10 of the world’s most unusual wonders – chosen by Atlas Obscura

Caves and temples, a strange cemetery, an everlasting lightning storm – and a giant organ, Atlas Obscura shines a light on the world’s weird and wonderful sights. Here are 10 of its best

To cross the rivers and streams of the Cherrapunji forest in Meghalaya state, north-east India, put your trust in a tree. There are no standard walkways to be found: instead, the tangled, twisting aerial roots of the rubber trees on the banks stretch across the water, forming a living, ever-growing bridge to the other side. These organic bridges are the result of a little human guidance and a lot of patience. Members of the local Khasi tribe control their growth by laying lengths of bamboo or betel nut tree across the water as a guide, then waiting for the roots of the rubber trees to follow along. As the roots grow, the Khasi add handrails made of vines and fill in gaps with mud and stones, creating a solid pathway. It takes up to 20 years for a bridge to become sturdy enough to cross.

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Categories: News

PocketWizard introduces FlexTT5 TTL radio system for Panasonic

DP Review News - Mon, 19/09/2016 - 01:00
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PocketWizard is making its FlexTT5 TTL radio system available to Panasonic shooters, bringing wireless control to Panasonic's speedlights without requiring a line of sight configuration. When used with the DMW-FL360L and DMW-FL580L the FlexTT5 will allow for sync speeds of 1/8000sec. TTL compatibility will be limited to those two flash units and the Lumix GH4 at launch; PocketWizard plans to add support for other bodies and flashes with firmware updates.

The PocketWizard FlexTT5 for Panasonic will be available worldwide at the end of October at $186 for a single radio or $299 for two radios and a bag.

Press release

PocketWizard Launches FlexTT5 TTL Radio System for Panasonic

Panasonic photographers can now benefit from PocketWizard’s wireless transceiver radio technology for remote TTL flash and camera triggering.

So. Burlington, VT (September 19, 2016)– LPA Design, Inc., manufacturers of PocketWizard brand products, the world leader in reliable wireless control of cameras, flash lighting and light meters, developed the first TTL radio system specifically for Panasonic ‘s mirrorless cameras. Panasonic photographers can now take advantage of PocketWizard’s patented wireless TTL, HSS and HyperSync® technology, enabling them to be more creative in every lighting setting.

“We have been developing a TTL radio system for Panasonic’s mirrorless gear, specifically the GH4 which is targeted towards professional photographers. Now at last, we have optimized the PocketWizard TTL operating system specifically for their cameras and flashes,” states Steve Padnos, Senior Firmware Engineer and Project Manager.

The benefits of off-camera flash are impactful and dynamic. PocketWizard is the global leader in wireless triggering, range and reliability with patented technologies engineered into every radio. With the FlexTT5 for Panasonic, GH4 photographers can now trigger any number of remote flashes without line of site limitations.

HSS with Panasonic DMW-FL360L and DMW-FL580L speedlights will allow for a full range of sync speeds up to 1/8000- often overpowering bright sunlight in outdoor settings. Studio flash is easily incorporated into a lighting set up with PocketWizard’s HyperSync® technology, which allows photographers to shoot at higher sync speeds, stop action and control both ambient light and flash at the same time.

“With the FlexTT5 for Panasonic, we’re giving a whole new group of photographers access to the PocketWizard family of products and opening up unlimited possibilities in their work. PocketWizard engineers have made this possible,” noted Karen Marshall, CEO of LPA Design.

PocketWizard is currently developing a remote camera cable which will allow Panasonic photographers to trigger a remote camera with their FlexTT5 or any other PocketWizard radio.

At release, the PocketWizard FlexTT5 for Panasonic is currently TTL compatible with the Lumix GH4 camera and DMW-FL360L and DMW-FL580L flashes. Compatibility with other Panasonic camera and flash models will be offered through firmware updates. The FlexTT5 for Panasonic is compatible with existing PocketWizard transceivers including the Plus IV and Plus III in manual trigger mode. It also communicates with all PocketWizard-enabled photo gear including select Profoto, Dynalite, Norman and Photogenic flash systems and Sekonic light meters in manual mode.

