News

Hasselblad unveils its widest lens ever: the XCD 21mm F4

DP Review News - Tue, 08/05/2018 - 16:36
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Back in November, Hasselblad announced (among other things) that the originally-planned XCD 22mm lens on the mirrorless X1D lens roadmap would actually be released even wider: as a 21mm F4. This week, that promise became a reality.

Announced yesterday, the Hasselblad XCD 21mm F4 for the mirrorless medium format X1D camera, is officially Hassleblad's widest lens ever.

"The high-performing 21mm f/4 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a wide field of view," reads the press release. "The XCD 21mm has an extremely short focal length that provides a 17mm full frame equivalency."

Sample Photo Credit: Hasselblad

The 17mm full-frame equivalent lens features an optical design made up of 13 lens elements in 9 groups, including 2 aspherical elements. The aperture range runs from F4 to F32, an integrated leaf shutter lets you flash sync up to 1/2000th of a second (like all the XCD lenses), and there's also a 32cm "close distance setting" that gets you a 1:10 magnification ratio.

The lens is already live on Hasselblad's website and available for pre-order online. It's scheduled to ship "mid-May" for $3,650 USD / 3,000 Euro / £2,750 GBP excluding VAT. To learn more, visit the Hassleblad website.

Lens Specifications (source):

  • Focal length: 21.8 mm
  • Equivalent Focal length (24x36): 17 mm
  • Aperture range: 4 - 32
  • Angle of view diag/hor/vert: 105°/92°/75°
  • Length/diameter: 106 mm/83 mm
  • Weight (excl. covers and lens shade): 600g
  • Filter diameter: 77 mm

XCD Lens Roadmap:

Press Release

Hasselblad's Widest Lens Ever, XCD 21mm F/4, Now Available for the X1D

Continuing the development of the XCD lens line, the previously announced XCD 21mm f/4 lens is now available for ordering. As Hasselblad’s widest lens yet, it opens doors for even more creative possibilities for the X1D user.

The high-performing 21mm f/4 lens brings together the compact format of the XCD range with the maximum optical quality across the frame with a wide field of view. The XCD 21mm has an extremely short focal length that provides a 17mm full frame equivalency. It features a 32 cm close distance setting (1:10 image scale) and an aperture range between 4 and 32. Offering a new versatility to the X1D user, the lens is especially suitable for both landscape and interior and exterior architectural photography.

Like the other XCD lenses, the XCD 21mm f/4 lens has an integral central shutter offering a wide range of shutter speeds and full flash synchronisation up to 1/2000th second. “The automatic Lens Correction Tool in Phocus will generate images from the XCD 21mm f/4 that are completely free from any distortion, rendering all lines perfectly straight!” says Ove Bengtsson - Product Manager.

The XCD 21mm lens will begin shipping mid-May 2018 with an MSRP of € 2999 / $ 3750 / £ 2749 excl. VAT.

Categories: News

Video: Testing all the Nikon F to Sony E-mount AF adapters on the market

DP Review News - Tue, 08/05/2018 - 15:42

Photographer Matt Granger has taken to YouTube to share a useful little gear video for those people who want to use Nikon F glass on their Sony E mount camera. In the video, he tests out all of the current Nikon F to Sony E-mount autofocus adapter on the market.

The video compares three adapters in all—the models available from Commlite, Vello, and Fotodiox Pro—which cost $400, $400, and $350, respectively. To test the gear, Granger tries them out on four lenses in turn: the Nikon 85mm F/1.4G, Nikon 200mm F/2G ED VR II, Nikon 24-70mm F/2.8G ED and the always-trusty 70-200mm F/2.8 ED VR II.

Although unconfirmed, Granger also shares a little tidbit of information from an unnamed source who told him that all of these adapters are effectively made with the same internals, as there’s only one company that’s managed to reverse-engineer Nikon’s tricky lens coding system.

Interestingly enough, this claim seems to be substantiated by the fact that all three adapters are absolutely identical, down to the cutouts, caps, desiccant and screw locations. The only difference is the location of markings on the devices and the fact that the Fotodiox adapter features gold metal mounting plates and gold release buttons, whereas the other two feature silver mounting plates and black release buttons.

