkably talented community of artists and look forward to doing so for many years to come.’

The competition was judged from original prints by Dr Nicholas Cullinan, Chair (Director, National Portrait Gallery, London); Dr David Campany (Writer, Curator and Artist); Tim Eyles, Managing Partner, Taylor Wessing LLP; Dr Sabina Jaskot-Gill (Associate Curator, Photographs, National Portrait Gallery, London); Fiona Shields (Head of Photography, The Guardian) and Gillian Wearing (Artist.)

The exhibition also features an In Focus display of previously unseen prints from a new body of work by the photographer, Todd Hido, who is known for juxtaposing mysterious and cinematic ruminations on the American landscape alongside portraits of women, which together speak of a fragmented and personal memory of the past. Hido will be the third In Focus artist, selected by National Portrait Gallery curators, following Cristina de Middel in 2016 and Pieter Hugo in 2015. In Focus is an annual showcase for new work by an internationally renowned photographers.

Taylor Wessing Photographic Portrait Prize 2017

16 November 2017 – 8 February 2018

Tickets with donation Full price £6 / Concessions £4.50; Tickets without donation Full price £5 / Concessions £3.50 (Free for Members and Patrons) Supported by Taylor Wessing #photoprize

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

Photo by César Dezfuli

AMADOU SUMALIA

César Dezfuli

From the series Passengers
Inkjet print, August 2016
First Prize £15,000

On 1 August 2016, more than one hundred people were rescued from the Mediterranean Sea, twenty nautical miles from the Libyan coast. On board the rescue vessel, photojournalist César Dezfuli was documenting the plight of migrants as they tried to escape war, persecution and poverty. The portrait shows Amadou Sumaila, a sixteen-year-old from Mali, who was later transferred to a reception centre in Italy. ‘I think Amadou’s portrait stands out because of the emotions it transmits,’ says Dezfuli. ‘He had just been rescued by a European vessel, apparently fulfilling his dream. However, his look and his attitude show fear, mistrust and uncertainty, as well as determination and strength.’

César Dezfuli (b.1991) graduated in journalism and audio-visual communication from the Universidad Rey Juan Carlos, Madrid, Spain followed by a postgraduate qualification in photojournalism. His work documenting human rights issues has been published in numerous magazines and has been seen in group exhibitions in 2017 including First Prize in the Head On Photo Festival 2017 Portrait Category, and awards at the International Photographer of the Year Awards and the Moscow Foto Awards.

Judges Comments: Against the balance and precision of Dezfuli’s composition, the directness of Sumaila’s gaze is striking and unsettling. The portrait powerfully conveys his loss, solitude and determination.

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

Photo by Abbie Trayler-Smith

FLEEING MOSUL

Abbie Trayler-Smith

From the series Women in war: Life after ISIS
Colour coupler print, November 2016
Second Prize: £3,000

This portrait by documentary photographer Abbie Trayler-Smith was made outside the Hasan Sham camp for internally displaced people in northern Iraq during an assignment for Oxfam. A convoy of buses had just arrived, bringing people to safety from the intense fighting in Mosul. She says, ‘I remember seeing the shock and bewilderment in the woman’s face as she looked out at the camp from the window. It made me shudder to imagine what living under ISIS must have been like.’

Abbie Trayler-Smith (b.1977) studied law at King’s College London. In her photographic career she is best known for covering stories concerning women’s rights, social development and the aftermath of conflict for national newspapers, charities and NGOs. Her work has been seen in numerous publications and in group exhibitions. She won First Prize in the Ideastap Magnum Photographic Award 31+ 2014, Second Prize Staged Portraits in the World Press Photo Awards 2014 and won Fourth Prize in the Taylor Wessing Photographic Portrait Prize 2010.

Judges’ comments: The colour and texture of the portrait has a painterly quality, created by the mud-streaked glass through which the young woman is framed. Her haunting expression quietly suggests the unimaginable horrors of life under occupation.

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

Photo by Maija Tammi

ONE OF THEM IS A HUMAN #1 (ERICA: ERATO ISHIGURO SYMBIOTIC HUMAN-ROBOT INTERACTION PROJECT)

Maija Tammi

Inkjet print, December 2016
Third Prize: £2,000 and £5,000 John Kobal New Work Award

The winner of the £2,000 Third Prize and the John Kobal New Work Award for a photographer under 35, is Maija Tammi from Finlandfor her portrait of a Japanese android called Erica. Erica is a highly advanced robot, programmed by her creator, Hiroshi Ishiguro, to understand and respond to a range of questions and is able to express different emotions via dozens of pneumatic actuators embedded beneath her silicone skin. Tammi wanted the judges to consider the advancements made in artificial intelligence and the rapidly blurring lines between man and machine. ‘I wanted to question what it is to be human and what it is to be alive,’ says Tammi.

Maija Tammi (b.1985) undertook a Master of Social Sciences in visual journalism and is currently studying for a PhD in art photography at Aalto University, School of Arts Design and Architecture, Finland. Her work has been seen in group exhibitions in the US, Germany and the UK and her solo exhibition White Rabbit Fever has toured to Finland, Italy and Japan.

Judges comments: During the judging process, only the title of each portrait is revealed. It was unclear whether the girl was a human or an android, and this ambiguity made the portrait particularly compelling. Tammi’s portrait offers a provocative comment on human evolution.