The FlexTT5 for Panasonic will be on display in the Panasonic booth at the Photokina trade fair in Cologne, Germany from September 20-25, 2016. There will be a daily 15 to 20 minute presentation in the Panasonic booth for the duration of the show. Any press interested in learning more about the product are either encouraged to attend this presentation or contact to set up an appointment to learn more about the new FlexTT5.

The PocketWizard FlexTT5 Transceiver for Panasonic will be available at PocketWizard Authorized dealers across the globe at the end of October, 2016. Photographers will have the option of purchasing individual radios or a set of two. The US MAP price of a single FlexTT5 for Panasonic radio will be $186.00 and a set of two radios which includes a PocketWizard G-Wiz Trunk bag will come in at $299.00 US MAP.

Categories: News

Paralympic Games 2016: day 10 – in pictures

The best images from day 10 of the Paralympic Games, featuring all the action, reaction and emotion from the penultimate day in Rio

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Categories: News

Opinion: The EOS M5 is Canon's best ever mirrorless camera, and a big disappointment

DP Review News - Sun, 18/09/2016 - 13:00
Canon's EOS M5 is a small, lightweight but powerful APS-C format mirrorless camera, which uses the same sensor and on-sensor phase-detection autofocus system as the EOS 80D.

What a long, strange trip it's been. Eight years have passed since Panasonic unveiled the Lumix DMC-G1, the world's first DSLR-style mirrorless camera, and for much of the intervening time, Canon has appeared content to let its competitors lead the charge away from traditional DSLRs. In that time, mirrorless cameras have gotten faster, their sensors have gotten bigger and the introduction of 4K video has created a new class of genuine 'hybrid' products that have carved out a distinct technical niche compared to their DSLR forebears. 

Then-Chief Executive Masaya Maeda of Canon - pictured at the Photokina tradeshow in Germany, in September 2014. Mr Maeda has since been promoted to President and Chief Operating Officer at Canon Inc. 

In 2014, Canon's then-Chief Executive Masaya Maeda promised us a serious mirrorless offering 'in the very near future', but until now, the closest Canon has come to delivering on this promise was the EOS M3. Canon has never seemed to know how to market the EOS M series*, and insisted at launch that the M3 would not be available in the USA even as Maeda claimed he was telling the his global divisions to "sell it!" Six months later, they finally decided that perhaps they should.

Now, a year after the EOS M3 belatedly entered the US market, we have the EOS M5 - the '4' having being skipped over, possibly in deference to a rather inconsistently applied Japanese superstition. The EOS M5 is a fine product, and one that I think arguably represents Canon's most sure-footed move in the non-professional space for years. But it is also a massive disappointment.

All Dual Pixel, all the time

Let's start with the positives. The EOS M5 basically takes the still and video imaging pipeline from the EOS 80D, and puts all of that hardware into a smaller, lighter body with full-time live view. The 80D's sensor is good – it's not market leading, but it's better in some respects than the sensors used in the 70D and 7D II – and despite the equal pixel count, better also than the 24MP sensor that found its way into the EOS M3.

I called out 'full-time live view' as a positive because perversely, one of the highlights of the EOS 80D's handling experience is its behavior in live view mode, when on-sensor Dual Pixel autofocus comes into play. With the EOS M5, it's all Dual Pixel, all the time, but without having to hold the camera out at arm's length. All of this, plus the full-time touch-screen adds up to a really, really nice handling experience.

A schematic of Canon's Dual Pixel CMOS AF sensor structure. The top layer illustrates the light-gathering micro-lenses and conventional Bayer-type color filter array. The lower layer shows how each pixel is split into two photo-diodes, left and right, which are colored blue and red respectively.

So why is the M5 such a letdown? Because this is the camera that Canon should have released at least two years ago, when Dual Pixel AF was first introduced in the EOS 7D II, and when the company still had a chance to really ring the changes in the mirrorless market.

