Das:
"Peter Truschner - Bestimmte #Selbstinszenierungen des #Kunstbetriebs werden obsolet - #Fotolot - #Perlentaucher"
#PeterTruschner
https://www.perlentaucher.de/fotolot/bestimmte-selbstinszenierungen-des-kunstbetriebs-werden-obsolet.html?#disqus_thread
Found out you can easily block all Disqus comment sections by adding this custom filter to uBlock:
||disqus.com/embed/comments/
###disqus_thread
Gonna give it a try for a while. I know it's a broad stroke, but the VAST majority of these comment sections feel like trolling, complaining, and pessimism.
oh internet, you are awesome/suck.
Google Pixel 6 Pro Review: Right Back in the Race Again
With the Pixel 6 Pro, Google had no other choice than to give its flagship smartphone an overhaul, including its vaunted camera performance, and the results are certainly a good step in the right direction.
In the past, owning a Pixel phone often came with compromises, especially when it came to battery life, which was a longstanding thorn that continued to dog the overall experience. The camera was always the lynchpin and fueled its merits for those arguing for the phone’s abilities. The 6 Pro (and perhaps the regular 6) signal a shift in direction on both the hardware and software sides. Google’s own silicon in its Tensor chipset powers the newest features, not least of which is the software computation that has made the company’s mobile photography so interesting.
You don’t need to have previously tried a Pixel device to consider what this marriage of hardware and software means for your own use cases, but even if you have, it may come off as a significant change in perspective.
Design and Build
I covered a lot of the basics in the design when Google unveiled both Pixel 6 devices, but suffice it to say, this phone bears no resemblance to its predecessors. Put it next to the Pixel 5, remove the logos and you would think two different companies made them.
The new design language is also something of a departure from the current trend of placing the rear camera array in the upper corner. Instead, it traverses the width of the back panel, which in itself has some implications in the field. Depending on where you place your fingers on the phone while taking a photo, you may be less likely to accidentally photobomb it with a piece of your finger.
Gorilla Glass on both the 6.7-inch AMOLED and back panel moves the phone away from the understated look of the past. This is a bigger phone in just about every respect, and though I’m not a fan of the display’s curved edges, it’s undoubtedly a more aesthetically pleasing device this time around. I would be remiss if I did not mention the faster 120Hz refresh rate on the 6 Pro (it’s 90Hz on the regular Pixel 6) which provides smoother navigation and extends to the camera app.
The fact that every variant also comes with 12GB of RAM is welcome, as is a much larger 5,000mAh battery to address the woeful performance of the past. Larger storage options starting at 128GB, and on to 256GB and 512GB, make capacity less of a concern.
Camera Features
After essentially sticking to the same primary camera sensor going back to the Pixel 2, Google equipped the Pixel 6 Pro with Samsung’s considerably larger GN1 1/1.3-inch sensor in the form of a 50-megapixel wide shooter (26mm equivalent) with an f/1.9 aperture and optical image stabilization.
The main wide camera does also uses pixel binning, which happens automatically regardless of the scene. Night Sight can take advantage of larger 2.4-micron pixels to bring in up to 150% more light than the Pixel 5 could, but those 12.5-megapixel images don’t only occur in Night Sight. Since the camera bins every image coming out of the main camera, shooting in Camera or Portrait mode at 1x and it will often automatically defer to the binned pixels.
The 12-megapixel ultra-wide camera also comes with a larger image sensor. It’s a 14mm equivalent with a 114-degree field of view and f/2.2 aperture and slightly larger 1.25-micron pixels. The 48-megapixel telephoto marks a return for Google to a lens it previously espoused with the Pixel 4. Its prism design can get closer now at 4x optical zoom, though Google’s interface also offers a 2x option. The 20x Super Res hybrid zoom is also supposed to be the best you can get at that focal length.
A key to all this is the Tensor chip, which Google touts as a system-on-a-chip (SoC) that drives all the performative improvements throughout the phone, including all the AI and machine learning in the camera array as well.
Software Features
This is where Google butters its bread, and the overall philosophy hasn’t changed -- which is to say that its computation software will do everything in the background to simplify things for users. This is what I was told when I asked why there was no manual or pro mode. While you can shoot in RAW in any mode, you can’t adjust anything, like shutter speed, ISO, white balance, or manual focus.
Not only that, but you also can’t control the length of an exposure in Night Sight, Action Pan, or Long Exposure. The latter two are the newest modes, and labeled as “beta” throughout my testing, indicating that they’re not quite finished products yet.