Articles: Digital Photography Review (dpreview.com)

November 23, 2017
Peak Design unveils limited edition Leica Backpack Capsule
Peak Design has teamed with Leica to launch the Peak Design Leica Backpack Capsule, a combination Peak Design Backpack, Cuff (wrist strap) and Leash (neck strap) designed specifically for lovers of that expensive Red Dot.

This limited edition version of the company’s backpack includes subtle Leica trim including the camera maker’s iconic red dot, as well as red stitching.

Peak Design’s Backpack is designed for everyday use by photographers who need to safely transport their gear while traveling or undergoing their daily commute. The bag sports a pair of expandable external side pockets, padded internal accessory pockets, a sleeve for laptops up to 15in, a pair of weatherproof side zips for dual side-loading, a MagLatch top access point, and customizable FlexFold dividers.

Here’s a closer look:

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The Leica Backpack Capsule is currently listed for preorder online at a price of $ 300, but visitors to Leica stores and Boutiques in North America can get one for free (while supplies last) if they purchase a Leica SL before December 31st.

The backpack’s specs are as follows:
- Weight Empty: 1350g (2.9 lbs.)
- Capacity: 12 L min to 20 L max
- Max laptop dimensions: 15″x9.75″x1″ (38x25x2.5cm) – Designed to carry up to a 15 inch Macbook Pro Retina, 2009 or later.
- Max Tablet Dimensions: 14″ X 8.5″ X 0.4″ (33X22X1CM)
- Outer dimensions: 18” H x 12” W x 6.75” D (46 H x 30 W x 17 D cm) (These are unpacked dimensions. Actual size will expand/contract depending on load.)
Articles: Digital Photography Review (dpreview.com)
November 23, 2017
5 Tips for How to Photograph in Any Kind of Weather

If you live anywhere in the northern hemisphere, you must have realized by now that fall is over and winter is slowly but surely creeping up on us. The days are getting shorter, the leaves are changing color (or gone) and here in Chicago, the rain is your constant companion until it gets replaced by snow!

Now if you are primarily an outdoor natural light photographer, you quickly understand that one of the most challenging aspects of your work is the fact that you are so dependent on the weather. You have very little control over it in spite of what the weather man says!

The weather can change almost instantly and ruin some of the best-laid plans for photography excursions and photoshoots. One of the best things you can do is to be prepared to photograph in any kind of weather. With these few simple tips and prep-work, you can continue working in the natural outdoor light as opposed to indoor studio light.

#1 – Full Sun / Bright Light

The sun in all its glory is a beautiful light source and can make any subject pop. Regarded by some as the ideal photographing conditions, bright sun can create a scenario where you have beautiful light and the ability to experiment with shadows.

Sure, some people may think that bright light is bad for portraits, but it all comes down to how you use the light. A great tip for photographing in the bright midday sun is taking pictures in open shade. This is when you position your subject in a shady part of the frame that’s closer to the light. You can also use a reflector if needed to bounce light from the sun onto the subject.

Add a fill light

You can also choose to use a flash to light your subject. In a pinch, use a natural reflector like a bright sidewalk or light color building to do the same if a flash or reflector is not handy. When you are photographing landscapes, it is likely that the whole scene is evenly fit. Here you can try exposing for the whole scene or even underexpose a tad in order to not blow out the sky and retain some detail in the clouds.

Of course, if you are photographing in raw these edits can be done in post-processing also.

This image was taken at the brightest time of day during a visit to the Coliseum in Rome. There was no open shade and I just couldn’t place the subject in any other spot because it was so crowded. Plus the intent of this image was to showcase my daughter in Rome for her class project that was all about ancient Rome. So this is the best I could do given my limitations. You can see the shadows on her face and on her shoulder!

I wanted to capture the essence of the Tuscan countryside – rolling hills, vineyards and tiny villages. There was no real shade or even too many clouds in the sky so I just took this wide angle shot to showcase the expanse of the countryside and the hills that make up the beauty of Tuscany.

#2 – Cloudy / Overcast skies

Photographers love overcast skies. Here the clouds act as a large natural diffuser and spread the light from the sun evenly all over the surface area. Overcast days are known for their diffused light. For some photographers, these are ideal conditions for shooting portraits as your subject will be evenly lit and there are no undesirable shadows or harsh lighting. If you find this type of light too flat and lacking dimension, you can always add an external flash to add some drama to your images.

The day was cloudy and overcast with rain predicted in the forecast for this family photo shoot. I had to add some warmth in post-production because everyone was looking a little washed out. The positive to the overcast sky is that there were no harsh shadows to deal with.

If you’re shooting landscapes in this type of weather, you will soon realize that a gray sky doesn’t add much to the scene. This is not to say that these types of images are bad. I try and photograph architecture shots with some creative negative space when dealing with overcast skies. I find that this sort of weather is great for bringing focus to the subject alone without any distraction from a blue sky and puffy clouds.

If you want to add some drama to a landscape shot during overcast conditions, perhaps you can wait for some dark, stormy could to roll on in and capture the weather-related drama in your landscape shot.

It had just rained in Vrindhavan, India and the dark clouds were slowly moving out. The day was overcast and since I did not have too much time at the banks of the river, I chose to showcase the temple with a reflection in the water to add some interest and drama.

