Why buy iPhone 15? Annual iPhone photography awards include winners using iPhone 7 Plus

Why buy iPhone 15? Annual iPhone photography awards include winners using iPhone 7 Plus

If you were thinking of upgrading to an iPhone 15 – you might just be tempted to hold onto your old iPhone for now after seeing these photos.

The annual iPhone Photography Awards (IPPAWARDS) this week announced the winners of its competition, which is now in its 16th year, where it looks for some of the best photos taken on an iPhone.

The camera on Apple’s smartphone has come on leaps and bounds since we could only take photos and nothing else back in the days of the iPhone 3G. But now, not only can you record video, slo-mo videos, add filters to what you’ve taken, and more, but there are also three whole lenses to help focus on certain subjects for example in certain modes like Cinematic.

With iPhone 15 Pro Max rumored to feature a new lens to help give better photos when zoomed in, you may have been waiting to upgrade. But once you see some photos in this competition taken with an iPhone 7 Plus, there’s a small chance you may reconsider.

It’s not over yet for older iPhones

IPPAWARDS - Tim Wheeler using an iPhone 7 Plus

(Image credit: IPPAWARDS – Tim Wheeler)

Scroll to the Abstract section, and you’ll find the winner, Tim Wheeler, with his photo having been taken on an iPhone 7 Plus – and that’s the same for the runner-up, Neil Nesheim as well.

These are amazing photos, and you can easily lose an hour simply scrolling through all of these while wondering why you are still struggling to take a decent photo of some plants in your garden.

The list goes on, with other winners including an iPhone 12 Pro, an iPhone XR, and even an iPhone X, proving you don’t need Apple’s best iPhone to take the best pictures. Granted, many of these may have been edited with a third-party app such as Pixelmator or Adobe Photoshop to help bring out the colors and the subjects even more.

IPPAWARDS - Linda Repasky - photo shot on iPhone 14 Pro

(Image credit: IPPAWARDS – Linda Repasky)

But it says a lot that something like the iPhone 7 Plus, released back in 2016, is still capable of taking amazing photos, and also how far we’ve come since.

Have these photos made you reconsider holding onto your iPhone for now? Let us know in the iMore Forums if that’s now the case.

Ségolène Ragu’s vivid portrayal of the Semiramis shows us the conditions in Lebanon during economic crisis

Ségolène Ragu’s vivid portrayal of the Semiramis shows us the conditions in Lebanon during economic crisis

No matter how grand or obscure, we can always trust a building to tell us the history of a people. In Beirut, Lebanon, lies Semiramis, a once luxury and iconic structure turned to ruin due to the country’s economic crisis. Photojournalist Ségolène Ragu is bringing this building to light with her fervent documentation. Within her series, she captures the eroding exterior and warm interior with equal care – from worn pillars and smashed windows, to images of front rooms that tell an intergenerational story. All stemming from her childhood memories of summers in Lebanon, a home away from her hometown in France, she immortalises the stories of people who have seen much strife, and are now seeing threats of eviction. “Collectively, they’ve all been through situations that tell a part of the history of Lebanon – the supposed ‘golden age’, the civil war, exile, political assassinations, uprisings, and the consequences of the economic crisis that is still worsening, but also the story of family and sacrifice,” she tells us.

There is nothing like a cause that stirs you so profoundly that it changes the course of your life and purpose. In 2019, Ségolène was working at a local cinema and began documenting the uprisings – known as the 17 October Revolution. The report doesn’t just capture outrage and flames, but it shows us the quiet moments, with people in tents camping out and a group of raised flags, plus the camaraderie and commitment among the people. “This is when I knew I wanted to be a photojournalist,” she tells us. “My family also spoke to me a lot about the Lebanese Civil War and I wanted to understand what they had been through since then,” she adds. Ever since, she has had a particular focus on the fallout of these historical moments, placing them in the context of everyday life.