As per usual, these Pixel 6 phones also spearhead the general release of Android 12, an update Google claims is one of its most important, as if we haven’t heard that before.
Some of the basics still apply, like double-clicking the power button to launch the camera or doing a flip gesture within the camera app to switch between the rear and front cameras. The new notifications pane will also let you disable the camera, along with a green icon in the top-right corner to indicate whenever an app is accessing it.
Image Quality
Main camera
During my testing, and prior to when Google made the Pixel 6 Pro available, it released an update for the camera that added a color temperature slider to the main interface. It’s really the first time a phone camera has sliders for highlights, shadows, and color -- all easy to use and adjust before taking the shot. Pixel devices have always shot with cooler tones, but that’s now entirely up to you or what you think is best for the scene you’re shooting. Adjust the slider and you can go as warm as you like.
Captured in RAW
Regardless of how you place the sliders, it’s hard to argue with the results. Dynamic range is excellent in a variety of conditions, though not without some faults along the way. Bright light sources, like bulbs or sun-drenched clouds, may wash out, just not as pervasively as the iPhone 13 Pro models have thus far. More on that later.
Despite having no manual mode, I did choose to shoot every image in RAW + JPEG so I could at least make up for any mistakes that may have come from the onboard software. The f/1.9 aperture is actually tighter compared to f/1.7 in the Pixel 5, yet the 6 Pro does a better job in rendering scenes in spite of that. Google is also trying to draw a fine line with what, where, and when it sharpens an image, and is getting better at figuring that out. I’m still not entirely sure if the “Real Tone” processing truly works as claimed for people of color, but it does appear to have bridged the gap.
Ultra-wide and Telephoto
The best photos come from the main camera, but the other two lenses are capable in their own right. Google’s software does the same things with both of them, albeit with smaller sensors and pixels to work with. The results, even in low-light conditions, turn out better than many competitors, and being able to use either lens in just about any mode makes the 6 Pro feel versatile.
Ultra-Wide
Even Super Res, a hybrid zoom going up to 20x, is often better than what I’ve seen coming from competitors. Meanwhile, the ultra-wide can avoid barrel distortion or frayed edges for more interesting perspectives. It’s just a shame there’s no way to do more with them with manual controls, so adjusting dynamic range and color sliders are the only recourse.
4x zoom, captured in RAW. 20x Hybrid Zoom
Night Sight
Google’s claim that the 6 Pro can take in 150% more light only refers to the main sensor. Even if the other two lenses can take in more light, they’re nowhere near 150%. Night Sight has been a stalwart of the Pixel cameras since it was first introduced, but its evolution had been limited since then.
Night Sight
Now, the mode shows its light-grabbing mettle in darker conditions, but I’m not sure I saw a major difference when it came to scenes that had a notable source of light, like an illuminated building or a busy street scene. Shoot with it in very dark settings, and it captures a ridiculous amount of light for a more detailed shot. Yet distinct light sources can pose challenges, particularly if you have something very bright and very dark in the same frame. The 6 Pro renders them better than most, but these are the scenarios where we start to see the limits of Google’s ability to assess dynamic range.
Action Pan and Long Exposure
Google jumped on this train to join other brands that have already been playing in this sandbox. Motion mode offers these two options, which work differently. Action Pan tries to freeze a subject in place to show movement behind them, essentially emulating a slower shutter speed. Long Exposure is as described, where the camera is capturing a series of frames in quick succession at different exposures and speeds to get that wonderful blur.
Both need work. Google showed a photo of two women standing in front of a moving Ferris wheel when it first unveiled Motion mode, but it can be confusing as to which option to use. The people you capture have to be really still to make it work, and what Google doesn’t mention is that its blur-reduction rendering always looks for faces first. Try doing this with a non-human static object, and your results may vary.
Pro Motion Long Exposure
They certainly will with Long Exposure because you can’t control how long the exposure lasts. Not only that, but Google’s software can’t fully make up for even the slightest hand jitter. Capturing a Ferris wheel this way made the sign in front of it a blurry mess. Action Pan needs you to focus on something or someone before it does its work, and the difficulty in doing that is relative to the speed the subject moves at. The best method is to try locking focus and snapping the shot at the most opportune time.
Pro Motion Long Exposure
Needless to say, both modes are much easier to work with if you use a tripod or a flat surface. If you have a static scene, like a castle across a river, Long Exposure can soften the water for a wonderful effect.
