Instagram snapshots: Adonis Villanueva in Breb, Romania

An American traveller’s three-month journey in Romania revels in the traditional, with images of work, stillness and beauty

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Categories: News

Best photographs of the day: a rabies jab and Noah's ark

The Guardian’s picture editors bring you a selection of photo highlights from around the world, including a vet at work and Kentucky’s own Noah’s ark

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Categories: News

Wanted: Homepage content tips and freelance writers!

DP Review News - Wed, 06/07/2016 - 12:00

We're on the lookout for freelance writers to contribute news and short feature content for our homepage. If you're an experienced writer with great editorial instincts who loves ferreting out interesting and unusual photo-related content, we want to hear from you. 

If you're interested in contributing to, click here and tell us about yourself - preferably with links to published work. If we like the cut of your jib, we'll be in touch.

If you're not interested in writing for DPReview, but you've found an interesting story that you think we should write about, you can submit suggestions here.

Categories: News

Eyewitness: East Taiga, Mongolia

Photographs from the Eyewitness series

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Categories: News

Shine a light: infrared film unveils a hidden world – in pictures

British documentary photographer Edward Thompson uses infrared film to go beyond the limits of the human eye, and uncover the invisible

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Categories: News

National Geographic details how it searches for altered photographs

DP Review News - Tue, 05/07/2016 - 19:36

The cover photo for National Geographic’s February 1982 issue featured a camel train in front of the Pyramids at Giza. Soon after publishing the issue, National Geographic was called out for having manipulated the image, altering it to place the pyramids closer together so that the horizontal photo would be better suited for the magazine’s vertical cover. Since then, National Geographic has been vigilant in monitoring for photo alterations, the process of which it described in a recent issue.

Speaking about manipulated photos, National Geographic Editor in Chief Susan Goldberg said, 'At National Geographic it’s never OK to alter a photo. We’ve made it part of our mission to ensure our photos are real.'

As part of that mission, the publication requires its photographers to submit raw files with their images; this goes for members who submit photos to Nat Geo’s 'Your Shot', as well. In the absence of these raw files, Goldberg says the company asks the photographer ‘detailed questions about the photo.’ As well, the company's director of photography Sarah Leen explains, 'We ask ourselves, Is this photo a good representation of what the photographer saw?'

Ultimately, though, what is acceptable to one person or organization may not be acceptable to another, something Goldberg highlighted with an example. One of the publication’s photographers recently had a photo rejected by a contest panel of judges who deemed the image overprocessed. National Geographic didn’t share that view, however, and published the photo itself.

Categories: News

Huawei criticized for using DSLR-image in smartphone advert

DP Review News - Tue, 05/07/2016 - 19:17

Many viewers would describe the image that Huawei used in a Google Plus post promoting its flagship smartphone P9 as a beautiful portrait. Angled backlighting is creating a golden shine in the subject's hair, and warm subdued colors and lens flare that adds to the composition. Add an attractive model and a natural pose to that and you've got yourself a really nice image.

Most photographers would easily spot that the image in question was not captured using a smartphone though. We've only seen a small version of the image, so can't comment on detail, but the depth-of-field is much too shallow and the tonal range too large for the small sensors found in smartphone cameras. It's no surprise then that the Exif data, which was still embedded in the image, revealed that it had been taken with a Canon EOS 5D Mark III and a EF70-200mm F2.8 lens.

Problem is that Huawei is strongly implying the image was taken on a Huawei P9 in the caption:

"The #HuaweiP9's dual Leica cameras makes taking photos in low light conditions like this a pleasure".

After criticism in social media the Chinese manufacturer has taken down the photo and apologized in a statement to Android Police

"the photo, which was professionally taken while filming a Huawei P9 advert, was shared to inspire our community. We recognize though that we should have been clearer with the captions for this image. It was never our intention to mislead. We apologize for this and we have removed the image."

