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  • Fujifilm X-E3 offers 24MP sensor and extensive touch control

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    Fujifilm has announced the X-E3, sporting a 24.3MP X-Trans sensor and 4K video capture. It updates the X-E2S, which was itself a fairly minor update to the X-E2, so brings a number of welcome upgrades.

    The X-E3 borrows much of its hardware from the X-T20, including a 325-point AF system with a handy new AF Area All option that activates various modes as the AF point size is changed. The camera also uses and updated subject tracking algorithm that claims better success tracking smaller and faster objects. Its predecessor’s built-in flash has been omitted, but an EF-X8 accessory flash is included in the box.

    Video recording at 4K/30p is offered, taken by the full width of the sensor. Full 1080 HD can be had at up to 60p. The X-E3 continues to offer Wi-Fi, and adds the option for a constant Bluetooth low energy connection to a smartphone.

    The X-E2S’s fixed 3″ 1.04M-dot LCD has been upgraded to a (still non-articulated) touchscreen in the X-E3, and a new feature called Touch Function puts additional customizable touch controls at the user’s fingertips. The camera’s rear control panel loses the directional navigation buttons in favor of touch control, but gains an AF joystick.

    The Fujifilm X-E3 is expected to arrive in September in three kit configurations: body-only for $ 900, with 18-55mm for $ 1300, or with 23mm F2 R WR for $ 1150.

    FUJIFILM ANNOUNCES NEW ULTRA-COMPACT X-E3 WITH 4K VIDEO, TOUCHSCREEN, UPGRADED AF TRACKING AND BLUETOOTH CONNECTIVITY; NEW FUJINON XF80MMF2.8 R LM OIS WR MACRO LENS

    Latest development of the X Mount Lens Roadmap unveiled; new Firmware Updates for FUJIFILM X-Pro2, X-T2, X100F and X-T20 coming soon

    Valhalla, N.Y., September 7, 2017 – As a leader in advanced digital camera technology, FUJIFILM North America Corporation today announced the new FUJIFILM X-E3 rangefinder style mirrorless digital camera with outstanding image quality and enhanced handling. The X-E3 features the latest 24.3MP X-Trans CMOS III image sensor and the X-Processor Pro high-speed image processing engine, along with a new image recognition algorithm in an ultra-compact body.

    Also announced today is the new XF80mmF2.8 R LM OIS WR Macro Lens, the first 1.0x magnification mid-telephoto macro lens in the X Series lineup of interchangeable lenses. The lens features a focal length equivalent to 122mm (in the 35mm format) and a maximum aperture of F2.8 for beautiful bokeh.

    Exceptional Autofocus Tracking and High-Speed Response
    The FUJIFILM X-E3 features a large phase detection autofocus (AF) area and provides photographers with enhanced tracking performance for moving subjects. Equipped with a newly developed image recognition algorithm, the X-E3 is able to track moving subjects half the size, or moving twice as fast as previous models.

    The X-E3 supports both Full HD and 4K video recording. Videos can be shot with Film Simulations in-camera to easily produce creative high-resolution footage.

    The compact and lightweight X-E3 is perfect for quick snapshots, boasting high-speed response times including a start-up time of just 0.4 seconds, shooting interval of 0.25 seconds, shutter time lag of 0.05 seconds and autofocus speed as fast as 0.06 seconds.

    Enhanced Connectivity and Intuitive Touchscreen Control
    The X-E3 is the first X Series model to feature Bluetooth® low energy wireless communication. Providing photographers with enhanced connectivity, this feature offers the ability to pair the camera with a smartphone or tablet for easy transfer of pictures via the free FUJIFILM Camera Remote application.

    The X-E3 features a high-resolution 3.0 inch 1.04M-dot static touchscreen LCD monitor to provide users with easy, intuitive operations in a variety of shooting and playback modes. When shooting with the X-E3, the touchscreen can be used to select the focus area, or focus on a specific point before taking a picture. For playback, users can enjoy the ability to swipe or scroll through images, double-tap to enlarge, drag an image once enlarged, along with pinch-out and pinch-in sizing. A new Touch Function feature will also be available on the X-E3, enabling users to create customized camera functions by swiping left, right, up and down on the touchscreen panel.

    Ultra-Compact and Lightweight Body for Portability and Practicality
    Making it the perfect companion for everyday shooting and travel photography, the new FUJIFILM X-E3 is the most compact and lightweight model with a viewfinder within the X Series interchangeable lens camera range. The X-E3 also features a Focus Lever positioned on the rear side of the camera that allows photographers to use joystick-type operations in eight directions to easily select a focus area.

