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SlickPic Photography Challenge: Patterns and Textures

By in Photography

SlickPic Photography Challenge: Patterns and Textures

Another week, another fun photography challenge! Are you ready to put your photography skills to the test and refill your creative juices? For the 20th week of their 52-week Photo Challenge, the folks of SlickPic want us to look around for eye-catching Patterns and Textures.

In this challenge, the task is to capture all the lines, shapes, and details that make up interesting patterns and textures. You’ll find them everywhere — in nature and man-made spaces — but be a bit more selective, decisive and experimental. For example, how do the textures translate the objects they represent? Let your eye for detail and composition skills shine in this challenge!

To help inspire you, why not check out our patterns and textures archive for tips, tricks, ideas and inspiration? For starters, we suggest reading Abstract photography turns motion into gorgeous textures, and Creating visual dissonance in outdoor and travel photography. In case you’re just joining, we also encourage you to check out the full info on the 52-week Challenge.

Photography challenge details

  • Submissions will be accepted until the end of the day on May 19, 2024. So, if you’re in the mood to flex your creative muscles, there’s still plenty of time to make something nice!
  • Submit 3 images by clicking this link
  • Please submit images in JPEG format and uploading photos that are at least 2500 on the long side is recommended for the highest quality.

Once you submit your photos, you can review them here: https://52weekchallenge.slickpic.com

As always, you can ask your friends to join the challenge as well by clicking on the Share button for the album and inviting them to join in. Of course, you can also encourage them to Like and Comment on your submissions!

Tang Shuo Casts Himself as Members of His Small Chinese Village in a New Series of Paintings

By in Art World News

Tang Shuo Casts Himself as Members of His Small Chinese Village in a New Series of Paintings

“A Family” (2024), oil on linen, 190 x 180 centimeters. All images courtesy of Beers London, shared with permission

In The Narrators, artist Tang Shuo inserts himself into the stories of his native Boulder Hill by painting himself as the protagonist. He envisions life as a sweaty worker hunched over a field of weeds or a child angling to capture a butterfly. Like previous bodies of work, the pensive series takes the divide between memory and fact as a starting point and how that tension arises within his small village on the edge of Guilin, China.

Working in deep, shadowy palettes with a signature flatness, Shuo creates an ensemble of characters in his likeness. All wear the same rolled pants and long-sleeved shirts and have dark hair that pools at the shoulders. This resemblance allows viewers to similarly cast themselves in the roles the artist has as an exercise in empathy and connection. “I hope viewers can immerse themselves in the stories of Boulder Hill, experiencing the memories and emotions I have encountered,” he says. “I aim for these artworks to evoke resonance and provoke contemplation on personal memories, hometown history, and human emotions.”

The Narrators runs from June 7 to July 13 at Beers London. Find more from Shuo on Instagram.

 

a man in a yellow long sleeve shirt and orange rolled up pants sits in a tree with a cut branch while a cat stands at the bottom right

“Onlooker in the Tree” (2024), oil on linen, 120 x 110 centimeters

a man in a beige sweatshirt with brown pants walks on a path holding a kettle with fire and smoke

“Fire for Warmth” (2024), oil on linen, 170 x 140 centimeters

a man with long hair, an orange long-sleeve shirt, and rolled up tan pants grips a twig as if to hit a striped cat near a butterfly

“The Child Catching Butterflies” (2024), oil on linen, 120 x 110 centimeters

a shirtless man hunches over and grasps green grass in a field

“Weeder” (2024), oil on linen, 160 x 140 centimeters

two men with long hair, long sleeve shirts, and rolled up pants work in a field with two dogs at their feet

“Water” (2024), oil on linen, 170 x 140 centimeters

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Tang Shuo Casts Himself as Members of His Small Chinese Village in a New Series of Paintings appeared first on Colossal.

100 years of British royal photography goes on display in London

By in Photography

100 years of British royal photography goes on display in London
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A new exhibition opens this week tracing a century of British royal portrait photography, from the official coronation image of King Charles III to an intimate portrait of his late aunt Princess Margaret.

“Royal Portraits: A Century of Photography” is the first exhibition in the newly reopened King’s Gallery at Buckingham Palace, which was previously known as the Queen’s Gallery.

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Sony’s new Xperia 1 VI flagship zooms in on photography nerds

By in Photography

Sony’s new Xperia 1 VI flagship zooms in on photography nerds

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It ships with an upgraded telephoto camera, AI autofocus features, and a new unified photography app.

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By Jess Weatherbed, a news writer focused on creative industries, computing, and internet culture. Jess started her career at TechRadar, covering news and hardware reviews.

Sony has introduced the Xperia 1 VI, the sixth generation of the company’s flagship smartphone that could tempt photography enthusiasts away from rivaling iPhone and Pixel devices. Some of those perks include a true optical zoom, AI-assisted autofocus, and a unified app experience.