Magic Eraser
This is less a Pixel 6 Pro feature, and more a Google Photos one, but the fact you have bigger pixels here may help. You can remove any unwanted part of an image, or at least try to, as the software works to match it with neighboring pixels. It’s not unlike a content-aware healing brush in Photoshop or Lightroom, except it’s hard to be precise with a finger compared to a mouse or stylus. I have no doubt many will be impressed when they see this in action, but it will really depend on what you’re removing and how busy the background is.
Magic Eraser Before Magic Eraser After
Video Features
Despite Pixel phones’ prowess with still photos, video has been a grind to get to some measure of respectability. This review focused on still images, but it should be noted that video performance has gotten better with the 6 Pro. Previous features, like Cinematic Pan, are still around, as are Slow Motion and Timelapse. All three lenses can shoot in 4K at 60fps with the LED flash enabled.
While output is better, the 6 Pro doesn’t match the iPhone 13 Pro and its ability to make video look crisp, color-corrected, and seamless. Focusing isn’t as good, and Apple’s Cinematic mode is on a different level compared to what Google has here. What would’ve been great is if Google countered with a manual video mode, but we knew that wasn’t going to happen.
A Very Necessary Upgrade
It was high time that Google did something to improve its cameras beyond just the software side of the equation. Better hardware, even if the main image sensor isn’t new to the industry, means the software has more to work with to produce those excellent shots. That shows with the Pixel 6 Pro, which puts Google right back in the conversation as one of the best.
The company’s obvious mantra is to help users capture outstanding photos with little effort, a commendable goal that bears fruit a lot of the time. It doesn’t dive into special modes the way Samsung or the multiple Chinese brands do, though it also doesn’t want to offer the kind of manual control you might get from, say, a Sony Xperia. What’s not entirely clear is how much third-party apps benefit from what Google has done with the 6 Pro, though a larger sensor certainly doesn’t hurt.
Are There Alternatives?
The immediate comparison, given the “Google vs. Apple” narrative, will be with the iPhone 13 Pro and Pro Max, which perform very well, but can’t match the dynamic range that the Pixel 6 Pro can produce. Same with the Samsung Galaxy S21 Ultra, which has better options and higher levels of control, only doesn’t quite hit the same mark on nuances, like skin tone, color temperature, and sharpness that the 6 Pro does.
The [Vivo X70 Pro+](https://petapixel.com/2021/10/13/vivo-x70-pro-review-an-encore-ready-to-take-on-the-best/#disqus_thread) is a powerhouse by comparison, even if its computation isn’t fully there just yet, especially with night shooting and skin tones, though its sheer breadth of features does offer serious variety. If you want to stick with Google, yet not go Pro, the regular Pixel 6 has the same camera and output, except for the telephoto lens and sensor.
Should You Buy It?
Yes, especially because of what it costs. The Pixel 6 Pro undercuts the competition by starting at $899 for the 128GB model. That’s a very good deal for what you get here, and even if you were to go up to 256GB or 512GB, you still spend less than you would on competitors’ devices.
#equipment #mobile #reviews #google #googlepixel #googlepixel6 #googlepixel6pro #pixel6 #pixel6pro #review #smartphone #smartphonecamera #smartphonephotography
Great Reads in Photography: August 29, 2021
Every Sunday, we bring together a collection of easy-reading articles from analytical to how-to to photo features in no particular order that did not make our regular daily coverage. Enjoy!
Yikes, There is Water (and Salt) on my Sensor! – Phil Mistry
Dave Holland is a Canadian sports photographer who recently photographed the Tokyo Olympics and is now busy shooting The Paralympics, which are also in Tokyo and run till Sep 5.
Holland has been working for ten years with the Canadian Sport Institute Calgary, which prepares athletes for competition.
Winter sports can be more challenging to photograph due to extreme weather over long hours, which takes a toll on your body and the gear.
2020 Snow Rodeo © Dave Holland
Snow on ski hills is not clean, white snow as it looks in the photos. Athletes generally like an icy track. One common way of keeping a course solid is to use salt, which melts snow and helps turn it into ice. Buckets of salt get used.
“Another option for keeping jumps intact is fertilizer,” explains Holland. “Add to this spray paint, dyes, and whatever leaks out of cats and snowmobiles, and you can get quite a cocktail of chemicals in the snow.
“However, you won’t have many chances to protect or clean as you go, so your lenses can end up looking like this (pic below). Filters are rarely an option with ultra-wide lenses, so you have to be diligent.”
