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Large-Scale Ceramic Works Break Barriers in the ZEMLYA Exhibition

Dec 13, 2023 By Admin in Design

Ukrainian artist-ceramicist Serhii Makhno is celebrating his inaugural gallery exhibition currently taking place at Les Ateliers Courbet in New York City. ZEMLYA is a series of large-scale ceramic works, both functional and decorative, that were created in Makhno’s Kyiv studio alongside his team of master artisans. In the midst of the ongoing war in Ukraine and the hindrance of the pandemic, they were somehow able to find ways to gather at the studio to keep creating their work.

Biblioteka Bookshelves

With ZEMLYA, Makhno has expanded upon the breadth of his work of sculptural lighting and ceramic objets by exploring new scales, forms, and functions. Ongoing conversations with gallery founder Melanie Courbet led to the two developing this series of unique sculptural, functional pieces. Hand-modeled in ceramic and plaster, they mark his first collection of furniture design that uses ceramic.

detail of bookshelves separated by sculptural Xs and balls

Biblioteka Bookshelves

Evidence of the Japanese Wabi-Sabi aesthetic Makhno favors is evident across all mediums used within the studio. He also pulls from traditional artistic methods, authentic techniques, and natural materials to create objects that live at the intersection of cultural heritage, functional design, and contemporary art.

Duta Puzata Chair

Since 2003, Makhno’s work has spanned architecture, interior design, sculpture, and objets d’art. In the last 20 years, the studio has become a reflection of the his multidisciplinary vision – housing a ceramic workshop, functional art, and lighting design studio. There, Makhno and his team hand-form each of the ceramic pieces before layering multiple glazes that give the surface a recognizable, highly textured skin.

Duta Puzata Chair

modern floor lamp with large black shade

Khmara Lamp

detail of modern floor lamp with large black shade

Khmara Lamp

Pyl Chair

Ulamok Table Bench

Ulamok Table Bench

Syaivo Chair

Vushka Mirror

Vushka Mirror

Vushka Mirror

Vushka Chair

To learn more about the ZEMLYA exhibition, visit ateliercourbet.com.

Kelly Beall is Director of Branded Content at Design Milk. The Pittsburgh-based writer and designer has had a deep love of art and design for as long as she can remember, from Fashion Plates to MoMA and far beyond. When not searching out the visual arts, she’s likely sharing her favorite finds with others. Kelly can also be found tracking down new music, teaching herself to play the ukulele, or on the couch with her three pets – Bebe, Rainey, and Remy. Find her @designcrush on social.

Photographer Arrives for ‘Family Shoot’ That is Actually a Wedding

Dec 13, 2023 By Admin in Photography

A photographer has revealed how she was booked for a “family session” but arrived at the shoot to discover the job was a “full-blown wedding.”

In a series of viral TikTok videos, photographer Shayla Herrington revealed how she was once booked by the bride’s mother-in-law for a family photo session — “because it was so much cheaper” than her wedding packages.

@shaylamherrington 🎬 Part 1: That time I showed up for a ‘family session’ and it was a full-blown wedding! 😲👰🤵 🤔 Ever wonder why wedding photography costs more? 👀 Stay tuned for Part 2 to find out why I couldn’t just switch from family to wedding mode and the real reasons behind wedding photography pricing. #arkansasweddingphotographer #weddingstorytime #photographer #bridetobe #weddingvendor ♬ Monkeys Spinning Monkeys (Piano) – BANG IA

Herrington claimed that she showed up at the venue for the family session. However, she became concerned that she wouldn’t be able to take photos as there was a huge wedding taking place in the same location.

When Herrington voiced her concern to the bride’s mother-in-law, she revealed that they were actually the wedding party.

Instead, the mother-in-law, who is called “Gloria” in the video, says that the photographer had arrived at the perfect time as the bride was getting ready.

‘This Wedding is All Family — There’s Just 75 of Us Today’

A shocked Herrington tells Gloria that she only booked her for “family photos” — not a wedding day. However, the bride’s mother-in-law tries to argue that it’s no different.

“You’re misunderstanding dear,” Gloria argues. “These are all family. We’re all blood-related, there’s just 75 of us here today.”

Herrington tries to explain to Gloria that a wedding is very different from a family photo shoot.

But Gloria argues that she could not book Herrington on the wedding rate as they’re “on a bit of a budget” and that they only need the photographer for a maximum of two and a half hours anyway.

“It was just so much cheaper to book the family session rather than the wedding stuff,” Gloria tells Herrington

Herrington explains that she did not bring any of the camera gear required for a wedding and that she only brought the kit for a family shoot.

The photographer also tells Gloria that a wedding is a lot more work than a family session.

Gloria tries to convince Herrington that “a picture is a picture” and they don’t need the photographer’s “fancy” camera gear to shoot the wedding.

‘Misled’

However, Herrington tells Gloria that she “misled” her about the shoot. Herrington informs her that she can not shoot the wedding as she does not have the suitable camera gear for event photography and she was not paid the right amount for this service.

@shaylamherrington Ever wondered why there’s a ‘crazy markup’ on anything wedding-related? 📸👰🤵 🔍 That time a ‘family session’ was actually a wedding in disguise – and why I couldn’t just play along: 1️⃣ Gear Overload: Wedding photography isn’t just a camera. It’s multiple lenses, backup cameras, special lighting… a whole arsenal to capture your day perfectly. 2️⃣ Stress Factor: The intensity and emotional stakes of a wedding day are sky-high compared to a casual family shoot. Every shot is crucial, and there’s no do-over. 3️⃣ Planning Depth: Weddings require detailed planning sessions. We’re not just capturing moments; we’re creating a visual storybook of your special day. 🤔 So, next time you see wedding services priced higher, remember the extra love, labor, and logistics that go into making your day unforgettable! #WeddingPhotography #weddingcost #weddingstorytime #arkansasweddingphotographer #photographer ♬ Funny – Gold-Tiger

“I just can’t believe that! What about the bride? What is she going to think about this?” a furious Gloria tells the photographer.

Gloria then asks Herrington how much it will cost to shoot the wedding with her basic camera gear as the bride will be “so mad” about this. The photographer says it is double the cost of a family shoot.

Gloria says she can’t afford that price and asks Herrington for a refund. However, the photographer says she can’t refund her as she traveled one hour to get to the venue in “busy season” and there is a clause on cancellation in their contract.

In a caption to her second video, Herrington explained to viewers why there is a “crazy markup” in terms of costs for wedding photography.

The photographer says that wedding photography involves far more camera gear than a family shoot — including “multiple lenses, backup cameras, special lighting, a whole arsenal to capture your day perfectly.”

Herrington also explains that the “stress factor” is far more acute with wedding photography as there is no opportunity for a “do-over” with the big day.

The photographer adds that weddings require “detailed planning sessions” with the bride and groom beforehand.

Image credits: Header photo licensed via Depositphotos.

Leica Q3 Review

Dec 13, 2023 By Admin in Photography

Introduction

The Leica Q3 is a premium fixed lens compact camera which pairs a 60 megapixel 35mm full-frame CMOS sensor with a image-stabilized Leica Summilux 28mm f/1.7 prime lens.

Optically the lens is comprised of 11 lenses in 9 groups (including 3 aspherical lens elements) and it has a Macro setting that enables it to focus as close as 17cms / 6.7″.