#3 – Rain

A rainy day presents its own challenge in terms of keeping expensive gear and your subject dry and comfortable. You can always use an umbrella to protect your gear and as a creative prop in your portrait shots by simply using it as part of the shoot. As an alternative, look for areas that are shielded from the rain, such as alleyways, tree canopies, building overhangs, and other such elements.

Try taking a wide-angle shot that takes in the area, subject, and the atmosphere to tell your story and make it a little bit more interesting. The biggest challenge you face is the need to protect your gear as well as be creative in your shots. There are many options out there to protect your gear but sometimes just a simple grocery bag over the camera will do the trick!

Driving through Theodore National Park just after the rain rendered the landscape such a vibrant array of green and yellow.

Photographing in the rain or snow for that matter presents another challenge in that the rain/snow may cause your autofocus to change mid-shoot. A good tip would be to focus on the subject and then lock it. Also, try using a lens hood so no rain/snow falls on the actual lens surface. My feathered friend was either having a bath in the rain or waiting patiently for me to leave so he could get back to his hunting! I lost focus a couple of time but then used the focus lock (or you can use back button focus) and the lens hood to eliminate that problem.

I absolutely love photographing these birds and luckily for me, they come often to the pond behind my house. My lens was well protected but I got drenched during this shoot.

#4 – Fog

I don’t know about you, but the fog is probably my favorite kind of weather in which to photograph. I love the way fog adds an element of mystique and interest without doing much. In technical terms, on a foggy day, the water particles in the air redirect the light rays, spreading them out more evenly. This almost acts like a giant softbox along the area in the fog giving you beautiful diffused light.

Experiment in the fog to find the camera settings that best suit your needs but I have found that foggy conditions require longer exposures than normal since you are essentially dealing with overall less light. You can use a tripod to help reduce any camera shake. Keep in mind that like snow, fog is reflective, and it can fool your camera’s meter into thinking that there’s more light in the scene there actually is. Use exposure compensation just as you would when shooting a snowy landscape and even overexpose by a few stops if needed.

Other considerations

Again, if you photograph in RAW you can always edit to taste in post-processing. But I have found that when your image is underexposed, increasing the exposure in post-production adds noise in the shadows.

Another thing to note is that on foggy days finding focus might be an issue because everything around you is hazy and not quite clear. Here you can use manual focusing if your camera is having trouble focusing on the subject among all the fog.

Fog adds just the right kind of magic to any landscape in my opinion. I have been known to stop the car, stand in the middle of the road to document landscapes such as these….don’t judge!

The best kind of fog is when you have a deserted beach, sea stacks and tiny humans having fun exploring the tidal pools!

#5 – Snow

If you’re taking pictures as it’s snowing, be sure to cover your camera as it is essentially the same as shooting in rain. If you are out and about after it has snowed, keep in mind that the road conditions and walkways can be treacherous.

I have slipped and fallen a couple of times in the snow with my gear and it always makes me very nervous. The worse was when I fell in Yellowstone National Park right before attending a Winter Landscapes workshop. My wide angle lens suffered some damage and I was unable to use it during the class because let’s face it, Yellowstone is in the middle of nowhere so no chance of an urgent repair!

Another thing to ensure is adequate protection for yourself from the elements. Being outside in the snow can get quite uncomfortable especially if you are outdoors for an extended period of time. Make sure you cover your extremities from overexposure to the elements. Hand warmers and foot warmers are great for keeping fingers and toes warm and cozy when out photographing in the cold.

Also, keep in mind that camera batteries tend to drain faster in colder weather, so ensure that you have fully charged spare batteries handy. From a technical standpoint, snow is a very reflective surface, so ensure that your camera is metering effectively and not blowing out the snow if it is part of your frame.

My biggest tip for photographing in the snow – wear layers and thermals. Then the sky is the limit in terms of the amount of fun you can have! I tend to underexpose just a tiny bit so that I don’t lose all detail in the snow.

Conclusion

I hope you have realized by now that mastering photography in any weather conditions really boils down to being prepared and knowing exactly what to expect. Go out and practice in each of these situations so that you know all the things that you need to be aware of. Then the next time the weather gods decide to have a little fun at your expense, you will be well prepared.

Do you have any other tips to help master photography in any weather, feel free to let the community know in the comments section below.

The post 5 Tips for How to Photograph in Any Kind of Weather by Karthika Gupta appeared first on Digital Photography School.

Digital Photography School

November 23, 2017
Rotolight Anova Pro 2 features improved output and ‘unrivaled battery’

Lighting manufacturer Rotolight has introduced a mark 2 version of its Anova Pro circular LED stills and video light. The Anova Pro 2 is the same size as the previous model, but according to the company, the new model features a 70% uplift in brightness, “unrivaled battery performance”, and up to 10,700 lux at 3 feet instead of 6,280 in continuous mode.

Like the previous model, the Anova Pro 2 also operates as a flash unit, and is capable of high speed sync at up to 1/8000sec. Rotolight says the flash mode has no recycle time and that the maximum output has been increased by 250%.

The Anova Pro 2 also has the Elinchrom Skyport system built-in to allow wireless radio triggering and control of the lights. The Skyport receiver has a range of 200m and provides remote access to light levels in flash and continuous modes, as well as color temperature and the built-in CineSFX cinema effects.

Gillian Anderson by Mark Mann Martin Scorcese by Mark Mann

Rotolight says the CineSFX effects—which create various flashing patterns to simulate the light from a fire or a TV, for example—have been improved to give them ‘enhanced realism’ with the help of Batman and James Bond visual effects cinematographer Stefan Lange. The unit also has variable color temperature settings that run from 3150 to 6300K, a CRI value of >96, and a Television Lighting Consistency Index of 91.

