Artist given rare chance to take artefacts from 8,000 years of Greek civilisation and photograph them with live model
The Australian artist Bill Henson is best known for his moody, cryptic photos of figures with purplish, corpse-like skin, shrouded in darkness.
He is also known for controversy: his 2008 exhibition at the Roslyn Oxley9 gallery in Sydney included nude images of a 13-year-old girl, leading to media uproar. (The photos were eventually given a PG rating by the Australian Classification Board and no formal charges were laid against Henson).Continue reading...
The Australian artist Bill Henson finds vitality and power in ancient Greek treasures from the Hellenic Museum with his new series of photographs, ONEIROI. The items are part of an exhibition called Gods, Myths & Mortals and were lent by the Benaki Museum in Athens, Greece. They span 8,000 years of Greek civilisation and include Mycenaean jewellery, Hellenistic sculptures and ornate swords and pistols belonging to the Greek revolutionary heroes Kolokotronis and Mavromichalis. All photographs are untitled and are by Henson
• ONEIROI opens at the Hellenic Museum on 8 AprilContinue reading...
Every day in America, seven kids are killed in gun violence. From Sandy Hook to New York, the mothers who grieve for them are trying to do something about it
Every day in America, an average of seven children under the age of 19 are killed by gun violence. Often, it’s their mothers who are left to speak for them and call for change.
Photographer Ali Smith’s latest photo project, 7 Kids a Day seeks to capture these women, who she describes as “members of a club no one want’s to be a part of”.
I turned back towards the bullets and ran against the crowd screaming his name, but I couldn’t find him anywhere
None of those bullets have a name on them. Violence can fall anywhere
Someone who probably couldn’t have passed a background check got an illegal gun and executed my 14-year-old sonContinue reading...
Lee Filters has announced a new range of neutral density graduated filters that have an extra hard transition from dark to clear, making them suitable for shooting seascapes and scenes in which the horizon is very flat. Along with these new 'very hard' graduates, the company has launched another range that has a 'medium' strength transition that sits between the traditional 'hard' and 'soft' grades.
Both of the new grades are available in half-stop incremental strengths from one to four stops, and in sizes compatible with the Seven5, 100mm and SW150 systems.
For more information visit the Lee Filters website.
Seven5 medium grad (single filter 0.3ND to 0.9ND) RRP £51.88 (excl VAT)
Seven5 medium grad (single filter 1.2 ND) RRP £77.82 (excl VAT)
Seven5 medium grad set (0.3ND, 0.6ND & 0.9ND) RRP £138.35 (excl VAT)
100mm very hard & medium grad (single filter 0.3ND to 0.9ND) RRP £71.86 (excl VAT)
100mm very hard & medium grad (single filter 1.2 ND) RRP £108.86 (excl VAT)
100mm very hard and medium grad sets (0.3ND, 0.6ND & 0.9ND) RRP £179.66 (excl VAT)
SW150 very hard & medium grad (single filter 0.3ND to 0.9ND) RRP £79.70 (excl VAT)
SW150 very hard & medium grad (single filter 1.2 ND) RRP £119.55 (excl VAT)
SW150 very hard & medium grad sets (0.3ND, 0.6ND & 0.9ND) RRP £215.00 (excl VAT)
Press release:LEE Filters introduces very hard and medium neutral-density graduated filters to its systems
Traditionally, neutral-density graduated filters have been available exclusively in hard and soft versions. However, because all neutral-density grads in the LEE Filters range are made by hand, it is possible to be extremely precise with the depth of the transition between the coated and clear sections of the filter. As a result, LEE Filters has the capabilities to manufacture ND grads in medium and very hard versions. In the past, these were available exclusively as custom-made filters for professional photographers. Now, however, they have been made available to all those who use the Seven5, 100mm and SW150 systems.
The medium and very hard grads not only expand a photographer’s creative options, they also allow for even more exact control when balancing lighter and darker areas of the frame. The very hard grad (available for the 100mm & SW150 systems) is perfect for seascapes that feature a completely flat horizon line, while the medium grad (available for the Seven5, 100mm and SW150 systems) is that perfect ‘in-between’ strength that is ideal for any scene in which an element of the composition – a mountain or a building, for example – protrudes into the sky.
Both ND grads are available in 0.3ND (1 stop), 0.45ND (1½ stops), 0.6ND (2 stops), 0.75ND (2½ stops), 0.9ND (3 stops) and 1.2ND (4 stops) strengths.