It uses the same BSI (BackSide Illuminated) CMOS sensor as the M11 rangefinder, which utilises a specially developed dual-layer UV/IR cut-off filter.

Key features of the Q3 include an expanded sensitivity range of ISO 50-100,000, the latest-generation Maestro IV image processor, 8K/30p, 4K/60p and 1080/120p video recording, a new hybrid AF system with an intelligent subject recognition system, and continuous shooting up to 15fps.

This new model for 2023 also offers extended battery life, USB-C connectivity, a 5.76m-dot OLED EVF and a tilting 1.84m-dot touchscreen LCD screen.

The recommended retail price of the Leica Q3 is £5,300 / $5,995 and it is available in black. It is designed and made in Germany.

Ease of Use

The Leica Q3 has exactly the same 60 megapixel full-frame BSI (BackSide-Illuminated) CMOS sensor that was initially developed especially for the flagship M11 rangefinder camera, which offers a 21% increase on the resolution offered by 2019’s 47.3 megapixel Q2 model.

In conjunction with the brand new Maestro IV image processor, this allows the Q3 to output 14-bit raw files with a claimed dynamic range of up to 14 stops, provide an extensive ISO range of 50-100,000, and shoot 60 megapixel images at 4fps with continuous AF/AE.

It also has a special IR + UV cut filter in front of the sensor which corrects even the most oblique rays of incident light and a new colour filter array that offers more natural colour reproduction than previous Q-system cameras.

Whilst 60 megapixels will undoubtedly be a big draw for potential owners of this camera, Leica have also sensibly provided two smaller 36 and 18 megapixel modes which help avoid some of the processing and storage challenges of the the 60 megapixel mode while also boosting the burst shooting buffer times.

So the Q3 can be set to record 60, 36 or 18 megapixels DNG Raw images with 14-bit color and 14-stop dynamic range using the full sensor area, something that Leica are calling “Triple Resolution Technology”.

The Leica Q3 has a fixed, as opposed to removable, lens. The 28mm focal length provided is all-encompassing and makes this camera particularly suitable for landscape and travelogue photography.

A straightforward and clearly marked macro setting on the lens barrel allows subjects as close as 17cm to be captured, while otherwise the minimum focusing distance is a regular 30cm. The manually selectable aperture range extends from f/1.7 up to f/16 with an automatic setting provided too.

This is coupled with a bright/fast f/1.7 aperture to allow for lower light shooting hand-held. As the lens is fairly wide the user is naturally prompted to get quite close to their subjects if they want them to fill the frame, or the majority of it, to really make the most of the ‘bokeh’ opportunities offered by that maximum aperture.

Leica has additionally provided a screw-on/screw off lens hood, should you wish to use it as an additional aid to preventing lens flare, or avoid unwanted artifacts in brighter conditions. There’s also a thread on the front for traditional 49mm glass filters.

Incidentally, the lens and aperture provided here is exactly the same as that of the 2015 ‘Q’ and the 2019 ‘Q’ – Leica hasn’t chosen to throw the baby out of the bathwater and has retained what it says proved popular with regard to the 8-year-old original model

Impressively the lens is optically stabilized, a surprising feature given the wide-angle, full-frame nature of the lens, which coupled with the impressive noise performance at high ISOs makes it very easy to hand-hold the Q3 in less than perfect lighting conditions and still achieve pin-sharp results.

In addition to the 28mm optical focal length, the Q3 provides four different crop modes that simulate longer focal lengths.

At the press of the small unmarked button next to the rear thumbgrip on the rear of the camera, you can switch to 35mm, 50mm, 75mm and a brand new 90mm crop mode, with a rectangular overlay displayed to help with composition.

The 35mm equivalent crop provides 39 megapixels resolution, the 50mm crop 19 megapixels, the 75mm crop 8 megapixels and the 95mm crop 6 megapixels.

These digital crops are only applied to the JPEG files, with a full-size 60 megapixel DNG Raw file also recorded at the same time.

As the camera is cropping into the full-size image, rather than interpolating up a la most digital zooms, there’s no degradation of the image quality, just a reduction in the megapixel count.

You could of course apply similar crops yourself during post-processing, but providing them in-camera has the main added benefit of making composition much easier and more intuitive whilst also saving on memory card space.

The 35mm and 50mm crop modes proved to be genuinely useful, effectively giving you a 28-50mm focal range that’s easy to use whilst still offering enough resolution.

The 75mm and 90mm modes are harder to use due to the tiny are of the frame that’s made available for composition – the camera really needs to provide higher magnification when using these modes – and also the sub-10 megapixel resolution images that are recorded.

There is no built-in flash provided on the Leica Q3, although there is a provided hotshoe for the addition of flash, should that be required.

As you’d probably expect of a Leica camera, manual focusing on the Q3 is a veritable joy, although the means of switching between AF and MF is quite subtle and initially well hidden.

Switching to manual focus occurs via a fingernail press of the so tiny you’ll miss it lever on the lens itself, that in turn allows the lens ring to move (it’s ‘stuck’ in place in auto mode) and manual distance markings on said barrel to be selected, whereby the camera provides the user with an enlarged portion of the subject on-screen, allowing focus to be more critically determined.

Auto-focusing on this new Q-series camera has taken a big leap forwards, as it now incorporates a hybrid AF system that includes phase detection as well as contrast detection pixels., providing higher speed (5x faster than the Q2) and greater precision when focusing and tracking objects.

Interestingly, it additionally employs Panasonic’s depth from defocus system to build up a depth map of the scene to further enhance the AF.

In another first for the Q-series and Leica cameras in general, the Q3 benefits greatly from the addition of intelligent subject recognition.

It’s a pretty simple system by modern standards that only recognises the eyes, faces and bodies of people plus animals, with two rather confusing options buried at the bottom of the AF Mode menu – the first option is Eye/face/Body Detection and the second is Eye/Face/Body + Animal Detection (why isn’t animal detection separate?) – but at least it’s a good start that works well in practice.

Leica camera have never been particularly renowned for their blistering continuous shooting rates, and the Q3 is certainly no exception to that rule.

While on paper it offers up to 15fps bursts, the reality is that the focus and exposure are locked at the first frame until you drop down to a rather more pedestrian 4fps. The buffer is at least 63 shots in RAW, though, so you can at least shoot for a long time at 4fps before that rate slows down.

Some photographers may also argue that 4fps is more than fast enough for a street camera with a 28mm lens, especially as the excellent autofocus system can be employed at the same time.

The Q3 has both a mechanical shutter that provides speeds between 120sec to 1/2000sec and an electronic shutter that runs from 1sec to 1/16000sec, with a Hybrid option also available that automatically switches between them. Flash synchronization is up to 1/200sec.

This isn’t just a camera for stills, as Leica have included 8K video recording for the first time ever on any of their models. DCI 8K recording is supported at up to 30p with 4:2:0 10-bit color when recording internally or at 8-bit when recording externally via the micro-HDMI port.

If you only need 4K recording, that’s provided at up to 60p with 4:2:2 10-bit color internally or externally, while Full HD runs up to 120p for slow motion playback.

Other key video features include ProRes recording at 1080/60p, Leica’s L-log profile, and LUT compatibility. The Q3 doesn’t have a microphone socket, though, instead relying on its new USB-C port to allow an audio input.