We’ll leave it to Granger to break down every detail of the three adapters in the video up top, but we can summarize his experiences by saying that each adapter seemed to have strengths and weaknesses depending on which lens it was being used with.

In the end, Granger says it’s ultimately up to you to decide which one best fits your needs based on price and the location of each company’s respective support services. He also notes that, while each of the adapters do work in environments where your subject isn’t moving much, don’t expect to shoot a football game with one of them—the speed just isn’t there. Still, the adapters left Granger impressed.

Check out the full test up top, and then head over to Matt's YouTube Channel for more videos like this.

Categories: News

Report: iPhone users will have to wait until 2019 for a triple-camera device

DP Review News - Tue, 08/05/2018 - 15:15

If you want a smartphone with a triple-camera setup, Huawei's P20 Pro is currently your only option. And vy the looks of it, this won't change any time soon... at least not if you prefer to stick to Apple's iPhone over Android devices. According to a report in the Taipei Times—which is citing a research note from Yuanta Securities analyst Jeff Pu—Apple is likely to launch a triple-camera iPhone model, but this won't happen before the second half of 2019.

Like on the Huawei, the third lens would likely provide a 3x optical zoom, improving zoom quality over the current top-models' 2x lenses. It's also fair to assume the triple-camera will be reserved for a flagship device, likely a third generation iPhone X that could launch around September of next year if Apple sticks to its usual launch schedule.

This scenario is supported by another previous report by former KGI Securities analyst Ming-Chi Kuo, who ruled out any significant changes to Apple's current dual-camera system on the iPhone X and 8 Plus for the 2018 models.

Categories: News

How to create the disintegration effect from 'Infinity War' in Photoshop

DP Review News - Tue, 08/05/2018 - 15:09

Photoshop tutorial website photoshopCAFE has published a timely new tutorial that demonstrates how to create the disintegration effect from Marvel Avengers: Infinity War in Photoshop. The tutorial—which is also available in written formis a bit of a spoiler if you haven't seen the movie yet, though it's not a substantial one.

The tutorial is fairly short with only 13 steps total, and photoshopCAFE's Colin Smith says he's tried to add a bit of his own spin to the usual 'dispersion effect' tutorial (which you can find all over YouTube).

"I have put my own twist on it with the person turning into waves of particles as if they are being turned into dust," explains Smith. "I call this the particle disintegration effect."

Check out the video up top to learn this trick for yourself, and then head over to the photoshopCAFE website or subscribe to the YouTube channel if you want to see more of Smith's retouching and photo-editing tutorials.

Categories: News

The Samsung Galaxy S9+'s dual aperture feature explained

DP Review News - Tue, 08/05/2018 - 14:00
The wide-angle camera on the Samsung S9+, along with its smaller S9 sibling, comes with an adjustable aperture, offering either F1.5 or F2.4.

In a never-ending quest for better image quality, smartphone manufacturers are turning to all sorts of tricks to eke better performance out of very small image sensors. But through all the software, algorithms and dual-and-triple camera setups, the Samsung Galaxy S9 and S9+ flagship phones have joined a very select club of smartphones with real aperture settings. The S9+ will automatically switch from F1.5 to F2.4 depending on your lighting situation, and you can manually select it in 'Pro' mode.

Going from F2.4 to F1.5 on the Galaxy S9+ gives you nearly a stop and a third of extra light

So what are the potential benefits of having aperture control on a smartphone anyway? According to Samsung, "the category–defining Dual Aperture adapts to bright light and super low light automatically, like the human eye. And you can flex your artistic side, toggling the aperture to create a mood."

Just 'flexing my artistic side' by manually choosing F1.5 and shooting into the sun. Out-of-camera JPEG.
ISO 50 | 1/516 sec | F1.5

All that strikes us as a little 'over-the-top,' but there is some potential here. Going from F2.4 to 1.5 gives you nearly a stop and a third of extra light, and will keep your ISO value down (or your shutter speed up) in dim conditions. But we were also curious about the quality in other situations; after all, these apertures are equivalent to F9 and F14 on full-frame. Could shooting the wider aperture in bright light give you sharper images by having less softness from diffraction?