NFT Art Market is Poised for Significant Growth During The Forecast Period 2023-2030

NFT Art Market is Poised for Significant Growth During The Forecast Period 2023-2030
NFT Art Market

NFT Art Market

PUNE, MAHARASHTRA, INDIA, August 1, 2023/EINPresswire.com/ — “NFT Art Market” [2023-2030] Research Report Analysis and Outlook Insights | Latest Updated Report | The NFT Art Market is segmented into Regions, Applications (Personal Use, Commercial Use), and Types (Photos, Videos, Music, Paintings, Others). The report presents the research and analysis provided within the NFT Art Market Research is meant to benefit stakeholders, vendors, and other participants in the industry. This report is of 116 Pages long. The NFT Art market is expected to grow annually by magnificent (CAGR 2023 – 2030).

Who is the largest manufacturers of NFT Art Market worldwide?

OpenSea
Rarible
SuperRare
Foundation
AtomicMarket
Myth Market
BakerySwap
KnownOrigin
Enjin Marketplace
Portion
Async Art
NFT ShowRoom
Axie Marketplace
Makers Place
Nifty Gateway
NFT Hunters
NFTCN
Mintable

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Short Description About NFT Art Market:

The Global NFT Art market is anticipated to rise at a considerable rate during the forecast period, between 2023 and 2030. In 2022, the market is growing at a steady rate and with the rising adoption of strategies by key players, the market is expected to rise over the projected horizon.

Market Analysis and Insights: Global NFT Art Market

The global NFT Art market size is projected to reach US$ million by 2028, from US$ million in 2021, at a CAGR of % during 2022-2028.

Fully considering the economic change by this health crisis, Photos accounting for % of the NFT Art global market in 2021, is projected to value US$ million by 2028, growing at a revised % CAGR in the post-COVID-19 period. While Personal Use segment is altered to an % CAGR throughout this forecast period.

China NFT Art market size is valued at US$ million in 2021, while the North America and Europe NFT Art are US$ million and US$ million, severally. The proportion of the North America is % in 2021, while China and Europe are % and % respectively, and it is predicted that China proportion will reach % in 2028, trailing a CAGR of % through the analysis period. Japan, South Korea, and Southeast Asia are noteworthy markets in Asia, with CAGR %, %, and % respectively for the next 6-year period. As for the Europe NFT Art landscape, Germany is projected to reach US$ million by 2028 trailing a CAGR of % over the forecast period.

With industry-standard accuracy in analysis and high data integrity, the report makes a brilliant attempt to unveil key opportunities available in the global NFT Art market to help players in achieving a strong market position. Buyers of the report can access verified and reliable market forecasts, including those for the overall size of the global NFT Art market in terms of revenue.

Overall, the report proves to be an effective tool that players can use to gain a competitive edge over their competitors and ensure lasting success in the global NFT Art market. All of the findings, data, and information provided in the report are validated and revalidated with the help of trustworthy sources. The analysts who have authored the report took a unique and industry-best research and analysis approach for an in-depth study of the global NFT Art market.

Global NFT Art Scope and Market Size

NFT Art market is segmented by players, region (country), by Type and by Application. Players, stakeholders, and other participants in the global NFT Art market will be able to gain the upper hand as they use the report as a powerful resource. The segmental analysis focuses on revenue and forecast by Type and by Application for the period 2017-2028.

Get a Sample Copy of the NFT Art Report 2023

What are the factors driving the growth of the NFT Art Market?

Growing demand for below applications around the world has had a direct impact on the growth of the NFT Art

Personal Use
Commercial Use

What are the types of NFT Art available in the Market?

Based on Product Types the Market is categorized into Below types that held the largest NFT Art market share In 2022.

Photos
Videos
Music
Paintings
Others

Which regions are leading the NFT Art Market?