    The top plate features two precision-milled aluminum dials, giving the camera a premium feel and allowing users to easily adjust the shutter speed and exposure compensation while maintaining focus on taking a picture. The Exposure Compensation Dial now has the C position for exposure compensation up to ±5 stops. The new X-E3 is also equipped with an Auto mode selector lever for selecting the fully-automatic Advanced SR Auto mode where the camera can automatically select the optimum settings for a given scene.

    FUJIFILM X-E3 Key Features:

    • 24.3MP APS-C X-Trans CMOS III sensor
      o X-Processor Pro
      o Start-up time of 0.4sec
      o Ultra-fast AF speed of 0.06sec
      o Offers 5.0fps live-view shooting
      o Shutter time lag of 0.050sec
      o Shooting interval of 0.25sec
    • 3.0 inch 1.04M-dot static TFT color LCD touchscreen monitor
    • Upgraded AF tracking performance
      o Newly developed image recognition algorithm to track moving subjects up to half the size, or moving twice as fast as previous models.
    • 4K video can be recorded at [3840 x 2160] 29.97p, 25p, 24p, 23.98P, 100Mbps
    • Continuous recording: up to approximately 10min
    • Full HD video can be recorded at 59.94 fps, 50 fps, 29.97 fps, 25 fps, 24 fps and 23.98 fps, and with Film Simulation effects
      o Video can be outputted to external monitor via the HDMI port and input audio from an external microphone
      o Easily connect to external HDMI monitor and turn on HDMI Rec Control to automatically enable a clean HDMI output when the camera’s shutter release button is pressed
      o Touch AF to change the focus area and refocusing according to subject movement functions in video recording
    • 25 high-performance FUJINON X Mount lenses for ultimate versatility
    • Bluetooth® low energy wireless communication to pair the camera with a smartphone or tablet device for easy transfer of pictures
    • Free FUJIFILM Camera Remote app for Remote Control function

    FUJIFILM X-E3 Accessories:

    • X-E3 Metal Hand Grip (MHG-XE3)
    • X-E3 Bottom Leather Case (BLC-XE3)

    FUJINON XF80mmF2.8 R LM OIS WR Macro Lens
    The new XF80mmF2.8 R LM OIS WR is a lightweight, mid-telephoto macro lens designed to deliver the very best results from Fujifilm’s unique X-Trans CMOS sensor. Capable of achieving high quality macro shots, the XF80mmF2.8 R LM OIS WR features an optical construction of 16 elements in 12 groups, including one aspherical lens, one Super ED lens and three ED lenses. As the first in the X Series interchangeable lens series to have a 1.0x magnification factor, the XF80mmF2.8 achieves high resolving power and beautiful bokeh, making it a perfect lens for capturing stunning macro images.

    The XF80mmF2.8 R LM OIS WR has enhanced AF capabilities utilizing a Floating Focus System that suppresses aberration. The lens also supports handheld shooting with Optical Image Stabilization. A fluorine coating has been applied to the front lens element, making it less susceptible to smudges, water and dirt, further improving its durability. The lens is also designed to be weather and dust resistant, and operates in temperatures as low as 14°F/-10°C.

    FUJINON XF80mmF2.8 R LM OIS WR Lens Key Features:

    • FUJIFILM X Mount is compatible with all FUJIFILM X Series interchangeable system cameras
    • Weather-sealed at eleven points around the barrel for weather and dust resistance; operates as low as 14 degrees Fahrenheit / -10 degrees Celsius
    • 16 lens elements in 12 groups including one aspherical ED lens, one Super ED lens and three ED lenses
    • Uses Floating Focus System for improved AF
    • Optical Image Stabilization system achieves 5-stop image stabilization
    • Focus lens driven by a linear motor for fast and near-silent autofocus performance
    • Fluorine coating applied to front lens elements for improved durability
    • Compatible with XF1.4x and XF2.0x teleconverters

    Updated X Mount Lens Roadmap Unveiled
    Also announced is the latest development of the X Mount Lens Roadmap for developing interchangeable lenses for the X Series line of mirrorless digital cameras. The latest roadmap adds two new lenses: the ultra-wide angle zoom lens XF8-16mmF2.8 R LM WR and the telephoto prime lens XF200mmF2 R LM OIS WR. With the expansion of the high performance X Mount lens lineup, Fujifilm covers more focal lengths from ultra-wide to telephoto to support a wide range of photography styles and shooting scenarios.