It's not the first and probably not the last time this sort of thing has happened, but given the Huawei P9 comes with a Leica-branded dual-lens camera, we would at least have hoped for the promotional shots to be taken with a model from the German manufacturer. 

Categories: News

Special K? Pentax K-1 Review

DP Review News - Tue, 05/07/2016 - 18:02

After years of promises and months of teasing, Ricoh has finally unveiled the Pentax K-1, a 36.4MP full-frame DSLR built around the K lens mount. It becomes the only conventional DSLR to offer a full frame sensor with image stabilization.

The camera is extensively sealed and features magnesium alloy construction. But despite its range-topping status and high-end build, it has a relatively low list price of $1799.

Pentax K-1 Key Specifications
  • 36.2MP full-frame CMOS sensor with no anti-aliasing filter
  • 5-axis image stabilization rated to 5 stops by CIPA standard testing
  • 100% pentaprism viewfinder with 0.7x magnification
  • 33-point AF system (25 cross-type)
  • Extensive weather-sealing
  • 1/200 sec flash sync speed
  • 14-bit Raw recording (DNG or PEF)
  • AA filter simulation
  • Multi-shot Pixel Shift Resolution mode
  • Built-in GPS with electro-magnetic compass and Astrotracer function
  • 4.4 fps continuous shooting (6.5 fps in APS-C crop mode)
  • Wi-Fi
  • 1080/30p video
Sensor-shift cleverness

As this list of spec highlights should make clear, the K-1 makes the most of its moveable sensor. As well as the image stabilization, which is rated to an impressive 5 stops, the camera offers a host of other clever features. These include anti-aliasing filter simulation which vibrates the sensor during exposure to intentionally blur high frequency detail across multiple pixels, to avoid moiré. Then there's the Pixel Shift Resolution mode that increases color resolution by shooting four consecutive images with the sensor moved by one pixel - effectively canceling the Bayer color filter array and lowering noise by image averaging.

The other sensor-shift modes are also clever: the K-1 includes Horizon Correction, which rotates the sensor if you hold the camera slightly off-level, and the Astrotracer system that uses the sensor's movement to cancel-out the effect of the Earth's rotation when taking images of stars (something it can calculate using its GPS).

Upgraded AF and metering The sensor at the heart of the SAFOX 12 AF module. It gives 33 AF points in all, 25 of which are cross type and three of which offer greater accuracy when paired with bright lenses.

The camera gets a new AF module (called SAFOX 12) which features 33 focus points, 25 of which are cross type. The central three of these offer higher precision when used with F2.8 or faster lenses and the central 25 continue to focus down as far as -3EV.

An 86,000-pixel RGB metering sensor acts to offer 77-segment metering but also aids the camera's autofocus system, enabling scene analysis and subject detection to yield accurate exposures and automatically select the correct AF point to stay on your subject (subject tracking) when using continuous AF.

Core competence

Overall, though, it's not the clever use of the sensor that most stands out about the K-1, it's Ricoh's obvious focus on the core photographic capabilities. There's a reason we chose to list the viewfinder size so far up the list of specifications - it's because we think it's something users coming from existing Pentax cameras will most appreciate. Sure, there are multiple exposure modes and time lapse options, but the things that most jumped out are the high resolution sensor, the well positioned dials, the large viewfinder and image stabilization - the core things that help you to get better images. Speaking of core things: some may bemoan the omission of a dedicated AF point control, though the four way controller can be re-purposed for this.

Which isn't to say the K-1 is entirely without the occasional flourish. Aside from clever sensor shift modes (that some - particularly landscape - photographers will surely come to love), the most obvious of these is its 'Cross-Tilt' LCD. The Cross-Tilt mechanism takes a tilting LCD cradle and mounts it on four legs that slide along a cross-shaped series of slots, allowing the screen to extend outwards and move in a complex manner, before the screen itself is tilted up/down.

The K-1's Cross-Tilt LCD system has all the elegance of two deck chairs mating, but it provides a useful range of articulation.