North America (United States, Canada and Mexico)
Europe (Germany, UK, France, Italy, Russia and Turkey etc.)
Asia-Pacific (China, Japan, Korea, India, Australia, Indonesia, Thailand, Philippines, Malaysia and Vietnam)
South America (Brazil, Argentina, Columbia etc.)
Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria and South Africa)

Inquire more and share questions if any before the purchase on this report at –https://www.360researchreports.com/enquiry/pre-order-enquiry/20234270

This NFT Art Market Research/Analysis Report Contains Answers to your following Questions

What are the global trends in the NFT Art market? Would the market witness an increase or decline in the demand in the coming years?
What is the estimated demand for different types of products in NFT Art? What are the upcoming industry applications and trends for NFT Art market?
What Are Projections of Global NFT Art Industry Considering Capacity, Production and Production Value? What Will Be the Estimation of Cost and Profit? What Will Be Market Share, Supply and Consumption? What about Import and Export?
Where will the strategic developments take the industry in the mid to long-term?
What are the factors contributing to the final price of NFT Art? What are the raw materials used for NFT Art manufacturing?
How big is the opportunity for the NFT Art market? How will the increasing adoption of NFT Art for mining impact the growth rate of the overall market?
How much is the global NFT Art market worth? What was the value of the market In 2022?
Who are the major players operating in the NFT Art market? Which companies are the front runners?
Which are the recent industry trends that can be implemented to generate additional revenue streams?
What Should Be Entry Strategies, Countermeasures to Economic Impact, and Marketing Channels for NFT Art Industry?

Purchase this report (Price 4900 USD for a single-user license) – https://www.360researchreports.com/purchase/20234270

Sambit Kumar
Precision Reports
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ArtDependence | Printmaking Through the Ages: Graver la lumière at Musée Marmottan Monet, Paris

ArtDependence | Printmaking Through the Ages: Graver la lumière at Musée Marmottan Monet, Paris
From 5 July to 17 September 2023, the Musée Marmottan Monet will host a remarkable collection of engravings belonging to the Swiss Fondation William Cuendet & Atelier de Saint-Prex. With over one hundred masterpieces on display, the exhibition showcases an ensemble of works ranging from the 15th to the 21st century, including Dürer, Rembrandt, Piranesi, Goya, Corot, Manet, Degas, Bonnard, Vuillard… The works of the great masters will be displayed in a dialogue with creations by contemporary artists.

74 Times People Tried To Get Beautiful Bird Pics But It Went Horribly Wrong (New Pics)

74 Times People Tried To Get Beautiful Bird Pics But It Went Horribly Wrong (New Pics)

We reached out to Kevin Bartram, the founder of the ‘Crap Bird Photography’ and here’s what he had to say about his love for birds and photography. “I’ve been interested in birds ever since I was a kid. With the advent of digital photography, I decided to take up taking photos of the many birds I see. It became an obsession, it’s such a great pastime & you learn so much! You also learn that some of the photos (perhaps more than some!) don’t come out so well. Sometimes that camera does not want focus on that bright red robin in the middle of the view! Sometimes the camera only focuses on the bird after it has flown away. You have it in your head how a bird photo should look, the ultimate result is often very different! I thought I’d put some images up on their own Facebook page & the amount of people with the same problem as me soon joined up & the rest is history. Many people who look at birds also have a sense of humor!”

He also added that he loves all animals, “but birds have a particular charm about them. They are smart & in some ways very similar to us, but in other ways very foreign. Of all the animals, they often associate with humans so are familiar, but also can be very cryptic and hard to find. There are so many of them, yet each species shows it’s own personality, some birds can be downright annoying! Birds can surprise and amaze us, and we are so lucky to have them as our companions, good or bad in this world. They do so many quirky things & of course they crap where they shouldn’t, I just think it’s nice that it’s only usually small crap & lucky they aren’t big mammals, because that would be smellier & look worse!”

Photography Studio Software Market Size And Forecast -Acuity Scheduling, Pixifi, Sprout Studio, Bookeo, ShootZilla, Blinkbid, Tave

Photography Studio Software Market Size And Forecast -Acuity Scheduling, Pixifi, Sprout Studio, Bookeo, ShootZilla, Blinkbid, Tave

The report gives an abstract and quantitative examination of the Global Photography Studio Software .The examination relies upon the division of the Photography Studio Software which focuses on monetary and non-money related factors impacting the Photography Studio Software improvement. The report joins a genuine scene which concludes the market position in the focal parts, including new help offered, thing dispatches, business associations, combinations and acquisitions in the past five years.

