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Michael Chandler has recently claimed that the size of Conor McGregor is not real and is just a product of camera photography work and he is bigger than the notorious.

During an interview on Steve-O’s Wilderide podcast, Michael Chandler revealed the motivation behind calling out Conor McGregor at 170 pounds. Chandler explained that his decision was influenced by McGregor’s noticeable size on social media. The former UFC two-division champion’s online presence played a role in Chandler’s decision to challenge him at a specific weight class.

Chandler mentioned that he is not concerned about the weight class McGregor wants to fight. He observed that McGregor does not appear to be that big and bulky in person. For Chandler, McGregor’s photography team is doing an excellent job of highlighting his angles.

“The Notorious” Is Back to Train

Conor McGregor is a professional mixed martial artist and boxer from Ireland. He has held the title of Ultimate Fighting Championship Featherweight and Lightweight Champion, making him the first UFC fighter to hold championships in two weight classes at the same time. Furthermore, he is also a former Cage Warriors Featherweight and Lightweight Champion. Despite his achievements, McGregor has been involved in several controversies due to his behaviour throughout his career.

Conor McGregor’s last appearance was at an event Poirier vs. McGregor 3. It was a mixed martial arts competition hosted by the Ultimate Fighting Championship and held on July 10, 2021, at the T-Mobile Arena in Las Vegas, Nevada. Notorious lost that match due to a leg injury and hasn’t made a comeback ever since.

Michael Chandler, in his assessment of Conor McGregor‘s recent social media posts, suggests that the Irish fighter appears to be back in training. Judging by McGregor’s latest updates, Chandler observes signs that indicate the former two-division champion is actively engaged in his preparation for upcoming challenges.

Dana White on the Situation

UFC President Dana White is not concerned about Michael Chandler waiting for his fight with Conor McGregor. When asked about the possibility of Michael Chandler fighting Conor McGregor. He didn’t confirm whether Chandler will get the fight or not, but he did express his interest in the matchup. White thinks that Chandler vs. McGregor would be an exciting fight.

Some people have been wondering if McGregor will ever return to the UFC since there have been many delays. However, White said that he guarantees McGregor will come back to the UFC in 2024. He didn’t provide any details, but he dismissed any speculation that McGregor might never compete in UFC again.

With Dana White expressing interest in the Chandler-McGregor matchup, the MMA world eagerly awaits to see if the size debate translates into a compelling and highly-anticipated fight, shaping the landscape of the UFC in the coming year.

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As photographers, we can learn from “Parasite” and its mind-blowing cinematography. I’m here to break down how composition, color, and lighting in this film’s famous scenes make it such a standout.

For us photographers, there’s a treasure trove of lessons to take from this film. We’ll explore how these scenes are framed, the color palettes used, and the way lighting sets the mood. Let’s get into it!

Parasite Scene Analysis

Let’s delve into some iconic moments from the movie “Parasite.” As photographers, examining these scenes will help us grasp the nuances of composition, color, and lighting more effectively.

Remember, the movie’s central narrative revolves around themes of greed and class disparity, illustrated through the lives of the affluent Park family and the impoverished Kim family. As we dissect these scenes, keep this overarching theme in mind to appreciate the rationale behind the artistic choices in composition, color, and lighting.

1. Opening Scene

Scene Description

In an effort to avoid spoilers, the scene centers around Ki-woo utilizing his phone, a recurring and significant motif in the film. The phone symbolizes both connectivity and disconnection in the storyline, and it’s vital for communication and strategizing. This scene not only introduces this element but also sets up a contrast with the movie’s final scene.

Composition Analysis

Ki-woo is strategically placed off-center in the shot, engrossed in his phone, which he holds with both hands. His position in the frame, coupled with the surrounding empty space, underscores themes of isolation and concentration. The sparse background, featuring a sofa and a fan, subtly hints at his family’s modest economic status.

Color Palette

The scene employs an analogous color scheme. Muted earth tones dominate the palette, with the beige walls and the dark green hues of the sofa and clothing. This lack of saturation and vibrancy parallels Ki-woo’s life’s absence of energy and prosperity.

Lighting Dynamics

The scene features high-contrast lighting, with a distinct light source from the side that creates a rim or side lighting effect. This lighting style introduces a chiaroscuro effect, symbolizing duality or internal conflict. Moreover, the lighting casts a reflective glow on the phone, emphasizing its significance as the scene’s focal point.

2. Shared Bathroom

Next, we’ll analyze the bathroom sharing scene.

Scene Context

This particular scene portrays the characters’ struggle to connect to a Wi-Fi signal in their semi-basement home, a task made challenging by their location. It’s a poignant moment that highlights their struggles and ingenuity, as they strive to maintain a connection to a seemingly distant world, hindered by their socio-economic constraints.