This new port can also be used to charge the camera via a powerbank, useful for extending the battery life when out and about. Talking of which, the Q3 uses a new battery, the BP-SCL6, which has a CIPA-rated lifespan of 350 shots per charge. The Q3 is also still compatible with the BP-SCL4 battery that was used in the Q2.

The electronic viewfinder that sits in the corner of the camera has also received a significant upgrade, with the resolution being bumped up from 3.68 megapixels on the Q2 to 5.76 on the Q3. It has a 0.79x magnification and either a battery-conserving 60fps or a smooth 120fps refresh rate for more realistic motion rendering.

Another important feature that we’ve not seen before on a Leica camera is the newly tilting 3-inch LCD touchscreen. This can now be moved both upwards and downwards to suit working from a variety of shooting positions, rather than fixed in place as on the previous Q models, which makes waist-level and overhead shooting much easier.

The resolution has also been increased significantly from 1.04M dots on the Q2 to 1.84M dots on the Q3.

The new screen does rather spoil the aesthetics of the Q3, however, as it juts out slightly from the rear of the camera, interrupting the smooth lines. Still, this is first and foremost a photographic tool, rather than an expensive ornament, so we can overlook this slight faux pas on Leica’s part.

It has also necessitated a restructuring of the controls on the rear of the camera. Instead of the vertical row of three buttons to the left of the LCD screen, as per the Q2, the Play and Menu buttons have been moved to above and below the D-pad respectively, with the customisable Function button moving alongside the Photo/Video button.

The other external change is the shutter button is now threaded to accept a mechanical cable release. Otherwise, the incoming Q3 is virtually identical to the outgoing Q2 in terms of its design and control layout, so make sure to check out our Leica Q2 review for a full run-down of how it operates.

The final major innovation on the new Q3 is the HGF-DC1 Wireless Charging Handgrip, an optional accessory that when fitted facilitates wireless battery charging via Qi-compatible charging mats, just like the Drop XL Wireless Charger that Native Union has made especially for Leica. We didn’t get to try one out, but it certainly sounds intriguing!

Image Quality

All of the sample images in this review were taken using the 60 megapixel Large setting, which produces an average image size of around 20Mb for JPEGs and 85Mb for RAW files.

The Leica Q3 recorded still images of excellent quality during the review period.

This camera produces noise-free JPEG images at ISO 50 up to ISO 3200, with some noise appearing at ISO 6400. The faster settings of ISO 12500 through to 25000 are still usable, although we’d suggest avoiding both ISO 50000 and 100000 if at all possible. The corresponding Raw files have much less obvious colour artifacts but are noticeably less sharp than their JPEG equivalents.

The night photograph was very good, with the maximum shutter speed of 60 minutes allowing you to capture enough light in every situation, and the Film Styles, although limited in number and customisability, do allow you to quickly change the look of JPEG files.

Noise

ISO sensitivity can be set between ISO 64 and ISO 100,000 in full-stop increments. Here are some 100% crops which show the noise levels for each ISO setting, with JPEG on the left and RAW on the right.

JPEG	RAW
ISO 50	ISO 50


ISO 100	ISO 100


ISO 200	ISO 200

ISO 400	ISO 400

ISO 800	ISO 800

ISO 1600	ISO 1600

ISO 3200	ISO 3200


ISO 6400	ISO 6400


ISO 12500	ISO 12500


ISO 25000	ISO 25000


ISO 50000	ISO 50000

ISO 100000	ISO 100000

Focal Range

The Leica Q3’s lens provides a focal length of 28mm in 35mm terms, as demonstrated below.

Macro

The Leica Q3 offers a Macro setting that allows you to focus on a subject that is 17cms / 6.7″ away from the camera.

Night

The Leica Q3’s maximum shutter speed is 60 seconds in the Manual mode, which is great news if you’re seriously interested in night photography.

Intelligent Dynamic Range (iDR)

The new Intelligent Dynamic Range function allows an optimization of the darker areas in a JPEG image, with object details become much clearer. There are three different available strengths, Low, Standard and High, plus Auto and Off settings.

Off

Low

Standard

High

Auto

Film Styles

Leica’s Film Styles are preset combinations of different sharpness, contrast and saturation settings, for JPEGs only. The Leica M11’s five available Film Styles are shown below in the following series, which demonstrates the differences between them. You can also tweak the preset styles so that you can create your own particular look, although you can’t create brand new ones.

Standard

Vivid

Natural

Monochrome

Monochrome High Contrast

Sample Images

This is a selection of sample images from the Leica Q3 camera, which were all taken using the 60 megapixel Large JPEG setting. The thumbnails below link to the full-sized versions, which have not been altered in any way.

Sample RAW Images

The Leica Q3 enables users to capture RAW and JPEG format files. We’ve provided some Leica RAW (DNG) samples for you to download (thumbnail images shown below are not 100% representative).

Sample Movies & Video

This is a sample DCI 8K movie at the quality setting of 8192 x 4320 pixels at 30 frames per second. Please note that this 10 second movie is 400Mb in size.

This is a sample 8K movie at the quality setting of 7680 × 4320 pixels at 30 frames per second. Please note that this 10 second movie is 405Mb in size.

This is a sample DCI 4K movie at the quality setting of 4096 x 2160 pixels at 60 frames per second. Please note that this 10 second movie is 790Mb in size.

This is a sample 4K movie at the quality setting of 3840 x 2160 pixels at 60 frames per second. Please note that this 10 second movie is 790Mb in size.

This is a sample 1080p movie at the quality setting of 1920 x 1080 pixels at 60 frames per second. Please note that this 10 second movie is 580Mb in size.

This is a sample 1080p movie at the quality setting of 1920 x 1080 pixels at 120 frames per second. Please note that this 10 second movie is 527Mb in size.

Product Images

Conclusion

Leica are the last manufacturer standing when it comes to making high-end premium fixed-lens compact cameras for enthusiasts and professionals – and if that sounds like a product niche, it’s because it most certainly is – but thankfully they haven’t rested on their laurels with the new Q3 despite the lack of competition.

In true Leica fashion, this new version of the 4 year old previous model represents an evolution rather than revolution, but the additions and changes that have been made genuinely improve on what was already a very good camera.

Chief amongst these is not the 60 megapixel resolution or 8K video which will surely garner most of the headlines, rather the incorporation of the tilting LCD screen and higher-res EVF that add a lot to the cameras handling and versatility, and especially the vastly improved auto-focus system which along with the already spotless manual focusing makes the Q3 a joy to use.

Modern seamlessly meets traditional with the Leica Q3, which somehow manages to avoid being a hodge-podge of old and new ideas to create a camera that offers the best of both worlds.

Traditionalists will still find plenty to enjoy here, including the frankly frightening attention to detail and impeccable build quality, but if you’re a fan of more modern cameras who always been turned off by Leica’s approach, the Q3 is by far the most likely offering to change your mind.

That is, if you can afford the Leica price of admission, which at £5,300 / $5,995 is both significantly higher than the Q2’s launch price (£4250 / $4995) and high enough to put most users off. The best advice that we can give is probably to rent one and try it out for yourself before splashing out all that cash.

Most people will look at the price-tag, roll their eyes and instantly dismiss the Q3, but we think you owe it to yourself to at least take it for a test-drive, if only to experience the unique Leica approach to making a modern yet still traditional camera.