    New Firmware Updates Coming Soon
    Fujifilm will release new firmware updates for the FUJIFILM X-Pro2, X-T2, X100F and X-T20 X Series cameras in November and December 2017 to add new functionality and improve operability. These updates will include new support for FUJIFILM X RAW STUDIO, dramatic improvements to the AF-C tracking algorithm in zone and tracking AF mode, addition of 4K video support and computer tethering functions and enhancements to touch panel operations.

    FUJIFILM X-Pro2: V.4.0 Key Features

    1. Addition of 4K video mode using Film Simulation modes (excluding HDMI output for recording).
    2. Supports tether shooting via USB or Wi-Fi using compatible software* to enable transfer of images to a computer, or to control camera from the computer.
      *Requires FUJIFILM X Acquire and Tether Shooting Plug-in PRO/ Tether Shooting Plug-in (Adobe® Photoshop® Lightroom® 6 or CC is required).
    3. New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
    4. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
    5. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
    6. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

    FUJIFILM X-T2: V.3.0 Key Features

    1. New AF tracking algorithm enhances AF-C to track moving subjects half the size, or moving twice as fast as previous models.
    2. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
    3. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.
    4. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.

    FUJIFILM X100F: V.2.0 Key Features

    1. Supports backup and restore of camera settings from one camera to another via FUJIFILM X Acquire.
    2. Supports FUJIFILM X RAW STUDIO which enables users to convert RAW files with X Processor Pro.
    3. Improves radio flash controller usability allowing users to shoot with compatible third party studio flash in high speed sync or TTL mode via their radio controllers.

    FUJIFILM X-T20: V.1.1 Key Features

    1. Touch panel operation while looking into the electronic viewfinder.

    Availability and Pricing
    The new FUJIFILM X-E3 will be available in three versions in late September 2017.
    The X-E3 Body, Black or Silver will be available for USD $ 899.95.
    The X-E3 Body with XF18-55mm Lens Kit, Black or Silver will be available for USD $ 1,299.95.
    The X-E3 Body with XF23mmF2 R WR Lens Kit, Black or Silver will be available for USD $ 1,149.95.

    The new FUJINON XF80mmF2.8 R LM OIS WR lens will be available in November 2017 for USD $ 1,199.95.

    Fujifilm X-E3 Specifications

    Body type
    Body type Rangefinder-style mirrorless
    Body material Magnesium alloy
    Sensor
    Max resolution 6000 x 4000
    Image ratio w:h 1:1, 3:2, 16:9
    Effective pixels 24 megapixels
    Sensor size APS-C (23.6 x 15.6 mm)
    Sensor type CMOS
    Color space sRGB, Adobe RGB
    Color filter array X-Trans
    Image
    Image stabilization No
    Uncompressed format RAW
    JPEG quality levels Fine, normal
    File format
    • JPEG (Exif v2.3)
    • Raw (Fujifilm RAF, 14-bit)
    Optics & Focus
    Autofocus
    • Contrast Detect (sensor)
    • Phase Detect
    • Multi-area
    • Center
    • Selective single-point
    • Tracking
    • Single
    • Continuous
    • Touch
    • Face Detection
    • Live View
    Autofocus assist lamp Yes
    Manual focus Yes
    Number of focus points 325
    Lens mount Fujifilm X
    Focal length multiplier 1.5×
    Screen / viewfinder
    Articulated LCD Fixed
    Screen size 3
    Touch screen Yes (Four-way controller functions replaced by 'swiping' on display)
    Live view Yes
    Viewfinder type Electronic
    Viewfinder coverage 100%
    Viewfinder resolution 2,360,000
    Photography features
    Exposure modes
    • Program
    • Shutter priority
    • Aperture priority
    • Manual
    Built-in flash No (Small external flash included)
    External flash Yes
    Self-timer Yes
    Videography features
    Microphone Stereo
    Speaker Mono
    Connectivity
    USB USB 2.0 (480 Mbit/sec)
    HDMI Yes (micro-HDMI)
    Microphone port Yes
    Headphone port No
    Wireless Built-In
    Wireless notes 802.11b/g/n + Bluetooth LE
    Remote control Yes
    Physical
    Battery Built-in
    Battery description NP-W126S lithium-ion battery & charger
    Other features
    Orientation sensor Yes
    GPS None

    Articles: Digital Photography Review (dpreview.com)

  • Faker exposed after convincing top news media he was a war photographer for two years

    Over 100,000 Instagram users and some of the world’s best known media organizations were fooled for over two years by someone pretending to be a front-line war photographer. The entire stranger-than-fiction story was revealed recently by BBC Brazil after a lengthy investigation.