Mounted to the back of the LCD are four white LEDs that can be used to shed light on the rear controls. Another LED, whose behavior can be set independently, shines a light on the lens mount for easier alignment when swapping lenses in the dark. The camera's card bay and remote release port are also illuminated by LEDs.

For the most part, though, the camera's focus is very much toward a traditional approach to still photography. Video capture tops-out at 1080/30p (which can also be encoded as 60i, if you prefer), which is a long way from cutting edge, but we really doubt that Ricoh has would-be film makers in mind with this model.

Still shooters are likely to appreciate the camera's Smart Function system, which adds a third command dial to the top right corner of the camera and a further control to define its function. The three dials give direct control over three of the camera's parameters with the ability to customize one of them without going anywhere near a menu.


And how much does Ricoh want for this twin-dial, weather-sealed, magnesium alloy, image-stabilized full frame camera? The list price is a fiercely competitive $1799, body only. To put that in perspective, that's $200 lower than the launch price of Nikon's more basic D610 and $300 less than what Canon originally expected for the EOS 6D, meaning there's only a $100 premium over the list price of Sony's image-stabilized a7 II.

This is a very similar pattern we've seen from Ricoh before, with the company's models often including higher-end features (twin control dials, prism viewfinders and weather sealing) at a lower price than you'd need to spend to get them from one of the other DSLR makers.

Lens lineup

At present, Pentax offers a mixture of full-frame compatible lenses, including a handful of screw-drive FA prime lenses from the film-era and the much-loved 31, 43 and 77mm FA Limiteds from the late '90s/early 2000s. However, the company is already starting to flesh-out a range of more modern 'D FA' zooms, including a 15-30mm F2.8, a 24-70mm F2.8 (both suspiciously reminiscent of certain current Tamron-branded zooms) a 70-200mm F2.8 and an 150-450mm F4.5-5.6. For now, though, those looking for modern, fast-focusing primes will be disappointed.

But that isn't the whole story, of course. Part of the reason for all the interest in a full-frame Pentax is the vast collection of K-mount lenses that exist around the world. The K-1 lets you use the aperture rings on these lenses and can give a focus confirmation beep with the central AF point, even with manual focus lenses. When you mount an older, manual lens the K-1 prompts you to manually specify the focal length so that the image stabilization can be tuned appropriately.

The K-1 can, of course, still use the Pentax DA lenses designed for the company's APS-C cameras. By default the camera will use a 15MP APS-C-sized crop of the sensor if a DA lens is mounted but can be made to use its full sensor region, if you'd prefer. Ricoh has published a list of those lenses that will produce relatively useable results in full frame mode, if the aperture is stopped down.

DA Prime Lens / Utility on K-1 DA 14mm Crop Mode Only DA 50mm F1.8 Stopped-down DA 21mm Limited Crop Mode Only DA* 55mm F1.4 Stopped-down DA 15 F4 Limited Crop Mode Only DA 70mm Limited Stopped-down DA 35mm F2.4 Stopped-down DA* 200mm F2.8 SDM Fully Functional DA 35mm F2.8 Macro Stopped-down DA* 300mm F4 SDM Fully Functional DA 40mm Limited Stopped-down DA 560mm F5.6 Fully Functional DA 40mm XS Stopped-down RC1.4X Crop Mode Only

The company says that all of the DA zooms will only cover the crop sensor region. 