For further information, contact LEE Filters on 01264 366245; email@example.com; www.leefilters.com
Hasselblad has added the H6D range to its medium-format lineup, offering the H6D-100c with 100MP CMOS sensor and 4K video along with the H6D-50c with 50MP CMOS sensor. The H6D system offers a new, faster processor, a 3" 920k-dot touchscreen monitor, dual card slots, built-in Wi-Fi and USB 3.0 connectivity. Both cameras offer 1080/30p HD shooting in the H.264 format, and include mini HDMI and audio I/O ports. Hasselblad has updated its H series of lenses to support a top 1/2000sec shutter speed when used with the H6D system.
The H6D-100c includes 4K/UHD video recording in a proprietary Hasselblad Raw format, which can be ingested and converted by Phocus 3.0. The 100MP variant also provides a higher ISO range up to 12800, continuous shooting at 1.5 fps and claims 15 stops of dynamic range. With 50MP the H6D-50c claims 14 stops of dynamic range and is capable of 2.5 fps continuous shooting.
The Hasselblad H6D-50c will cost $25,995/€22,900; the H6D-100c is priced at $32,995/€28,900.
Press release:Hasselblad launches an all new medium format camera
75 years at the forefront of imagery, Hasselblad continues to innovate
Hasselblad began its journey when founder, Victor Hasselblad, refused to simply copy an aerial surveillance camera at the request of the Swedish government who asked him if he had the skills to produce a camera identical to one that had been captured. He famously said: ‘No, but I can make a better one’. The camera maker has once again, followed Victor’s philosophy and applied it to the award winning H medium format camera – launching the all new H6D.
Rather than an improvement on the existing medium format H Cameras, the H6D range has been completely rebuilt with new technical components and an all new electronic platform. The pioneering range retains the modularity appreciated by medium format enthusiasts along with iconic design elements and Swedish handmade quality for which Hasselblad is renowned.
The H6D range introduces the H6D-100c with CMOS sensor, a 100MP option and the H6D-50c with a 50MP CMOS sensor. A wider range of shutter speeds from 60 minutes to 1/2000th of a second, increased ISO range and a faster shooting rate along with USB 3.0 Type-C connector that delivers exceptionally fast file transfer. The H lens range is fully compatible and, with the choice of a faster shutter speed, can be further leveraged than with previous ranges.
The H6D-100c brings 4K video capability to medium format. The high-definition rear touchscreen LCD delivers a pin sharp live view experience and Wi-Fi as standard, a HDMI connector, for external monitor connectivity, completes the tool set.
Built-in dual card slots allow enhanced media capability; a CFast slot allows for high-speed capture and an SD card slot enables maximum compatibility. The all new platform is capable of handling the largest file throughput with speed and ease using optimised algorithms for matchless quality les.
Hasselblad’s image processing software, Phocus, has been enhanced with the new 3.0 version delivering additional features that allow you to apply local adjustments in the image and a new graphical interface that improves work flow and user experience.
Commenting on the launch Perry Oosting, Hasselblad CEO noted: “The launch of the H6D range is the beginning of a year of celebration for Hasselblad. It’s fitting that we have returned to our pinnacle medium format camera to showcase the innovation and passion that have been present in every one of our first 75 years. Our obsessive approach to optical quality and precision hand building in Sweden is at the heart of this camera.
We have retained the best and introduced the most relevant – delivering a medium format camera which we believe the Hasselblad user will fall in love with all over again.”
Cyclists test their mettle in the 100th edition of the Ronde Van Vlaanderen, described by one former pro as ‘the hardest one-day bike race ever created’Continue reading...
The Guardian’s picture editors bring you a selection of the best photographs from around the world, including etiquette tips in China and Vatican securityContinue reading...
The Huawei Mate S boasts a 13MP RGBW sensor, an F2.0 lens and optical image stabilization, with a build quality that places it at the premium end of the market. While its spec positions it against the likes of the Samsung Galaxy S6 and LG G4, if your priority is imaging capabilities the Mate S can't quite match the competition. Read more
There was plenty for River Plate supporters to cheer about at the Monumental stadium in Buenos Aires as the Argentinian team assumed control of Group 1 in the Copa Libertadores with a 6-0 thrashing of Bolivian side The StrongestContinue reading...
Photographs from the Eyewitness seriesContinue reading...
Robert Adams is best known for his landscapes of the American west, but for his series Around the House he focuses on the detail of domestic life – with the same desire to show coherence and beauty in the worldContinue reading...
‘This boy in a little town in southern Mexico seems to have the world spinning on his fingertip’
In 1975, when I was 23, I reached a dead end in my photography. I had been photographing the American landscape in black and white, taking ironic, alienated pictures of supermarket parking lots and strip malls. The work wasn’t going anywhere; it wasn’t expansive or resonant. So I began casting around for a new direction.