    According to the BBC’s report, so-called ‘Eduardo Martins’ posed as a Brazilian UN photographer by using a collection of images stolen from other photographers’ websites and from news organizations. Stealing with care he built a body of striking work that brought him to the attention of BBC Brazil, Al Jazeera, the Wall Street Journal, Getty Images and many others, and amassed him over 120,000 followers on Instagram.

    ‘Eduardo’ posted tear-sheets of his work in print and recounted stories of his encounters and ‘humanity’ in the face of chaotic and violent scenes. He was able to keep the ruse going by never speaking to anyone in person, and sending only recorded or emailed messages. His photographs were placed with Getty Images and tales of his exploits made print with some of the world’s biggest newspapers.

    An interviewer at the BBC became suspicious, however, and started to ask questions that revealed other Brazilian war photographers working in the same zones had no idea who Eduardo was. As the war correspondent community is tight knit and journalists in conflict zones inevitably know one another, alarm bells began to ring.

    Enquiries with the UN also established that no one with that name was on its books as a photographer, and that neither were other UN photographer friends that Martins referred to—including some that Martins mourned in his posts after they were ‘killed’. Amazingly the UN even followed him on Instagram.

    Pictures from the Facebook page of photographer Ignacio Aronovich that demonstrate how Martins manipulated photographs belonging to Daniel C. Britt to disguise them from image recognition software.

    It turns out the profile picture Martins used was of a UK surfer called Max Hepworth-Povey, and that the images Martins posted, distributed to news outlets and supplied for his interviews were stolen from other photographers. The images were often flipped, cropped and manipulated to disguise them from automated visual-matching services so Martins could pass them off as his own.

    His technique became clear when a photographer noted that other photographers in a picture credited to Martins were holding cameras with the shutter release on the left hand side of the body instead of the right.

    As news of suspicions got back to Martins via a photographer he corresponded with online he disappeared, deleting his Instagram account and shutting down the phone number he used for Whatsapp messaging. His last message said he was planning to tour Australia in a van for a year and to cut communication with the world.

    Whether Eduardo is a man or a woman, or even owns a camera at all, remains unclear—and indeed whether he/she is even from Brazil and is or isn’t currently in Australia. These things may never be known, but the story does raise questions about how well news organizations vet their contributors and interviewees.

    Articles: Digital Photography Review (dpreview.com)

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  • Pixelmator Pro will use artificial intelligence to power photo editing features

    Pixelmator, the company behind a $ 30 image editing application for Mac, has just announced a new product called Pixelmator Pro. Though it hasn’t yet been revealed how much this software will cost, the company has detailed many of its features, some of them powered by artificial intelligence.

    Pixelmator Pro, an editor designed specifically for macOS, taps Apple’s Core ML framework to bring machine learning capabilities to certain features including: horizon detection, automatic layer naming, an object-removing repair tool, and a quick selection tool.

    The editor itself has a single-window design alongside a ‘reimagined editing workflow,’ the company explains, saying its app is ‘totally and completely’ designed for Apple’s operating system. Despite the simplicity of its design, Pixelmator Pro is promised to pack a robust array of tools for editing images (including Raw files), digital painting, adjusting colors, adding non-destructive effects, and more.

    Speaking to The Verge, Andrius Gailiunas of Pixelmator explained that Pixelmator Pro is designed for use by anyone. “Our goal has always been to create an image editor that absolutely anyone could use and enjoy,” says Gailiunas. Because the software is designed for Mac, users will have access to iCloud backups and syncing, support for the Touch Bar on new MacBook Pro laptops, and support for split-screen multitasking.

    Pixelmator plans to launch its Pro application this autumn, but hasn’t stated the price yet. In that same interview with The Verge, the company said it will price Pro as affordably as possible; however, we presume it will cost more than the $ 30 they’re charging for the regular Pixelmator editor.