Composition Insights

The scene employs a framing composition technique. The characters are squeezed into a confined space, bordered by the toilet and walls. This tight framing and their physical proximity underscore their lack of personal space and the sensation of entrapment, further emphasizing their lower socio-economic status.

Color Scheme

Analogous color harmony is utilized here. The scene predominantly features browns and yellows, colors often indicative of decay and neglect. These hues resonate with the film’s themes of poverty and the harsh realities of the lower class. The characters’ clothing also merges with this color palette, symbolizing their integration into their environment.

Lighting Technique

The lighting in this scene is straightforward, primarily serving to illuminate the set. Natural light filters through the small windows behind them, creating a contrast of light and shadow. The room’s light, positioned in front of them, illuminates their faces.

3. Scholar’s Rock

Next, we turn our attention to the scene featuring the gifting of the Scholar’s Rock.

Scene Overview

This scene revolves around the Kim family receiving the Scholar’s Rock, believed to bring wealth. The rock becomes a focal point, representing their aspirations and desperation for an improved life, and symbolizing social advancement and the elusive nature of opportunity.

Composition Elements

In this scene, techniques such as framing, layering, and visual triangles are employed. Ki-woo, holding the rock, is in the foreground, with Min positioned in the background.

The focus is sharply on Ki-woo due to a wide aperture and shallow depth of field, leaving Min slightly blurred. This directs the viewer’s attention to Ki-woo and the significant rock. The characters and the rock also form a visual triangle, a technique often used to create balance and focal points in a scene.

Color Palette

The scene features an analogous color harmony, with desaturated greens and blues, a recurring theme in the film. This subdued color scheme highlights the family’s financial struggles and the somber aspects of their existence.

Lighting Techniques

Soft lighting from the right side is used in this scene. This lighting choice accentuates Ki-woo’s facial expressions as he gazes at the rock, enhancing the scene’s emotional impact.

4. Street Night

We’ll now explore the fourth scene, known as the “street night.”

Scene Context

This pivotal scene shows Ki-woo meeting with Min to discuss an opportunity. It symbolizes the intersection of lives from contrasting socio-economic backgrounds.

Composition Techniques

The scene employs leading lines and framing in its composition. Shot from a distance, it positions us as observers to the event. The alley serves as a leading line, guiding our gaze and adding depth to the scene.

Additionally, the alley and store frame the characters, possibly representing the disconnection between different social classes. The road leading to higher ground for Min and a modest fruit market for Ki-woo further symbolize this divide.

Color Scheme

Complementary color harmony is utilized here. The predominant colors in the scene are blues, greens, yellows, and oranges. The use of these complementary colors, being opposites on the color wheel, subtly underscores the contrasting statuses of the characters.

Lighting Design

Subdued ambient lighting from street lamps and shop lights is used in this scene. This lighting choice contributes to the overall mood and contrast within the scene, enhancing the thematic elements.

5. Journey to the Park Family House

The fifth scene we’ll analyze is a sequence of three separate frames illustrating Ki-woo’s journey to the Parks’ residence.

Scene Overview

These frames capture Ki-woo’s inaugural walk to the affluent Park household.

Composition Analysis

The sequence employs leading lines as a key compositional element. The first frame depicts Ki-woo leaving his home on level ground.

The second frame presents Ki-woo at the bottom of a road with an S-curve leading down to him, symbolizing his metaphorical ascent towards the Parks’ wealthier abode.

In the third frame, Ki-woo is at the top of the road, having symbolically climbed up, ready to proceed to the Parks’ house.

Color Palette

An analogous color harmony is used across these frames, featuring green and yellow hues with increased saturation and vibrancy compared to earlier scenes set in less affluent areas. These colors visually underscore the disparity between wealth and lifestyle.

Lighting Dynamics

The frames are illuminated with natural light during midday, creating a contrast between the sunlight and Ki-woo’s suit. This contrast allows him to prominently stand out within the frames.

In conclusion, each of these scenes highlights the film’s masterful use of visual storytelling. As photographers, we can learn a lot from analyzing photos and scenes from Parasite. 

Fujifilm, a renowned name in the world of photography, has introduced a fresh take on compact cameras with the launch of Instax Pal. This pocket-sized digital camera deviates from Fujifilm’s conventional Instax range, which is popular for instant photo printing, akin to classic Polaroid cameras. Instead, Instax Pal focuses on being highly portable, fitting snugly into a palm, pocket, or bag, without compromising on features.

Instax Pal: Compact Yet Capable

Despite its incredibly compact form, Instax Pal ensures that no subject is left out of group photos with its wide-angle shooting capability. It can be paired with Instax smartphone printers via Bluetooth, allowing users to print selected photos in various sizes—mini, square, or wide. Notably, this offers the advantage of choosing which photos to print, significantly reducing waste—a particularly practical feature when the photographers are children.