Although its rating of 72W uses more power than the original version, it still has the best power consumption ratio in the industry when the output is taken into consideration, says Rotolight. The light can be powered by a V-Mount battery or directly from the mains supply.

The Rotolight Anova Pro 2 will be available next month, starting from £1250/$ 1625/€1400 including integrated DMX, V-lock battery plate, wireless Elinchrom receiver, and 4-piece filter kit as standard.

For more information, visit the Rotolight website.

Press Release

ROTOLIGHT UNVEIL ANOVA PRO 2

Revolutionary LED Studio/location light

Rotolight, award-winning British LED lighting manufacturer, has announced the launch of Anova PRO 2; a pioneering continuous light and High Speed Sync (HSS) flash for creative image-makers. Redefining the standard for professional LED lighting in studio or location, Anova PRO 2 is one of the brightest LED lights ever launched in its class, delivering 10,700 lux at 3 feet. Packed with innovative features for television, film production, and photography, the Anova PRO 2 is the 4th generation of Rotolight’s award winning studio/location light.

The Rotolight Anova PRO 2 embodies the pinnacle of LED technology, designed for the most demanding of professionals. Offering 70% more power output than its predecessor, Rotolight Anova PRO 2 provides the best power to consumption ratio in the industry, as one of the most energy efficient LED panels ever designed. With a mere 72W consumption, Anova PRO 2 reduces operating costs for TV studios, whilst providing unrivalled battery performance on location.

Anova PRO 2 delivers outstanding colour reproduction (CRI>96, TLCI 91) eliminating the need for expensive post production, whilst featuring electronically adjustable colour temperature in both flash and continuous modes (6300-3150K).

“The Rotolight Anova PRO 2 is the perfect light for working in the live television environment. We are able to light people accurately, very quickly, saving us time, mistakes on air and a lot of money” says Wesley Dodd, CEO Celebro Media.

Rotolight are the lighting provider of choice for Celebro, London’s first fully 4K television studio regularly used by global broadcasters such as the BBC, MTV, and the Discovery Channel. As an existing Rotolight customer, Celebro Media were keen to be the first in the world to get their hands on Rotolight’s latest lighting innovation.

“We are very excited to have placed an order for 200 of the Anova Pro 2 lights for our new studios opening this year in Washington, Moscow and Los Angeles” says Dodd.

Due to its powerful output, yet lightweight nature, Anova PRO 2 is also ideal on location, and has become the light of choice for Italian state broadcaster RAI TV, who recently acquired 150 Anova PRO Kits for their ENG production teams.

“Rotolight is a totally unique product, as it works equally well in the studio and the field. As we develop the Live OB side of our business, the Anova PRO 2 was an obvious addition to our equipment list. Having a lighting fixture with such a substantial increase in power output means we will be able to cope with the most demanding of locations or weather conditions, whilst its battery efficiency simplifies our setup. The addition of an RJ45 DMX connection allows us to install them in our studio, at a fraction of a cost with the same professional results” says Andrew Lebentz, Head of Production for Celebro Media.

For television and film production, Anova PRO 2 includes a customizable suite of Rotolight’s award winning CineSFX™ (Fire, Lightning, TV, Gunshot, Paparazzi etc) which eliminate the need for expensive, time consuming legacy ‘flicker-box’ workflows. Designed in conjunction with Stefan Lange, Visual FX veteran (Batman, James Bond ‘Skyfall’, Tomb Raider), the patented CineSFX™ suite has been updated with ‘enhanced realism’ and the addition of a ‘Chase’ FX capability, to simulate the effect of motion on static sets. The newly integrated wireless Elinchrom Skyport receiver enables wireless control of CineSFX, colour temperature and brightness from up to 656ft(200m).

For professional photographers, Anova PRO 2 also features an updated High Speed Sync (HSS) flash capability (1/8000th), with a 250% power boost in flash mode. With zero recycle time, you’ll never miss a shot, making it the perfect choice for today’s high frame rate capable cameras. Anova PRO 2 can be simultaneously a continuous ‘modelling light’ and HSS flash, allowing the photographer to easily acquire focus in dimly lit situations and optimise composition. The unique circular shape also provides a naturally soft, flattering light output, with Rotolight’s signature catchlight effect.

Celebrity photographer Mark Mann (Margot Robbie, Martin Scorsese, Benedict Cumberbatch) said:

“I’ve shot strobe my entire career, and had always been intrigued by continuous light, but never found any that I liked until the Rotolight Anova. The quality of light is absolutely beautiful, it gives you a very filmic feel. Versatile, consistent and reliable, it also looks good on set and I know it will always deliver in high turnaround environments. As a photographer who’s being asked more and more to shoot video and stills at the same time, Rotolight has really improved my work flow”.

Anova PRO 2 is available from £1249.99ex/ $ 1625/1399euro and ships as standard with integrated DMX, V-lock battery plate, wireless Elinchrom receiver and 4 piece filter kit as standard. A wide range of additional accessories and modifiers are separately available. Shipping December 2017, for more information visit www.rotolight.com

Articles: Digital Photography Review (dpreview.com)

November 23, 2017
Designer imagines the perfect keyboard for Adobe software

Designer Vinicius Araújo has created a series of concept images that imagine what a keyboard may look like if it were made by Adobe specifically for Photoshop and its other specialized software. Araújo shared the images on Behance under the handle VA Designer, where he shows a concept that containing half a dozen touch shortcuts, a scroll wheel, colored LED lighting, and a high level of sensitivity.