We know that Dual Pixel autofocus is a serious differentiator, and if you've been paying attention to our coverage of Canon's various high-end DSLRs for the past couple of years, you do too. And the M5's touch interface is lovely. But unless they've held and used the EOS M5 (and with more chance of finding a Lapras** on the streets of your town than a dedicated brick and mortar camera store, a lot of people's first experience of holding a new camera is taking it out of the box), DPAF isn't the kind of function that's necessarily going to grab the attention of a potential buyer. Like – say – 4K video might. Or a super high frame-rate mode, or slow-motion movie capture. 

This is the camera that Canon should have released two years ago

The EOS M5's spec sheet suddenly becomes a lot more impressive if you comb through your memories of the APS-C market segment for the past couple of years, and mentally delete all of the entries under 'Sony'***

Of course as we all know, specs aren't the whole story. Luckily for Canon, handling and performance go a long way. The M5 probably shoots fast enough and well enough for most photographers, its 1080p video probably looks basically fine,**** and it's very nice to use. Although recent Sony cameras have been loaded with an almost unbelievable amount of technology, shooting with one, whether it be an Alpha or a Cyber-shot can sometimes feel unpleasantly like playing chess against a supermarket self-checkout machine*****. Canon at least knows how to make cameras pleasant and uncomplicated to use, while many Sonys still feel like they were designed by the same user interface team responsible for this. If you don't remember Sony's late-to-market iPod competitor, don't feel bad – nobody else does either.

In fact, despite its comparatively pedestrian feature set, given the choice, I'd take an EOS M5 out with me over a Sony Alpha any day of the week. But I really believe that this shouldn't be an either / or thing.

I don't think that photographers should be required to choose between a sensible, well-designed but feature-limited camera or a cutting edge, highly advanced but annoyingly fiddly one. For videographers who started out on EOS DSLRs this is a particularly irksome choice.

The Samsung NX1 was ahead of its time when it was released in late 2014, and even now, its spec sheet is remarkably competitive. One of our favorite cameras of the past decade, the NX1 was quietly killed off by Samsung, along with the rest of the NX lineup, late last year. 

Behind my nagging feeling of anticlimax with the M5 is a principle, which is this: Companies that take risks, and deliver new technology to as many people as possible should be given credit. And companies that do not should be held to account. Take the Samsung NX1 – an APS-C format camera so far ahead of its time that even now it has arguably yet to be bettered. In short, it was a vastly more capable camera than it probably needed to be. As such, the NX1 (which benefitted from an aggressive and effective series of firmware updates) encapsulated the best qualities of the company that made it, just as its premature discontinuation, along with the rest of the NX line, could be said to reflect the worst.

Companies that take risks, and deliver new technology to the market should be given credit

The EOS M5 is undoubtedly Canon's best mirrorless camera yet, and at least in terms of core stills photography it should prove competitive against cameras like the Sony a6300. But as a former Canon user and a long-time Canon watcher, I can't help feeling let down.

The Canon T90 from 1986 (left) and 1992's EOS 5 (A2E in the USA). Both incredibly innovative, game-changing SLRs in different ways. And both released a very long time ago.

Canon, after all, is the company that first put a microprocessor into an SLR. It cemented autofocus as a professional feature, not a gimmick, and later created the first multi-point AF systems. Canon introduced optically stabilized SLR lenses, too. It was Canon that gave us the first large-format CMOS imaging sensor, the first sub-$1000 DSLR, and the first practical full-frame digital camera******. Hell, arguably the first practical digital cameraCanon is the company that created the still-gorgeous T90. And Eye-Control autofocus, for heavens' sake, which – granted – didn't always work, but still feels like science fiction******* even today.

How many of those innovations date from within the past ten years? Not one.

Before you jump to the comments section and start flaming me, I'm not saying that Canon has stopped doing cool things. That's a common refrain of habitual Canon brand-bashers on DPReview, and one that I don't agree with. Apart from anything else, it's perfectly logical that in a maturing market, paradigm shifts will occur with less frequency. And let's be fair here - Canon can, and does, innovate. If you take a look at Canon's camera and lens lineup from PowerShot to Cinema EOS, it's clear that the company is capable of formidable technical achievement.