Interactive Features for Engaging Photography

Instax Pal also provides interactive features to enhance the user experience. It offers the ability to save favorite photos on a smartphone and share them on social media or with friends and family. The camera features a detachable ring for easy attachment to bags or clothing and a remote shooting option using a smartphone app. An ‘interval’ shooting mode allows for continuous capture, and it combines multiple images into a single video. Each video is linked to a printed QR code, connecting the physical photo with the virtual memory. Users also have the option to record a personal sound that can be used as a trigger for the camera, adding a personalised touch to their photography.

A Colourful Alternative to Smartphone Use

Available in five vibrant colors, each Instax Pal comes with a matching colored case. While the camera doesn’t print photos instantly like its predecessors in the Instax range, it presents an engaging alternative to excessive smartphone use, especially for kids and teenagers. The idea is to encourage a healthier digital lifestyle while allowing the young generation to create and cherish enduring memories in an engaging, interactive manner.

For the last few weeks, I’ve been carrying around the new Thypoch Simera 35mm f/1.4 M mount lens. When I test new gear, I try to incorporate it into my everyday carry kit and use it on actual assignments and stories to see how it performs under real-world conditions. Sometimes, a piece of kit that looks great or has fantastic specs underperforms in the field; other times, you get something that exceeds expectations. 

So, where did the Thypoch Simera 35mm f/1.4 M mount lens fall between those two? We’ll get to that shortly.

I cut my teeth in the film era. Even as photographers began abandoning their analog gear in favor of digital, I held on to my film bodies and lenses. Today, I rarely go on an assignment without some type of film camera with me. For the purposes of my testing, I mounted the Simera on my Leica M3, and for comparison, I used an adapter and shot it on my Nikon Z6 II. 

Out of the box, the lens is sturdy and very well-built. The focusing ring moves smoothly and with just the right amount of resistance to feel like you’re not going to lose focus when adjusting your framing or camera settings. The mount is sturdy, without any wiggle or give between the barrel and the camera. One element I found particularly fascinating was the depth of field scale. The distance is measured in small open vents on the barrel, and as you change your aperture, they shift from white to red to let you know what area will be in focus. This is a handy little tool for quick zone focusing, and I found myself referring to it from time to time while shooting.

The 14-blade aperture allowed for a pleasant, but not oppressive or overwhelming bokeh, and can be adjusted to declick as desired. According to the manufacturer, the “Thypoch Simera 35mm incorporates three high refractive index (HRI) lens elements and one aspherical lens, meticulously correcting curvature of field and spherical aberrations.” During my tests, the glass itself performed very well and provided sharp, contrasty images. The minimum focus was roughly 17 inches — closer than the rangefinder on my M3 allowed for, but not at all an issue on my Z6 II. The glass — nine elements in five groups — featured a number of floating elements similar to several Leica-brand lenses. 

I brought the lens with me to two shoots. The first is part of a larger project I’m working on regarding New Yorkers with a personal stake in the ongoing conflict in Gaza. The second was to photograph Columbia University engineering students and an electric car they had built. For both, the lens performed admirably. I will suggest that, when shooting on a mirrorless body and shooting wide open, use both focus assist and zoom in on your screen to double-check your focus. When shot wide open, your focal plane is razor-thin.

In the end, what did I like about the lens? What needs improvement? The only complaint I had was that it sometimes took a little effort to get the lens to lock properly with my M3. It’s entirely possibly the spring in the lens release button is a little worn, and with a little work it does catch; but it would be nice if the notch on the bayonet mount was a hair deeper. This is not in any way a significant issue, and I suspect it was more a problem with my camera than the lens. Mounting on an M4 and M6 did not present a similar error.  

Other than that, it’s an impressive, solid and well-engineered bit of glass that’s comfortable and easy to use. I absolutely loved the depth of field preview, and the glass performed well above its weight class. The images were sharp and contrasty, with a pleasant bokeh when shot wide open. I noticed no significant fringing or color aberration, nor did any mechanical issues pop up in the field. While an M3 isn’t always the best Leica to use a 35mm lens with, the two performed well together. From construction to use, I have no real complaints. At $699, it’s more than reasonably priced. Given the attention to detail in this lens’ construction and the quality of images produced, I can happily recommend adding it to your everyday shooting kit. 

Thypoch is currently selling this 35mm f/1.4 and a 28mm f/1.4, both in silver and black, and as I understand it, there are some new lenses in the works in the coming year. If the next line of lenses performs as well as this one has, I suspect Thypoch will become a larger player in a growing field of M-mount lens producers.