Companies operating in the Photography Studio Software
Acuity Scheduling, Pixifi, Sprout Studio, Bookeo, ShootZilla, Blinkbid, Tave, Time Exposure, Iris Works, Studio Ninja, Darkroom, Lyncpix

The report highlights of emerging examples, with principal drivers, risks, and likely entryways In the Photography Studio Software. The crucial creators across the world in the worldwide Photography Studio Software are organized in the report. Considering such things introduced in the Photography Studio Software, the around the world Photography Studio Software is ordered Into different segments. The part overpowered the Photography Studio Software and held the greatest piece of around the world Photography Studio Software in the year 2020, and continues to govern the market in 2021 are positive in the report.

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Considering use, the around the world Photography Studio Software is ordered into different application sections. The application section that is depended upon to drive the slice of the pie of the Photography Studio Software in the next few years are highlighted and thought about in the report. The indispensable components of advancement in this application segment are explained in the report. The areas that addressed the greatest pay part of around the world Photography Studio Software in 2022 are considered in the report. Additionally are depended upon to continue with the edge over its opponents in the regarded time span are considered in the report. The grounded establishment and innumerable Vessel Monitoring System Software associations in these regions are organized in the report.

By the product type, the market is primarily split into:
Type I, Type II.

By the end-users/application, this report covers the following segments:
PC Terminal, Mobile Terminal

Elements of the Report:
• New game plans and commitments that market players can imagine are in like manner discussed in the report.
• The possible entryways for business trailblazers and effect of the Coronavirus pandemic are associated with the around the world Photography Studio Software.
• New things and organizations that are thriving in this speedy progressing around the world Photography Studio Software’s monetary environment are discussed in the report.
• The report discusses the how certain advancement things, market frameworks, or game plans could assist with showcasing players.
• The pay open entryways and the growing new game plans are discussed in the report.
• The unquestionable characteristics of each part and market open entryways are explained in the report.
• The powers during the pandemic are relied upon to accelerate the hypothesis pace in the around the world Photography Studio Software are point by point in the report.
• The report gives proposition on the way forward in the around the world Photography Studio Software.

Table of Contents
1.1 Study Scope
1.2 Key Market Segments
1.3 Players Covered: Ranking by Vessel Monitoring System Software Revenue
1.4 Market Analysis by Type
1.4.1 Photography Studio Software Size Growth Rate by Type: 2020 VS 2028
1.5 Market by Application
1.5.1 Photography Studio Software Share by Application: 2020 VS 2028
1.6 Study Objectives
1.7 Years Considered
1.8 Continue…

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This report tends to a couple of key requests:
• What is the by and large expected advancement of around the world Photography Studio Software after Coronavirus vaccination or treatment is found?
• What are the new essential methodologies that can be executed post-pandemic to remain merciless, agile, client driven, and helpful in the around the world Photography Studio Software?
• Which unequivocal regions are depended upon to drive improvement in the around the world Photography Studio Software?
• What are key government approaches and interventions did by driving around the world Photography Studio Software countries to help with advancing gathering or improvement of Vessel Monitoring System Software.

In His Downtown L.A. Studio, Artist Cosmo Whyte Works Nights Surrounded by Books, Beads, and Two Taxidermied Roosters

In His Downtown L.A. Studio, Artist Cosmo Whyte Works Nights Surrounded by Books, Beads, and Two Taxidermied Roosters

Jamaican-born artist Cosmo Whyte (b. 1982) believes the past is a living, breathing being. The artist, who lives and works in Los Angeles, is known for his multidisciplinary works that explore how objects, documents, and even artworks can become emblems of time and its passage—and how these records are often wily in their truth-telling abilities.