Landscape quality $(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-2097319","widgetId":612,"initialStateId":null}) })

As you can see in a variety of areas$(document).ready(function() { $("#icl-4080-1185640169").click(function() { ImageComparisonWidgetLink(4080); }); }), this isn't the case$(document).ready(function() { $("#icl-4081--573727960").click(function() { ImageComparisonWidgetLink(4081); }); }) - the corners in particular are softer$(document).ready(function() { $("#icl-4083-1993239441").click(function() { ImageComparisonWidgetLink(4083); }); }) at F1.5.

F1.5 F2.4

Here's an easy-to-see example of the difference in detail capture, despite all the Galaxy S9+ is doing behind the scenes to make these look as detailed as possible. It's important to put this in context, though: when flipping between these two images full-screen on the S9+ they look identical. So unless you're planning on making prints from your cell phone landscapes, it probably doesn't matter all that much which aperture you (or the phone) pick.

Let's see what sort of difference the aperture makes with a close subject, and distant background.

Close focus quality

Disappointingly, the S9+ and its included applications don't allow you to use any computational background blur wizardry on images shot using the wide-angle camera that it does allow on its telephoto one (the smaller S9 on the other hand, which only has a wide angle camera, does let you do this). So does having a wider aperture give you some buttery background blur naturally?

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While there is a difference in background blur between the two apertures, it's nothing like shooting with a wide-aperture prime lens on an interchangeable lens camera - but nor would we really expect it to be. But we do see how the phone's noise reduction techniques deal with fine gradients in out of focus areas$(document).ready(function() { $("#icl-4085--1726942983").click(function() { ImageComparisonWidgetLink(4085); }); }).

F1.5 F2.4 Low light performance and takeaways

In really low light conditions, the faster aperture will definitely get you better shots on the Galaxy S9 and S9+ than if you were forced to use the camera at F2.4. Optical image stabilization means that you can hand-hold images down to a reasonably slow shutter speed, and the phone can keep its ISO more than a stop lower - as long as your subjects aren't moving.

Out-of-camera JPEG.
ISO 50 | 1/13 sec | F1.5

But as I found out while shooting a dimly lit concert with the Galaxy S9+, Samsung's latest flagship camera phone still isn't a match for low light and moving subjects in its fully automatic mode (you can switch into 'Pro' mode and force higher ISO values or shutter speeds if you're an advanced user). We are still working through our testing and plan on doing side-by-side comparisons with phones such as Google's Pixel 2, which intelligently stacks images together even in low light situations.

This photograph taken at 1/30 sec in 'auto' was the only one that wasn't blurred to oblivion. Out-of-camera JPEG.
ISO 800 | 1/30 sec | F1.5

Now it's true that for casual shooters taking their phones out to dinner and photographing their friends and their food, the camera will automatically switch to F1.5 will help them get shots with more detail and less noise reduction, while using an F2.4 aperture will get them slightly better quality in daylight.

But we can't help wondering if this is a little 'gimmicky' - the drop in detail at F1.5 is unlikely to be a deal breaker for these sorts of users, and if Samsung didn't have to squeeze an aperture blade system into the lens design, could they simply have made the lens perform better wide open? The system looks to have real blades that expand and contract, but you're only allowed a toggle between the two values.

We don't know for sure, but we've still got lots of testing on the Galaxy S9+ over the coming weeks. Stay tuned for our full review.

Categories: News

Quirky conveniences: the toilets of Tokyo – in pictures

Instagrammer Hidefumi Nakamura captures the weird and wonderful WCs in Tokyo and other Japanese cities

Japan’s hi-tech toilets are a thing of wonder: some play music to you, others heat your bottom – and there are some that will even give you a wash and a blow-dry.

Not all of the loos are this luxurious – 40% of public toilets in the country’s main tourist destinations are still traditional squats. But this is all set to change as the government plans to update and “westernise” them in time for the Tokyo Olympics in 2020.