While various DIYers have developed their own enhanced control methods for some Adobe products—such as using a PS3 gamepad to control Lightroom—and some interesting options do exist, a perfect hardware companion to the software suite remains elusive.

Araújo’s concept imagines what that companion device might look like should one ever be developed.

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Rather than using color-coded shortcuts, this concept presents a sleek low-profile keyboard with several customizable touch pads on the left, and a small display in the upper right-hand corner. That display shows which tool is currently active in the software, and is joined by a smaller display just above it that shows the application in use.

Above the keyboard’s function keys resides a display somewhat similar to the Touch Bar found on some MacBook Pro laptops. The concept’s upper display, however, is used to present the logos for Adobe software not currently in use; tap one of the logos, and the related application will launch on the computer.

Finally, the concept also includes a scroll wheel that could be used to precisely adjust sliders or select colors in programs like Lightroom and Photoshop. The inclusion of a scroll wheel on a keyboard isn’t a new idea, though; Logitech, for example, recently introduced a keyboard with a scroll wheel for use with products like Adobe Photoshop.

Because this is simply a concept design, it isn’t available to purchase as an actual product, but we’d be curious to hear your thoughts on Araújo’s keyboard. How would you improve upon it? And would you buy it if it were to become reality?

Articles: Digital Photography Review (dpreview.com)

November 23, 2017
10 Reasons Why You Need to Learn to Love Your Tripod

When I first purchased my tripod it sat unused for several months. In some ways, I was a bit afraid of it, all the effort of having to carry it around and set it up, etc. Would people look at me funny? Was it heavy to carry around? Setting it up properly looked complicated and seemed to take ages. Did I really need one?

After a trip in what turned out to be a low light environment where I wasted a day of travel by coming back with no sharp shots, I bit the bullet and dusted off that tripod. Now it pretty much goes wherever my camera goes and is my go-to accessory in many situations.

Eventually I learned to love my tripod, hopefully, you will too. Some people think having a tripod limits your capabilities. Yes, you do have to carry it, which may limit where you go, or how far you can carry it. But it is my opinion that even with those limitations, the benefits of using a tripod far outway the issues.

Reasons to Love your Tripod

#1 – Slowing Down is a Good Thing

Having to position your tripod, take the time to set up the camera, get the angle and framing right all take time. This means you often need to think about where you will position your gear before you actually do so. Then it means you need to think quite specifically about your composition so you can put your gear in the right place to achieve that.

All this careful consideration gives you time to look at your subject, to really take time and properly see it, to see the possibilities beyond the first initial obvious frame you might take. Taking the time to think about your composition also offers opportunities to be creative and experiment.

An overhead flat still life shot takes a lot of fiddling to get set up correctly.

Camera set up in an overhead position, pointing straight down. Not all tripods allow this movement with the center pole, so check before you purchase.

An L Plate tripod mount makes it much easier to change between portrait and landscape orientation, but they are an extra cost. Provided your tripod head has drop notches, this is easy to achieve.

A quick release lever tripod mount is my preferred option. Other choices include screw mounted closures instead. Note the included spirit level.

2 – The Tripod Carries the Weight

If you have a large or heavy lens (and camera body) it can be very tiring to lift and hold and shoot with for extended periods. Bird and wildlife photographers often use long lenses that can be very heavy. A tripod will take the weight for you, allowing you to shoot for longer without fatigue. If you need more flexibility in capturing birds in flight, or animals on the move, a gimbal head allows freedom of movement and support at the same time.

This is the wrong way to be using the center column, it adds the opportunity for vibration and is not very stable.

3 – Video

I am not a videographer myself, but there is nothing worse than watching a wobbly handheld video. Keeping it steady on a tripod with a fluid head is a good way to start.

4 – Sharpness and Stability

Of course, the whole point of using a tripod is to ensure you get sharp shots by removing any camera movement or vibration. Additionally, you can use a remote or self-timer to limit further physical contact when taking the shot and maximize sharpness. My camera has a custom setting for landscapes that flips up the mirror and pauses for 2 seconds for the vibrations to flatten before the shutter clicks.

Using an L plate makes it easier to mount the camera in either landscape or portrait orientation.

L Plate with the camera set up in Portrait.

5 – Macro

When dealing with a small subject and a very limited depth of field, getting focus on the right spot can be hard. It is even harder when you are hand holding to keep the focus steady. Just breathing is enough movement to throw the line off and end up with blurry shots. Using a tripod combined with manual focus is often a good way to improve your keeper ratings with macro photography.

Additionally, if your camera supports it, using live view and zooming in to fix the focus more accurately could improve your keeper rate a huge amount (it did for me). My final tip is to use a wireless remote as well.

6 – Landscape and Panorama

Lugging a tripod on a hike for a day seems like a huge effort, but being able to set up your camera and take sharp shots is worth it in my opinion. Should you want to experiment with hyperfocal distances a tripod is recommended. Using filters to tone down a bright sky? Need a tripod.