Graham Greene’s The Lawless Roads piqued my interest in Mexico. I took this photograph in Tehuantepec, in the south of the country, in the early 80s. I simply wandered, allowing my experiences with the camera to lead me forward. It was a heavy, muggy afternoon as I came into a white-blue plaza. I was feeling hot, a little uninspired and a little lost, when I caught sight of some children with a ball. As I moved closer, one of the boys spun the ball on his fingertip, and I sensed the shapes of the children, the blue stripes behind, and the blue of the ball, and took a few frames. Then the moment was gone.
Confronting the chaos and complexity of the world works better for me than dealing with a blank canvasContinue reading...
Jürgen Klopp has fast become one of the most charismatic managers in the Premier League since his arrival in October 2015. As a Europa League quarter-final tie against his former club Borussia Dortmund looms, we look back at some of the highs and lows of his tenure at LiverpoolContinue reading...
The Sony a6300 is the company's latest mid-range mirrorless camera. Like the a6000 it still offers 24MP resolution but the autofocus ability, video capability, build quality, viewfinder resolution and price have all been increased.
The most exciting change from our perspective is the a6300's new sensor. Although the pixel count remains the same, the a6300's sensor has a whopping 425 phase-detection AF points ranged across the sensor. The a6000 already offered one of the best AF systems in its class, when it comes to identifying and tracking subjects, so an upgrade in this area sounds extremely promising. The sensor is also built using newer fabrication processes that use copper wiring to help improve the sensor's performance and possibly contributing to the camera's slightly improved battery life.
The a6000 has been a huge success and has dominated its field to the extent that its combination of capability and price still looks impressive even as it enters the twilight of its career (Sony says it will live on, alongside the a6300*). That model represented a dip down-market for the series, with a drop in build quality and spec relative to the NEX-6 that preceded it. The a6300 corrects that course, and sees the model regain the high resolution viewfinder and magnesium-alloy build offered by the older NEX-6 (and the level gauge, which was absent from the a6000).Key features:
- 24MP Exmor CMOS sensor
- 425 phase detection points to give '4D Focus' Hybrid AF
- 4K (UHD) video - 25/24p from full width, 30p from smaller crop
- 2.36M-dot OLED finder with 120 fps mode
- Dust and moisture resistant magnesium-alloy body
- Built-in Wi-Fi with NFC connection option
- Built-in microphone socket
As with the previous 6-series E-mount cameras, the a6300 features a flip up/down 16:9 ratio screen. The shape of this screen hints at the 6300's intended uses: video shooting, as well as stills. The a6300's movie features have been considerably uprated. It not only shoots 4K (UHD) at 24p or 25p from its full sensor width (or 30p from a tighter crop). It also gains a mic socket, the video-focused Picture Profile system (which includes the flat S-Log2 and S-Log3 gamma curves), and the ability to record time code.
This added emphasis on video makes absolute sense, since the camera's stills performance is likely to be competitive with the best on the market but its video capabilities trounce most of its current rivals. The a6300 not only includes focus peaking and zebra stripes but, if its on-sensor phase detection works well, the ability to re-focus as you shoot with minimal risk of focus wobble and hunting, should make it easier to shoot great-looking footage.
All this makes it hard to overstate how promising the a6300 looks. A latest-generation sensor can only mean good things for the camera's image quality and an autofocus system that moves beyond the performance of one of our benchmark cameras is an enticing prospect. Add to that excellent, well-supported video specifications, a better viewfinder and weather-sealed build, and it's tempting to start planning for the camera's coronation as King of the APS-C ILCs. Perhaps with only the price tag floating over proceedings, threatening just a little rain on that particular parade.Specifications compared:
As well as comparing the a6300 with the a6000 as its predecessor/sister model, we'll also look at what you get if you save up a bit more money and opt for full-frame, rather than APS-C. We think at least some enthusiast users will find themselves making this decision, so are highlighting the differences.Sony a6000 Sony a6300 Sony a7 II MSRP (Body Only) $650 $1000 $1700 Sensor size APS-C (23.5 x 15.6mm) APS-C (23.5 x 15.6mm) Full Frame (35.8 x 23.9 mm) Pixel count 24MP 24MP 24MP AF system Hybrid AF
(with 179 PDAF points) Hybrid AF
(with 425 PDAF points) Hybrid AF
(with 117 PDAF points) Continuous shooting rate 11 fps 11 fps 5 fps Screen 3" tilting 921k dot LCD 3" tilting 921k dot LCD 3" tilting 1.23m dot LCD Viewfinder OLED 1.44M-dot OLED 2.36M-dot w/120 fps refresh option OLED 2.36M-dot Movie Resolution 1920 x 1080 / 60p 4K 3840 x 2160 / 30p, 1920 x 1080 / 120p, 60p 1920 x 1080 / 60p Image stabilization In-lens only In-lens only In-body 5-axis Number of dials Two Two Three (plus Exp Comp.) Maximum shutter speed 1/4000 sec 1/4000 sec 1/8000 sec Built-in flash Yes Yes No Hot shoe Yes Yes Yes Flash sync speed 1/160 sec 1/160 sec 1/250 sec Battery life
(with EVF) 360 shots
(310 shots) 400 shots
(350 shots) 350 shots
(270 shots) Weight (w/battery) 344 g (12.1 oz) 404 g (14.3 oz) 599 g (21.1 oz) Dimensions 120 x 67 x 45 mm (4.7 x 2.6 x 1.8 in.) 120 x 67 x 49 mm (4.7 x 2.6 x 1.9 in.) 127 x 96 x 60 mm (5 x 3.8 x 2.4 in.) A hit-for-six, slam-dunk, home-run?