    Articles: Digital Photography Review (dpreview.com)

  • Behind the scenes with Albert Watson: Watch a photographic legend shape light

    Profoto recently connected two icons in their respective fields: Albert Watson, the portrait photography legend, and Sergei Polunin, the so-called “bad boy of ballet” and probably the only ballet dancer you could call “mainstream.” Together, they set about capturing some unique portraits, and filmmaker Eric Becker, the director of our own long-form video series, was there to document the process.

    Watson’s work—which you can find in galleries and museums world-wide—spans a few genres. But the shots that define his career are his portraits… photographs of influential men and women that often look almost sculpture-like. If you’re interested at all in portrait photography, listening to Watson talk you through his light shaping process will be incredibly inspirational.

    And if you’re a fan of high end lighting equipment well… you might just slobber all over your keyboard as you watch his assistants unpack a veritable army of Profoto Pro-10’s ($ 14,000 each) for this shoot.

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    In the end, of course, Watson was less concerned with the gear than the portraits he was trying to capture with said gear. His process is a journey that he describes as, “not a distinct road to the final shot. You don’t know until you get there.”

    And when he got there, this is what he captured: three photographs, one showing Sergei in flight, the other two described as “modern sculptures.”

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    All in all, Profoto doesn’t miss the mark when they call the video above “a masterclass in light shaping.” Check it out for yourself, and then head over to the Profoto website to hear the story in their own words.


    All photographs courtesy of Profoto

    Articles: Digital Photography Review (dpreview.com)

  • Sony unveils the Venice, its first full-frame cinema camera system

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    Sony has just unveiled a new, groundbreaking (at least for them) cinema camera. It’s called the Sony Venice, and it’s the company’s first 36x24mm full-frame digital motion picture camera system.

    Designed in “close collaboration with the creative community,” the Venice is the newest generation of Sony’s CineAlta series, which promises natural skin tones, “elegant” highlight handling and wide dynamic range. In the case of the Venice, the camera’s 36x24mm sensor promises 15 stops of latitude to tackle challenging lighting scenarios, and a brand new color management system with ultra wide color gamut for more flexibility in post.

    The headline feature is the sensor itself, though. The full-frame chip can be switched out by the camera’s user by simply removing four screws, and at 36x24mm it’s compatible with Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses. If you’re really feeling frisky, the lens mount can be modified to support E-mount lenses.

    Additional features include a built-in 8-stage glass ND filter system, weather sealing, 10-bit XAVC, 16-bit RAW and S-OCN recording via the Sony AXS-R7 recorder, and a modular design that allows you to use the Venice with current and upcoming CineAlta accessories.

    The camera is expected to arrive officially in February of 2018, and while Sony didn’t reveal a price, it seems filmmakers will have the option to ‘license’ different builds for specific production requirements like 4K anamorphic and Full Frame. To learn more, head over to the Sony Venice landing page, or read the full press text below.

    Press Release

    Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System

    Anamorphic Capabilities, Interchangeable Sensor, 8-stage ND Filter System, New Color Management & Established Workflow Combine into Unique Creative Filmmaking Tool

    LOS ANGELES, Sept. 6, 2017 — Sony Electronics is unveiling VENICE – its first Full-Frame digital motion picture camera system. VENICE is the next generation of Sony’s CineAlta camera systems, designed to expand the filmmaker’s creative freedom through immersive, large-format, Full Frame capture of filmic imagery producing natural skin tones, elegant highlight handling and wide dynamic range. VENICE was designed through close collaboration with the creative community, fulfilling the requirements from filmmakers and production professionals.

    VENICE will be officially unveiled on Sept. 6, in front of a select audience of American Society of Cinematographers (ASC) members and a range of other industry professionals. Sony will also screen a short film, “The Dig”, the first footage shot with VENICE, produced in Anamorphic, written and directed by Joseph Kosinski and shot by Academy Award winning Cinematographer Claudio Miranda, ASC.

    “We really went back to the drawing board for this one,” said Peter Crithary, marketing manager, Sony Electronics. “It is our next-generation camera system, a ground-up development initiative encompassing a completely new image sensor. We carefully considered key aspects such as form factor, ergonomics, build quality, ease of use, a refined picture and painterly look—with a simple, established workflow. We worked in close collaboration with film industry professionals. We also considered the longer-term strategy by designing a user interchangeable sensor that is as quick and simple to swap as removing four screws, and can accommodate different shooting scenarios as the need arises.”