© Dave Holland
5 Minute Sunday Interview
Phil Mistry: How did you end up getting water and salt on your sensor?
Dave Holland: It was the FIS Snow Rodeo World Cup in Calgary, AB, in February 2020. I had the camera [Sony a9 II] mounted on a long lens, most likely the Sony FE 200-600mm f/5.6-6.3 G. I don’t like having too many straps going on, so I always use only the strap on the long lens and remove it from the body (best practice - leaving the strap on the body with a heavy lens isn’t good for the mount). The drop resulted from working with gloves on and having the lens release button on the inside of the Sony grip. I accidentally released the body from the lens, and it dropped into the snow—a complete user error.
© Dave Holland
PM: What did you do next?
DH: I used what I had, which was a microfiber cloth. I just dabbed the water off the lens without rubbing. Basically, I sucked it up with the cloth until there was no visible water.
Disclaimer : We are not recommending this technique, so please let us know in the comments below your thoughts/techniques of what should have been done in this situation.
PM : What would you do if the same thing happened again?
DH: I was at the top of a halfpipe during a World Cup. I’d do exactly the same thing again and deal with any sensor spots in post.
PM: Is there a risk of hurting the sensor by touching it?
DH: I’m always cautious when it comes to sensors, so I was as delicate as possible. But I needed the camera, and it had to be done. It worked remarkably well, actually—almost no evidence of it in the photos.
PM: Any other thoughts?
DH: Accidents happen, and you have to deal with them. It is a rare occurrence, so I won’t pack a cleaning kit with me. Just clean microfiber cloths. It was a Friday afternoon, so I called Sony Pro Services and was able to ship in that day, get it in for a clean and check, and have it back Tuesday. The biggest concern for me was that they use a lot of salt and chemicals in the snow to help maintain the track. I needed to make sure there were no corrosive chemicals on the sensor. Sony did a great job, and there were no effects on the camera.
© Dave Holland
Working in snow can be difficult. I’ve attached another photo (above) of the Sony 12-24mm showing a regular occurrence [splash from an exuberant athlete at the finish]. Wipe it down, and then clean the lens to get any snow or salt off the lens.
**I Upgraded my Phone's Camera with Just a Baby Screwdriver and my Fingernails **– TechRadar
No, you cannot upgrade your aging iPhone as this technique applies only to the Fairphone.
The Fairphone is a little different from your typical handset. Not only is it made as ethically as possible, with factory workers paid a decent wage and metals sourced as responsibly as possible, it's also modular, so you can buy parts and simply replace them yourself.
It's even supplied with a little Philips 00 screwdriver to tempt you to open it up and start tinkering. (Tim Cook, are you listening!)
The Queen is Also an Amateur Photographer – Woman and Home
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The Queen released three photos from her photography days to celebrate World Photography Day on Aug 19.
In the first image, Her Majesty can be seen squinting through a camera in 1977.
The next photo (click the right arrow in the photo above) shows the Queen in 1952 at Balmoral Castle, teaching a three-year-old Prince Charles how to use a Rolleiflex TLR in its signature brown leather case as a baby Princess Anne looks on in curiosity.
The third picture was taken in 1982 when Her Majesty was on a royal visit to the Pacific Island of Tuvalu. Wearing a floral pink hat and coordinated flowery dress, and signature gloves, she can be seen holding up what looks like one of the versions of Rollei 35 Gold (24K plated) Limited Edition (the same in the first photo)
The Queen is also known to have used a Leica.
Editor’s Note: Historical camera buffs, please let us know in the comments below if we have correctly identified the vintage cameras, and if you know which model of Leica Her Majesty is using.
Roger Cicala: Imaging Before Photography - a History Lesson (Part 1) – DPReview
Unknown illustrator - 19th Century Dictionary Illustration. An artist drawing from life with a 19th-century camera obscura, labeled: B (lens), M (mirror), O (line of light if mirror not in the way). The artist used thin tracing paper to capture the outlines, transferred those to canvas, board, or paper & finished the drawing. Created: circa 1850. Public Domain
“The French claim to have invented photography, and by strict definition, they did,” says Dr. Cicala in the article. “That doesn’t stop the British from claiming they invented real photography, with prints. The Italians, though, say it was all started with their technology. The Scots claim (and they’re right) that they developed the art of photography. And, of course, the Germans say they perfected it technically. Even Brazil has a legitimate claim to originating the term photography . ”
Notable: Did the Chinese invent photography? You could say that also since the use of the camera obscura (from Latin, meaning “darkened room) was first described in a written record in China in the 5th Century BC when Mozi or (Mo Ti or Mo Di) used it to trace images.