Ratings (out of 5)
Design	4.5
Features	4.5
Ease-of-use	4.5
Image quality	4.5
Value for money	3.5

Main Rivals

Listed below are some of the rivals of the Leica Q3.

As its name suggests, the new X100V represents the fifth generation of Fujfilm’s now classic 35mm fixed lens premium compact camera series. The new Fuji X100V uses exactly the same 26 megapixel sensor and X-Processor 4 as the rest of the latest X-series cameras, and also adds weather-proofing, a revised lens design, tilting LCD touchscreen and 4K video recording into the rich mix. Read our in-depth Fujifilm X100V review now, complete with full-size sample images and videos…

The Leica M11 is a brand new digital rangefinder camera for 2022, offering a 60 megapixel full-frame BSI CMOS sensor, 64Gb built-in memory, longer battery life and USB-C charging. Oh, and did we mention that Leica have dropped the removable baseplate, a feature that has adorned M-series cameras for literally decades? Find out if this is the best ever fusion of old and new tech by reading our in-depth Leica M11 review, complete with full-size sample photos.

The Leica Q2 Monochrom is a 35mm full-frame compact camera with a 28mm fixed focal length lens that exclusively only shoots in black and white. With a price tag of £5000 / $6000, is this a niche product that no one will buy, or somebody’s idea of a dream camera? Find out now by reading our in-depth Leica Q2 Monochrom review, complete with full-size sample photos and videos…

The Leica Q2 is an exciting full-frame mirrorless compact camera with a 28mm fixed lens. The Q2 features a a new 47.3 megapixel sensor, 4K video mode recording at 30/24fps, high-resolution OLED viewfinder, dust and water resistance, and focusing speed of 0.15 seconds. Is this the ultimate compact camera? Find out now by reading our in-depth Leica Q2 review, complete with full-size sample photos and videos…

After almost three years since it was first unveiled, the Zeiss ZX1 full-frame mirrorless camera is finally available to buy. With a 37.4 megapixel sensor, 4K video, 35mm f/2 prime lens, 4.3-inch touchscreen, built-in Adobe Lightroom and 512Gb SSD internal memory, is the unconventional ZX1 still worth a look in 2021? Find out now by reading our in-depth review of the Zeiss ZX1 mirrorless camera, complete with full-size sample photos, test shots, videos and more…

Review Roundup

Reviews of the Leica Q3 from around the web.

Leica’s Q-series premium compacts are unique on the market, by combining a fixed prime lens with a full-frame sensor. Sony and Zeiss have previously dabbled in the same sector, with their RX1-series and ZX-1 cameras, but it seems only Leica has the cachet to sustain a genuine line. The Q3 is set to be one of the best compact cameras on the market.

Read the full review »

Announced on 25 May 2023, the Leica Q3 is the third iteration of one of Leica’s most-loved cameras. As of now, I am sure there are many specifications-focused reviews available hence this review will focus on what I deem to be the five critical improvements in the Leica Q3 over the Leica Q2 gleamed over my hands-on user experience over the last 3 days.

Read the full review »