Categories: News

Canon G7 X Mark II added to studio scene

DP Review News - Tue, 05/07/2016 - 13:00
$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-58946463","widgetId":379,"initialStateId":null}) }) JPEG Performance

One of the obvious changes to the G7 X Mark II's image processing is with sharpening$(document).ready(function() { $("#imageComparisonLink2662").click(function() { ImageComparisonWidgetLink(2662); }); }). For the G7 X Mark II, the large radius sharpening has been increased, which does enhance certain types of detail$(document).ready(function() { $("#imageComparisonLink2664").click(function() { ImageComparisonWidgetLink(2664); }); }), but ultimately emphasizes lower frequency detail$(document).ready(function() { $("#imageComparisonLink2676").click(function() { ImageComparisonWidgetLink(2676); }); }) over high frequency detail. A significant downside of large radius sharpening is more pronounced sharpening halos$(document).ready(function() { $("#imageComparisonLink2663").click(function() { ImageComparisonWidgetLink(2663); }); }) compared to the G7 X, which can look particularly egregious$(document).ready(function() { $("#imageComparisonLink2675").click(function() { ImageComparisonWidgetLink(2675); }); }) next to the more refined sharpening the RX100 IV demonstrates (pay attention to the edges of the color patches).

Noise reduction has also changed. When we took the G7 X Mark II to Sasquatch! music festival, we noticed noise reduction at base ISO was fairly strong. Compared to the G7 X$(document).ready(function() { $("#imageComparisonLink2672").click(function() { ImageComparisonWidgetLink(2672); }); }), we can see the stronger algorithm in action, especially when compared to the amount of detail visible in Raw$(document).ready(function() { $("#imageComparisonLink2671").click(function() { ImageComparisonWidgetLink(2671); }); }) mode. The excessive noise reduction combined with the large radius sharpening we mentioned earlier mean that fine detail isn't as well preserved in the JPEG as it could be.

The benefit of both the sharpening and NR parts of the new engine is better detail retention at higher ISOs$(document).ready(function() { $("#imageComparisonLink2670").click(function() { ImageComparisonWidgetLink(2670); }); }), with an ISO 1600 shot from the G7 X Mark II shot showing as much detail as an ISO 800 shot from the G7 X. At the highest ISOs, 6400$(document).ready(function() { $("#imageComparisonLink2668").click(function() { ImageComparisonWidgetLink(2668); }); }) and 12800$(document).ready(function() { $("#imageComparisonLink2674").click(function() { ImageComparisonWidgetLink(2674); }); }), the image engine oddly remains unchanged.

Raw Performance

Raw high ISO performance in low light remains largely the same as the G7 X$(document).ready(function() { $("#imageComparisonLink2677").click(function() { ImageComparisonWidgetLink(2677); }); }), which is right where we expect image quality to be from the Sony sensor used across many 1-inch type cameras$(document).ready(function() { $("#imageComparisonLink2678").click(function() { ImageComparisonWidgetLink(2678); }); }). 

These improvements come with many other changes for the G7 X Mark II, which will be covered in our full review. Stay tuned!

Categories: News

Alison Goldfrapp on photographing Laura Mvula ... and a McDonald's

As a kid, she pored over Helmut Newton shots and smeared her first camera lens with Vaseline. Now, with a hefty Instagram following for her moody landscapes, the iconoclastic singer is switching focus to her fellow musicians

Alison Goldfrapp carries her camera pretty much everywhere, she says. “I’ve always got it in the car with me. If I go out on a walk. I try to take it.” Better known as a singer and the frontwoman of the duo that takes her name, Goldfrapp has become something of a photographer in recent years. Her Instagram account, with more than 30,000 followers, is an intriguing mix of strange and dreamlike nature shots, graphic snatches of buildings and artful closeups of plants and flowers.

And her dog, of course. Goldfrapp has, she admits, photographed few people – mainly her partner and friends, and a handful of people on the street. “I like that intimacy you have with the person – it’s really special,” she says.