For all that, many of Canon's biggest contributions to the consumer digital imaging market in recent years have taken the form of iterative refinement, not wholesale reinvention. And in my personal opinion, this is a shame. Because reinvention used to be what Canon did better than anyone else.

* It's a Pokemon thing. Ask your kids, assuming you can locate them. 

** Early press briefings on the EOS M were memorable for the unwavering insistence on the part of Canon's PR team that the M was being marketed primarily to women and smartphone camera upgraders.

*** I write this in the full knowledge that there are some of you who do exactly that.

**** We shot an entire video with the EOS 80D earlier this year. It's fine.

***** Try it. The machine will persist in maintaining that you didn't make your last move, when you definitely did, and after going back and forth a few times making you pick up your piece and put it down again it summons a teenager to assist you. 

****** No, I'm not counting either the Kodak DCS-14n or Contax N Digital.

******* Eye Control AF was introduced in the EOS 5, in 1992, almost a quarter of a century ago. I like to think that if Canon had persisted with development we could be shooting with mind-controlled cameras by now. 

Categories: News

Best photographs of the day: Oktoberfest and Sydney seagulls

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

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Categories: News

Chloe Dewe Mathews: ‘People see the river as an antidote to the city’

The photographer found all sorts of spiritual and ritualistic connections with the water when she began to document how we relate to the mighty Thames…

Charles Dickens described it as “a deadly sewer” that “ebbed and flowed, in the place of a fine fresh river”, while TS Eliot imagined it as a “brown god – sullen, untamed and intractable”. For its biographer, Peter Ackroyd, it represented “an escape from the world”. The river Thames, as the documentary photographer Chloe Dewe Mathews notes, “is many things to many people”. Her new series, Thames Log, is the result of five years spent wandering the course of England’s longest river, “documenting encounters and happenings” from its source in rural Gloucester to its mouth in the Thames estuary near Southend-on-Sea.

Related: Chloe Dewe Mathews's Shot at Dawn: a moving photographic memorial

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Categories: News

The road ahead: readers' photos on the theme of pathway

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

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

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

We’re now running a regular weekly photography assignment in the Observer New Review and wherever you are in the world, this week we’d like to see your pictures on the theme ‘peak’

We’re now running a regular weekly photography assignment in the Observer New Review and the next theme is ‘peak.’ So whether you’re at the top of a mountain or feel at the height of your powers, share your photos of what peak means to you – and tell us about your image in the description box.

The closing date is Thursday 22 September at 10 am. We’ll publish our favourites in The New Review on Sunday 25 September and in a gallery on the Guardian site.

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Categories: News

Winning images from the Weather Channel's 2016 It's Amazing Out There contest

DP Review News - Sat, 17/09/2016 - 13:00
2016 It's Amazing Out There winners

Grand Prize winner. Photo by Greg Gulbransen

The Weather Channel recently announced winners of its annual It's Amazing Out There photo contest, awarding $15,000 to the grand prize winner. Second and third place winners took home cash prizes as well, and a total of 64 finalists were recognized for their photos celebrating fantastic weather, wildlife and adventure. Take a look at a few favorites here, including one from a familiar face.

2016 It's Amazing Out There winners

Grand Prize winner. Photo by Greg Gulbransen

Greg Gulbransen captured this photo of a polar bear on the frozen Hudson Bay in Manitoba, Canada when a rapid temperature drop at sunrise created the mist in this image.

'I said to myself, "I hope a bear walks into this scene' and sure enough this bear just walked into the scene," he says. 'The bear walked out there with his head down. I was so cold, I couldn’t feel my fingertips and I was praying my battery wouldn’t freeze and I said, "bear, would you just lift your head about 8 inches?" And sure enough, it lifted its head and that’s when I got the shot. I knew it was a special moment when I took it.'

