The nubia Z60 Ultra just got a special Photographer Edition makeover with a revised design inspired by traditional cameras. Nubia went with a dual-tone look incorporating both vegan leather and glass on the back of the Z60 Ultra Photograph Edition achieved with a special micro etching process.

The other new bits include several AI optimizations for photography including the option to fine-tune image processing and the ability to remove unwanted objects from shots. Z60 Ultra Photography Edition also brings generative AI image features and real-time language translation for calls and in-person translations.

Z60 Ultra Photographer Edition retains the rest of the spec sheet with a 6.8-inch AMOLED display, Snapdragon 8 Gen 3, and the optically stabilized triple camera setup featuring a 50MP main cam (35mm), 64MP periscope (85mm) and 50MP ultrawide (16mm) all with OIS.

Nubia Z60 Ultra Photography Edition comes in a single 16GB RAM and 512GB storage trim and is priced at CNY 4,299 ($595). Nubia did not share any plans for an international launch of the Z60 Ultra Photography Edition for now.

Source (in Chinese)



Photography

#architecture
#France
#memory
#Thibaut Derien

All images © Thibaut Derien, shared with permission

Shuttered blinds, peeling paint, and aging doors don’t usually indicate an invitation, but for French photographer Thibaut Derien, the fading facades of long-closed shops are well worth a stop. In his ongoing series J’habite une ville fantôm, which translates to “I live in a ghost city,” he captures myriad eras and architectural details in storefronts ranging from cafes to photo studios to fishmongers, drawn to what he describes as a desire to “immortalize” them before they disappear for good.

Derien, who is also a musician, has traveled all over France, visiting countless small towns and villages along the way. He often avoids major highways, preferring country roads and local streets where development is slower. “I continue this series because I’m still touched each time I discover an old shop,” he tells Colossal, “always standing despite abandonment as a resistance to the modern world. I always think about people who spent their life behind those walls.”

A closed shop represents more than simply a bygone era or an empty facade for the artist, who is interested in capturing the individuality of each location in light of the homogeneity of today’s commercial developments. Derien looks closer: “First, it’s just a facade; you can think it’s sad, but if you look a little bit more you see old paintings, old mosaics, some ‘know-how’… Many commercial centers—all the same—have replaced the small shops, each one different.”

Derien considers how technology like cars and online ordering have shifted the way people buy. Rather than stopping into one specialty shop after another, now big box stores require a drive out of the city center and much less personal interaction. “It’s the social link which disappears,” he says. “I remember going to all these shops, one after one with my mother. She was talking with every trader and with other customers, and before going back home, we made a stop at the cafe. Now we take our car to go to the supermarket, and the only person we can talk is the cashier—when it’s not a machine.”

The artist’s poignant photographs capture a sense of shifting values, evoking nostalgia for the relationships formed through small businesses, a fulcrum of community. “I heard on the radio a reportage about a butcher who was telling to a journalist that he closed his shop because he had no more clients, and he became a butcher in a supermarket,” Derien says. “The journalist said to him, ‘So, it’s the same thing for you. There is no difference.’ He answered, ‘There is a difference: now I don’t eat what I sell.’”

Derien previously released a book of more than four dozen photographs from J’habite une ville fantôm, and he is currently planning a second for release next year, including a few of the photos shared here. His work will also be on view at Gallery New York in Mannheim, Germany, from May 2 to June 30. Find more on the artist’s website and Instagram.

#architecture
#France
#memory
#Thibaut Derien

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A photograph from October 7 depicting Hamas terrorists with the half-naked corpse of German-Israeli Shani Louk has been awarded Team Picture Story of the Year, along with a collection of other graphic photos from the Israel-Hamas war, by the world’s oldest photojournalism award competition, sparking outrage online.

The Pictures of the Year award, run by the Donald W. Reynolds Journalism Institute at the Missouri School of Journalism includes a Team Picture Story of the Year category which recognises “the collaborative effort of a photography staff covering a single topic or news story.” First place was awarded to a selection of 20 photos from the Israel-Hamas war taken by Associated Press (AP) photographers.