X #pinetree #instasky #lensculture #nature

Near the studio....somewhere over the valley....through the fog?! X #sombrescapes #lensculture #nature #trees #fog

Related: Alison Goldfrapp: the Lowry's first 'performer as curator'

Magnificent men & their flying machines. Sussex Downs x #mextures #hartcollective #ig_bw #lensculture

A photo posted by Alison Goldfrapp (@alison_goldfrapp) on Dec 22, 2015 at 3:07am PST

....the English countryside looks amazing right now, everything is buzzing, blooming & bursting with life...just beautiful! It's good to be home X #iphonepicture

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Categories: News

Owning it: black dandies – in pictures

Flares and jumpsuits, dickie bows and boaters ... for centuries, these natty dressers have confronted racism with fashion and kicked against masculine stereotypes with a sequinned platform boot

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Categories: News

Words that will forever pursue us: Tim Page on Michael Herr, rock’n’roll voice of the Vietnam War

Herr pioneered reporting that infused Full Metal Jacket and Apocalypse Now. Tim Page, who inspired Dennis Hopper’s character in the latter, pays tribute

It’s a rare quality of friendship when you acquire an instant nickname for a new mate.

We were instantly “Nub” and “Plum”. Me Nub, for my mangled left index finger; Plum for Mike and his always slightly reddened face.

Related: Michael Herr, author of Dispatches, dies aged 76

Related: The 100 best nonfiction books: No 9 – Dispatches by Michael Herr (1977)

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Categories: News

The subversive power of​ ​the​ ​black dandy

Black men’s style is a form of radical personal politics, argues the curator of a new photography exhibition paying tribute to the ‘louche, camp and playful’ from Soweto to New York

Owning it: the best of black dandy style – in pictures

When I was 16, my dad and I were parked outside the Express Dairy in Wembley, chatting in the front of our car. We’d been there for about 10 minutes when there was a knock on the window. It was a police officer. Someone had reported the presence of two suspicious men in a vehicle.

As we drove off, my dad chuckled at the idea that anyone could think of us, a middle-aged man and his son in a Volvo estate, as a threat. I laughed too, but I wouldn’t have if I’d realised that incidents like this were soon to become commonplace. Here, in 1984, was an end to boyhood and the start of my journey into adulthood – into becoming a black man.

Related: Miss Black and Beautiful: the pageants where curves and afros ruled

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Categories: News

You've got mail: Five photo postcard apps tested

DP Review News - Mon, 04/07/2016 - 13:00

In this age of sharing images via email, social media and text messages, one form of photo communication has sadly been left behind. It is something we all used to look forward to getting from anyone who was traveling. I’m speaking of the humble postcard.

Be it a trip as mundane as a work conference in Kansas City or as exotic as a trek through the Amazon rainforest, getting a postcard in the mail was something that we all looked forward to from friends and family. Even today, if I want to make my grandmother happy, sending even the cheesiest of postcards will bring a smile and a thank you. Perhaps more surprisingly, my kids go completely nuts when someone sends them a postcard. At 6 and 8, they both already have email addresses, but the postcards all go right up on the wall above their beds.

But what if we could merge the old-school and the new-school? What if, instead of relying on the spinning metal rack of cards at a roadside diner or airport giftshop, you could easily send a postcard of an image you took yourself? Through the magic of smartphone apps, doing so is far easier than you might expect.

Putting them to the test

I tried out five different postcard apps on an iPhone 5s: Touchnote, Postcard, Ink, Postagram and Snapshot Postcard. All of the apps are free and charge only for sending cards. I sent myself three postcards from each app using the same three images. One of the images was taken with a DSLR and another with a Micro Four Thirds camera, then transferred to my iPhone. The third image was a photo taken with the iPhone’s rear-facing camera. The data regarding pricing was reported by the app companies themselves. I did my best to make it clear what the costs would be for both US and International users. If the company reported specific non-US pricing, it is listed. But if they did not, pricing will be in whatever your local exchange rate is from USD.


Cost: $2.99/£2.99/€2.99
Usable worldwide: Yes
Cardstock: 110 lb glossy
Android/iOS: Both
Additional products: Greeting cards

As with all of these apps, Touchnote has iOS and Android versions. What is unique is that it also has a web interface so you can order while at your desk. This is actually surprisingly handy if you intend to send non-phone images regularly. Full-bleed, white border, square or 1-6 multi image layouts are available. Images can be cropped, zoomed and rotated within the app. In addition to traditional messages on the back of the postcard, Touchnote allows you to add up to a 33 character caption on the front side as well. There is a confirmation email after you send a card and you can see (as well as copy for future use) all of your past sent cards in a nice timeline view.

