As the 2024 UEFA European Football Championship kicks off in Germany, renowned photographer Michael von Hassel is tackling a new project exploring the unknown aspects of the beloved sport. Von Hassel’s stomping grounds are usually on the fringes of society, trekking to war-torn countries, or exploring nature in its most remote and untouched state. From North Korea to Iraq, he’s documented areas of the world that remain both unreachable and unimaginable to most.

Now, he’s debuting a very different kind of exhibition: images of Germany’s most important football stadiums, as they’re empty and await the adoring throngs of fans. Amid the excitement of the Euros this month, von Hassell trains his lens on a global phenomenon. 

“Your work must be allowed to be controversial and we all need to meet before this work and engage in discussion” von Hassel says. “Art must also be allowed to be wrong, and through conversation we can create a better tomorrow.”

Michael von Hassel, Olympiastadion E Berlin, (2018). Courtesy of the artist and Anna Laudel Düsseldorf.

As the UEFA European Football Championship is about to start, you’re publishing a series of photographs around the subject. What does the sport mean to you? 

Football is a world of its own and affects a large part of our society. It’s the favorite sport of many nations and a quasi-religion of millions of fans. I like to focus on the “other side” photographically. I try to show places that we all know, that we may have grown up in, that we visit weekend after weekend but in a completely different way; just like you’ve never seen your own football stadium before.

Michael von Hassel,
BORUSSIA-PARK D Mönchengladbach, (2018). Courtesy of the artist and Anna Laudel Düsseldorf.

After many photo series of this kind (e.g. the Munich Oktoberfest beer halls inside, at night, empty, fully illuminated), I wanted to get to know football entirely for myself. I wanted to take a look at our football country late at night when everyone is asleep. I’m not technically a football fan, I always keep a respectful distance and try to photographically portray our everyday lives. But I admire the gigantic achievements of the thousands of full-time and volunteer football employees and I wanted to create a photographic monument to this.

The images are centered around empty stadiums, which is unique. What are you trying to express with these empty vantage points? 

I show the place as you can never normally experience it. This begins with the challenge that no one can simply call up FC Bayern Munich and get access to the unlocked, brightly lit stadium. So it’s extremely complicated to create this moment in my photo—if no one is in the stadium, the lights will of course not be turned on. There are also typically large lawn solariums on the playing fields, which provide the lawn with the light it needs to grow. In the end, the moment doesn’t actually exist in my photos and that’s what makes this series of pictures so special.

Now producing one of these pictures is difficult. But photographing all the country’s 37 most important stadiums like this is virtually impossible. But I did it. I also want to show these places in absolute perfection: the way they were designed and built. A full stadium with 80,000 visitors is visually pure— wonderful—chaos. But you can’t understand it anymore. It starts with the color of the seats. A collector of mine has season tickets for FC Bayern Munich. He saw my picture of the Allianz Arena in the gallery and actually asked me if the seats are really red. He has been sitting there for years and has no idea what color the seats are. I find that amazing.

Michael von Hassel, Allianz Arena B1 München, (2022). Courtesy of the artist and Anna Laudel Düsseldorf.

Finally and most importantly, I deal with mass phenomena and psychology of the masses. I want the viewers of the pictures to ask themselves to what extent they are immersed in a movement when they enter such arenas and whether they are simply adopting traditions, rituals, songs, behavior from the crowd or whether they are influencing this crowd themselves.

What does a place like this do to me and what do I do with it? The emptiness is intended to explain and show us how these monumental buildings function when they are full of people on many different aspects and levels.

Artists have, throughout history, depicted the zeitgeist. How do you feel soccer and the European Cup reflect todays society or humanity? 

Football is a blessing and a bane at the same time. The ancient Romans called it Panem et Circenses (bread and circuses) and today it’s not much different. Football creates community, a herd, a gang, a sense of belonging. I can put on a team jersey and be part of a really big, loud, and supposedly strong family. However, I also adopt their traditions, rituals, customs or improprieties and— perhaps—deal with the most insignificant thing in the world.