Photographer Lee Miller’s Subversive Career Took Her from Vogue to War-torn Germany – Art News
Salvador Dali and Gala, c1930 by Lee Miller (no number) © Lee Miller Archives England 2021. All Rights Reserved. www.leemiller.co.uk
When war photographer, fashion model, and Surrealist muse Lee Miller (b. 1907) died at the age of 70 in 1977 in England, she was almost unknown in the art world. That all changed when Miller’s son, Anthony Penrose, uncovered a vast archive of his late mother’s work in an attic, including 80,000 negatives.
Since then, interest in Miller’s art has grown vastly. Currently, the Salvador Dalí Museum in St. Petersburg, Florida, is staging a show, The Woman who Broke Boundaries: Photographer Lee Miller focused on her contributions to the Surrealist art movement.
By 1929, at the age of 24, Miller had moved to Paris and begun working as Man Ray’s studio assistant. Their professional relationship also led to a romantic one. Man Ray is credited with having invented solarization. Still, it was most probably Miller who discovered it when she accidentally switched on the light in the darkroom when a mouse ran over her foot.
“As often was the case in the male-centric art world of the time (…and today), Ray was often credited for work that he and Miller created together,” notes Artspace.
Roland Penrose and Man Ray, Los Angeles, USA 1946 by Lee Miller (12766Q-340) © Lee Miller Archives England 2020. All Rights Reserved. www.leemiller.co.uk
Miller became accredited as a photographer with the American army through Condé Nast Publications in December 1942. She photographed the chaos following D-Day and the liberation of Paris.
“Miller’s photographs and reports appeared as spreads in Vogue between 1944 and 1945,” reports the BBC. Her story, Unarmed Warriors , was Miller’s first as a war correspondent accredited by the US Forces.
Miller was one of five accredited female photojournalists accompanying American troops into liberated concentration camps, documenting atrocities at Buchenwald and Dachau.
“A woman who took 60,000 WWII photographs and also bathed in Hitler’s tub, the day he committed suicide!” reads a title in Medium.
Picasso and Lee Miller in his studio, Liberation of Paris, Rue des Grands-Augustins, Paris, France 1944 by Lee Miller (NC0002 1) © Lee Miller Archives England 2020. All Rights Reserved. www.leemiller.co.uk
Miller's beauty opened many doors,” writes NPR. “But it wasn't her only advantage. She was smart, witty, extremely self-confident, up for adventure, reckless, restless. And a pal of Picasso's.”
Defying Gravity with An Ultra-Wide Prime and No Photoshop – Alpha Universe
Erick Urgiles captures people floating in mid-air. See how he created his levitation imagery.
How to Use Facial Recognition Search – ShotKit
Are you interested in doing a face search online? Several services offer a basic face search for free. For a more refined result, though, you’ll probably have to invest a little, depending on how deep into the Internet you want to go.
Check out the link above for a few of the more popular face finder options.
What Is Light Field Photography and How Does It Work? – MUO
Light field photography has been around for a long time. The first analog light field device was invented in 1908 by Gabriel Lippmann (he called it "integral photography"), who eventually won a Nobel Prize for his work on color photography.
Light field photography is fascinating as it allows you to move the focus plane of an image around after a photo has already been taken, which is impossible in normal photography.
So, how does light field photography work? This article will teach you everything you need to know.
Take a Wide-Ranging Look at the History of Panoramic Photos, From the Civil War to the iPhone – My Modern Met
Bathing Girl Parade, Seal Beach, Cal., Weaver, M. F. (Miles F.), 1879-1932, copyright claimant, 1917. Library of Congress
Taking a panoramic photo today on your phone is a matter of clicking a button and moving your camera from left to right at a smooth pace.
The earliest panoramas were made by placing two or more daguerreotype plates side-by-side or just one long plate. Daguerreotypes, the first commercially available photographic process, used silver-coated copper plates to produce highly detailed images.
There were even specific cameras as early as 1843 designed for panoramic photography, which could be rotated manually or with a crank.
Check out the link above for the panoramic possibilities that photographers have used from early to modern times.
A History of Selfies – in Pictures – The Guardian
Embed from Getty ImagesOrganized by Ellen DeGeneres and taken by Bradley Cooper, it features (clockwise from L-R) Jared Leto, Jennifer Lawrence, Channing Tatum, Meryl Streep, Julia Roberts, Kevin Spacey, Brad Pitt, Lupita Nyong’o, Angelina Jolie, and Peter Nyong’o Jr at the 2014 Academy Awards in Hollywood.