Scouring archives of institutions large and small, Whyte seeks out captivating photographs, usually depicting African diasporic history, particularly that of the Caribbean. These photographs serve as the basis for his wide-ranging artistic interventions. “Hush Now, Don’t Explain,” the artist’s second solo exhibition at Anat Ebgi in Los Angeles, brings together his most recent explorations. Here, Whyte has rendered aspects of these archival photographs onto beaded curtains like those commonly found in his native Jamaica, allowing visitors to interact with these images while hinting at the porous nature of record-keeping. Similarly, in “Agitation,” a new series of large-scale drawings, Whyte introduces pixelation as a way of obscuring the identities of individuals in an image in order to refocus attention on the events themselves. These investigations of public and personal archives also take sculptural form;  for the exhibition, Whyte has constructed a large metal structure based on drawings by his father, an architect, in the process asking complex questions about the space between artistic preservation and memorial. 

Whyte develops his nuanced artworks in his studio in Downtown Los Angeles. The artist, who also teaches at UCLA, typically spends his nights in the studio—painting, drawing, and thinking.  

Right before his show opened, we caught up with Whyte who told us what’s on his bookshelf, why he’s embraced the possibility of failure, and how “duds” sometimes come back to life. 

Tell us about your studio. Where is it, how did you find it, what kind of space is it?
My studio is in the Fashion District in Downtown L.A. at Mohilef Studios. Stefano di Paola, a partner at Anat Ebgi, helped me find it. It’s an old garment warehouse with ample light and a great community of artists. 

Do you have studio assistants or other team members working with you? What do they do?
I do, not full-time, but on a project basis. Aryana Polat is my current studio assistant. She is a very promising young artist. As a studio assistant, she’s been great. She’s helped troubleshoot ideas and is very organized and reliable. Also, since 2021 I have been working with Maggie Jones of FSU Master Craftsman on projects related to my series of beaded curtains. She has been instrumental in helping me streamline the painting process and logistics for those works.  

How many hours do you typically spend in the studio, what time of day do you feel most productive, and what activities fill the majority of that time?  
It depends on the time of year. While I’m teaching, I am in the studio in the evening and into the night, typically for three to five hours at a time. During the summer, or in periods when the teaching load is not as demanding, I’m there longer. In terms of what I do, I have periods of research where I am primarily reading, looking through archives, thinking through bodies of work, and sketching. There are periods when I need to step away from the studio to take in new stimuli and then there are other periods where I’m in full production mode. But I do believe the mind of an artist is always at work. You are always in the process of art-making and everything is a potential source of inspiration.  

Courtesy of Cosmo Whyte.

A work in progress in the artist’s studio. Courtesy of Cosmo Whyte.

What are you working on right now?  
I’m working on a series of beaded curtains. They will be central to an installation for my solo exhibition. The curtains are all hand-painted and will be hung from an architectural structure in the middle of the gallery. The image depicted on the curtains is based on an archival image. The idea is that when you walk through the image, you momentarily disrupt the legibility of that image.  

How do you know when an artwork you are working on is clicking? How do you know when an artwork you are working on is a dud?  
I remember during my first year in grad school, I bought a roll of good paper. On a grad school budget, it was an expensive investment. To get over the preciousness of the paper, I decided to work on a large drawing until I broke it. There were several moments in the process where I knew if I just stopped here, I could salvage a good drawing or at least parts of it. I went into that exercise to embrace the process’s ups and downs and be completely open to the possibility of failure. I wanted to know: At what point does the artwork cross over and become overworked or unsalvageable, and what happens when you keep going? 

That exercise was good because I was present through each stage of the process, paying close attention to my intuition. Now I immediately know when things are clicking and, more importantly, when to step back and regroup.  

In terms of a dud, I have run into issues where I cannot fix a piece at a specific moment, but I don’t always discard the duds. I put them away and look at them later, maybe even a year later.  

A work alongside an archival image. Courtesy of Cosmo Whyte.

A work alongside an archival image. Courtesy of Cosmo Whyte.

When you feel stuck while preparing for a show, what do you do to get unstuck?
I have a very small circle of close friends I can talk to, to work through a project, writing, or idea. It’s reciprocal; whenever they’re bouncing around an idea, I try to make myself available to help. I trust them to be honest with me and value their opinion. Typically when I reach out, I am asking questions like: Does this make sense? Are these concepts getting across? How can I improve upon a particular piece? While their input goes a long way, ultimately, I must decide on what’s right for the work and my vision.