Netherland fans are pictured during their Fan Walk at the official UEFA Fan Zone before the UEFA EURO 2024 Group D match between Poland and Netherlands in Hamburg, Germany. Photo by Selim Sudheimer – UEFA/UEFA via Getty Images.

Football is entertainment, nothing more and nothing less. But for so many people it is the absolute meaning of life. I’m happy for these people and I also think it’s terrible at the same time. Is it more important that a club just paid a hundred million Euros for a player, or that the war between Russia and Ukraine finally ends or doesn’t explode into a global conflagration? We distract ourselves from the things that really matter. But that helps many people to endure everyday life. I used to be a big critic of taxpayers sharing in the costs of football (infrastructure, the subway to the stadium, police operations, etc.). Today I believe that creates so much identity for many people who might otherwise be lost. It is therefore absolutely right that the general public contributes to the costs.

You’re renowned for traveling to areas of conflict and social-economic upheaval. What have these trips taught you about humanity and photographing in dangerous conditions? 

If you go into the world with an open heart, are polite, respect local laws and customs, and politely say hello, thank you, and please, you will inevitably find that the world is a safe place almost everywhere. If you need help, you will be helped. People are friendly and good almost everywhere in the world, no matter who you are. Everyone wants peace, security, health, good food and that their children will one day be better off than they are. So you don’t need to be afraid, almost everywhere.

Artist Michael von Hassel stands in front of his studio. Photo: Felix Hörhager/dpa via Getty Images.

The picture that we get from history books and the media about an unknown country usually does not correspond to the truth that we find when we go there ourselves. It’s always worth taking your own picture on site. I literally create this: my own image. And even in countries like North Korea or Iraq, we will notice differences in many details from what we would have expected from that country or its people. The harder a journey is and the more dangerous it seems, the more you will grow in experience. Unfortunately, sometimes you have to go to the front of an active war.

The stories that I was able to experience on the Russian side of the front in Donbas show me a completely different “truth” of this conflict. Of course, I don’t adopt this view of things 100 percent. But I still have a lot to think about. Resolving any conflict involves listening to both sides. Ultimately there has to be a compromise. We seem to have forgotten that today. This actually applies to all conflicts of our time: Covid, Ukraine, climate change, inflation, medicine… Sometimes I fear that we are losing all of our civilizational achievements and are reverting to survival of the fittest.

Unfortunately, there are currently several war-torn regions worldwide, some closer to home. Will you be showing these through your lens as well? 

I already do that again and again. Unfortunately, in the end, pictures of the battlefield near Donetsk or of destroyed Mosul in Iraq don’t sell as well as my pictures of the Oktoberfest tents. But I find another aspect astonishing. If I invite to a vernissage of a North Korea exhibition, almost 1,000 guests come. But when I show the photos of the demonstrations against the Covid policy, only 30 people come.

Photographer Michael von Hassel on site.

It seems to me that the further away a conflict or more of a mass psychosis is, the more the people around me are open to diverse perspectives. But if they are part of this mass hysteria (e.g. Covid), then our society loses all openness to a different opinion or even an image of it. An art gallery must always be a place where artists face the challenges of our time through their work. Your work must be allowed to be controversial and we all need to meet before this work and engage in discussion. Art must also be allowed to be wrong and through conversation we can create a better tomorrow.

If you could have dinner with any three photographers, living or dead, who would you chose? 

Ansel Adams: I often stand on the roof of my car taking photos and think of him and his work. I would just love to wander through nature with him and absorb the beauty of our time. 

Philippe Halsmann: I would love to know how he took the photo with Salvador Dalí, the cat and the curved waterfall. 

James Nachtwey: I would like to know how one can endure so much pain after seeing so much truth of the world. 

Sebastião Salgado: I admire the work of his wife and him. First the war photography, then Genesis and the big reforestation project. One of the really, really great ones! I’m just grateful that people like him exist.