Landscapes often lend themselves to a panorama, where you take several shots and blend them into one big (usually long) one. It is important to get your horizontal or vertical lines straight so the frames match up when you are stitching them together in software. You also need to make sure the camera is oriented flat on the rotation as well. Some people even work out the parallax point and may shoot using a nodal rail.

All these elements require a tripod to ensure they happen correctly.

This 7-minute long exposure absolutely required the use of a tripod.

7 – Low Light

All cameras struggle when the light situation is low – astrophotography, light painting, timelapse, light trails or just generally limited lighting circumstances. To counter the limited light, the camera will be required to hold the shutter open for longer. It is very difficult to hold a camera perfectly steady in your hands for even one second, let alone 20 seconds, or even several minutes.

The only way to guarantee sharp shots is to hold the camera still, in other words, use a tripod.

A long exposure shot of around 20 seconds to try and remove the crowds of people attending the event, instead I have blurry ghosts.

Night shot of a fire dancer – the tripod allowed me to take a longer exposure time and capture the trails of fire.

8 – Special Effects

Focus stacking, HDR (High Dynamic Range) and exposure blending are reasonably commonly used special effects these days. The common factor is several frames are taken but the camera itself stays perfectly still (or may only move in tiny increments). The multiple images are then blended together later using post-processing techniques. Therefore in order to keep the camera perfectly still from frame to frame, you must use a tripod.

Two frames are blended for this shot, the berries in one and the falling icing sugar in another.

9 – Long Exposures

Those lovely foamy waterfalls and swirls of whitewater in streams or smoke like waves around rocks and shorelines require exposures of that are much longer than usual. They could be tenths of a second, a few seconds or several minutes, depending on the lighting conditions. To keep your camera that still for that long, demands a tripod must be used.

Often, to simulate the limited lighting conditions required to give the very soft flowing effect, filters will also be used, which are mounted on the front of the lens. It is very difficult to load and mount the filters if the camera is not sitting on a tripod, leaving your hands free to add the extra equipment.

Shot at 1/15th of a second, too long to handhold steady, but long enough to capture the colored lights on the trees.

10 – Self-Portraits

Not the quick snap up the nostrils at arm’s length which is the best you can hope for with a cell phone usually. Instead, using a tripod allows you to be very creative with your self-portraits. Adding in a wireless remote, and shooting fine art self-portraits becomes easy and fun.

Top view of a camera with a wireless remote trigger mounted on the hot shoe and plugged into the camera.

Back view of a camera with a wireless remote trigger mounted on the hot shoe and plugged into the camera.

Wireless remote and a camera trigger ready to be plugged into the camera.

This self-portrait was taken with the camera in an overhead position pointing straight down. The remote was in my hand.

Summary

Tripods require some effort to use. They must be taken with you, whether that be in the studio, a wander in the gardens or several hours long hike in the mountains. It is extra weight and an awkward shape to carry. For many people, they prefer to go without and successfully manage to do so.

Personally, I believe the benefits a tripod offers are invaluable. By forcing me to slow down and think more about my photography, my composition skills improved a great deal with my landscape work.

Being prepared to use and experiment with a tripod allowed me to move into macro photography. Adding in manual focus and a wireless remote improved my sharpness and accuracy with very limited depth of field.

Having the capability to set the camera up at unusual angles and heights, and keeping my hands free for other things gave me the freedom to try out food photography, still life shots and creative self-portraits.

Anytime you need the camera to hold still for just a bit longer than you can (or want to) hold it is when you need a tripod. There are lots of fun things you can shoot but they might be difficult if your hands aren’t very steady or your gear is heavy.

So learn to love your tripod, soon it will be your best friend.

The post 10 Reasons Why You Need to Learn to Love Your Tripod by Stacey Hill appeared first on Digital Photography School.

Digital Photography School

November 22, 2017
Top 10 sample galleries of the year #3: the Fujifilm X100F

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We’re counting down our top 10 most popular sample galleries of 2017 and at long last we’ve reached our top 3 galleries. Holding it down with the bronze medal is the Fujifilm X100F.

What do you say about a camera like the X100F? It’s a staff favorite for sure – we gave it a gold award in our review. Even after publishing that, we found ourselves taking it on road trips and using it to photograph Seattle’s famous cherry blossoms. We were even fortunate enough to get our hands on an early version of the X100F prior to its release and shot a beta sample gallery as well. Check that out below:

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Top 10 most popular sample galleries of 2017:

#10: Sigma 14mm F1.8 Art
#9: Fujifilm GFX 50S
#8: Nikon D7500
#7: Olympus Tough TG-5
#6: Sigma 85mm F1.4
#5: Fujifilm X-T20
#4: Leica M10
#3: Fujifilm X100F
#2: To be revealed on 11/23
#1: To be revealed on 11/24

Articles: Digital Photography Review (dpreview.com)

November 22, 2017
Leica CL: first sample images

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The Leica CL is a 24MP rangefinder-style mirrorless camera, which sits alongside the TL2 in the company’s APS-C lineup. We’ve been using one for a few days, with the brand new Elmarit-TL 18mm F2.8 pancake prime. Check out our gallery of images.

See our Leica CL sample gallery

Articles: Digital Photography Review (dpreview.com)

November 22, 2017

Leica CL brings built-in viewfinder, conventional control layout to L lineup

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Leica has just released the CL, the forth in its series of APS-C L-mount cameras. While it shares a name with a camera released in the mid-70s, the new CL is a thoroughly modern ILC, with a 24MP sensor, 10 fps continuous shooting and 4K/30p video capture.