If it's successful in its attempts to step up from the performance of the a6000 then the a6300 could be sensational. However, there are three questions that we'd like to see addressed. The first relates to handling: why does a camera costing this much only have one dial that you can access without changing the position of your grip? The rear dial isn't the worst we've encountered, but at this price point, we'd usually expect to find a dial under the forefinger and another under the thumb while maintaining a shooting grip.
The second relates to lenses. Sony is bundling the a6300 with the 16-50mm power zoom that's far more notable for its convenience than its optical consistency, a move that's likely to raise the question of what other lenses to fit. Sony offers a handful of reasonably priced APS-C-specific prime lenses as well as some more expensive FE-compatible full-frame primes. However, in terms of standard zooms, you're currently limited to the inexpensive 16-50mm, the older 18-55mm at aftermarket prices or considerably more expensive options such as the 18-105mm F4 or the 16-70mm F4 Zeiss that costs around the same amount as the camera again. The success of Sony's full frame a7 cameras is only likely to improve third-party lens availability but there's a risk that Sony's focus will be on those full frame users for the foreseeable future.
Our final concern is the lack of joystick or touchscreen to re-position the AF point. This may be mitigated during stills shooting if the lock-on AF system works well enough (starting AF tracking and then recompose your shot in the knowledge that the AF point will stay where you want it), but it appears to be a real omission for refocusing while shooting video. The a6300 is improved over previous models, in that pressing the center button on the four-way controller toggles into AF point selection mode, a decision that's retained even if you turn the camera off and on again. We'll see how significant all these concerns turn out to be, as the review unfolds.Price and kit options The 16-50mm power zoom is far more notable for its convenience than its optical consistency.
The a6300 body has a suggested retail price of $1000/£1000/€1250, with a 16-50mm F3.5-5.6 power zoom kit commanding an MSRP of $1150/£1100/€1400. This is a significant step up from the a6000's $650/$800 launch price and even an increase compared to the similarly well-built NEX-6's $750/$900 MSRP.Review History 17 March 2016 Intro, Specs, Body and Handling, Operations and Control and Studio Comparison published 22 March 2016 Updated studio scene images published (inc electronic-shutter and better lens) 31 March 2016 Video and Video Shooting Experience pages added 6 April 2016 Autofocus, Image Quality, Raw Dynamic Range and Conclusion published
*Unusually, the manufacturer's claim that it'll live on, alongside its apparent replacement model seems plausible. The differences in spec and price could allow them to sit fairly comfortably alongside one another, rather than the claim simply meaning 'we'll keep saying it's a current model until most of the unsold stock has gone, to avoid angering retailers.'
Forty years ago, art student PT Madden photographed an unknown group playing to a handful of punters. Those early shots of the Sex Pistols have finally come out from under his bed
On 3 April 1976, a young art student called PT Madden positioned himself in front of a deserted stage at the Nashville, a music pub in London’s West Kensington. The place was nearly empty: as he remembers, “There was no audience apart from about 20 rocker types at the bar.” Moving aside the tables in the audience area, he braced himself against the back of a chair to create an ad hoc tripod, aimed his camera at the stage and waited for the object of his obsession.
PT Madden was there to photograph the Sex Pistols. He had attended their very first show at St Martin’s College of Art in November 1975 and watched them alter the lyrics of the Small Faces’ What’cha Gonna Do Bout It? “They made me laugh when Rotten sang, ‘I want you to know that I hate you baby.’” After this initial encounter, he saw them again at the Marquee Club in February 1976: “That was the gig when I became fanatical about them after an irate French kid moaned, ‘But you can’t play!’ and Glen Matlock swaggered back with, ‘So what?’ I thought it was joyous.”
