News

‘A very deep connection’ – what it means to be a sibling

The youngest of four, Madeleine Waller knows how sibling relationships shape you. She talks to Giulia Rhodes about her portraits of brothers and sisters

‘A sibling is like a salad,” Limamou, 15, says. “Sometimes you like it, sometimes you hate it, but it’s always good for you.”

Limamou and his older brother, Abdou, are featured in Sister Brother, a new exhibition of the photographer Madeleine Waller’s work – on display at the Victoria & Albert Museum of Childhood in London – which explores what it means to be a sibling.

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Categories: News

TIME calls Sony a7R III 'one of the best mirrorless cameras ever made'

DP Review News - Fri, 24/11/2017 - 18:18

When we finished our full review of the impressive Sony a7R III, we wrapped it up with a conclusion that started:

The sheer capability of the Sony a7R III is hard to overstate [...] Like the Nikon D850, the a7R III is a camera that you can shoot just about anything with, from landscapes to fast action.

But it seems we weren't the only ones blown away by Sony's newest flagship mirrorless full-frame camera, because TIME just named it one of its Top 10 Gadgets of 2017, and crowned it "one of the best mirrorless cameras ever made."

TIME's Top 10 this year included everything from the DJI Spark to the iPhone X, but the Sony a7R III has the distinction of being the only true-blue camera to make the list. Combine this with the fact that demand for the camera is so high Sony Japan had to issue an apology about pre-order delays, and you see why the Sony shares the top spot in our over $2,000 category for 2017.

To learn more about the Sony a7R III, why people are lavishing the camera with such praise, and what its weaknesses are despite this praise, check out our full review below:

Sony a7RIII Review

Categories: News

AI-powered 'Google Lens' is being integrated into Assistant on Pixel phones

DP Review News - Fri, 24/11/2017 - 16:26

With the Pixel 2 smartphone, Google introduced an exciting new software feature called Google Lens. Google Lens uses Artificial Intelligence to power its visual recognition algorithms and provides information about whatever your smartphone's camera is pointed at—for example, what type of flower you are looking at or reviews and other information about a restaurant. You can also identify landmarks, look up movies, books or works of art and scan barcodes/QR codes and business cards.

Unfortunately, in its first implementation the feature wasn't terribly easy or straightforward to use. You had to take a picture, then go to Google Photos and tap the Lens icon which would trigger the Google Lens scan. That's too many steps to make the feature as useful as it could potentially be.

Thankfully, Lens will be integrated into Google Assistant soon. When you open the latter, there'll now be a Lens icon near the bottom right of the display. Tapping this opens up a Google Lens camera. You can tap on any object of interest in the preview window and the app will provide any available information.

As usual, the new feature will be rolled out gradually. English-language Pixel phones that are using Assistant in the United States, United Kingdom, Australia, Canada, India, and Singapore will be served first over the coming weeks, but we'd expect the new feature to make it other regions soon after.

Categories: News

LG V30 camera review

DP Review News - Fri, 24/11/2017 - 14:00
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The LG V30 is the Korean manufacturer's latest flagship smartphone and offers a dual-camera setup that combines a main camera with a 71-degree angle of view with a secondary 120-degree super-wide angle lens. On the main camera, a Sony IMX 351 1/3.1" sensor is coupled with a very fast F1.6 lens.

The super-wide-angle lens, by contrast, comes with a smaller Samsung sensor that features a 13MP resolution and 1.0um pixel size. There is an F1.9 aperture but no OIS, which is easier to live without on a super-wide-angle anyhow.

The V30 sets itself apart from the competition with a comprehensive video mode that provides manual control over shutter speed and sound recording levels, among many other parameters. You can also choose from 15 new Cine Effect color presets that are based on film genres and the Point Zoom mode allows for stable zooming into a target in the frame rather than the center.

Images and videos can be viewed on the phone's 6" QHD+ OLED HDR FullVision display with a 18:9 aspect ratio that occupies almost the entire front of the device's dust and water sealed metal body. Read on to find out how the V30's impressive specs translate into real-life camera performance.