Compared to the TL2, the CL offer more conventional handling, including twin exposure dials, physical buttons for menu and playback, and a 4-way controller. It also features a high-resolution 2.36 million-dot EVF built in. Despite the more traditional ergonomics, the CL’s rear LCD is touch-sensitive, and supports swipe gestures for image navigation and mode switching.

The CL is being launched alongside a new Elmarit-TL 18mm F2.8. At just 20.5mm/0.8in in length, Leica calls the “smallest wide-angle APS-C pancake lens currently available in the market.”

Pricing for the CL and the new 18mm follows below:

Body only, black anodized finish : $ 2,795.00
Leica CL Prime Kit with 18 mm : $ 3,795.00
Leica CL Vario Kit with 18-56 mm : $ 3,995.00
Elmarit-TL 18 F2.8 ASPH, black / silver anodized : $ 1,295.00

Press release

Leica Camera Unveils Expansion of its APS-C System with the New Leica CL and Smallest Wide-Angle APS-C Lens

The new mirrorless camera and lens unite innovation, ease of use and compact design for exceptional visual storytelling

November 21, 2017- Leica Camera unveils the latest addition to its APS-C system with the Leica CL, a new camera that boasts an exceptional balance of state-of-the-art technology, mechanical precision and intuitive, classic design to make it the ideal everyday companion, a perfect fit for all types of photography. With stunning image quality – even in low-light scenarios – new electronic viewfinder technology and superb video capabilities, the Leica CL is the ultimate tool to capture everyday moments, all customizable to the photographer’s style. Available on its own or in two new camera-and-lens kit options, the Leica CL makes it simple to incorporate the art of photography into one’s daily life.

Alongside the Leica CL, the iconic photography brand is further diversifying the APS-C system’s portfolio of lenses by introducing the Elmarit-TL 18 mm f/2.8 ASPH., the smallest-in-class wide-angle lens with supreme imaging performance.

Evolution of the Leica APS-C system portfolio
With the launch of the Leica CL, the Leica APS-C System now encompasses two remarkable camera models, the Leica CL and the Leica TL2. In technical terms, the two cameras are equals, but retain stark differences in regards to their design and handling. The Leica CL reflects the traditions of Leica with its iconic industrial design, classic physical button controls and dials, while the Leica TL2 embodies a futuristic look, featuring a touchscreen and full-body aluminium. Coupled with the extensive portfolio of lenses, the Leica CL and Leica TL2 make for a formidable system portfolio offering an array of specialized and distinct photographic experiences.

Introducing the Leica CL
The Leica CL is rooted in Leica’s legacy, calling upon the brand’s heritage look with modern technical features. The instinctual and convenient design of the camera features a user-friendly handling concept, providing for an exceptionally intuitive tool whose compact size and light weight allow for maximum mobility. All essential controls are located on its top plate with just two dials for setting the aperture, shutter speed, ISO value, exposure compensation and shooting mode, for quick and intuitive handling. Keeping convenience at the forefront, all relevant shooting information is viewable on the small LCD screen atop the camera, instantly providing settings and exposure parameters at a glance.

Another outstanding feature of the Leica CL is its built-in electronic viewfinder. With EyeRes® technology developed by Leica specifically for this camera, the viewfinder enables a top-tier viewing experience. Most notable among a number of advantages of the built-in EVF, is the ability to preview the brightness and color of the final image before the shutter release is fully depressed, allowing photographers to always be in control over the composition and exposure.

Alongside an impeccable view of your subjects, the Leica CL offers best-in-class image quality. In combination with the high-resolution, 24 MP, APS-C format sensor of the Leica CL, a Maestro II series processor and fast autofocus system with 49 AF points guarantee brilliant photographs in all situations, including low-light scenes. In addition to being an impressive still-picture camera, the Leica CL also captures striking video at a resolution of up to 4K at 30 frames per second.

Keeping connectivity as a top priority, the Leica CL is equipped with an integrated Wi-Fi module allowing photographers to quickly and easily share their stunning photos and videos by email or on social networks with the Leica CL App for iOS or Android. The remote function of the app also provides the capability for mobile devices to be used as an off-camera remote viewfinder, allowing control of exposure parameters, including when shooting with the self-timer function or from unusual angles.

Thanks to the L-Bayonet mount shared by the Leica TL- and SL-Systems, SL-Lenses can also be used without an adapter on the CL and the TL2. Appropriate adapters are also available for using Leica M- and R-Lenses on the cameras, offering unparalleled creative flexibility and making the Leica CL one of the most versatile cameras in the Leica portfolio.

New Leica Elmarit-TL 18 mm f/2.8 ASPH.
To complement the Leica APS-C system, Leica is expanding the impressive TL lens portfolio with a ground-breaking new lens. Compact and lightweight, the new Elmarit-TL 18 mm f/2.8 ASPH. holds the title as the smallest wide-angle APS-C pancake lens currently available in the market. When mounted to the Leica CL, the camera and prime lens are small enough to fit into a coat pocket or small handbag – providing incredible images everywhere you go. Despite being just 20.5mm (less than one inch) in total length, the lens sacrifices nothing, providing the unrivalled imaging performance all Leica lenses are known for. Travel photography is easy with this light and dynamic lens, especially when paired with the Leica CL.