If only nature was always so cooperative for photos.

2016 It's Amazing Out There winners

Second place. Jomblang (Grubug) Cave, Indonesia. Photo by Dale Johnson

We featured Dale Johnson's work last year as part of our Readers' Showcase series and since then he's continued to gain recognition for his photos. He describes this shot from a trip inside Jomblang Cave in Indonesia as 'the toughest selfie I've ever taken.' If Instagram selfies were half as good as this one, we'd generally like them a whole lot more.

2016 It's Amazing Out There winners

Third place. Photo by Derek Burdney

Derek Burdney's photo of a Texas thunderstorm earns him the contest's third place prize. Based in Omaha, Neb. Burdney says of this storm 'The [weather] models looked good, so we got in position and watched this thing develop. It was a beautiful storm and everything was good for tornado production. It was really rotating. It never threw a tornado down, but it was really photogenic.'

2016 It's Amazing Out There winners

Finalist. 'Walking in the clouds.' Midway Geyser at Yellowstone National Park. Photo by Derek Burdney

2016 It's Amazing Out There winners

Finalist. 'Playtime.' Photo by Jimmy Marz

2016 It's Amazing Out There winners

Finalist. 'Galactic Rainbow.' Stargazing on top of Maui's Haleakala Volcano. Photo by Michael Trofimov

2016 It's Amazing Out There winners

Finalist. 'Sunset gallop through the marshes.' A herd of Camargue White Horses galloping through a marshy area in the Camargue region, southern France. Photo by Steve Lange

2016 It's Amazing Out There winners

Finalist. 'Fisherman on the Dam.' Three fly fisherman crossing the dam on a small creek in Tennessee. Photo by Shane Durrance

2016 It's Amazing Out There winners

Finalist. 'Step of rice terrace at Chiangmai, Thailand.' Rice terrace at Chiangmai, Thailand, before rain. Photo by Sarawut Intarob

2016 It's Amazing Out There winners

Finalist. 'Weeki Wachee Springs.' A bird's eye view of the Weeki Wachee River in the Tampa Bay Area of Florida. Photo by David Underwood

Categories: News

Paralympic Games 2016: day nine – in pictures

The best images from day nine in Rio, featuring all the action, reaction and emotion from another packed day of competition

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Categories: News

The 20 photographs of the week

The ongoing violence in Syria, the Rio Paralympics, the anniversary of the 9/11 attacks, New York fashion week – the best photography in news, culture and sport from around the world this week

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Categories: News

Minimum flash duration of 1/63,000sec makes the Profoto D2 the fastest TTL monolight in the world

DP Review News - Fri, 16/09/2016 - 20:32

Flash manufacturer Profoto has launched what it is describing as the fastest TTL monolight heads in the world. The Profoto D2 studio flash heads have a shortest output duration of 1/63,000sec, can run at a rate of 20 bursts per second and can sync with camera shutter speeds as short as 1/8000sec. The heads come in two output varieties, 500Ws and 1000Ws, with both featuring full TTL control for Nikon and Canon users via the company’s AirTTL 2.4GHz radio system. The heads can also be controlled in manual mode with 10 stops of output in 1/10th stop increments.

The heads are available to order now, retailing for $2000/£1554 for the Profoto D2 1000Ws AirTTL Monolight and $1500/£1194 for the Profoto D2 500Ws AirTTL Monolight.

For more information see the Profoto website.

Press release

Profoto releases the D2, the world's fastest monolight with TTL

With the ability to freeze action at up to 1/63,000 of a second, to shoot bursts of 20 images per second and sync with camera shutter speeds as fast as 1/8,000 of a second the D2 is redefining the definition of speed in monolights.

“For a photographer, every new day is a new challenge. So for them, speed isn’t one thing – it’s many. That’s why we created the D2 to be remarkably fast in every way” says Johan Wiberg, Product Manager at Profoto.

A photographer might need to freeze action with absolute sharpness. The D2 brings pin sharp clarity with a flash duration of up to 1/63.000 of a second, which makes it faster than most high end studio packs on the market. Better still, it offers supershort flash duration across the full energy range.