Specifications

Camera type	Digital 35 mm compact camera
Dimensions	130 x 80,3 x 92,6 mm
Weight	Approx. 743 g/658 g (with/without battery)
Material	Full metal housing: magnesium die-cast, leather covering, protection type IP52
Buffer memory	8 GB
Sensor size	CMOS-Sensor, 62,39 MP/60,3 MP (total/effective)
Storage medium	UHS-II (recommended), UHS-I, SD/SDHC/SDXC memory card
Operating conditions	0 °C to +40 °C
Interfaces	ISO accessory shoe with additional control contacts for Leica flash units, HDMI jack Type D, USB 3.1 Gen 2 Type C up to 10 Gbps
Tripod thread	A 1/4 DIN 4503 (1/4”) with stainless steel in the basen
Processor	Leica Maestro series (Maestro IV)
Filter	RGB color filter, UV/IR filter, no low-pass filter
File formats	Photo: DNG™ (raw data), DNG + JPG, JPG (DCF 2.0, Exif 2.31) Video: MP4 h.265 / AAC / 48 kHz (16 Bit) h.264 AAC 48 kHz/16 Bit MOV h.265 / LPCM / 28 kHz (24 Bit) h.264 / LPCM / 28 kHz (24 Bit) ProRes / LPCM / 28 kHz (24 Bit)
Image resolution	DNG™ 9520 x 6336 Pixel (60,3 MP) 7404 x 4928 Pixel (36,5 MP) 5288 x 3518 Pixel (18,6 MP) JPG 9520 x 6336 Pixel (60,3 MP) 7392 x 4928 Pixel (36,4 MP) 5280 x 3512 Pixel (18,5 MP)
File size	DNG™: approx. 70 MB, depending on resolution and image content JPG: depending on resolution and image content Video: max. length: 29 min
Color depth	DNG™: 14 Bit JPG: 8 Bit
Color space	Foto: sRGB
Video Resolution	C8K (17:9) 8192 x 4320 8K (16:9) 7680 x 4320 C4K (17:9) 4096 x 2160 4K (16:9) 3840 x 2160 Full HD (16:9) 1920 x 1080
Video frame rate/bit rate	MOV C8K (recording to SD) 29,97 fps C8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 25,00 fps C8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 24,00 fps C8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 23,98 fps C8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps MOV C8K (HDMI output without HLG/L-Log and without recording to SD) 29,97 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 25,00 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 24,00 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 23,98 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps MOV C8K (HDMI output with HLG/L-Log or during recording to SD) 29,97 fps C4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 25,00 fps C4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 24,00 fps C4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 23,98 fps C4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps MOV 8K (recording to SD) 29,97 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 25,00 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 24,00 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 23,98 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps MOV 8K (HDMI output without HLG/L-Log and without recording to SD) 29,97 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 25,00 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 24,00 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 23,98 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps MOV 8K (HDMI output with HLG/L-Log or during recording to SD) 29,97 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 25,00 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 24,00 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 23,98 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps MOV C4K 59,94 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 600 Mbps 50,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 600 Mbps 48,00 fps 4:2:2 / 10 Bit (SD) h.264 ALL-I 600 Mbps 24,00 fps 4:2:2 / 10 Bit (HDMI) 47,95 fps 4:2:2 / 10 Bit (SD) h.264 ALL-I 600 Mbps 23,98 fps 4:2:2 / 10 Bit (HDMI) 29,97 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 25,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 24,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 23,98 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps MOV 4K 59,94 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 600 Mbps 50,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 600 Mbps 48,00 fps 4:2:2 / 10 Bit (SD) h.264 ALL-I 600 Mbps 24,00 fps 4:2:2 / 10 Bit (HDMI) 47,95 fps 4:2:2 / 10 Bit (SD) h.264 ALL-I 600 Mbps 23,98 fps 4:2:2 / 10 Bit (HDMI) 29,97 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 25,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 24,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 23,98 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps MOV FHD 119,88 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 100,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 400 Mbps 59,94 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 200 Mbps 50,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 200 Mbps 48,00 fps 4:2:2 / 10 Bit (SD) h.264 ALL-I 200 Mbps 24,00 fps 4:2:2 / 10 Bit (HDMI) 47,95 fps 4:2:2 / 10 Bit (SD) h.264 ALL-I 200 Mbps 23,98 fps 4:2:2 / 10 Bit (HDMI) 29,97 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 200 Mbps 25,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 200 Mbps 24,00 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 200 Mbps 23,98 fps 4:2:2 / 10 Bit (SD & HDMI) h.264 ALL-I 200 Mbps MOV FHD Slow Motion Sensor: 119,88 fps 4:2:0 / 10 Bit (SD & HDMI) h.265 L-GOP 100 Mbps Recording/Playback: 29.97 fps Sensor: 100,00 fps 4:2:0 / 10 Bit (SD & HDMI) h.265 L-GOP 100 Mbps Recording/Playback: 25,00 fps MOV FHD ProRes 59,94 fps 422HQ ProRes 454 Mbps 50,00 fps 422HQ ProRes 378 Mbps 29,97 fps 422HQ ProRes 227 Mbps 25,00 fps 422HQ ProRes 189 Mbps 24,00 fps 422HQ ProRes 182 Mbps 23,98 fps 422HQ ProRes 181 Mbps MP4 8K MP4 8K (recording to SD) 29,97 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 25,00 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps 23,98 fps 8K 4:2:0 / 10 Bit h.265 L-GOP 300 Mbps MP4 8K (HDMI output without recording to SD) 29,97 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 25,00 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps 23,98 fps 8K 4:2:0 / 8 Bit h.265 L-GOP 300 Mbps MP4 8K (HDMI output during recording to SD)) 29,97 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 25,00 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps 23,98 fps 4K 4:2:2 / 10 Bit h.265 L-GOP 300 Mbps MP4 4K 59,94 fps 4:2:0 / 10 Bit (SD & HDMI) h.265 L-GOP 100 Mbps 50,00 fps 4:2:0 / 10 Bit (SD & HDMI) h.265 L-GOP 100 Mbps 29,97 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 100 Mbps 25,00 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 100 Mbps 23,98 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 100 Mbps MP4 FHD 59,94 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 28 Mbps 50,00 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 28 Mbps 29,97 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 20 Mbps 25,00 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 20 Mbps 23,98 fps 4:2:0 / 8 Bit (SD & HDMI) h.264 L-GOP 24 Mbps
Lens
Designation	Leica Summilux 28 f/1.7 ASPH., 11 lenses in 9 segments, 3 aspherical lens surfaces
Lens filter thread	E49
Digital zoom	Optionally approx. 1.25x (equivalent to 35 mm), approx. 1.8x (equivalent to 50 mm), approx. 2.7x (equivalent to 75 mm), or approx. 3.2x (equivalent to 90 mm)
Image stabilization	Visual compensation system for photos and video recordings
Aperture range	F1.7 to F16 in 1/3 EV increments
Viewfinder/Display
Viewfinder (EVF)	Resolution: 5,760,000 dots, 120 fps, magnification: 0.79x at aspect ratio: 4:3 / 0.76x at aspect ratio: 3:2, frame coverage: 100%, exit pupil position: 20.75 mm, setting range -4/+2 dpt, with eye sensor for automatic switchover between viewfinder and LCD panel, time delay 0.005 s
Display	3” TFT LCD, approx. 1,843,200 dots, 384 ppi, aspect ratio 3:2, touch panel
Shutter
Shutter type	Mechanical central shutter or optional electronic shutter
Shutter speeds	Mech. shutter: 120 s to 1/2000 s Electro. shutter function: 1 s to 1/16000 s Flash Synchronization: up to 1/2000 s
Shutter button	Two-stage (1st stage: Activation of the camera electronics including autofocus and exposure metering, 2nd stage: Taking the picture)
Self-timer	Delay time: 2s or 12s
Drive Mode	Single, Interval Shooting, Exposure Bracketing Continuous shooting: Continuous – 2 fps / 14 bit / AF, Continuous – 4 fps / 14 bit / AF: Automatic settings (exposure settings in operating modes P/A/S, automatic white balance and autofocus) are implemented individually for each frame. Continuous – 7 fps / 14 bit, Continuous – 9 fps / 12 bit, Continuous – 15 fps / 12 bit: Automatic settings (exposure settings in operating modes P/A/S, automatic white balance and autofocus) are implemented for the first frame, and are then applied for each subsequent frame in the same picture series.
Focusing
Focus range	30 cm to ∞ With macro setting: from 17 cm
Focus mode	Automatic or manual With manual setting: optional magnifying glass function (Auto Magnification) and edge marking (Focus Peaking) available as focus assist
Autofocus system	Hybrid-AF due to combination of contrast metering, depth mapping, and phase comparison metering with AF metering points in the sensor.
Autofocus modes	Intelligent AF (autonomously selects AFs and AFc), AFs, AFc, AF setting can be saved, optional Touch AF
Autofocus metering methods	Spot (can be shifted), Field (can be shifted and scaled), Multi-Field, Zone (can be shifted), Eye/Face/Body Detection, Eye/Face/Body + Animal Detection, Tracking
Autofocus metering fields	315
Exposure
Exposure metering	TTL (exposure metering through the lens), with working aperture
Metering principle	Exposure metering is done by the image sensor for all exposure metering methods (in Live View mode and in rangefinder mode)
Exposure metering methods	Spot, Center-Weighted, Highlight-Weighted, Multi-Field
Exposure modes	Program AE mode (P) Aperture-priority mode (A): manual aperture setting Shutter-priority mode (S): manual shutter-speed setting Manual (M): manual setting for shutter speed and aperture Various fully automated variants (Scene Mode): AUTO, Sport, Portrait, Landscape, Night Portrait, Snow/Beach, Fireworks, Candlelight, Sunset, Digiscoping
Exposure compensation	±3 EV in 1/3 EV increments
Automatic bracketing	3 or 5 frames, graduations between shoots up to 3 EV, in 1/3 EV increments additional optional exposure compensation: up to ±3 EV
ISO sensitivity range	Photo: Auto ISO 100 bis ISO 100 000 Manual ISO 50 bis ISO 100 000 Video: Auto ISO 100 bis ISO 100 000 Manual ISO 50 bis ISO 100 000
White balance	Automatic (Auto), default (Daylight, Cloudy, Shadow, Tungsten, Flash), manual metering (Gray card), manual color temperature settings (Color Temperature, 2000 K to 11500 K)
Flash
Flash unit connector	Via the accessory shoe
Flash sync time	1/2000 s, slower shutter speeds available, automatic changeover to TTL linear flash mode with HSS-compatible Leica system flash units if sync time is undercut
Flash exposure metering	Using center-weighted TTL pre-flash metering with Leica flash units (SF 26, SF 40, SF 58, SF 60, SF 64) or with system compatible flash units, remote controlled flash SF C1
Flash exposure compensation	SF 40: ±2 EV in 1/2 EV increments SF 60: ±2 EV in 1/3 EV increments
Equipment
Microphone	Stereo
Speaker	Mono
WLAN	WLAN function for connecting to the Leica FOTOS app. The Leica app is available from the Apple App Store™ or the Google Play Store™. EU/US/CN: 2,4 GHz IEEE802.11b/g/n: Channel 1–11 (2412–2462 MHz) 5 GHz Client mode: (For indoor use only) IEEE802.11a/n/ac: Channel 36–64 (5180–5320 MHz) Access point + client mode: IEEE802.11a/n/ac: Channel 149–165 (5745–5825 MHz) JP: 2,4 GHz IEEE802.11b/g/n: Channel 1–11 (2412–2462 MHz) 5 GHz Access point + client mode: (For indoor use only) IEEE802.11a/n/ac: Channel 36–48 (5180–5240 MHz) Client mode: (For indoor use only) IEEE802.11a/n/ac: Channel 52–144 (5260–5720 MHz) Maximum output (e.i.r.p.): <14 dBm, encryption method: WLAN-compatible WPA™/WPA2™/WPA3™
Bluetooth	Bluetooth Bluetooth 5.0 LE: Channel 0–39 (2402–2480 MHz), maximum output (e.i.r.p.): 10 dBm
GPS	Not available everywhere due to country-specific legislation; can be added via the Leica FOTOS app. Data is written to Exif header of the picture files.
Menu languages	English, German, French, Italian, Spanish, Portuguese, Russian, Japanese, Traditional Chinese, Simplified Chinese, Korean
Power supply
Rechargeable battery (Leica BP-SCL6)	Lithium-ion rechargeable battery, rated voltage: 7.2 V (DC); capacity: 2200 mAh (min.), 350 shots (based on CIPA standard, with All Displays Auto Off = 5 s); manufacturer: Panasonic Energy (Wuxi) Co. Ltd., Made in China
Charger (Leica BC-SCL4)	Input: AC 100–240 V, 50/60 Hz, 0.25 A, automatic switchover; output: DC 8.4 V 0.85 A; manufacturer: Salom Electric (Xiamen) Co., Ltd., Made in China
Charging via USB	During operation: 9 V/3 A (min. 27 W) With camera switched off: 5 V/1500 mA (2.5 W or greater)
Wireless Charging	Optimal performance with 9 V chargers (10 W Charging Pad required)
	Rated values for input voltage/power 7.2 V 2.3 A (battery), 5 V 3.0 A / 9 V 2.5 A (USB)