Installation view, “Michael von Hassel: Cathedrals” at Anna Laudel Gallery.

Can you tell us about your upcoming exhibition? 

I have just published the book “Bundesliga Cathedrals” at Callwey Publishing. The great Prof. Alexander Gutzmer is responsible for the text and many interviews with greats from German society: the artist Professor Markus Lüpertz, the world footballer Lothar Matthäus, the entertainer Joko Winterscheidt, and many more. Accompanying the book, I show the large-format images of all German football stadiums at the wonderful international Gallery Anna Laudel in Düsseldorf. Finally I’m excited to see how our very own football festival develops and which picture wins in the end. 

“Michael von Hassel: Cathedrals” is on view through July 20, 2024 at Anna Laudel Gallery, Düsseldorf; Tuesday–Friday 12–6 p.m.; Saturday 11 a.m.–3 p.m. at Mühlenstraße 1, 40213 Düsseldorf.

Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.

CANMORE – Standing in front of his photograph of Mount Athabasca, Robert Lemermeyer describes turning a rock bottom low point into a new lease on life.

Inching up to about 11,000 feet above sea level, the photographer snapped a shot of the iconic mountain and then broke down.

“I just wept at the fact that I was so dark and so down and ready to give up,” he said. “This was the greatest triumph of my life, other than the birth of my children.”

Before his journey into the high alpine, Lemermeyer spent years travelling around the world with photography, but he slowly lost touch with what’s around him after falling into bouts of alcoholism and mental health struggles.

“The bottle took me,” he said. “All those years I was travelling, I don’t think I was ever really happy.”

Though at the peak that day, in a moment he’ll never forget, he knew this was a new beginning for him.

“I’m just more excited about my art and my life than I’ve ever been. I’m actually happy,” he said.

A selection of Lemermeyer’s photographs are on display at his exhibit, UP HIGH: The Healing Adventures of Photographer Robert Lemermeyer, at the Canmore Museum until Dec. 22.

“People tend to associate museums with very old-fashioned things and history and stuff like that, but Robert’s show really brings very contemporary images that we would have never seen even 50 years ago,” said Mary-Beth Laviolette, Canmore Museum curator.

The exhibit also showcases a short documentary by Ryan Armstrong, which tells Lemermeyer’s story in a visual way.

Through Lemermeyer’s lens, he takes the viewer into the high alpine to share sights not easily seen in the Canadian Rockies

“There are no trees, there’s nothing standing in the way, it’s just you, the big sky and the big rocks,” said Lemermeyer. “That’s pretty inspiring to me, personally.”

Since he and his son, Yuri, began hiking together in 2017, they have checked off 130 mountains.

“When we are on a ridge, tears are going down my cheeks … I never loved photography this much,” said Lemermeyer.

“I’m not coming to Canmore pretending to be a hotshot Jimmy Chin or anything. This is just my story.”

He not only changed his perspective, but he’s also adjusted how he shoots images by taking the camera off the tripod and switching to a lighter camera and lens combination.

“Originally when I got into it, I wanted to do the tripod long exposure thing, but we’re always moving. It’s all handheld with a [Canon] 5D,” he said.

Lemermeyer prints all his photographs for the exhibit in small sections, piecing them together like a puzzle.

Rather than sending it to a lab with a large format printer, he uses the gear he already has at his home.

The alpine photographer plans on continuing his endeavours in the Rockies to experience more of what Canada has to offer.

“I’d love to go to Kazakhstan. I’d love to go to the Himalayas, but there’s so much to do in Canada that for the rest of my life, I’m going to focus on the Rockies,” he said. “(…) And not that I’m checking off all the mountains. It’s just the experiences.”

One way he plans on exploring local mountains is by doing Peak Week, which is an expedition to complete seven summits in seven days.

“It’s a nice way to raise money, do something for someone else and try to push the world forward in some way,” he said.