It has three cameras on the back: a 24mm main camera with a 48-megapixel Sony Exmor T sensor, a 16mm ultrawide, and an 85-170mm variable zoom telephoto camera that provides magnification around 3.5x to 7.1x that of the main camera. The Xperia 1 VI also utilizes this new telephoto camera for its macro mode.

The device comes with auto-focus “human pose estimation” AI technology that can recognize a subject’s body and head position and supports filming video in 4K HDR at 120fps that works alongside high-end color profiles like the S-Cinetone. Sony has also unified its various filming and photography features into a single camera app experience, preventing users from needing to jump between different software.

Inside the Xperia 1 VI, you’ll find the latest Snapdragon 8 Gen 3 chipset, 12GB of RAM, and a choice between 256GB and 512GB of storage. Sony says its 5,000mAh battery should provide users with up to two days worth of juice on a single charge and that the device supports both 15W wireless charging and wireless battery sharing to other devices.

A close up shot of the cameras on the Xperia 1 VI.

A close up shot of the cameras on the Xperia 1 VI.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>The optical zoom on the 12-megapixel telephoto camera seen here on the bottom ranges from 85 to 125mm.
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A few other changes have also been introduced besides the camera upgrades which might be a harder sell for some customers. The previously 4K display is now 2220 x 1080 and has been reduced from 7.1 inches down to 6.5 inches, taking the aspect ratio from 21:9 to a stouter 19.5:9. It does now have a variable refresh rate between 1Hz to 120Hz however, and Sony says the OLED display can achieve a 50 percent higher peak brightness than the Xperia 1 V.

The Xperia 1 VI against a white backdrop.

The Xperia 1 VI against a white backdrop.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>The Xperia 1 VI’s more compact size may also appeal to folks who are looking to move away from larger smartphones.
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The actual design remains fairly unchanged. It’s visually almost identical to the previous model, down to being released in the same three colors: black, silver, and khaki green. It also still comes with a dedicated shutter button and a 3.5mm headphone jack (a rarity in flagship mobiles these days), though Sony says the new “full-stage” speakers also provide improvements to “bass, clarity, and the spread of sound” for those who choose not to plug in.

All three colors of the Xperia 1 VI.

All three colors of the Xperia 1 VI.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>The model in the middle is supposed to be “khaki” in case you’re as confused as I am.
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Unlike previous releases in the Xperia 1 series, Sony isn’t planning to release the Xperia 1 VI in the US. The device can, however, be preordered now in the UK and across Europe for £1,299 (around $1,640) and €1,399, respectively, with deliveries starting from June 6th.

Essential Lessons for Mastering Studio Portrait Photography |

By in Photography

Essential Lessons for Mastering Studio Portrait Photography |

Mastering studio portrait photography requires adapting to controlled environments and understanding how to manipulate lighting and equipment effectively. The transition from outdoor to indoor photography can be challenging, but it offers unique opportunities to refine your skills and produce high-quality images consistently.

Coming to you from Manny Ortiz, this insightful video highlights the key lessons learned from years of studio portrait work. One important point Ortiz makes is that the studio environment can be humbling. While outdoor shoots provide dynamic elements like natural lighting and backgrounds, studio shoots rely heavily on your ability to control every aspect of the scene. This means that success in the studio often hinges on a deep understanding of lighting setups and creative problem-solving.

Another crucial lesson is the relative importance of camera gear in a studio setting. Ortiz explains that in a controlled environment, lighting, composition, and other factors often overshadow the technical specifications of your camera. This is because studio photography allows for precise control over lighting conditions, reducing the reliance on high-end camera features like dynamic range and low-light performance. Ortiz demonstrates this by comparing images taken with his most expensive Sony camera to those taken with a less advanced model, showing that with proper lighting, the differences in final image quality can be minimal.

The video also emphasizes the benefits of using various light modifiers to achieve different effects. Ortiz discusses how different modifiers serve specific purposes, such as using a 1×4 strip box for rim lighting to create a narrow beam of light. He also highlights the importance of larger modifiers for producing soft, flattering light, which is ideal for portraits. 

In addition to lighting techniques, Ortiz covers the practical aspects of maintaining a photography studio. He shares his experience of the financial and logistical challenges involved, such as the costs of studio space, renovations, and utilities. Despite these challenges, he notes that having a dedicated space for photography and video production has been a worthwhile investment, allowing him to experiment, practice, and collaborate more effectively. Check out the video above for the full rundown from Ortiz.

If you would like to continue learning about the art of portraiture, be sure to check out our range of tutorials on the subject in the Fstoppers store.

Royal photography exhibition includes section on retouching

By in Photography

Royal photography exhibition includes section on retouching

A new Buckingham Palace exhibition on royal portraits has included a section on the history of retouching royal family photographs.

It follows the controversy over the Mothering Sunday family image released by the Princess of Wales in March that was withdrawn by picture agencies worldwide over fears that it was edited.

The Princess later apologised for digitally manipulating the family picture, taken by Prince William in Windsor, explaining that “like many amateur photographers, I do occasionally experiment with editing.”