The first photo in the selection was taken by  Ali Mahmoud and depicts the horrific moment in which 22-year-old Louk’s body was transported in the back of a truck by Hamas terrorists. It is captioned: “Palestinian militants drive back to the Gaza Strip with the body of Shani Louk, a German-Israeli dual citizen, during their cross-border attack on Israel, Saturday, Oct. 7, 2023.”

22-year-old German-Israeli Shani Louk was murdered at the Nova festival on October 7.

The collection, which includes AP photos depicting both Israelis and Palestinians in the days following October 7, was posted to Instagram last week by POY and swiftly criticised by those who claimed the photographer and the agency showed disrespect to Louk and her family by snapping the distressing photo and now, winning an award for it.

https://www.instagram.com/p/C4yazrtO73s/?igsh=dWR4Ym51dDloMno3

One user commented: “I am horrified. This is a picture of terrorists parading a dead body of a Jewish woman after they murdered her. Shame on you.”

Another user wrote: “So the ‘reporter’ who stood there while Shani got raped and murdered and took a photo of it is getting rewarded?”

HonestReporting, a media watchdog organisation devoted to exposing anti-Israel media bias, posed “serious ethical questions” in November 2023 about why a number of AP and Reuters Gaza-based photojournalists were so quick to arrive at the scenes of the October 7 massacre. 

HonestReporting acknowledged the photo’s appearance in the winning Team Picture Story of the Year category, writing on X: “Congratulations to AP for winning a Pictures of the Year award. How does it feel to do so on the back of Palestinian photojournalists who infiltrated Israel on Oct. 7 and took photos like the one below of Shani Louk’s dead body in a Hamas pickup? Was RJI bothered about that before bestowing the award?”

In February, the families of Louk and other Nova massacre victims sued AP and Reuters for what they alleged to be the involvement of photojournalists employed by those agencies in the atrocities of October 7.

AP wrote a statement responding to the accusations on 22 February, writing that the agency has “the deepest sympathy for those affected by the horrific October 7 attacks in Israel,” but that the lawsuit filed against AP for its reporting is “baseless.”

“AP had no advance knowledge of the October 7 attacks, nor have we seen any evidence — including in the lawsuit — that the freelance journalists who contributed to our coverage did. Allegations like this are reckless and create even more potential danger for journalists in the region.

“Documenting breaking news events around the world — no matter how horrific — is our job. Without AP and other news organisations, the world would not have known what was happening on October 7.”

 The organisers of the competition have been approached for comment.

Landscape photography can be incredibly rewarding, and it sure is one of my favorite genres. But if you’re new to it, there are plenty of obstacles and mistakes at first. In his latest video, Mark Denney points out some of the most common mistakes beginners make while also revisiting his older video from 2019. Whether you’re a complete novice or looking to refine your skills, understanding these common pitfalls can help you avoid frustration and start creating stunning landscape photos.

Rule of Thirds… Always?

In 2019, Mark advised relying on the famous Rule of Thirds for composing landscape photos. It was his go-to technique, which he believed would instantly elevate any beginner’s image.  However, after years of experience and countless landscapes captured, his perspective has shifted.

Now, Mark encourages you to experiment more. After all, it’s not interesting to have all the photos composed the same. While the Rule of Thirds remains a solid compositional foundation, Mark urges you to explore a broader toolbox of techniques. Leading lines, for example, can guide the viewer’s eye directly into the heart of the scene. Reflections can introduce a sense of symmetry and tranquility. Framing, like using a natural arch or a foreground element, can draw attention to your subject. And don’t forget foreground interest. A bed of vibrant wildflowers or a scattering of interesting rocks in the foreground can add depth and context to your landscape.

By embracing these various approaches, Mark argues, photographers can unlock their creativity and escape the monotony of relying solely on the rule of thirds.

New gear focus

Five years ago, Mark’s message was clear: gear acquisition syndrome is real. Aspiring landscape photographers shouldn’t get caught up in the endless chase for the latest and greatest camera. But this time around, his focus has shifted. Now, he emphasizes the importance of focusing on your gear… As long as it’s the gear you already own. Let me elaborate.