Key Photographic / Video Specifications
  • Dual-camera with 70 degree main camera and 120 degree super wide angle
  • Main camera: 16MP 1/3.1" Sony IMX351 CMOS sensor, F1.6 aperture, OIS
  • Super-wide-angle: 13MP Samsung sensor with 1.0um pixel size, F1.9 aperture
  • 4K video
  • 720p slow-motion at 120 fps
  • Manual photo and video control
  • 5MP F2.2 front camera
Other Specifications
  • 6" QHD+ (1440 x 2880) OLED FullVision display
  • Qualcomm Snapdragon 835 chipset
  • 64/128GB storage, 4GB RAM
  • microSD card slot
  • 3,300mAh battery with quick charging

DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

Categories: News

‘Gay men were dying of Aids at a terrifying rate’: visiting my friend on the HIV ward

Chris Mazeika sits with Steven David in Middlesex hospital, London, March 1993

Steven and I were neighbours in Deptford, south London; although he was never my partner, he was, in a way, the love of my life. Every time I got home and switched on the lights, my landline would ring: “Why am I being neglected?” he would say, in his strong Belfast accent.

Related: ‘Notting Hill carnival was for the community – and the kids – in those days’

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Categories: News

Top 10 sample galleries of the year #1: the Nikon D850

DP Review News - Fri, 24/11/2017 - 12:00
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As 2017 winds down, we're counting down our top 10 most popular sample galleries of the year. Finally, we've made it to the top spot. With images viewed nearly 3 million times and counting, by far our most popular gallery of the year belongs to the Nikon D850.

This is another gold award winning product and staff favorite. DPR staffer Carey Rose feels strongly that it 'could be the only DSLR you’ll ever need,' and a quick peek through our sample gallery should prove why. After all, it's got 45.7MP of resolution, a capable autofocus system, fast burst shooting and offers great image quality under almost any situation.

That's it for 2017, see our full list of top galleries below. And happy shooting!

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: Sony Alpha a9
#1: Nikon D850

Categories: News

Dublin in 1991 by Krass Clement – in pictures

In 1991 the Danish photographer Krass Clement captured a series of images of Dublin during three short visits. The photographs have now been published in a book for the first time, over 25 years after their creation

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Categories: News

The forgotten women of the 1980s indie boom – in pictures

A new book, Untypical Girls, documents the women who refused to be cowed in the male-dominated indie scene that flourished in the 1980s – from riot grrrls to shoegazers

  • Untypical Girls by Sam Knee is out now, published by Cicada Books
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Categories: News

Throwback Thursday: the ups and downs of running DCResource

DP Review News - Thu, 23/11/2017 - 14:00

My friends would (hopefully) say that I'm not one to toot my own horn, but since this weekend marks the 20th anniversary of my foray into the world of digital photography websites, I'm taking the liberty. Over Thanksgiving weekend in 1997 I founded the Digital Camera Resource Page, aka DCResource. The site is no longer updated (that probably wouldn't go over well with my current employer), so it remains as a sort of time capsule to days past.

In this Throwback Thursday I'm going to share my story of how I stumbled into the world of digital photography and the rollercoaster ride that followed.

I'm fortunate to have been an early adopter of many technologies. Prior to my first year of college I spent a summer working in a research lab at UC San Francisco, where we had a computer connected to this Internet thing. On it were copies of NCSA Mosaic 0.86, TurboGopher and Eudora (for e-mail). When I started college at UC San Diego in Fall of 1994 I was selected to test out a "cable modem," which back then was larger than a VCR and had a five figure price tag. Goodbye 28.8kbps dial-up, hello sort-of-high-speed Internet.

The combination of three different thing resulted in the creation of DCResource. First and foremost, thanks to my job at the UCSD Bookstore, I was able to get my hands on early consumer cameras from Kodak, Apple and Casio that were up for sale. Second, I had already dipped my feet into running my own website, in the form of PowerWatch, which covered Mac 'clones' made by Power Computing, which (after the return of Steve Jobs) eventually closed down. Using the successful model of PowerWatch and noticing the lack of any sites covering digital cameras, in November 1997, in my college dorm, the Digital Camera Resource Page was born.

The original site design by Delane Barrus, who was involved in the website for the first few years.

The goal of DCResource wasn't to be the most technical site out there (Imaging Resource and DPReview would arrive a year later to handle that), but to be the most accessible to the average person. Even now, I still get feedback from folks who thought that the site succeeded at doing that.

The early years of DCResource were pretty busy, with more and more companies entering the market with their plasticky, VGA-resolution cameras. In addition to the big names, companies such as Agfa, Sanyo, Sharp and Toshiba were all in the market at the time. If you ever owned any of those, consider yourself old. At the time, your camera either used SmartMedia (ugh), CompactFlash or floppy disk. I wrote about new '4X' speed CF cards and troubles getting the FlashPath SmartMedia-to-floppy adapter to work on Macs.