Now a section specifically dedicated to retouching forms part of the Royal Collection Trust’s (RTC) new exhibition titled Royal Portraits: A Century of Photography.

Using historical examples of retouched pictures of the royals, the exhibition explores the theme in select photographs and letters on display in The King’s Gallery.

Exhibition curator Alessandro Nasini explained that the process of retouching is a “very important part of the royal portraiture.”

Princess of Wales Mothering Sunday photo


The photo that caused much controversy with the Princess of Wales later explaining: ‘like many amateur photographers, I do occasionally experiment with editing’


Credit: The Prince of Wales

Speaking at the press viewing, he told The Telegraph: “The retouching has been around since photography was invented, but because portraiture is a creative process, retouching is very much part of it as one of the tools that the photographer has to use as a way of translating the vision they had in their mind.

“Retouching could be as simple as cropping an image to making a composite image by using different photographs to create one final single image.”

The section includes a letter from photographer and husband of Princess Margaret, Lord Snowdon, stating that “something will have to be done about the halo of leaves round the top of Prince Philip’s head” in a picture he took of the late Queen’s young family.

The two separate photographs, one without the leaves and one with them circled with an annotation of “take out”, are put on display beside the letter.

In a label explaining the “stages of a typical royal portrait commission,” retouching is listed as number four of six stages.

It reads: “While some photographers prefer to retouch before providing the first proofs, others only do so on the selected portraits. Retouching may also be requested by the sitter.”

Royal Portraits: A Century of Photography includes several never-seen-before portraits


Royal Portraits: A Century of Photography includes several never-seen-before images


Credit: Paul Grover for The Telegraph

In another section of the exhibition, a label of Annie Leibovitz’s 2007 portrait of the late Queen explains how the photographer superimposed her figure onto a background.

“Using digital post-production, Leibovitz has superimposed the figure onto a digitally enhanced photograph of the Buckingham Palace gardens,” it states.

The exhibition, which opens to the public on Friday, includes portraits of the family taken by renowned royal photographer Cecil Beaton, Dorothy Wilding, Leibovitz as well as David Bailey among others.

It also sees a previously unseen photograph of four royal women, including Queen Elizabeth and Princess Margaret, and their newborns put on display for the first time.

The intimate picture of royal motherhood was taken by Lord Snowdon as a token of thanks for Sir John Peel, the royal obstetrician who delivered four royal babies within two months. A letter written by Princess Margaret addressed to “Darling Lilibet” is displayed next to the picture in which she suggests that her sister sign the portrait for the doctor.

It reads: “Here are the photographs – minus moles and spots of white – which Tony sends with his love…Would you like to sign it and then I will catch Kate to do the same and send it to him as a souvenir of an extraordinary two months of delivery.”

Taken at Kensington Palace, the picture shows Princess Alexandra holding James Ogilvy, the late Queen holding Prince Edward, Princess Margaret holding Lady Sarah Chatto and the Duchess of Kent holding Lady Helen Windsor.

Among the other highlights of the new exhibition are the Queen Mother’s personal copy of her daughter’s Coronation portrait and the earliest surviving colour photographic print of a member of the Royal family.

Andy Warhol's famous image of the late Queen


Andy Warhol’s famous image of the late Queen, derived from an official photograph, is part of the exhibition which you can see at Buckingham Palace until July 8


Credit: Paul Grover for The Telegraph

The exhibition includes just over 150 items from the RCT and Royal Archives.

Mr Nasini, the curator, said: “The Royal Collection holds some of the most enduring photographs ever taken of the Royal Family, captured by the most celebrated portrait photographers of the past hundred years – from Dorothy Wilding and Cecil Beaton to Annie Leibovitz, David Bailey, and Rankin.

“Alongside these beautiful vintage prints, which cannot be on permanent display for conservation reasons, we are excited to share archival correspondence and never-before-seen proofs that will give visitors a behind-the-scenes insight into the process of creating such unforgettable royal portraits.”

The selection of the images is an independent process by the curator but The Telegraph understands the King was made aware of it.

As former chairman of the RCT and now patron, the monarch “is very much interested in what we do, including what we present in the King’s Gallery,” Mr Nasini added.

The exhibition will run from May 17 to October 6 in the King’s Gallery and tickets will cost £19 for adults, £12 for a young person and £9.50 for a child or disabled person.

A new £1 ticket offer has also been launched by the RCT for those receiving Universal Credit and other named benefits, and is available for the portraits exhibition from May 17 to July 8.

Artists flock to Mason City to install 20 new public sculptures

By in Sculpture

Artists flock to Mason City to install 20 new public sculptures
New sculptures are being added to the River City Sculptures on Parade display this week in downtown Mason City. It’s the 12th year of the program as artists from across the country are in town, installing their works on pedestals throughout the nearly two-mile route that winds through downtown. Sculptures on Parade director Mary Markwalter says […]
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