Last year, Lemermeyer, Yuri and Armstrong raised more than $17,000 for the Impact Society – a foundation for youth mental health. This summer he’s looking to raise $50,000.

“It’s the best week of the year. You’re really tired at the end, and you lose a bunch of weight, but, oh, God, it’s fun,” said Lemermeyer.

Analog photography is making a resurgence, many people are shooting film again.

To view and share the photos, they need to be digitized. Scanning using a digital camera is popular, but a conventional setup can cost hundreds of dollars.

TCFS is a low-cost 3D-printable alternative that produces high-quality results at a fraction of the price.

• Print a cone
• Attach to lens hood
• Attach to macro lens
• Film under glass
• Camera on cone, pointing straight down.
• Focus and shoot!

See the details on GitHub.

When the Francis Scott Key Bridge in Baltimore collapsed after being struck by the stricken Dali cargo ship, the world could have been watching live. Most folk weren’t of course, but they could have been.

Baltimore is far from the only place with streaming cameras that viewers can sit and watch, though. In San Diego, a major Naval port, these webcams are popular with many (including military families). When the Key Bridge fell, the American Naval police – the NCIS – were in the courts trying to shut down similar cameras as a ‘national security issue’.

Though the cameras had been around for years, in November 2022 there was a near miss when two US Navy vessels nearly hit each other. The ships were the dock landing ship USS Harpers Ferry (5120 tons dead weight / 11731 tons displacement) and the guided-missile destroyer USS Momsen (2381 tons dead weight / 7134 tons displacement).

A video clip of the incident went viral and was often tagged as ‘Warship Chicken.” The camera was on National Parks property (at a popular public viewing spot). As Forbes notes, being in a National Park made it vulnerable to government demands. NCIS requested they be taken down, but they didn’t stop there.

A little later a camera caught a refitted ship that now looked ‘bug-eyed’ and, apparently, didn’t enjoy the mockery from military geeks online. NCIS then made a similar demand of a camera on a private site.

What’s interesting about this is that ships in the US with new warfare systems routinely pass the cameras. In times past Soviet or other surveillance ships would be hanging out in international waters to monitor naval ports, but now we’re talking about things anyone can see from public or private land.

It’s also noteworthy that NCIS’s interest in these cameras came only when very public embarrassment – rather than a military risk – was at stake. Nonetheless the NCIS achieved its aim of shutting down the camera, even though it was in a public space capturing matters of public interest.

One of the enthusiasts behind the cameras, and very much a fan of the US military, Barry Bahrami pointed out that you could get a view for a quarter through telescopes in the area – something NCIS declined to comment on to the Navy Times when they investigated.

Ultimately the ACLU won, with the US government’s attempt to side-step the First Amendment proving too thin for the Ninth Circuit Court of Appeals, some of the details the ACLU share on their own site. You can follow San Diego Web Cam ‘s range of new camera locations from a number of cameras on YouTube.

If you’re interested in starting out, check our guide to the best cameras for streaming.

Fujifilm has announced yet another new roster of instant camera products today with the launch of its latest Instax Wide 400 analog camera and an upgraded Instax mini LiPlay hybrid model. The Instax range is renowned for its popular branded camera film and super cute products, most of which are excellent cameras for beginners to get started with. 

I recently got acquainted with the Instax Mini 99 instant camera, and I love everything about it. From the all-black design to advanced features that blend the best aspects of instant cameras with digital photography. While I adore the Mini 99 (released in March) and my Instax Mini 40  camera, I have to question why Instax is insistent on making such ugly cameras as of late. 

It began with the Instax Pal (released in September) which is the company’s first-ever pocket-sized digital camera. I totally get where they were going with creating a cute miniature camera, and a lot of people love it, but I can’t unsee Monsters Inc. when I look at it. The Instax Pal I quickly forgave. But the new Instax Wide 400 is a real head-scratcher for me. I just don’t get why they chose that one colour option and bulky design. 