According to Mark, truly understanding your camera’s capabilities and limitations is the key to unlocking its full potential. Instead of obsessing about constantly fantasizing about the latest gear, become familiar with the one you already have and all of its settings. Only this way will you gain the confidence to tackle any lighting situation and capture stunning landscapes without feeling restricted by your gear. In essence, Mark is advocating for a deeper photographer-camera connection, where technical knowledge empowers you to translate your vision into reality.

Fundamental avoidance

One of the biggest mistakes Mark identified from his 2019 session was the tendency for beginners to overlook the fundamental building blocks of photography. This, he argues, is like trying to build a house without a foundation. The exposure triangle, the holy grail of capturing a well-lit image, is a prime example.

Understanding how aperture, shutter speed, and ISO work together to control light exposure is paramount.  Learning to “read” a histogram, a visual representation of your image’s tonal values, becomes crucial in ensuring your photos aren’t under or overexposed. Mastering these concepts empowers you to take control of the creative process. By building a strong foundation in these fundamentals, Mark emphasizes, you’ll be well-equipped to translate your vision into captivating landscape images.

Stop thinking, start doing

In his 2019 video, Mark acknowledged the importance of information for aspiring photographers. Back then, his focus was on providing a solid foundation of knowledge. He recommended watching photography tutorials, subscribing to educational channels, and soaking up all the technical details he could. But in his latest video, Mark recognizes a potential pitfall – information overload.

For beginners, getting bombarded with endless technical tips and tricks can be overwhelming. Mark now emphasizes a different approach: prioritize practice over information consumption. While a fundamental understanding of photography is still essential, the best way to truly learn is by getting out there and taking pictures.

Editing is a crucial step in landscape photography

In his 2019 video, Mark’s stance on photo editing for landscape photography was a little more reserved. Back then, the focus was on capturing the perfect image in-camera, minimizing the need for heavy post-processing. He advocated for mastering camera settings to achieve the desired results upfront.

However, in the new video, Mark seems to embrace the power of photo editing as a crucial step in the landscape photography workflow. You may not enjoy post-processing, but the more you learn about it, the easier and more enjoyable it will become. So, learn basic editing skills, like exposure correction, color balancing, and selective adjustments. It will allow you to fine-tune your images and bring out their full potential.

Conclusion

By embracing these insights and actively working to overcome these common rookie mistakes, you’ll be well on your way to capturing breathtaking landscapes that leave a lasting impression. Remember, landscape photography is a journey of exploration and experimentation. So, grab your camera, head outdoors, and put these tips into practice. And let us know – have these mistakes been in your arsenal, too? We won’t judge! 🙂

Blois, central France. A Gothic cathedral stands tall and proud, surrounded by chateaus filled with ornate decor and historic artworks of late kings, and lush gardens to rival Eden are set along the river Loire. It’s a picturesque city, one we might call typically French. What Blois doesn’t reveal is the country’s problematic approach to housing the country’s migrant populations, that 20,000 of its 50,000 inhabitants live in the fourth largest housing estate in France just a kilometer away.

On October 27, 2005, after the death of 17-year-old Zyed and 15-year-old Bouna resulting from a police chase, France’s suburbs, or banlieues, erupted in protest against the country’s systematic police violence and racism. Simon Wheatley didn’t intend to stay in France when he was sent on assignment to capture the mood of a nation characteristically in protest towards its authorities—he jumped on a train after hearing that no photographer was documenting the French estates at the time.

“Always and Forever There,” his book published late 2023 (18 years after the photos were taken) is a tale of youth pushed to the margins of French life, as Simon says in the book, “lumped on the edge of town.” Wheatley photographed Blois and its inhabitants in 2005 after being commissioned by Magnum. “It was a bit of a media tour,” he says of when the journalists first arrived. “We saw some burnt out trucks and cars. I made a few photos but it seemed like a very pointless exercise. It was almost tourist journalism.”