Postcard by PrintMe

Cost: $2.99/£1.79/€2.49
Usable worldwide: Yes
Cardstock: 300 gr/qm (aprox 110 lb) luster
Android/iOS: Both
Additional products: Greeting cards, photo books, calendars

Postcard by PrintMe aims to be more of a 'photo products' app than the others in this article. That said, its postcard options are plenty strong on their own. Full-bleed, white border, and multi-image layouts are available, as well as many 'occasion/holiday' designs. The image can be zoomed and cropped, but not rotated.

Rare in these apps is Postcard’s ability to change the font for your message on the back. Sadly, there is no drop-down list, you just have to keep pressing the 'font' button over and over. Still, it is one of the only apps that give you any font option at all. Much cooler is the 'signature' box option which allows you to sign your name on-screen and have it print on the card. Finally, though I did not test it, Postcard offers the option to pick up folded greeting cards, but not postcards, next-day at Walgreens locations.


Cost: $0.99 domestic $1.99 international
Usable worldwide: Yes
Cardstock: 12 pt (approx 92 lb) with thick glossy laminate
Android/iOS: Both
Additional products: None

Looking to differentiate itself from the other apps out there, Postagram is unique both because it is designed around a, presumably, Instagram-inspired square image layout, and also because that square image comes pre-perforated and ready to pop out in a sort of trading-card style. Your message is printed on both the back of the image 'card' and on the front side as well. In a nice touch, you can choose a secondary 0.75 inch x 0.75 inch 'avatar' style secondary image to appear in the corner. Which is neat for including an image of yourself along with your landscape image from a trip somewhere, for example. Currently the non-image area of the Postagram cards are black. However, an upcoming app update will offer more colorful options.

Both Ink (described below) and Postagram are from the same company, so if you have set up an account on one, it will work on the other. They apps are also virtually identical in design and features, with the few small differences owing mostly to the differing focus of each product. There are some basic Instagram-style image filters available as well as the ability to zoom and crop. Rotating your image does not seem to be an option. To make sending multiple cards faster, you can copy a past card and update the address/message. There is a clever payment option that allows you to take a photo of your credit card instead of entering in the numbers manually. Both apps are very good with order-received/card-sent confirmations. I will say that unless you turn them off, they are both a little heavy on the marketing notifications ('It’s a week until Mother’s Day!' etc).


Cost: $1.99 within the USA, $2.99 International, $2.99 extra for “Premium” option
Usable worldwide: Yes
Cardstock: 12 pt (approx 92 lb) with thick glossy laminate, Premium cards are 120lb with eggshell finish
Android/iOS: Both
Additional products: None

Ink is designed as more of a greeting-card style postcard app, with many pre-formatted designs for various holidays and occasions that you can add your image to. But they also offer standard postcard options as well as full-bleed, white border or multi-image layouts. Ink postcards are the largest of any tested here, at 5x7 (vs roughly 4x6 for the others). They also offer an upgraded “Premium” card that is printed on heavier matte cardstock and comes in an embossed envelope with a real stamp.

SnapShot Postcard

Cost: $1.99 domestic $2.99 international (first card is free from anywhere)
Usable worldwide:  Yes
Cardstock: 110 lb glossy
Android/iOS: Both
Additional products: None (though they do have a greeting card app, SnapShot Greeting Card, as well)

SnapShot Postcard is the only one of the apps that offers a quick 'getting started' video as part of its signup flow. While none of these apps are what I would call confusing for anyone who is used to mobile apps, a quick video walkthrough is pretty handy for those who aren’t as tech savvy. Another area where SnapShot Postcard is ahead of the others is that you can send your first card free. Trying a product before you buy is always a nice thing. While user interface is not particularly fancy, all the basics are there in the app. You can set a return address, place a caption on the front, and crop/zoom/rotate (with a handy 'shake to reset' function). You can choose borders or full bleed for your images. The borders are fairly cheesy and there isn’t any 'white' border option, so full-bleed is going to be your best bet. You are asked if you would like to send the same card again to a different address, handy for vacation or family photos where you might send the same card to many people. There is a nice order history, but you cannot copy old cards. 