If flash duration is exceptionally fast, recycling time is equal to it. With the D2 you can shoot up to 20 flashes per second . That allows you to catch 20 versions of the same moment, and quite often that's the difference between capturing a good image and a great image.

Bringing yet another dimension to speed is Profoto’s High-Speed Sync technology (HSS). This allows the D2 to sync with the fastest shutter speeds available. An advantage when you need to catch a deep blue sky or take full control of ambient light.

The D2 can also help to speed up workflow because it’s equipped with patented TTL technology. You can point-andshoot and the D2 will automatically adjust its output for perfect exposure. But manual mode is available at click of a button, so switching between both modes with settings intact just makes everything move faster.

In terms of output, the D2 is available in 500Ws and 1000Ws versions. At full power you’ll easily overpower the sun, or fully illuminate a larger Light Shaping Tool. Both versions come with a super wide 10 f-stop energy range and superior color consistency over the entire range. So leave the ND filters at home and add just a hint of light if needed.

Above all, this is Profoto Light Shaping equipment. So the design is smooth and minimal, it’s intuitive to use, the build quality as you’d expect, is rugged and sturdy, and it can be used with more than 120 different Light Shaping Tools.

“We designed the Profoto D2 to be the world’s fastest monolight,” says Johan Wiberg, Product Manager at Profoto. “But the speed is not a gimmick. We truly believe that more speed allows you to be more creative and consistently take better images regardless of what challenge you face – with the D2, you’re always up to speed.”

For high volume production when you shoot thousands of images per day, like packshot photography, there is an optional Quartz flashtube available.

The D2 is released Sept 15, 2016. Both the 500Ws and 1000Ws versions are available in different kits configurations.

Learn more at

Categories: News

Epson's FastFoto FF-640 scanner can digitize a photograph in one second

DP Review News - Fri, 16/09/2016 - 19:44

The newly unveiled Epson FF-640 is, according to Epson, the fastest photo scanner in the world. The model can scan photographs as rapidly as 1 image-per-second, doing so at 300dpi, or more slowly at a higher quality 600dpi resolution. Unlike flatbed scanners, the new FastFoto model features a 30-photo auto feeder, scanning the images to a hard drive and then providing the option to upload the files to online destinations including Dropbox, Google Drive, or Facebook.

The rapid scanning rate is made possible in part by technology that scans both the front and the back of a photo simultaneously. In addition to the scanning capabilities, the related Epson software organizes image files in such a way that they’re easy to find using searchable metadata, ‘recognizable file and folder names,’ and a capture date that, when possible, uses the date the photo was taken rather than the date it was scanned.

FastFoto also includes Epson’s Smart Photo Fix Technology; with it, users can press a related button and allow the software to automatically restore their photos, applying things like red-eye reduction, fade correction, and ‘enhancements.’ This is complemented by Dynamic Skew Correction, a technology that works with multi-roller scanners to auto-correct the angle at which the photo is scanned.

Finally, the FF-640 has what Epson describes as a ‘special handling sheet’ that is used to scan old or otherwise fragile photos. The Auto Size Detection tech means differently sized photos can be scanned in the same stack, while Double Feed Detection works with an ultrasonic sensor to help ensure no photos are skipped during the scanning process.

The Epson FF-640 is now available from Epson’s online store and some major retailers for $649.99.

Via: Epson

Categories: News

PABLO is a long exposure and light painting app for the iPhone

DP Review News - Fri, 16/09/2016 - 19:40

Czech photographer Miroslav Tichy once described photography as painting with light. Now there is an app for that, but instead of naming it after Tichy, its makers decided to call it PABLO for Pablo Picasso, who created some of the first notable light art images with photographer Gjon Mili in 1949.

PABLO has been developed for light painting with the iPhone. You can create pictures and video by moving a light source in front of the camera while capturing a long exposure. Alternatively, you can illuminate a subject, shine a point of light directly at the camera, or move the camera itself during exposure.