Don’t get me wrong, I think Instax products are fantastic and there are a lot of great things about the new Instax Wide 400. For starters, it allows users to capture much wider images using Fujifilm Instax Wide camera film, which is twice as wide as Instax’s mini film. Take a look at our best Instax film designs if you need some buying advice. 

The Instax Wide 400 is also a direct successor to the Instax Wide 300 model, released 10 years ago, so it’s about time Instax brought out a more modern wide-format instant camera. According to Instax, the Wide 400 model offers handy features such as automatic exposure and flash control, meaning you can snap an instant photo in just one click without any fuss. It also has an analog-style self-timer lever with different increments to choose from, and an LED countdown to keep track of remaining time. 

But that’s not all, it boasts an enhanced viewfinder for better composition using a target spot, the camera also has two focus modes: normal, and landscape, plus it comes with a close-up lens attachment for macro photography to ensure that you don’t miss a thing when up to 40cm away. 

Getting back to the design, Instax has described the Wide 400 as being “a sense of adventure meets modern styling”. Now it’s starting to make a bit more sense why this camera is camo green – or “fresh, understated Green” as Instax describes it. Out in the wilderness surrounded by forest trees or camping by a lake, this camera would certainly blend in nicely. 

All of this sounds great, but the new Instax Wide 400 camera is pretty big, weighing in at 616 grams (without batteries or film cartridge) making it significantly heavier than other Instax models (the Mini 99 is only 340g). Therefore it might not be the best choice if you’re going for a hike or need to pack lightly for camping. 

Picturing this camera for use in the city is where I get put off. And it’s not just the colour either. Every design choice with the Instax Wide 400 screams outdoor, from the ridges on the side of the camera to the circular grip marks around the lens barrel. It almost looks inflatable and rubbery, as if it had a rugged casing around it. The back of the camera sports an embossed pattern in the bottom corner and has a metallic-looking clasp for releasing the film cartridge. 

Clearly a lot of work has gone into the design of this new instant camera, but I can’t help but think it just looks bad. Dare I say almost like a kid’s camera. I know that Instax has the potential to make gorgeous and luxury-looking cameras, so I can only guess that this must have been a marketing choice aimed at a different type of consumer. It certainly strays from the bubblegum pastel aesthetic of the Instax Mini 11 and 12 series. 

In some of the press images the camera looks more teal-toned, which is a great step up from the darker clay-like vibes that are present in some of the other imagery. Until I get to see this camera in person, I guess it’s hard to tell how vibrant it really is. 

If you’re interested in the new Instax Wide 400 camera, then it will be on sale and available from 12 July at a price of $149.95 / £129.99. For some other Instax options, take a look at our clever deals widget below showcasing the best prices on Instax cameras from retailers in your region. 

Photographed in war zones, capital cities and marginalized communities, the winners of the Portrait of Humanity Vol. 6 award have been announced. 

From the British Journal of Photography, the competition winners present “a collection of photographs from all corners of the world that highlight the ubiquitous experiences uniting us during times of division,” according to the press release.

Mick Moore, CEO of the British Journal of Photography said:

“The true power of photography is to make the everyday extraordinary. The winners of this year’s Portrait of Humanity have yet again succeeded in bringing a fresh eye to the world that surrounds us. The rhythm of life beats in these images.”

Three series winners were announced, as well as 30 individual winners.      

The three series winners are:

Seif Kousmate, Waha

Waha, meaning oasis in Arabic, is a mixed media series which delves into the destruction of natural wetlands in the artist’s native Morocco. He uses fire and acid to deface the surface of his images. Morocco is home to some of the largest wetlands in the world, and they face increasing threats from urban development and land conversion.

Kousmate said:

“I wanted to explore and experiment with new processes as a metaphor of the degradation within the oasis. I felt an urgent need to tell the story of Moroccan oases, to contribute to their preservation and highlight the deep connection between humanity and nature. Through POH, this series will reach a new audience and raise awareness about the ongoing degradation of the oases.”