    Full frame sensor and wide range of lens compatibility

    VENICE combines a newly developed 36x24mm Full Frame sensor to meet the high-quality demands of feature filmmaking. Full Frame offers the advantages of compatibility with a wide range of lenses, including Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses for a greater range of expressive freedom with shallow depth of field. The lens mount can also be changed to support E-mount lenses for shooting situations that require smaller, lighter, and wider lenses. User-selectable areas of the image sensor allow shooting in Super 35 mm 4 – perf. Future firmware upgrades are planned to allow the camera to handle 36mm wide 6K resolution. Fast image scan technology minimizes “Jello” effects.

    New color management system and established workflow for flexible post-production

    A new color management system with an ultra wide color gamut gives users more control and greater flexibility to work with images during grading and post-production. VENICE also has more than 15 stops of latitude to handle challenging lighting situations from low-light to harsh sunlight with a gentle roll-off handling of highlights.

    VENICE achieves high quality and efficient file-based production through Sony’s established 16-bit RAW/X-OCN via the AXS-R7 recorder, and 10 bit XAVC workflows. VENICE is also compatible with current and upcoming hardware accessories for CineAlta cameras (DVF-EL200 Full HD OLED Viewfinder, AXS-R7 recorder, AXS-CR1 and high-speed Thunderbolt-enabled AXS-AR1 card reader, using established AXS and SxS memory card formats.

    Intuitive design & refined functionality support simple and efficient on-location operation

    VENICE has a fully modular and intuitive design with refined functionality to support simple and efficient on-location operation. It is the film industry’s first camera with a built-in 8-stage glass ND filter system, making the shooting process efficient and streamlining camera setup. The camera is designed for easy operation with an intuitive control panel placed on the Assistant and Operator sides of the camera. A 24 V power supply input/output and LEMO connector allow use of many standard camera accessories, designed for use in harsh environments.

    License options for individual production requirements

    With VENICE, Sony is giving users the option to customize their camera by enabling the features needed, matched to their individual production requirements. Optional licenses will be available in permanent, monthly and weekly durations to expand the camera’s capabilities with new features including 4K anamorphic and Full Frame, each sold separately.

    The VENICE CineAlta digital motion picture camera system is scheduled to be available in February 2018. For more information, please visit: www.sony.com/venice.

    Articles: Digital Photography Review (dpreview.com)

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  • Somewhere Outside of Time: 13 Classic Retro-Futuristic Architectural Visions

    [ By SA Rogers in Architecture & Houses & Residential. ]

    Retro-futuristic architecture seems to exist outside of time, perhaps in parallel universes where the versions of the future envisioned by their creators actually became reality. They combine design elements from the decades in which they were built with futuristic elements as the architects imagined them, recalling the science fiction of their respective eras, often seeming like remnants from movie sets. Many still stand in a rapidly changing world, feeling like portals to somewhere very far away.

    Walden 7 by Ricardo Bofill

    Built in 1975, this housing structure by Ricardo Bofill located outside Barcelona, Spain takes inspiration from the science fiction novel Walden Two by B.F. Skinner. It originally included 446 residences in 18 towers, resulting in a labyrinth organized around seven interconnecting interior courtyards. Bofill imagined that this structure would be a utopian urban residence addressing many of the problems of urban life, with space for gardens and social interaction as well as two swimming pools. The high rise still stands and functions as an apartment building, with some units combined to create larger spaces.

    Palais Bulles by Antti Lovag

    The strange and bulbous Palais Bulles, or Palace of Bubbles, was built in 1989 on a cliff overlooking the Mediterranean Sea. Though it’s often used as a setting for fashion shoots and film festival parties, architect Antti Lovag emphasizes that how the structure is inhabited is its most important aspect. “Whether for economic reasons or lack of technical solutions, human beings have confined themselves to cubes full of dead ends and angles that impede our movement and break our harmony.”

    Monsanto House of the Future by Monsanto

    Did you know that infamous agrochemical giant Monsanto (known for creating Agent Orange during the Vietnam War) built a ‘house of the future’ at Disneyland in 1957? Located at the entrance to Tomorrowland, the house was designed by Monsanto in collaboration with MIT and Disney Imagineers, showcasing their vision of what life would be like in 1987. Made of fiberglass, the house was elevated on a pedestal with the intention of allowing it to rotate. Everything was modular and made of synthetic materials. Monsanto’s House of the Future closed in 1967, and though it was scheduled to be demolished in one night, the wrecking ball bounced off its tough facade, and a 2-week demolition job was ultimately required to take it down.