In the app's 'live view' you can watch as light paintings are created and a community feed lets you see a continuous gallery of light images by PABLO users around the world. Additionally, you can create light paintings by uploading existing video clips. Any lights in the video will freeze to create light trails.  You can find more information in the video below and on the PABLO website. How-to videos are available in the PABLO Youtube channel and if you'd like to try the app yourself you can now install it for free from the App Store

Categories: News

Burtynsky, brass bands and a divine bull-ride – the week in art

William Kentridge comes to the Whitechapel, Zaha Hadid’s successor speaks and we rule on a cultural showdown between London and Paris – all in your weekly dispatch

William Kentridge: Thick Time
Time and memory, history and politics are the stuff of the acclaimed South African animator’s recent works.
Whitechapel Gallery, London, 21 September-15 January.

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Categories: News

‘He wasn’t terribly charismatic’: Bernie Sanders leads a civil rights protest in 1962

Joan Mahoney recalls a sit-in with the future US presidential hopeful

We were a Congress of Racial Equality student group (we called ourselves Core) – Bernie Sanders was our president – and we were occupying the offices of George Beadle, the university’s president. I’m sitting on the floor, on his left, in a pale sweater with a black bob. We were protesting against the segregation of some of the university’s private housing in Chicago. We stayed for several days, sleeping on the floor, until it changed its policy. Which it did.

These were early days in the civil rights movement, and this was one of the first college sit-ins. We were amazingly well-behaved. I was studying history, and read Aristotle to while away the hours. During the day, I baked and sold brownies at the student union for the Turn Toward Peace organisation, which was raising money to send buses to Washington for a rally. When I found time for my schoolwork, who knows.

Related: ‘I kept my eyes firmly above the chin’: Peter Stanford poses nude for artist Spencer Tunick, 17 July 2005

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Categories: News

Tacita Dean review – cloudy confessions and Hockney on camera

Frith Street Gallery, London
The former Turner prize nominee’s portrait of the painter toys with truth and artifice as cleverly as her first foray into theatre with actor Stephen Dillane

Sitting in his Los Angeles studio, David Hockney looks at the wall and smokes. For the last couple of years, Tacita Dean has also been living in LA, where she got to know the painter, whose portrait of Dean’s son Rufus hangs in the blurry distance of Dean’s filmed portrait of Hockney. Rufus, in waistcoat and tie, notebook and pencil in hand, gives Hockney a serious painted stare.

Contemplating something out of shot, smoking in his comfy armchair, Hockney is surrounded by the portraits that currently fill the Sackler Galleries at the Royal Academy in London. Unless he is acting the role of spectator – or sitter, or the painter thinking, as he smokes and smokes, lighting up and stubbing out, rolling his tongue around his mouth – Hockney has stopped thinking about the camera.

Related: Cloudy ... with a chance of artworks

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Categories: News

Best photographs of the day: Spanish fashion and a giant cabbage

The Guardian’s picture editors bring you a selection of photo highlights from around the world, including Madrid fashion and giant veg

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Categories: News

Sport picture of the day: practice makes perfect for Ferrari's pit crew

As fractions of a second count when an F1 car pits, it’s imperative that the pit crew are a well-drilled operation, with each member of the team able to perform their role in the quickest time with a minimum of fuss. This doesn’t happen on its own, so it’s not just the drivers who practice before race day

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Categories: News

Canon EOS M5: What you need to know

DP Review News - Fri, 16/09/2016 - 13:00
Canon EOS M5: What you need to know

With a 24MP sensor and Dual Pixel autofocus, Canon's new EOS M5 is the mirrorless camera that a lot of Canon fans have been waiting for. We had the chance to get our hands on a pre-production model earlier this summer and in this article, we'll give you a quick tour of the M5's key features and controls.

Canon EOS M5: What you need to know

The DSLR-styled EOS M5 is the most advanced M-series camera yet, and borrows a lot from the EOS 80D, including a Digic 7 processor and equivalent (Canon claims) Dual Pixel AF performance. As such, among other things we'd expect it to be capable of very good image quality, and better Raw dynamic range than its predecessors. 