As a whole, the Leica APS-C System portfolio of lenses offer exceptionally high picture quality and infinite opportunities for creative photography. In addition to the Elmarit-TL 18 mm f/2.8 ASPH., the selection of lenses currently includes three zoom lenses (Super-Vario-Elmar-TL 11-23 mm f/3.5-4.5 ASPH., Vario-Elmar-TL 18-56 mm f/3.5-5.6 ASPH. and the APO-Vario-Elmar-TL 55-135 mm f/3.5-4.5 ASPH.) as well as three prime lenses (Summicron-TL 23 mm f/2 ASPH., Summilux-TL 35 mm f/1.4 ASPH. and the APO-Macro-Elmarit-TL 60 mm f/2.8 ASPH.).

All bundled up
To make the stunning new Leica CL more easily accessible to both new and current Leica fans looking to make their first step into the APS-C system, the Leica CL will be offered in two bundle options alongside an accompanying lens. The “Prime Kit” will include the new Elmarit-TL 18 mm f/2.8 ASPH lens, while the “Vario Kit” option includes the Vario-Elmar-TL 18-56 mm f/3.5-5.6 lens, allowing photographers to get into this new camera and growing system with a lens that best suits their photography style in an easy-to-grab kit.

Availability
The Leica CL and Leica Elmarit-TL 18 mm f/2.8 ASPH will both be available from Leica stores, boutiques and dealers at the end of November. The Leica CL body, in black anodized finish, will be $ 2,795.00 while the Prime and Vario Kits will be $ 3,795.00 and $ 3,995.00 respectively. The new Leica Elmarit-TL 18 mm f/2.8 ASPH, in black or silver anodized finish, will be $ 1,295.00.

Leica CL specifications

Price
MSRP	$ 2795 (body only), $ 3795 (w/18mm lens), $ 3995 (w/18-56mm lens)
Body type
Body type	Rangefinder-style mirrorless
Body material	Magnesium alloy
Sensor
Max resolution	6014 x 4014
Image ratio w:h	3:2
Effective pixels	24 megapixels
Sensor photo detectors	25 megapixels
Sensor size	APS-C (23.6 x 15.7 mm)
Sensor type	CMOS
Processor	Maestro II
Color space	sRGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-50000
White balance presets	5
Custom white balance	Yes (2 slots)
Image stabilization	No
Uncompressed format	RAW
File format	JPEG Raw (DNG)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Number of focus points	49
Lens mount	Leica L
Focal length multiplier	1.5×
Screen / viewfinder
Articulated LCD	Fixed
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.74× (0.49× 35mm equiv.)
Viewfinder resolution	2,360,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/8000 sec
Maximum shutter speed (electronic)	1/25000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Scene modes	sport portrait landscape night portrait snow/beach fireworks candlelight sunset digiscoping miniature panorama HDR
Built-in flash	No
External flash	Yes (via hot shoe)
Flash X sync speed	1/180 sec
Drive modes	Single Continuous low/med/high Interval Exposure bracketing
Continuous drive	10.0 fps
Self-timer	Yes (2 or 12 secs)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3 (at 1/3 EV steps)
AE Bracketing	±3 (3 frames at 1/3 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	3840 x 2160 @ 30p, MP4, H.264, Linear PCM 1920 x 1080 @ 60p, MP4, H.264, Linear PCM 1920 x 1080 @ 30p, MP4, H.264, Linear PCM 1280 x 720 @ 30p, MP4, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-II supported)
Connectivity
HDMI	No
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (via smartphone)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	BP-DC12 lithium ion battery & charger
Battery Life (CIPA)	220
Weight (inc. batteries)	403 g (0.89 lb / 14.22 oz)
Dimensions	131 x 78 x 45 mm (5.16 x 3.07 x 1.77″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

November 22, 2017

Video: first look at the Leica CL

Meet the Leica CL, an interchangeable lens mirrorless camera with a 24 megapixel APS-C sensor. It uses Leica L mount and sits alongside the Leica TL2. The CL differs from the TL2 by offering an electronic viewfinder and a traditional control layout. Find out what else it’s got going for it in our 90 second ‘First look’ video.

Articles: Digital Photography Review (dpreview.com)

November 22, 2017


Gillian Anderson by Mark Mann	Martin Scorcese by Mark Mann

Blog

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

CÉSAR DEZFULI WINS TENTH ANNIVERSARY TAYLOR WESSING PHOTOGRAPHIC PORTRAIT PRIZE 2017 FOR HIS PORTRAIT OF A RESCUED MIGRANT

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

Taylor Wessing Photographic Portrait Prize 2017 Winners Announced

#1 – Full Sun / Bright Light

Add a fill light

#2 – Cloudy / Overcast skies

#3 – Rain

#4 – Fog

Other considerations

#5 – Snow

Conclusion

ROTOLIGHT UNVEIL ANOVA PRO 2

Reasons to Love your Tripod

#1 – Slowing Down is a Good Thing

2 – The Tripod Carries the Weight

3 – Video

4 – Sharpness and Stability

5 – Macro

6 – Landscape and Panorama

7 – Low Light

8 – Special Effects

9 – Long Exposures

10 – Self-Portraits

Summary

Top 10 most popular sample galleries of 2017:

Leica Camera Unveils Expansion of its APS-C System with the New Leica CL and Smallest Wide-Angle APS-C Lens

Leica CL specifications