    Habitat 67 by Moshe Safdie

    First built as a pavilion for the World’s Fair in 1967 after architect Moshe Safdie conceived it as his master’s thesis, Habitat 67 remains one of the most unusual buildings of its kind, featuring 146 residences and a network of interlocking forms and walkways. The architect wanted to maximize the amount of private space and natural environments within a small urban footprint, enhancing the quality of life with gardens, fresh air and views. It was intended to be the first phase of a much larger complex, but Safdie’s vision for futuristic affordable housing failed to proliferate due to the high per-unit cost of his design.

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    Somewhere Outside Of Time 13 Classic Retro Futuristic Architectural Visions

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    [ By SA Rogers in Architecture & Houses & Residential. ]

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  • Broncolor unveils the Litepipe P: A versatile wand-style light shaper

    Swiss flash manufacturer Broncolor has introduced a new wand-style light shaper called the Litepipe P: a “powerful, versatile and dismountable” flash accessory that can be used to create an ambient light effect, or as a long thin softbox when fitted with the included reflectors.

    The light-shaper is basically just a roll-up sheet of diffuser that fits over a flash head using a Broncolor bayonet mount bracket. The flash tube fills the ‘pipe’ with light which, is then diffused in all directions perpendicular to the source.

    “Due to the long construction of the Litepipe P, the use of a boom stand or a ceiling mounting is not necessary. Also, in defined spaces or with deep ceilings, the Litepipe P is more practical than bulky softboxes,” explains Broncolor. “Disassembled, the Litepipe P packs down to half its size, which makes it possible to pack it into a practical transport bag.”

    The LitePipe comes with a pair of reflectors that wrap around the pipe and attach with Velcro to control the direction and intensity of the light, leaving a wide or narrow slit for the light to emerge from. When assembled, the pipe is 49.2in long and 6.7in in diameter, but it packs away into a 23.7×8.7×8.3in bag for transport.

    The Broncolor Litepipe P costs 992 Swiss Fr/£784 (approx. $ 1,000). For more information visit the Broncolor website.

    Press Release

    Introducing the new Litepipe P…

    With Litepipe P, broncolor launches a real innovation in the market of professional lighting systems.

    Powerful, versatile and dismountable – this makes the Litepipe P the ideal companion for any photographer in the studio and on location.

    Consisting of only five components, this revolutionary, lightweight light shaper is mounted and ready for use in just 60 seconds.

    As normal for broncolor, Litepipe P stands out for its robustness and high quality, essential for reliable use over a period of many years.

    Equipped with the approved broncolor bayonet, Litepipe P is compatible with the following broncolor lamps: Pulso G, Unilite, Litos and MobiLED (if a mat protecting glass is available we recommend its use as an optimized illumination can be achieved). In addition, Litepipe P can also be used with the broncolor Siros monolight. It produces a homogeneous light which is adaptable to the respective circumstances.

    Due to its concept, Litepipe P can combine the mode of operation of various light shapers in one design; thus, there are nearly no limits for your photographic creativity. This sneaky light shaper can operate without a counter-reflector (textile cover with alu reflex coating) as a natural ambient light. The counter-reflectors mounted with the integrated Velcro® fasteners, the visible light section may be changed seamlessly. A wide (27 cm / 10.6 in.) and a small (19 cm / 7.5 in.) counter-reflector are included in the scope of delivery. This allows the setting of precise light edges.

    Due to the long construction of the Litepipe P, the use of a boom stand or a ceiling mounting is not necessary. Also, in defined spaces or with deep ceilings, the Litepipe P is more practical than bulky softboxes.

    Disassembled, the Litepipe P packs down to half its size, which makes it possible to pack it into a practical transport bag. The latest light shaper in the broncolor range weighs only 1.7 kg (3.8 lbs) or 3.5 kg (7.7 lbs) with the transport bag.

    Whether interior, fashion, beauty or product photography – the broncolor Litepipe P will display its strengths in all these fields.

    The Litepipe P is available to order as item number 32.452.00 and has an MRSP of £784 ex. VAT.

    Included in the kit:

    • 1x special, colour neutral diffuser foil with zip
    • 2x counter-reflector with alu reflex coating inside
    • 1x base tube with reflector, broncolor bayonet and push buttons
    • 1x counter piece with push buttons
    • 1x transport bag

    Articles: Digital Photography Review (dpreview.com)