Categories: News

1890 in glorious colour: the magic of photochromes – in pictures

Photochromes are vibrant and nuanced prints hand-coloured from black-and-white negatives. Created using a process pioneered in the 1880s, these images offer a fascinating insight into the world when colour photography was still in its infancy

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Categories: News

Readers' travel photography competition: June – in pictures

Dream-like almost-empty landscapes dominated this month. Scroll to see the winning shot, judged by Mick Ryan of All monthly winners will be displayed at the year-end exhibition at the Guardian’s London HQ; the overall winner gets a fantastic Secret Fjords’ self-drive holiday to Iceland for two people with Discover the World

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Categories: News

Sport picture of the day: Rosberg gutted by Hamilton in Austria

‘I am absolutely gutted,’ said Nico Rosberg after the race: ‘I was sure to win that race but I lost it on the last lap. It was unbelievable ... I was out the front, I felt great and I thought I was going to win the race.’ Rosberg finished fourth with an obliterated front wing

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Categories: News

Miss Black and Beautiful: the pageants where curves and afros ruled

A new photo exhibition explores black beauty contests in the 60s and 70s, which challenged white aesthetic standards and celebrated a range of body shapes

Sybil McLean’s face is pressed between two beauty pageant rivals. Her spontaneous joy, the symmetry of the twin afros framing her face, and the affectionate way her arms encircle her friends can’t fail to raise a smile. The photograph, capturing the winner of the 1972 Miss Black and Beautiful pageant, is part of an exhibition of the work of Raphael Albert, a promoter and photographer of black beauty pageants in the 1960s, 70s and 80s.

Today, beauty pageants feel tawdry and anachronistic, but Albert’s pictures highlight another side. As curator Renee Mussai puts it: “There is a sense of laughter and solidarity that appears genuine and playful.” It’s not the only difference. While the women are still young, beautiful and slim, they are far from being identikit contestants. Sybil is as pretty and elegant as the stereotypical beauty queen, but her closely cropped hair is unusual, as are her competitors’ afros. Other photos show a range of skin tones, as well as curvaceous figures among the tall and slender shapes in mainstream competitions.

Related: Serena Williams: ​'​Not everyone’s going to like the way I look​'​

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Categories: News

Fighting the elements: Landscape photography in Antarctica

DP Review News - Sun, 03/07/2016 - 13:00
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When most photographers want a new accessory or piece of gear to help them get a shot, they can usually pick it up at a local store or online. But when you're a photographer living in Antarctica, you have to be a little more resourceful.

Josh Swanson has spent 16 seasons working in Antarctica and photographing its landscapes. Starting with a disposable film camera and now shooting with a Nikon DSLR, Swanson has learned the ins and outs of shooting panoramas in one of the most unforgiving environments on earth.

For example, when he began running into issues with elements in his panoramas not aligning correctly, he discovered that a specialized bracket would help sort things out. He tells Resource Travel, '...being on the ice I was not able to get one (planes don’t regularly arrive during the winter which means no mail service). I ended up just building one. It worked for the season, although I later replaced it with a manufactured one for that had degree increments etc. for faster more accurate pans.'

As you'd expect, he's also had trouble with LCDs freezing and battery life plummeting in the cold weather. He tells Kira Morris, a fellow photographer and former Antarctic resident, all about it over at Resource Travel

Categories: News

Best photographs of the day: lightning strikes and floating piers

The Guardian’s picture editors bring you a selection of photo highlights from around the world, including monsoon thunderstorms and Ramadan prayers

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Categories: News
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