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Categories: News

James Bugg wins $50,000 Moran contemporary photographic prize

A 22-year-old photography school graduate has taken out the prize with a portrait of life in Melbourne’s Frankston North

Moran contemporary photographic prize 2018: snapshots of Australian life – in pictures

Melbourne photographer James Bugg has won Australia’s richest photography prize, awarded by the Moran Arts Foundation.

The 22-year-old was awarded the $50,000 Moran contemporary photographic prize for Zach, a portrait of his friend outside his home in south-east Melbourne.

Related: Moran contemporary photographic prize 2018: snapshots of Australian life – in pictures

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Categories: News

Adobe Photoshop Express update brings perspective correction and vignetting

DP Review News - Mon, 07/05/2018 - 18:52

The Android version of Adobe's popular mobile image editing app, Photoshop Express, has just received an update expanding the feature set with a few useful new functions.

Perspective Correction lets you correct converging lines and other types of perspective distortion. You can select a Full Auto setting or pick vertical or horizontal skew. The correction is then applied and fine-tuned using a slider.

Some type of vignette effect is available on most editing apps out there, so it's about time the feature has made its way to Photoshop Express too. You can adjust the diameter of the vignetting effect by pinch-zooming and set the intensity on a slider to create the final result.

Additionally, it's now also possible to share multiple images directly from the gallery, and change wallpaper and profile pictures directly from the app's share screen.

The new functions are welcome additions to the app's already quite extensive feature set, making Adobe Photoshop Express worth a closer look for anyone who edits images on a mobile device. The latest version of the app can be downloaded free of charge from the Google Play Store now.

Categories: News

PIXEO is a crowdsourced collection of the best photo spots around the world

DP Review News - Mon, 07/05/2018 - 18:30

Whether you’re looking for new spots in town or looking for the best photo locations while on vacation, a new app called PIXEO is here to help.

Made exclusively for iOS (for now), PIXEO is a paid photo scouting app that relies on crowdsourced information to show the best photo spots in a given area. It currently features more than 10,000 locations, provided by more than 200 paid subscribers.

Beyond location, the pins across the map include photos that have been taking there, the current weather at a chosen location, directions to get there and notes from other photographers on whether or not the location is worth your time.

Using the app is simple. After downloading PIXEO from the iOS App Store, you’re presented with the opportunity to subscribe monthly or annually for $3 per month or $25 per year, respectively. Don’t worry, though. There’s a 30-day free trial to test the waters and see if it works for you.

Once in the app, it’s just a matter of finding an area you want to scout for locations. After you select a location and find a pin that another photographer has contributed, you can just save it to your favorites and hit the road.

PIXEO was only launched two weeks ago, so don’t worry if there’s nothing nearby. It has been featured in the ‘Best of What’s New’ section in the iOS App Store in multiple countries and is continually gaining new locations.

You can take PIXEO for a spin by downloading it from the iOS App Store.

Categories: News

An evening with Clinton and a swearing-in with Putin: May Day's best photos

The Guardian’s picture editors bring you photo highlights from around the world

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Categories: News

Pentax K-1 II Review: A worthy upgrade?

DP Review News - Mon, 07/05/2018 - 14:24
79%Overall scoreJump to conclusion

The Pentax K-1 Mark II is a supremely weather-sealed, tough-built full-frame camera with a 36MP stabilized sensor. Billed as more a refinement of its predecessor than a replacement, the K-1 II gains a new hand-held Pixel Shift mode and sees improvements made to its AF Tracking algorithm - it also has a new pre-processor. Unfortunately, our testing reveals this additional processor applies full-time noise reduction to Raw files resulting in inferior image quality to that of its predecessor.