Back then there was no content management system to hold reviews, so everything sat in static HTML files. Users e-mailed their camera reviews to me, which were often cross-posted on rec.photo.digital on Usenet.

In the first couple of years it felt like the site just wasn't taking off. I considered closing it down, but kept it going, working on it in my spare time in and after college. As people started to gravitate away from film and toward digital, I realized that I was just a little early.

The purple version of DCResource launched in 2000. I made a mobile version of the site around then, designed for Palm VII PDAs. I still think that's pretty awesome.

When it came to camera reviews, I quickly established a standard that lasted for the entire life of the site. Besides being accessible, I wanted to be as consistent as possible. The layout was always the same: intro, what's in the box, software, look & feel, how many photos fit on a memory card, menu options, photo tests and conclusion. (I always use the term 'tests' loosely, since there was never any DPReview-level science involved.)

In every sample gallery I included the same set of photos taken in SF's Chinatown as well as at Stanford University about 40 minutes to the south. I'd take out groups of cameras at a time (my record was 10 at once) since the weather in SF is so unpredictable. I'd do my best to arrive at the same time on each visit.

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Around 2001, I realized that keeping my site open was a good idea. Digital cameras were selling, and traffic was going up. I finally had good access to cameras to review, and back then, you could have a full review published on launch day. In the early days, it felt like the cameras manufacturers needed websites like mine (and others) a lot more than they do now. I quit my day job and started to run DCResource full-time.

The year 2004 was the beginning of what I (and probably many of my peers) called the glory days. Technology moved so quickly that some photographers were upgrading cameras every year, and that's in addition to first-time buyers. Business was booming.

You know what they say about 'all good things,' right?

Unique visitors over time, minus the actual data. Traffic peaked during the 2006 holidays.

On June 29th, 2007, consumer digital photography changed forever. That's when the original iPhone was announced, and for most of us in the publishing world, it was all downhill from there, though I didn't know it at the time. Manufacturers didn't either, because in January 2008 they collectively released 80 cameras at CES, again, most of them being compacts, with little to differentiate them. They still hadn't gotten the memo a year later, with 75 cameras announced.

While DCResource's traffic was slowly slipping, it didn't really hit home until after the 2009 holiday season, when I saw that my unique visitors were 60% of what they had been two years prior. It wasn't panic time yet – I kept going without worrying too much about it, because as long as I was still making a good living, everything would be fine...

The 'orange' version of the DCRP website launched in 2004. I still think it looks great today.

2011 was panic time. The time to sell the site for anything except peanuts had long since passed (DPReview was acquired by Amazon four years earlier), and regret set in. I remember thinking "if only I had hired a salesperson while times were good," - not that it would've made a difference at that point. While I still took most of my photos with my DSLRs, I was reaching for my smartphone more and more often.

The next year, manufacturers announced 55 cameras at CES. The problem was, nobody was buying them, and since DCResource leaned toward the consumer end of the spectrum, it was starting to hurt. I starting tapping into my savings (gotta pay the mortgage) so it became obvious that it was time to get back into the workforce and resume running my website on the side. While Silicon Valley had tons of tech companies to choose from, running a digital camera website for almost 15 years was an unusual thing to have on your resume.

The sheer ridiculousness of the number of point-and-shoot cameras on the market inspired me to make a family tree of Canon's ELPH ultra-compacts.

Around that time I was in touch with none other than Simon Joinson, who, along with Phil Askey, I'd known for several years as friendly competitors. Simon had expressed an interest in adding me to the DPReview team for a while, which was both a good opportunity for me and an excuse to move to Seattle, one of my favorite cities. Later that year, I accepted a position at DPReview, took a 3+ week trip to South America and Antarctica, and then drove myself and two partially sedated cats to Seattle. Since then, my brain has been stuffed with technical details (thanks Rishi and Richard), and my photography has improved as well (my old 'work' now makes me cringe).

Naturally, I feel very fortunate for the opportunity that I had to leave the corporate world behind and build one of the original, and for a time one of the biggest photography websites from the ground up, almost entirely on my own. Sure, in retrospect I would've done a few things differently, but it was a good ride while it lasted.

As 2017 comes to an end, I'm concerned that smartphones are following the same path as compact digital cameras, since they're so good now that there's less need to upgrade every year. That said, there is still a lot of innovation in this space, and smartphone photography is a lot more advanced than it was just a few years ago. While I don't know (yet) whether computational photography is the next big thing, I'm strapped in - ready for another ride.