In 2011 on the Indonesian island of Sulawesi, a crested macaque managed to take a selfie using nature photographer David Slater’s camera. In the years following, this image became one of the world's most famous and contentious selfies. Guardian Australia looks back on some of the most famous selfies in history – taken by daredevils, celebrities, politicians, and astronauts.
Embed from Getty ImagesGetty lensman John Moore has seen it all in his 30 years behind the camera, from covering Afghanistan to Ebola to immigration.
“I was here for about a week in Houston covering this story," Moore tells KHOU-11.
His latest assignment was following Houston Fire and EMS as they answered 911 calls.
“Usually, I was responding with them to ‘breathing difficulty calls,’ because quite often, those would be COVID patients. Because they go into people’s homes. They go into very infectious environments.
“If people see the pictures, and it makes them take extra precautions in not getting this disease, then these pictures have done their job.”
How Nikon Designed the Nikon Z fc – and Why it Thinks the Future is Retro – TechRadar
Photo courtesy Nikon
“The Nikon Df never quite felt like a cohesive whole – partly because it was a bulky SLR – but the more compact Nikon Z fc does handle like a modern-day Nikon FM2[from 1982],” Nikon designer Shu Suzuki (ID Group, Design Center) tells TechRadar.
**The Pay-for-Play Scandal Behind Many Sexy Maxim, Playboy ‘Covers’ **– New York Post
Any woman can be a magazine cover girl these days — if she’s willing to pony up the dough.
A model looked like the hottest female around when she suddenly appeared on eight Playboy international editions — including Playboy Sweden, Playboy South Africa, and Playboy New Zealand — for 12 months from 2018 to 2019.
“Not even Pamela Anderson was on as many covers,” says Johnny Kortis, former editor and publisher of Playboy Slovakia to The New York Post.
“Kortis claims this model would have added Playboy Slovakia to her collection except for the fact that he turned down a $10,000 offer by a photographer,” reports the NY Post.
Photographing T. Rex, David Bowie & Iggy Pop with Masayoshi Sukita – Far Out
Untitled (wearing Kansai Yamamoto costume), RCA Studio, New York, 1973 – Courtesy of ACC Art Books
Editor’s Note : It may not be suitable for viewing at work.
There are few people any photographer would rather capture than David Bowie. His otherworldly looks, daringly flamboyant style, and open nature to all things creative made him a photographer’s dream. Masayoshi Sukita was able to realize that dream, and it came about very much by chance.
The latest deluxe edition of his life’s work, Sukita: Eternity , published by ACC Art Books, **** features Sukita’s greatest images, including early experimentation in his native Japan, fashion photography, musician, and celebrity portraits, and his lesser-known street and travel imagery.
The Remarkable Stories Behind the Two Most Iconic Vogue Photographs Ever Taken -- Vogue
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When Vogue 100: A Century of Style, a large-scale and far-ranging historical exhibition celebrating Vogue ’s first 100 years, opened at London’s National Portrait Gallery in the spring of 2016, it was the culmination of five years of research. As chief curator, Robin Muir pored over every issue of the magazine, over 1,500 and counting.
Tracing Photography’s Rise in the Contemporary Art World – Blind
Photo courtesy Yale University Press
In a new book that combines art, history, and memoir, photography critic at The New York Times from 1981-1991, Andy Grundberg, looks back at photography’s meteoric rise in the 1970s and ‘80s.
How Photography Became Contemporary Art is a veritable who’s who of contemporary fine art and includes photographers William Eggleston, Stephen Shore, Cindy Sherman, and Laurie Simmons, who sought to elevate photography to the realm of fine art.
**Quiz of the Week
**1.) Which was arguably the first scientific text to include photographs?
2.) When was the camera obscura widely used as a drawing aid by artists?
3.) Sony’s Multi Interface Shoe (hot shoe) can currently also capture true digital audio when paired with compatible devices. Which two other manufacturers are likely to have this feature available in the near future?
4.) Which manufacturer offers lenses in the most lens mounts?
5.) Does the Apple Watch tell you when it is Golden Hour?
6.) Canon claimed that the majority of photographers covering the Tokyo Olympics used their cameras. What number was that?
a.) 55%
b.) 75%
c.) 45%
7.) Is the Sony a1 the first and ONLY camera to sync flash with electronic shutter?