Canon EOS M5: What you need to know

Despite its small size, the M5 boasts a generous hand-grip, which makes it very comfortable to hold. It doesn't have the heft of one of Canon's DSLRs, but we wouldn't expect it to. That said, the M5's construction is top notch and at 427g  (15.1oz), the body has a reassuring weight. 

Canon EOS M5: What you need to know

This view gives you an idea of the M5's compact form factor. Despite packing an APS-C sensor and 2.36 million-dot viewfinder It really is 'palm-sized'.

Canon EOS M5: What you need to know

This view show's the EOS M5's sensor exposed. It's the same 24MP APS-C format sensor that can be found in the EOS 80D, with the same ISO range of 100-16000, expandable up to ISO 25,600. More significant is the inclusion of Dual Pixel AF - finally bringing one of Canon's most impressive features to mirrorless.

Canon EOS M5: What you need to know

Dual Pixel AF uses on-sensor phase-detection pixels, covering roughly 80% of the image area. As we've seen in DSLRs like the EOS 80D and EOS 5D IV, Dual Pixel is a huge leap forward compared to traditional contrast-detection autofocus systems, both in terms of responsiveness and accuracy. 

Dual Pixel AF can also be used to track moving subjects, and we have high hopes for the M5's performance in this respect. The M5 can capture images at an impressive rate of 7fps with AF-C, and 9fps when focus is locked. 

Canon EOS M5: What you need to know

From the top, the EOS M5 looks like a true mixture of a G-series compact camera and one of Canon's midrange DSLRs. There's the familiar EOS exposure mode dial on the top left, and a PowerShot-style exposure compensation dial on the extreme right.

Between them are twin control dials, one of which encircles the M5's shutter button. The function of the secondary, rearmost dial can be used in conjunction with the 'Dial Func' button to gain quick access to a handful of functions (such as White Balance, ISO, Drive Mode...). 

Canon EOS M5: What you need to know

The EOS M5 has a 180-degree tilting screen, but somewhat unusually, at full extension it tilts out under the camera. You know – for selfies. 

Canon EOS M5: What you need to know

More useful (we think) is the diagonal angling possible when the camera is held pointing away from you. 

Canon EOS M5: What you need to know

The M5's 3.2in, 1.62 million-dot touchscreen is a pleasure to use, and makes AF point positioning and stills and video framing a breeze, even from low and high angles. Flipping through and zooming into images by touch in playback mode is a nice time-saver, too, and the screen can also be used to position AF point with your eye to the finder (Panasonic style).

Despite its touch-sensitive rear screen, the M5 isn't short on physical control points, and the cluster of buttons on the back of the camera will be immediately familiar to users of high-end Canon PowerShot cameras. The red movie recording button might look a bit tucked out of the way, but it's actually in a good position to be activated by the right thumb.

Canon EOS M5: What you need to know

The EOS M5's LP-E17 battery slots beneath its handgrip, and offers a quoted battery life of 295 shots (CIPA).

Canon EOS M5: What you need to know

The M5's 1080/60p video spec is pretty middle-of-the-road (and essentially the same as the EOS 80D) but little things like a jack for an external microphone mean that it is capable of being used as a video camera for most applications (provided you don't need 4K).

Canon EOS M5: What you need to know

On the palm side of the M5's handgrip you'll find a small recessed button to initiate the M5's wireless pairing. Built-in Wi-Fi with NFC and Bluetooth mean that images from the M5 can be sent to a compatible smartphone or tablet, and the camera can be controlled remotely via Canon's EOS Remote app. 

Canon EOS M5: What you need to know

The EOS M5 will be available in November, kitted with either the 15-45mm (24-72mm equiv) or new 18-150 F3.5-6.3 IS STM (28-240mm equiv) zoom lenses.

What do you think of it? Is the EOS M5 the Canon mirrorless camera you've been waiting for? Let us know in the comments.

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