Categories: News

Thanksgiving parade and Christmas castles: Thursday's best photographs

The Guardian’s picture editors bring you a selection of photo highlights from around the world, including Thanksgiving parade preparations, Windsor Castle at Christmas and Tokyo illuminations

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Categories: News

Goa, India’s little sunshine state: travel photo of the week

Vivid, vibrant Panjim market in Goa caught the eye of photographer Annapurna Mellor on her first trip to the state

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Categories: News

Top 10 sample galleries of the year #2: the Sony Alpha a9

DP Review News - Thu, 23/11/2017 - 12:00
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As 2017 winds down, we're counting down our top 10 most popular sample galleries of the year. In the #2 position we have another staff favorite in the Sony Alpha a9. Images in this gallery have been viewed nearly 2 million times, so it seems our readers are as fascinated by this camera as we are.

In fact, we've probably written more about the Sony a9 then any other product this year, simply because there was a lot to say (and test)! It got a gold award in our review and we've used it to shoot everything from parkour to the Presidents Cup. So peep our gallery and see what this top tier sports camera is capable of. Our parkour gallery is below:

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#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: Sony Alpha a9
#1: Nikon D850

Categories: News

Images from a Warming Planet - the UK in pictures

The 2016 book by photojournalist Ashley Cooper documented the effects of climate change over 13 years and in more than 30 countries. Earlier this month, Cooper won the Green Apple award for environmental best practice at a ceremony at the UK House of Commons.

Cooper is planning to set up a website, I Commit, which aims to get citizens of the world to lower their carbon footprint and upload their own images of climate impacts. Here are his images of how extreme weather has affected the UK in recent years

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Categories: News

The Epson panoramic photography awards 2017 – in pictures

The Epson International Pano awards showcase the work of the best panoramic photographers from around the world. Thousands of entries were submitted to the eighth annual competition. Here is a selection of the best, including the winning entry of a river in China

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Categories: News

Rotolight Anova Pro 2 features improved output and 'unrivaled battery'

DP Review News - Wed, 22/11/2017 - 21:43

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

Categories: News

Designer imagines the perfect keyboard for Adobe software

DP Review News - Wed, 22/11/2017 - 20:36

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?

Categories: News

Peak Design unveils limited edition Leica Backpack Capsule

DP Review News - Wed, 22/11/2017 - 18:38

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.)
Categories: News

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

DP Review News - Wed, 22/11/2017 - 17:27
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.

Categories: News

Matthews unveils C-stand shoulder and roller bags

DP Review News - Wed, 22/11/2017 - 16:24

Getting your equipment to location shoots can be a difficult logistical task, especially when you're also hauling lighting equipment in addition to camera gear. Carrying your C-stands could soon be a lot less unpleasant, though, thanks to the new C-stand bags from Matthews Studio Equipment.

You can choose from a shoulder bag and a roller version. The shoulder bag resembles a guitar case and can hold two assembled C-stands. It also comes with am protective internal divider, a grip handle with “easy-catch” magnet and a padded shoulder strap.

The rolling bag is a little larger and can hold three C-Stands with the legs removed. The bag rolls on high density silicon skate wheels and comes with a zippered external compartment, customizable internal dividers for storing light stands or grip accessories and twin side handles, allowing for handling of the bag by two people.

Both bags are available to pre-order now. You'll have to invest $250 in the shoulder bag, while the larger roller case will set you back $350.

Categories: News

Canon illuminated buttons patent hints at future prosumer DSLR design

DP Review News - Wed, 22/11/2017 - 16:11

Canon has filed a patent that shows illuminated buttons appearing on the back of a prosumer DSLR camera (7D/5D-like design), hinting that the feature may be added to the maker's future models. Details are sparse at this time, but an illustration in the patent shows a series of buttons with what appears to be a row of LEDs behind them.

The patent implies that this tech is about lighting up buttons while simultaneously preventing light leaks, explaining that this particular design: "enables a letter or character on the surface of a button to emit light uniformly [...] without providing any dedicated separate member for light guiding and light shielding, and can prevent light leakage to the inside and outside of the device."

As with all patents, we can't say for sure when (or even if) this feature will make its way into a Canon camera, but it seems like a no-brainer and something that would be simple to implement. Check out the full patent for yourself here (Japan Patent Application 2017-147019).

Categories: News
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