Key features:
  • 36.2MP full-frame CMOS sensor with no anti-aliasing filter
  • 5-axis sensor-shift image stabilization
  • 100% pentaprism viewfinder with 0.70x magnification
  • 33-point AF system (25 cross-type)
  • Updated AF Tracking algorithm
  • New hand-held Pixel Shift mode
  • Extensive weather-sealing
  • 1/200 sec flash sync speed
  • 14-bit Raw recording (DNG or PEF)
  • Built-in GPS with electro-magnetic compass and Astrotracer function
  • 4.4 fps continuous shooting (6.5 fps in APS-C crop mode)
  • 1080/30p video
  • Wi-Fi

The K-1 II faces stiff competition from other full frame models at this price point, many of which out-spec it across the board. But for landscape and adventure shooters, you'd be hard-pressed to find a full frame camera with as many useful and unique features, like built-in GPS, an Astrotracer mode for night sky photography, sensor shift technology, and LED lights on the body (to assist in the dark).

Over the course of several weeks, we've put the K-1 II through its paces in both the field and in our test lab. Read on to see how it performed and how it stacks up as a whole against the competition.

What's new and how it compares

Here's what's new in the K-1 II plus how it compares to existing models from other companies.

Read more

Body and design

The K-1 II has a host of unique body features borrowed from its predecessor including its clever articulating LCD mechanism.

Read more

What's it like to use

From landscapes to portraits, we've spent plenty of time shooting with the K-1 II in several different situations.

Read more

Image Quality

Our lab testing reveals the K-1 II's image quality is actually a step back from that of its predecessor. Will you notice the difference?

Read more

Autofocus

The K-1 II's 33-point AF system may have limited coverage, but it shows improvements over its predecessor when it comes to tracking.

Read more

Categories: News

Interview: How the Panasonic DC-G9 and GH5S were born

DP Review News - Mon, 07/05/2018 - 14:00
Sean Robinson is Imaging Product Manager at Panasonic Lumix Professional Services, based in New Jersey, USA.

Panasonic's latest cameras are flagship products aimed at very specific kinds of photographers. The Lumix DC-G9 is Panasonic's first high-performance model intended for sports and wildlife photography, while the GH5S offers a more focused, professional-friendly 4K video feature set than the original GH5.

We sat down with Sean Robinson, Imaging Product Manager at Panasonic Lumix Professional Services recently to learn more about how the G9 and GH5S were developed. The following interview has been edited slightly for clarity and flow.

Sean - can you describe your job at Panasonic?

I’m one of four product managers for Panasonic Lumix imaging products in the United States. My job is to be a touch-point between our merchandising and product management groups, and the photo specialty retailers and media partners like DPReview.

How much contact do you have with Lumix photographers?

I have a direct line to our team of Lumix ambassadors - primarily in the United States, some of our European and Canadian photographers. Depending on where we are in a product cycle, I’d say about 40-60% of my time is taken up with collecting feedback and working with photographers.

We start by asking ‘what can we build for you?' How does a camera like the G9 get developed?

Like all of our products, we always hold a number of brainstorming sessions with our internal teams and select external photographers and videographers. With the G9 there was a very heavy emphasis on figuring out what are missing in the lineup right now, and what can we do to create something new. Something that doesn’t necessarily have to be bound by the hybrid photography mentality that we’ve been in since the beginning of the GH line.

So we start by asking ‘what can we build for you? What do you want to see from a camera from us?’ And from that initial list of requests our engineers go back and start working on the feasibility of implementing those requests.

There’s a ton of information coming in from various different professionals The Lumix DC-G9 represents something of a departure for Panasonic, being aimed squarely at sports and wildlife photographers who want ultra-fast frame-rates and tough build quality, without paying too much of a penalty in terms of size and weight. Who are you asking those questions of?

For the most part we’re speaking to our Lumix ambassadors. And we have ambassadors in pretty much every region where Panasonic has headquarters. Globally that’s between 40-50 photographers and videographers. There are also a number of conversations that happen internally within Panasonic, because a lot of people inside the company have backgrounds in photography. So there’s a ton of information coming in from various different professionals.

Did you reach outside of the pool of existing Lumix ambassadors and speak to photographers that use competitor products?

A lot of feedback was provided from our existing ambassador team, but a number of photographers that we work with are testing the equipment, maybe they're interested in the Lumix brand but they have allegiances to other products that they’ve been using for years. Their feedback was also critical. Someone who’s using full-frame competitor A, for example, they might have a very different set of requirements or opinions compared to someone who’s on our team as an official brand ambassador.