Andrés Mario de Varona, No More Mud In Our Eyes

This series focuses on themes of friendship, community and trust through his images of a man called Aaron Garcia. The photographer became known as ‘the gas station photographer’ in his hometown of Santa Fe, New Mexico, because of his tendency to hang out at his local filling station for hours at a time, talking to and photographing local people.

When Garcia approached him, “he told me he sensed a lack of home within myself,” said de Varona, “During our first encounter, I asked if he wanted to embark on a project with me.”

Garcia died in September 2023 in unresolved circumstances, but the resulting images of his time with de Varona trace a life guided by native beliefs and traditions, dedicated to living in harmony and supporting others to do the same.

Camille Gharbi, Matres Mundi

‘Mothers of the World’ is a series of photographs of a group of immigrant women from Africa, who run Les Mamas de Grigny, a catering business in one of Paris’ poorest neighborhoods.

Gharbi inverts the conventions of classic European portrait art, reframing the women in regal portraits that probe France’s colonial past and its current treatment of immigrants from those former colonies.

“Photography is a means of transformation,” says Gharbi. “The works we produce won’t change the world, but they can help to shape it by transforming the way we perceive it.

A selection of individual winners: 

Erberto Zani, Anumukherjee, India

“Anumukherjee is an acid attack survivor. In 2004, one of her female friends, jealous of her beauty, attacked her with acid. The criminal was jailed for 10 years and now is free. Anumukherjee had to have 22 surgeries but lost both eyes. This photograph is part of my long-term project ‘Survivors’, about acid attack survivors around the world.”

Betty Oxlade-Martin, After school in Kerala, India

“Kerala, schoolgirls radiate joy as they journey home. The vibrant hues of their school uniforms illuminate the streets at dawn and dusk. Adorned with beautiful waistcoats, tunics, bows and plaits, they wear their education with pride. In a region where access to education can be limited, the celebration of learning shines brightly among children.”

Vladimir Karamazov, On the Border, Bulgaria 

“When you are forced to leave your life and start over in a new place with new people there is an old tradition of sitting in silence for a minute before leaving. The minute between memories and the unknown. The minute to remember all the good moments of your life so far and to mobilise for the unknown new beginning. A minute you will remember forever. To find yourself at the border, to leave your life and go looking for another without wanting it. In recent years, this has become commonplace.”

Take a look at the best cameras for portrait photography, and the best lenses for portrait photography. 

We’ve also got guides to the best cameras for professionals, and the best cameras for beginner photographers. 

Pentax, renowned for its legacy in photography, is making a bold return to film photography with the launch of the Pentax 17, a revolutionary half frame camera designed to redefine analog photography experiences.

The Pentax 17 stands out by capturing two vertical 17mm x 24mm images on a single 35mm frame, offering photographers a unique creative canvas. This compact yet powerful camera boasts an array of manual controls, ensuring photographers have complete control over their shots. It features a versatile zone focus system, manual film winding, and a dedicated film advance lever for precision handling. Photographers can adjust exposure settings and ISO with dedicated dials, empowering them to capture images exactly as envisioned.

One of the standout features of the Pentax 17 is its newly developed 25mm F3.5 lens, equivalent to 37mm in 35mm format, with an HD coating for enhanced clarity. This lens allows for crisp images even from as close as 25cm away, making it ideal for capturing intricate details and stunning portraits. The camera also includes an Albada-type optical viewfinder for clear composition and offers seven shooting modes to adapt to various photographic scenarios.

Crafted with a rugged magnesium body, the Pentax 17 combines durability with portability, ensuring reliability in diverse shooting conditions. Whether capturing urban landscapes or intimate portraits, this camera promises exceptional performance and enduring quality.

The Pentax 17 is now available for pre-order, inviting photography enthusiasts and professionals alike to embrace the artistry of film photography in a modern era. Secure your Pentax 17 today and embark on a journey of creativity and precision.

Pre-order the Pentax 17 now at Adorama and experience the future of film photography.