The camera was a shield – with it held to my face I could easily out-stare RottenContinue reading...
Lomography is seeking funds in its latest Kickstarter campaign to bring into production a Daguerreotype Achromat F2.9 to F16 65mm Art Lens, a recreation of the first photographic optic lens from 1839. The lens is designed to work with modern analog and digital cameras, and will be available in Canon EF and Nikon F mounts with support for 'multitudes of other cameras using adapter mounts.'
The 64mm Daguerreotype Achromat Art Lens will be available with black and brass finishes, and will support Micro Four Thirds cameras, the Fujifilm X-Pro1, Sony Alpha cameras and others using adapter mounts. An array of special effects are produced via Waterhouse Aperture plates; they range from what is described as an 'ethereal soft focus' at apertures below F4 to sharper effects with deep contrasts at aperture F5.6 and greater.
The special effects are created by inserting Waterhouse Aperture plates into a slot in the lens, positioning the plate in front of the lens elements. Three sets of plates are supported: Standard, Lumière, and Aquarelle. The latter two sets, Lumière and Aquarelle, were created by Lomography for this particular lens to create different effects in out-of-focus highlights.
By pledging to Lommography's Kickstarter, supporters can reserve an early copy of the Daguerreotype Achromat Art Lens, though certain backing options have been sold out, such as the brass 'super early bird' launch deal. Remaining pledge options include $400 for a brass or black-finish lens, $500 for a low serial number Nikon mount brass lens and $550 for an earlier September 2016 shipment rather than the later December shipment, among others.
Huawei has launched the P9 and P9 Plus in London today. The new models jointly replace last year's P8 and are the first products coming out of Huawei's collaboration with camera maker Leica. Read more
Memory card manufacturer Lexar has announced a new card reader for users of XQD format memory cards that uses the USB 3.0 standard. The XQD 2.0 USB 3.0 Reader is designed to be used with XQD 2.0 cards and to move large amounts of data in a short time. Lexar says the reader is particularly aimed at those shooting high quantities of Raw files and those recording 4K video, and claims the built-in USB plug on the reader makes it more portable and easy to use as no cables are required.
The reader is backward compatible with USB 2.0 devices, but obviously with some sacrifice in speed. Theoretically, USB 3.0 devices can transfer data at a rate of up to 640MB/s, which is ten times the theoretical speed of USB 2.0 devices. Currently the fastest read speed for a Lexar XQD card is 400MB/s.
The XQD 2.0 USB 3.0 Reader will cost £29.99/$34.99 when it becomes available at the end of this month.
For more information see the Lexar website.
Press release:Accelerate workflow with high-speed file transfer
- Provides professional-level high-speed transfer of RAW images and 4K video files
- Accelerates workflow, leveraging SuperSpeed USB 3.0 technology
- Designed for use with XQD™ 2.0 cards
- Compact, portable design for photographers and videographers on the go
- Five-year limited warranty
Quickly transfer files on the go with the Lexar Professional XQD 2.0 USB 3.0 Reader. This professional-level, portable USB 3.0 reader easily offloads a large number of RAW images and 4K video from your XQD 2.0 card to your computer at USB 3.0 speeds, accelerating workflow and getting you back behind the camera faster.
Quickly offload RAW images and 4K video. Leveraging SuperSpeed USB 3.0 performance, this small but mighty reader makes it easy to quickly transfer a huge number of large files and speed through post-production. This makes it an excellent choice for professional photographers and videographers—either in the studio or on the go.
Convenient portability. With its compact, portable design, you can slip the reader into your pocket and go. No need to tote a bag or carry cables. Its simple plug-and-play design with USB 3.0 connector makes it easy to quickly offload content—wherever you are. For versatility, it’s backwards compatible with USB 2.0 devices at USB 2.0 speeds.
Rigorously tested. All Lexar product designs undergo extensive testing in the Lexar Quality Labs, facilities with more than 1,100 digital devices, to ensure performance, quality, compatibility, and reliability.
Sizzling street food in steaming woks lights up the photographer’s atmospheric images of chefs in Beijing and Xi’anContinue reading...
For our latest readers’ assignment, we asked you for photographs of balloons. Here are some of our favourites
• Contribute to our latest readers’ assignment on clock towers here
Our great friend Rob de Ruiter has the job of selecting the best projected image and the best print of the year - we look forward to him ratcheting up the tension as he did when he judged our monochrome competition last year.
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