If we see consistent themes coming through feedback, the requests move into development

We definitely don’t ignore any feedback, from anyone. It’s not always like an official interview, where we sit down and talk to someone 1:1, we’re also constantly scouring forums and Facebook groups, and when someone calls into our call center or messages us on Twitter for example, all of that information is captured. It's collated weekly, and reported back to our team in Japan.

The addition of the top-plate LCD to the G9 was as a direct result of feedback from photographers during the product planning process.

And that’s everything from pie-in-the-sky requests for features that have never been seen on any camera ever before, to more simple mundane things like dual memory card slots, or having a status LCD on the top of the camera. Both of those requests came from speaking to photographers. If we see consistent themes coming through all of that feedback, then the requests move into development.

Were there any kinds of photographers that you wanted to get feedback from specifically, when you were planning the G9?

With the G9 we were very interested in speaking to wildlife and sports photographers. The three main people that I know personally who we worked with a lot were Daniel Cox, Bence Máté and Daniel Berehulak. For those three, we already work with them, and NDAs are in place, so a lot of the process is very conversational. We sit, we listen to what they want, and our team will counter with some of the things that we could definitely do, versus some things we’d need to study more, and some things that simply can’t be done at the moment.

There’s always a consistent touch-point, of checking the work as we’ve moving forward so that if something has to change in the middle of development, there’s enough time to do that, and put out a product that’s as finished as possible.

We got a lot of feedback from videographers and production houses around where the GH5 fell short for them Can you think of a specific example of when a feature was tweaked or changed before announcement, based on feedback from photographers?

The menu system in the GH5, when that whole change was initially conceptualized. We needed to change the menu system to the point where a working videographer or stills photographer could easily move through it. The first version of the menu system made a lot of sense from an engineering standpoint, in terms of where features were grouped, but when we started working with the photographers and videographers, they started giving us a lot of feedback about where they expected to see features, and how things should work.

All of that feedback went back to our software and UI designers and they tweaked it. They met a month or so later with a revised version. That was one a fast-paced process, since it didn’t involve complete retooling of equipment or anything like that.

The GH5S shares the same basic chassis as the GH5 but offers a more focused feature set, intended primarily for enthusiast and professional videographers. Feedback from existing GH5 users was critical to establishing whether there was a market for a more specialized variant. The GH5S is an interesting product - who did you make it for, and what kind of conversations happened in the planning process?

When the GH5S was being planned, we took a very broad look at what the industry's needs were, as a whole. We got a lot of feedback from videographers and production houses around where the GH5 fell short for them. We have the advantage of a very large broadcast team, obviously and since we have a lot of resources in that world we were able to take a step back and look at the market and ask - ok, if there’s a specific need - in this case a high level cinema camera in a form-factor like the GH bodies -what would the real-world applications be?

So talking with cinematographers, high-level DPs and production houses we worked on finding out the viability of that market. If we figure out that there is a need for a product like that, which nobody else is making, in a lot of cases, that’s enough for us to make the decision and go ahead. In the case of the GH5S, nobody else made a product like it at that price point, and our team had the capabilities to do it, while keeping the same chassis as the GH5.

The entire GH family, from the original GH1 to the GH5 (on the far right). The GH5 and GH5S are larger cameras than their predecessors, but the include features that were hardly even dreamed of when the GH-series was first introduced a decade ago. The GH5 benefitted from a major mid-life firmware update, based on feedback from users - do you have structured check-in points in your products’ lifespan to generate that feedback?

Yes, absolutely. That process never stops. And just as importantly, we’re always looking at what our competition is doing. What’s coming down the line? What can we do in an existing model to really up the game? We have conversations with our team in Japan almost every day where we ask ‘what is the market saying?’ And our team really places a lot of importance on what our users are getting out of the products, and what they’re creating, and if we can find ways of improving the product or make it more efficient by adding new features we’ll do it.