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Anushka Menon shares her approach to fashion photography, the challenges of working in a male-dominated industry, and more

Dec 13, 2023 By Admin in Photography

It was, as a 16-year-old pursuing a foundation course in arts, design, and communication in Australia that Anushka stumbled upon a photography module and, in turn, realised the power of image-making. Anushka (39)—born in the Indian capital but raised in Muscat—learnt not just the nuances but also the range and scale of the art form in a two-year professional course in collaboration with the International College of Professional Photography (ICPP), Australia, at a Delhi-based college in 2003. While her love for fashion photography developed during this time, her first paid job, she recalls, was with an Indian magazine that onboarded her to shoot the profile of a leading Delhi-based bakery’s owner. “By the time I graduated, I connected with models and designers and was soon working on lookbooks, campaigns, editorials, etc.”

In a male-dominated industry such as fashion photography, there is a tight frame of challenges that the opposite gender faces, and Anushka (she moved to Goa from Delhi in 2016 and is now juggling two of her passions, music and photography, as part-time professions) mentions confronting a few and more. “Initially, language was a barrier for me since I would mostly communicate in English. Also, working with an all-male team can come about with its own set of complications—some people don’t take you seriously or don’t want to take orders from a woman. Of course, there were others who were great…they recognised my talent. I also found a team that supported me—I still have the same team I had 15 years ago,” she adds. The business side of things wasn’t easy for her either: “I had to spend my own money to create a portfolio.”

There is no rubric one can follow to be successful. Gender, however, can have a direct or indirect impact on personal progress no matter the industry. “The pros and cons when I started exist even today, probably subtler now,” shares Anushka. In hindsight, Anushka (she is one of the two female Fujifilm ‘X’ Ambassadors from India) adds that women do have an added advantage given the female gaze: “Women have a natural instinct and different approach to shooting—how we converse with subjects and the way we view them is different from male photographers. I also feel females shoot females better.”

Was it difficult to work with creatives who were on the higher rungs of success? “When I started out, I wanted to be guided by someone with experience. I approached at least five or six photographers in Delhi, and later in Mumbai, but was rejected by them all. While it was a challenge, it also motivated me to learn the ropes by myself. I don’t know why I wasn’t taken on board; maybe they thought I wasn’t strong enough to carry equipment—though small, I was strong (laughs); maybe they thought I’d no potential; or were intimidated. It took me a few years to prove my worth. Now, the same photographers tell me what a great job I’ve done.” Ask her if there’s a set formula for female photographers looking to break into the field, and she concludes, “Hopefully you have the support of your family or financial support as it’s an expensive profession. To create your own space, remember to be authentic. Seek help because there are people out there, including myself, who are happy to mentor. You must also know the business side of things; enrol in a course to be familiar with how things work. But the rest you learn as you go along. I encourage people to follow their dreams irrespective of what they want to become.”

Photographer Made to Wait Four Years for Perfect Sunburst Shot

Dec 13, 2023 By Admin in Photography

A photographer was made to wait for four years to capture a perfect sunburst shot of an iconic landmark.

The Sun only lines up behind Durdle Door on the southern coast of the United Kingdom for two to three weeks each year and photographer Jack Lodge has been left disappointed many times before.

“I’ve tried in the past and it’s just not happened,” Lodge tells PetaPixel. “I’ve got a little bit of a sunstar and it’s not been great, even with clear skies. And then other times you drive for an hour, walk for an hour, and it’s like, really? The forecast said it was clear. So it’s a constant battle.”

But last week it all came together for Lodge as he pulled off a glorious photo of Durdle Door — a natural limestone arch on the Jurassic Coast in Dorset, England.

To make it more difficult, the Sun only lines up behind Durdle Door for less than five minutes each day meaning Lodge had to wake up at 05:00 to get there in time, dragging all of his gear to the secluded location.

Lodge uses a Canon R5 for its high megapixel count because he does “really big prints and loads of cropping.” He used an RF 15-35mm f/2.8 with the setup placed on a tripod which is a must because the waves were swashing around his legs.

“It was taken at 10 past eight in the morning and it was shot at 1/20th of a second, at f/22, ISO 100,” Lodge adds.

The slow shutter speed means the waves have a touch of motion blur adding to the beauty of the picture.

Light shining through Durdle Door — Lodge also captured this photo, which he says he prefers.

Lodge describes the reaction as “nuts” and “amazing.” The photos received tens of thousands of likes on his Instagram page and although the sunstar photo is a winner, the photographer prefers the picture he got of a soft ethereal-like glow coming through Durdle Door.

“I think it’s harder to get than the one with the star,” says Lodge. “That’s my personal favorite because it’s so cold and the warm light just created this mist.

“The light on the sand as well, it makes it look like glass. So yeah, that one was more special for me, but they’re both awesome; it’s been cool to see everyone’s reactions to both.”

Lodge is a professional landscape photographer who operates photography courses. More of his work can be found on his Instagram, Facebook, and website.

Image credits: Photographs by Jack Lodge

50 Questions With Juergen Teller

Dec 13, 2023 By Admin in Photography

December 13, 2023

It’s not an overstatement to say that Juergen Teller is one of the most influential photographers working today. Known for his idiosyncratically irreverent imagery, the influence of his work is so big, so all-encompassing, so completely total, that it’s hard to detatch it from the contemporary fashion photography of today. Emerging in the late 1980s, Teller rejected the fantasy of that decade was known for – the money, the excess – in place of a more unfiltered take on reality. In the intervening years since, he’s developed a reputation for his unfettered work that prizes grit over glitz, grunge over glamour; his photographs often appear unposed and unstaged, the result of a flash of a camera and a flash of inspiration.