**Answers
**1.) While not what he is most famous for, it is Darwin’s third book, The Expression of Emotions in Man and Animals (1872). Photographer Thomas Wedgwood (he tried to make prints using a camera obscura) was Charles Darwin’s uncle. Darwin married Emma Wedgwood, his first cousin and Wedgwood’s niece.
2.) During the Renaissance. In the mid-1500s, Giambattista della Porta suggested in his book “Magiae Naturalis” that a camera obscura with a convex lens should be used to sketch all portraits and landscapes before painting.
3.) [Canon and Fujifilm](https://petapixel.com/2021/08/27/canon-appears-to-be-making-its-camera-hot-shoes-a-lot-more-useful/#disqus_thread)
4.) Venus Optics with Laowa making lenses for Sony E, Leica L, Nikon Z, Canon RF, Fujifilm X, Canon EOS-M, and Micro Four Thirds mounts
5.) Yes, the series six can.
6.) 55%
7.) Yes and up to 1/200 sec.
Why I Like This Photo – Jan C. Schlegel
© Jan C. Schlegel
You can see a BTS of the shoot here.
“It took me more than two years to develop the process of selective toning [used in the photo above].” You can watch it here.
I like this photo because I envisioned it in my mind. I was in that village many times before I took this picture of my friend Biwa, an elder of the Kara tribe and a very well-respected warrior. I saw him before carrying a crocodile up to the village, but it was dark already, and I had no chance to take the picture. It took me five divergent trips to the village until I could take the picture as I wanted it. The crocodile was perfect, and quickly we set up my traveling studio-a backdrop, a Lumedyne battery-powered flash system with 90cm Chimera softbox. I only had 20 minutes to take the picture, and the sun was already very low. I always try to use 50% natural light and 50% flashlight.
I took the picture on Kodak T-Max 400 film with my 4×5 Ebony SV45Ti view camera (Large Format). I only was able to release the shutter on my Schneider Apo Super Symmar XL 5.6/1500mm aspherical four times before the sun went down. Shutter speed was as low as 1/15, and aperture was 22, my preferred aperture that would give me the needed depth of field.
I was very nervous because I did not know if it turned out okay or if it was slightly shaken. Of course, the camera was on my Gitzo carbon tripod but Biwa, the warrior, was maybe not standing still enough carrying this heavy crocodile on his shoulders.
I developed the four sheets of 4×5 film in Kodak D76, and with tears in my eyes, I was super excited that two negatives/films were absolutely perfect!! I printed them in my darkroom on Ilford Multigrade FB paper and selectively toned the skin and hair brown. A long-lasting, deficit manual process. It took me more than two years to figure out how to do it. I even came up with my own formula for the toner.
The picture has been shown at many International Art Fairs and has become one of my most iconic works.
Jan C. Schlegel _was born in 1965 in the Black Forest of Germany. He discovered his passion for photography at the age of 14 in a photo course at school. Since 1998 Schlegel has regularly traveled to remote places, which are secluded from the tourism of the western world. The artist observes the rapid decline of traditions and increased change in people 's way of life within their tribes due to globalization. The inexorable changes woke the urgent wish in the photographer to shoot people portraits, capture impressions, and preserve traditional lifestyles in his pictures. _
Quote of the Week – Lee Miller
Self-portrait (variant on Lee Miller par Lee Miller), Paris, France c1930 by Lee Miller © Lee Miller Archives England 2020. All Rights Reserved. http://www.leemiller.co.uk Photo courtesy The Dali Museum, where The Woman who Broke Boundaries: Photographer Lee Miller is on till January 2, 2022.
The personality of the photographer, his approach, is really more important than his technical genius. – Lee Miller
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About the author : Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at The International Center of Photography in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him via email here.
Image credits: All photographs as credited and used with permission from the photographers or agencies. Header photo byDepositphoto.
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Shoott Connects Photographers and Clients, Promises $100/Hr Minimums
A new photography start-up Shoott has created an online platform where clients can quickly find available, vetted photographers for brief 30-minute photoshoots and promises the shooter a $100 per hour guaranteed minimum rate.
The new company provides on-demand professional photography service in the shape of "Insta-worthy" 30-minute outdoor photo sessions that are free for clients to book and gives customers the choice to pay only for photos that they want to keep, starting with $15 per image or less if purchased in a package of ten or more images or if purchased as a full gallery. With a core mission of making professional photography more affordable and accessible, the company says that it also wants to empower local professional photographers.