What images or objects do you look at while you work? Do you have any other artists’ work in your studio?
I have a bookshelf with artist monographs in the studio. I try to keep the majority of my books outside of the studio and only bring a handful into the workspace. Of late, I’ve been re-engaging with the paintings of Hurvin Anderson, Noah Davis, and Jennifer Packer. There is a quality to both Hurvin Anderson’s and Jennifer Packer’s paintings that feels so elusive and ephemeral. I really love their work.   

As I continue to work on the curtains, my readings have become more focused on photography lately. The books currently in the studio are: The Civil Contract of Photography by Ariella Azoulay; Regarding the Pain of Others by Susan Sontag, which I am rereading; and I just picked up Seeing Through Race: A Reinterpretation of Civil Rights Photography by Martin Berger. 

I also have a few archival images scattered around the studio. These are simple prints or photocopies. I like to keep them visible, as I may request to acquire rights to use them in a later project. Sometimes I’ll place them next to works I’ve made to see what kind of dialogue can happen. At the moment, I have one curtain piece of a limbo dancer next to an image of two women on a stroll in the aftermath of a protest in Florida in 1989. There is a tenderness as these two women hold hands amid the chaos that I just love. There is something interesting happening with it next to the contortion of the limbo dancer depicted in the curtain. I try to leave space for moments like this throughout the studio, to see what new direction the work can take.  

What’s the last museum exhibition or gallery show you saw that really affected you and why?
A late professor of mine from Bennington College, Milford Graves, had a traveling retrospective at the ICA LA. Music was central to his work, but to see his sculptures was surprising and reminded me of my time with him in my last years as an undergraduate. He taught a class called Music Healing that looked at the role of sound in healing. He was an improvisational, experimental jazz drummer and the class had that improvisational structure. I still have notes from that course. 

He was the only Black faculty during my time at Bennington and really took me on as an unofficial mentee my last year there. His support was very important and we kept in touch for a year after I graduated.  

Seeing that show, I was still shocked at how good of a sculptor he was. I never knew that part of his practice. I knew him primarily as a musician, healer, and martial artist. It was beautiful to see his interest in Eastern medicine and experimental jazz and martial arts all coalesce in the show. It was very special and made me grateful for the time I had with him.    

Courtesy of Cosmo Whyte.

Two taxidermied roosters in the studio. Courtesy of Cosmo Whyte.

Is there anything in your studio that a visitor might find surprising? 
I always have an odd collection of things in the studio, which I try to keep as organized as possible. I have a collection of airplane chairs which I have been making into sculptures since 2015. My latest surprising acquisitions are three taxidermied roosters that I ordered from eBay. Undoubtedly, they will become parts of some sculpture at some point. Right now, I need to sit with them. During my research, I found the majority of these taxidermied roosters come from Germany but the best taxidermied roosters are made in Ukraine. The standard of taxidermy there seems to be extremely high. Taxidermy roosters seem like an odd niche market.  

How does your studio environment influence the way you work?
Over the years I have had so many different types of studios. As you would expect, size determines the possibilities of what you can do. I have tall ceilings, so this impacts my scale. Temperature is a factor, too. Sometimes it gets too hot, so I must adjust my work schedule. For instance, when working on the curtains, which are so labor intensive, I’d rather not be making those during the hottest time of the day. Going up and down scaffolding in the heat is taxing. So on those days, work begins in the early morning. However, when there is a looming deadline all that gets thrown out the window as the work must get done by any means. I also like my studio space. It’s a pleasure to come to it and work. It really makes a difference.  

 

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‘I learn a lot from these people’: Anton Corbijn photographs artists

‘I learn a lot from these people’: Anton Corbijn photographs artists
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‘This was the last time I photographed David I believe, not that I knew that at the time of course. I really like this shoot, and I also loved the first time I photographed him, when he was playing the Elephant Man in 1980. He was always great looking, intelligent and charming, and he had a great sense of humour. He was the ideal person in front of the camera. This particular photo was done in the rain, or perhaps it was light snow, but whatever it was it made the end result more interesting’