New hardware is great, but improving an existing product is one of those areas where we can give back to the community

There’s been a major shift internally, in the years that I’ve worked at Panasonic where the concept of breathing new life into any existing product is one of our big pushes. New hardware is great, but improving an existing product is one of those areas where we can give back to the community. They helped us develop those products from day one, and if we’re able to give them more without making them buy a new camera, we’ll do it.

Click through to learn how two visual artists are using Panasonic's latest cameras in their work

This is sponsored content, supported by Panasonic. What does this mean?

Categories: News

Killed Negatives: censored 1930s America - in pictures

A set of mutilated images of rural America by some of the most famous photographers of the 20th century will soon go on display for the first time at the Whitechapel gallery in London

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Categories: News

Spencer Tunick plans mass nude photo on Melbourne's Chapel Street

The artist renowned for his photographs featuring crowds of naked people announces his return to Australia

Artist Spencer Tunick plans to fill one of Melbourne’s most famous streets with naked people, no matter the weather.

The New York-based artist announced on Monday he will return to Australia later this year, having last visited in 2010 to photograph thousands of naked people on the steps of the Sydney Opera House. This time he plans to use Melbourne’s Chapel Street as his canvas over two days in July as part of the Provocaré arts festival.

Related: Bill Henson: 'How do you suggest the whole world in a hand?'

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Categories: News

Censored images of 1930s America to go on show in London

Prints made from negatives reveal reality faced by farming communities during Great Depression

Beautiful but mutilated images of rural America by some of the most famous photographers of the 20th century will soon go on display for the first time at the Whitechapel gallery in London.

Each of the photographs, printed for the first time, including works by Walker Evans, Dorothea Lange and Russell Lee, bears an eerie black spot. The black circles – obliterating the entire face of a farmer in North Dakota, the right eye of a woman in Arkansas, or resembling an eclipsed sun hanging in the sky over labourers in Maryland – were created when the negatives were censored in the 1930s by clipping them with a metal punch.

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Categories: News

DPReview TV: Fujifilm X-H1 Review

DP Review News - Sun, 06/05/2018 - 14:00

Lions and tigers and bears, oh my! In this week's episode of DPReview TV, Chris and Jordan go to the zoo with the Fujifilm X-H1. Watch as they photograph lemurs, red pandas and maybe even a Tyrannosaur while putting this camera to the test.

Read our in-depth X-H1 review for even more analysis, and be sure to subscribe to our YouTube channel for more from Chris and Jordan!

Read our X-H1 review

Subscribe to our YouTube channel

Categories: News

If you must fake a photo, it had better be good | David Mitchell

The disqualification of an award-winning snap of a stuffed anteater reveals a complicated truth about what a lie is

A winning photograph in the Wildlife Photographer of the Year 2017 competition has been disqualified because the animal in the picture turned out to be dead. That’s according to the people running the competition. The photographer swears otherwise.

This isn’t the overall winner, I should clarify – just the winner of one category. The overall winning photograph is coincidentally also of a dead animal, but in that case it was considered a good thing. In terms of the competition, that is. In general terms, it’s a really bad thing: it’s a picture of a black rhino that’s been killed and had its horn hacked off so that someone evil can sell it to someone ignorant.

It doesn’t really misrepresent nature: anteaters do attack termite mounds – he just failed to capture it happening

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Categories: News

Your pictures: share your photos on the theme of 'warm'

Wherever you are in the world, this week we’d like to see your pictures on the theme ‘warm’

The next theme for our weekly photography assignment in the Observer New Review is ‘warm.’ Share your photos of what warm means to you – and tell us about your image in the description box.

The closing date is Wednesday 9 May at 10am. We’ll publish our favourites in The New Review on Sunday 13 May.

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Categories: News

After hours: readers' photos on the theme of late

For last week’s photography assignment in the Observer New Review we asked you to share your photos on the theme of late via GuardianWitness. Here’s a selection of our favourites

  • Share your photos on this week’s theme ‘warm’ by clicking the button below
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Categories: News

Baking, knitting and ponchos at the Country Women's Association – in pictures

The Country Women’s Association converged on Armidale last week for its annual state conference. It brought members together to debate and discuss the organisation’s policies and, of course, baking competitions

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Categories: News
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