The genius of Teller’s photographs is that they look like anyone can produce them – except nobody else can, despite the countless that have tried. He doesn’t rely on technology; he’s as happy to shoot on an iPhone – a tool we all have at our disposal – as a fancy, expensive camera. Similarly, he ditched film and switched to digital, entering an entirely new aesthetic era; when I ask him about film and its renewed popularity today, he seems genuinely flummoxed by it. Having honed his skill for nearly three and a half decades, Teller is a raw, unique and unreplicable talent, his work as resonant now as it was when he first began taking photos in the 80s.

32i need to live by Juergen Teller

This month, he throws open the doors to his largest-ever exhibition, i need to live, held in the fittingly grandiose setting of the Grand Palais and sponsored by Saint Laurent (with whom he frequently collaborates). The show will take visitors on a journey through his enormous archive, starting with a photograph of himself taken by his father, through decades’ worth of his personal and professional work, and culminating, cyclically, with photographs of his newborn daughter. There will also be images that are instantly recognisable – such as his portrait of Björk and her son, taken in Iceland’s Blue Lagoon in 1993 – and ones that have never been shown before; all displayed in a space designed by 6a architects, who imagined the photographer’s concrete-clad studio in west London.

On the occasion of the exhibition, Juergen Teller humoured us by agreeing to answer 50 quickfire questions, ranging from the one person he hasn’t yet been able to photograph and the best compliment he’s ever received.

Pin It — Father and Son, Bubenreuth, 2003© Juergen Teller, All rights Reserved

i need to live by Juergen Teller — Father and Son, Bubenreuth, 2003© Juergen Teller, All rights Reserved

1. Why did you choose to title your exhibition, I Need to Live? The second photograph in the show is a real photograph of a newspaper article referencing my father’s suicide and the third photograph is me on my father’s grave. The title is basically like: I need to live for myself because I’m so curious about life and about work and I want to do more things. I want to live for myself or my wife or my kids and not to go the way my father chose to go. I chose the other way, and that’s why the title is called I Need to Live, instead of the other direction.

2. Can you tell me the story behind that photograph of you on your father’s grave? It’s a photograph of my father’s grave at night, where I’m naked standing with one leg on a football and with a beer bottle and a cigarette in my hand. I was very close to my mother, she was very good at sports and we always talked about football, always watched it on TV. My father really didn’t like it at all. Later in life, I’m smoking and drinking, the same as my father, who was a heavy alcoholic. It was a way of getting closer to my dad because I really did not like him at all. I was not close to him at all but through the years, you reflect on it … there must be a good, positive side of my father, and I wanted to feel closer to him.

3. Have you ever got into trouble with any of the images that you’ve taken? No. It’s always with the understanding of the subject and you have to morally see how far you can go and what’s morally right and what might be wrong. So, no, I haven’t.

4. Are you surprised to see how popular your Go-Sees series is today? I’m not surprised. I knew from the beginning that it was something really interesting and really good … That’s the simple answer.

5. Can you remember the first photo you ever took? Vaguely. It’s a landscape in Germany in the countryside where I grew up.

6. What’s the last photo you took? It was yesterday of my daughter.

7. When did you realise that you’ve made it? I don’t really think I’ve ever made it in those terms, but the first time I was sure that I wanted to be a photographer was when I studied photography and when I came to London.

8. How old would you have been when you had that realisation? I believe it was when I was 19 or 20.

9. Do you have any of your own photos hanging in your house? There is one but there’s a lot of other people’s work. It’s the one with Raquel Zimmerman and Charlotte Rampling in front of the Mona Lisa.

10. Are there any emerging photographers you’ve got your eye on? Not really, no.

11. What advice would you have for photographers starting out today? To do it slowly, to think a lot and to not think about money. And to really live your life first; to experience life and to draw on your life experience.

12. Do you have a favourite iPhone editing app? I don’t even know exactly what that is. I don’t really have an app.

13. What do you think about the resurgence of film? The fact that everyone’s shooting on film these days? I don’t understand it at all. Technology has become so good and film is so much more of a headache, so much more expensive, and such a hindrance. It’s much slower too. It doesn’t make any sense and it’s also not where the world is now.

14. What role has your German heritage and growing up in Germany played in your work? I don’t think in these terms. For me, it’s just, I am me and I grew up where I grew up.

15. Is there anyone that you haven’t shot who you’d still really like to? I think it would be the Pope because he’s photogenic! [Laughs.]

What advice would you have for photographers starting out today? “To do it slowly, to think a lot and to not think about money. And to really live your life first; to experience life and to draw on your life experience“ – Juergen Teller

16. Is that anyone who you said no to shooting that you now regret? No, because if it really means so much, it would come around again. There have been times when I really couldn’t do it for example. I got asked to photograph Macron but unfortunately, I was in Japan at the time.

17. You collaborated with Vivienne Westwood for years. What was your favourite thing about her? Her spirit, her mind, her way of thinking, her complete originality, her uniqueness – she was a wonderful person.

18. What advice would you have for your 16-year-old self? Do the same thing again.

19. What is the greatest compliment anyone has ever paid you? That I’m doing good work. Boris Mikhailov gave me a really beautiful compliment recently. I showed him this shot of this project I was doing, which is one of the new books that I’m publishing called The Myth and he said, “Oh, I wish I would have thought about something like that.” That was a beautiful compliment.

20. If your house was on fire, and you only had time to grab one of your books, which would it be? The Myth.

21. Why is nudity a part of your work, particularly in your self-portraiture? It’s an honest way – the purest way – of showing yourself. As a fashion photographer, I’m always dealing with clothes, so I like to be completely free from that. And I actually find skin beautiful to look at, and beautiful to photograph, and there are so many nuances in the fat and the muscles and the shapes.

22. Do you have a favourite pair of trainers? I always have Asics. I started wearing them a long time ago. They’re extremely comfortable and look OK.

23. What’s your most treasured possession? Probably my phone in terms of the camera, not the phone itself. It’s such a wonderful tool these days – you don’t need to have a camera and it’s just excellent to go for a walk with your wife and your kids and you can photograph it there.

24. What’s your greatest extravagance? Really, it’s the same thing.

25. What’s your number one tip for taking a photograph on an iPhone? Press the button.

26. Helpful. Do you believe in God? Difficult question. I really don’t know.

27. Do you believe in life after death? I don’t know that either.

28. What’s your greatest fear? Losing my partner.

29. What’s the last thing someone did to make you laugh? My daughter woke up in such a sweet way. She got up and then she smiled at me and we smiled and laughed together.

30. What’s the one book that you’d like to read again for the first time? A Murakami.

31. What’s the last film that made you cry? Probably a really stupid film on an aeroplane.

32. Who would you get to direct a film about your life? [Rainer Werner] Fassbinder, if he was still alive.

33. Who would you get to play you? Jack Nicholson.

34. What song is guaranteed to get you on the dance floor? Nina Simone, Here Comes the Sun.

35. Is there anything you collect? Not really. I have artworks here and there, but I’m not really a collector in general terms.