Shoott claims that it understands the difficulties of unreliable gig work -- thanks to a team comprised of photographers, actors, designers, writers, directors, and other freelance artists -- and wants to provide a more steady influx of jobs for photographers that would allow them to book multiple sessions in the same location to help generate a steady paycheck. The company also takes away the less desirable business aspects of photography -- marketing, sales, and customer service -- to allow shooters to fill their extra time with Shoott gigs, instead.
To guarantee a $100 minimum hourly rate for photographers, the company maintains a rigorous hiring process and only accepts photographers that pass certain criteria. It includes professional equipment, a solid portfolio, especially one that shows family and wedding photography, experience in composing and posing, a creative eye and expertise to work well with natural light, skills to confidently lead a shoot, and the ability to adhere to Shoott policies.
The company claims it accepts only the top 5-percent of photographers who apply, and its shooters have an average of $150 and above hourly earnings, an average tip size of $18, and offers a 60-percent commission on net sales. The company also works around the availability of each photographer and sends them as many clients as they can handle in one single convenient location.
The vetting process sounds similar to Feast It, though does not sound quite as rigorous as the "only one in 10" photographers accepted that the United Kingdom-based company claims.
Currently, Shoott offers different types of portraiture options to prospective clients, including but not limited to lifestyle, family, newborns, maternity, engagements, fitness, business and acting headshots, model portfolios, and more. Clients are given a gallery of lightly retouched images that they can pick from to purchase. For an additional cost to clients, the company also offers professional retouching and other services, such as custom shoots.
To fill a niche demand for better travel photos instead of basic phone selfies, a similar business model was created by the app SnapMob, which [offers tourists to hire a nearby photographer for a quick photo shoot](https://petapixel.com/2021/04/02/to-kill-the-selfie-stick-snapmob-connects-photogs-to-clients-in-real-time/#disqus_thread). Although this company hasn't implemented a strict vetting process -- and allows anyone to be a paid photographer with a smartphone or a camera -- it claims to connect clients and photographers in real-time without the hassle of scheduling, phone calls, and expensive or time-consuming shoots.
At the moment, Shoott clients can book sessions in numerous locations across the United States and Canada, but the company also plans to expand internationally into Europe and Australia in the near future.
Image credits: All images provided by Shoott and used with permission.
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Architecture studio Rogers Stirk Harbour + Partners has designed a terminal for an airport in Shenzhen, China, that will be arranged around a large covered garden.
The 400,000 square-metre terminal will be an extension to Shenzhen Bao'an International Airport and is designed to handle 31 million visitors a year.
The building will have a streamlined form with an undulating, sweeping roof that emulates the pattern of airflow.
Airport will be built around central garden
Rogers Stirk Harbour + Partners' terminal will include a central 10,000-square-metre garden that was designed to act as a "front door" to the city of Shenzhen.
"The design concept has at its heart a 10,000 square-metre central garden space, the size of 40 tennis courts," said Rogers Stirk Harbour + Partners partner Andrew Tyley.
"The garden acts as the front door to Shenzhen connecting and integrating ground and air travel."
According to the studio, the terminal will include vast green spaces and landscaped walkways to promote wellbeing.
"It is a building where passengers' wellbeing and pleasure are at the heart of the design," said Rogers Stirk Harbour + Partners senior partner Ivan Harbour.
"This is an airport that celebrates the hellos and goodbyes in a natural environment at its heart," he continued.
"These are the emotional moments that, despite the ever-increasing speed of our daily lives, remain important to us as individuals."
The terminal hopes to become a landmark
The terminal was developed in collaboration with China Northeast Architectural Design & Research Institute as part of an international competition.
According to the Rogers Stirk Harbour + Partners, the building will attempt to meet sustainability goals through its compact form, control of solar gain, low water use, and the harvesting of rainwater.
Grimshaw Architects have also designed a transport hub for the Shenzhen Bao'an Airport that will accommodate highspeed rail and other transport systems.
Elsewhere in Shenzhen, a music conservatory enveloped in decorative louvres designed by EMBT along with a [700 metre-long university building designed by Dominique Perrault Architects](https://www.dezeen.com/2021/04/15/dominique-perrault-zhubo-design-shenzhen-institute-design-innovation/#disqus_thread) is being built as part of a city-wide development for 10 new cultural buildings that form part of the Shenzhen Ten Cultural Facilities of New Era masterplan.
The post Rogers Stirk Harbour + Partners designs Shenzhen airport terminal with "natural environment at its heart" appeared first on Dezeen.
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