Why is nudity a part of your work, particularly in your self-portraiture? “It’s an honest way – the purest way – of showing yourself. As a fashion photographer, I’m always dealing with clothes, so I like to be completely free from that“ – Juergen Teller

36. Where do you feel happiest? With my wife in the forest.

37. What’s your favourite place in London? My studio.

38. What is one thing that is overrated? Money.

39. What is one thing that is underrated? Freedom.

40. And what is one thing that is due a comeback? German football should have a comeback.

41. What is the trait you most deplore in yourself? My indecisiveness.

42. What is the trait you most deplore and others? Lack of humour.

43. Who is your hero in fiction? I don’t know.

44. Who’s your hero in real life? I don’t really have heroes.

45. Who is someone you admire then? Boris Mikhailov.

46. What do you hate about the art world? I don’t hate the art world but it’s dominated by extremely rich people, which makes it very conservative and boring.

47. What do you love about it? There’s space for fantasy and freedom; for people to create incredible, beautiful things.

48. If you had to photograph one person for the rest of your life, who would it be? My wife.

49. What do you think you would do if you weren’t a photographer? I’ve thought about that but have never come to a conclusion. I simply don’t know.

50. Did you have a dream growing up? Yes, when I was small, I wanted to be a footballer.

i need to live by Juergen Teller is on show at the Grand Palais in Paris from 16 December 2023 – 9 January 2024.

Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial #Gallery

Dec 13, 2023 By Admin in Native

Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial, in Kolkata, Wednesday, Dec. 13, 2023. (Photo: IANS/Kuntal Chakrabarty) ” data-medium-file=”https://i0.wp.com/www.socialnews.xyz/wp-content/uploads/2023/12/13/20231213166-scaled.jpg?fit=300%2C199&quality=80&zoom=1&ssl=1?v=1702476078″ data-large-file=”https://i0.wp.com/www.socialnews.xyz/wp-content/uploads/2023/12/13/20231213166-scaled.jpg?fit=1024%2C678&quality=80&zoom=1&ssl=1?v=1702476078″ data-pagespeed-url-hash=”2634386794″ onload=”pagespeed.CriticalImages.checkImageForCriticality(this);”>: Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial, in Kolkata, Wednesday, Dec. 13, 2023. (Photo: IANS/Kuntal Chakrabarty)

Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial, in Kolkata, Wednesday, Dec. 13, 2023. (Photo: IANS/Kuntal Chakrabarty) ” data-medium-file=”https://i0.wp.com/www.socialnews.xyz/wp-content/uploads/2023/12/13/20231213167-scaled.jpg?fit=300%2C208&quality=80&zoom=1&ssl=1?v=1702476090″ data-large-file=”https://i0.wp.com/www.socialnews.xyz/wp-content/uploads/2023/12/13/20231213167-scaled.jpg?fit=1024%2C710&quality=80&zoom=1&ssl=1?v=1702476090″ data-pagespeed-url-hash=”2264211010″ onload=”pagespeed.CriticalImages.checkImageForCriticality(this);”>: Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial, in Kolkata, Wednesday, Dec. 13, 2023. (Photo: IANS/Kuntal Chakrabarty)

Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial, in Kolkata, Wednesday, Dec. 13, 2023. (Photo: IANS/Kuntal Chakrabarty) ” data-medium-file=”https://i0.wp.com/www.socialnews.xyz/wp-content/uploads/2023/12/13/20231213168-scaled.jpg?fit=300%2C210&quality=80&zoom=1&ssl=1?v=1702476097″ data-large-file=”https://i0.wp.com/www.socialnews.xyz/wp-content/uploads/2023/12/13/20231213168-scaled.jpg?fit=1024%2C716&quality=80&zoom=1&ssl=1?v=1702476097″ data-pagespeed-url-hash=”2534804528″ onload=”pagespeed.CriticalImages.checkImageForCriticality(this);”>: Kolkata: Native American artists perform the Fancy Shawl dance outside Victoria Memorial, in Kolkata, Wednesday, Dec. 13, 2023. (Photo: IANS/Kuntal Chakrabarty)

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The Mediterran Resort Outdoor Collection Is Easy Luxury + Cool Elegance

Dec 13, 2023 By Admin in Design

If what you’re looking to bring to your outdoor living space is limited edition, casual luxury, and all-season beauty, we have the collection for you: Mediterran by Hommés Studio. The modern furniture brand is based in the Mediterranean, and pulled from all of the best parts of the region as inspiration for these pieces. Clear waters, a warm breeze, lush vegetation, and endless relaxation – it doesn’t get much better.

Ultra modern and minimal in design, Mediterran features smooth rounded lines, strong forms, high-quality fabrics, and elegant textures. Everything that comes to mind when imagining life on the beaches of the Mediterranean. This timeless outdoor furniture collection will transform your garden, terrace, or porch with that same charismatic vibe through its daybeds, parasols, poufs, and more! Then you can start daydreaming about the azure waters and warm sun on your skin, with SPF of course.

Marina Armchair in Fern

Marcel Daybed Fern

Morocco Pouf Set

Massimo Floor Lamp Set

Kalam Fire Pit

To learn more about the Mediterran Collection, visit hommes.studio.

Introducing AI image generation into my photography workflow opens up a whole new world of possibilities

Dec 13, 2023 By Admin in Photography

Recently, a client approached me with the idea of doing a photoshoot, but editing the final images in the style of a graphic novel or computer game. Growing up, I loved drawing comic-book images, and spent many years on DeviantArt. But those days are behind me, and I wasn’t sure I’d be able to deliver. That’s when I decided to turn to AI image generation.

AI image generation uses machine-learning algorithms to generate new images based on text prompts and existing images. It has been around for a couple of years, but now it’s sophisticated enough to be a genuinely useful tool for photographers. With AI image generation, you can apply a style that’s completely different from the original image. Looking over the images we’d captured together, I realized I could build an AI model of my client, using the photos as a training data set, then find prompts to hone in on a style that fitted our vision.

AI-enhanced photography by Jon Devo — Jon’s own photoshoot acted as the foundational training set for the AI (Image credit: Jon Devo)

There was a slight learning curve to install the tools on my PC, which involved watching a few tutorials on YouTube. However, all of the tools were free and open-source. Best of all, there’s a growing community of people who are happy to share their processes and discoveries, making the barrier to entry fairly low. Once it was set up, I was generating digital art portraits of my client that were far more interesting than I would have been able to produce alone in a fraction of the time.

It takes some trial and error to get the AI to recognize your subject and produce a consistent look, which is part of the fun. I had to work with the AI, learn how to speak to it and describe what I wanted as accurately as I could, as well as experimenting with different seeds, which sample tens of thousands of art styles.

Introducing AI image generation into my photography workflow opens up a whole new world of possibilities. With these tools, you’re not restricted by access to expensive editing software or your own artistic skill level. If you can develop a strong visual vocabulary and learn to work with AI collaboratively, you can produce striking content that’s beyond your imagination. One of the biggest impacts of AI image generation is the time saving. With this technology, you can apply a new style to an image in a matter of seconds or minutes.

Check out the best AI image generators

But there are also some drawbacks. First, your images could end up looking generic and unoriginal. AI image generation samples the styles of other creators, and is still a relatively new technology, so it’s not always easy to get the look you’re going for. If your approach is lazy, your images could look like they were created using a template or rip-off. Also, if you rely too heavily on AI image generation, you might start to lose your own creative vision. This could be especially true if you’re using AI as a crutch to avoid learning new techniques or styles.

Ultimately, the decision to use AI image generation is one that should be made thoughtfully and with an eye towards how it can best serve your individual artistic vision.

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