An estimated one in three Americans have criminal records and millions have as a res
After a four-year hiatus, the Chinese Grand Prix returned to the Shanghai International Circuit on April 19. From the first race in 2004 until the 1,000th race in F1 history in 2019, this 上-shaped (the first Chinese character for 上海，Shanghai) circuit has witnessed the inseparable relationship between F1 events, fans and the Jiading District.
Qin Jian
Chen Di has snapped an array of memorable shots at the Chinese Grand Prix for years.
Chen Di, a national first-class photographer and president of the Shanghai Art Photography Association’s Sports Photography Branch, has been involved in the planning, marketing and event photography for major global events, including the Chinese Grand Prix.
“China hosted the first Formula One race in 2004. At that time, many Chinese photographers had not yet experienced high-speed racing photography. So, most of the photographs of the first race were captured by foreign professional sports photographers,” Chen explained.
Formula One has strict qualifications for photographers. Chen got his chance in 2009 and became one of the photographers for the Chinese Grand Prix, stepping onto the race track and using his camera to record the lightning-fast moments.
However, the initial efforts dampened Chen’s spirits.
“I watched the cars coming toward me, confidently pressing the shutter, only to find out later that the photo showed an empty track; the cars had already passed,” Chen said. “I had to progressively figure things out. I would sometimes pay great attention to foreign photographers during shoots, noting how they adjusted their cameras, the lenses they used, their movements, and the elements around them. Once they left, I would quickly move to their position and try to do the same.”
Since 2004, the Shanghai International Circuit has hosted a growing number of car events, giving Chen many opportunities to practice photography. He spent those years shooting, gaining experience and familiarizing himself with composition, settings and tracks.
Over the years, he has shot over 100 racing events, walking every corner of the circuit hundreds of times. Capturing the photo “Bulls Out of the Shed” stands out as one of his most memorable experiences.
Chen Di
“Bulls Out of the Shed”
During the 2011 Chinese Grand Prix, Chen got an opportunity when the Red Bull Racing team’s car entered the pit stop. He dashed to the scene to take a photograph of the car leaving the pits. However, just as he hit the shutter, a team technician approached him and informed him that he was too close to the car. Despite the chaotic setting, he was able to get the shot that is now permanently archived at the China Art Palace.
“Twenty years have gone by, and while I know the shooting spots at the back of my hand, I still believe there’s potential for creativity,” Chen said.
Imagine dozing off under the shade of a tree after a taxing day out in the sun, only to wake up to the gentle nudge of a wild cheetah snuggling against you. This isn’t the start of a fable or a campfire story. It’s what happened to Dolph Volker, a wildlife photographer and animal enthusiast, during one of his volunteering stints at Cheetah Experience, a sanctuary for endangered species in South Africa.
Dolph’s journey with animals began much like anyone’s affection for their pets. After the loss of his beloved dog, Dolph found a renewed mission in life: advocating for animal rights and raising awareness about endangered species. His commitment led him to Cheetah Experience, where lions, leopards, servals, and of course, cheetahs find refuge from the threats they face in the wild.
The memorable encounter took place on a particularly sunny day, when all Dolph wanted was a brief escape from the relentless sun. He found solace under a tree, not knowing that he would soon share his makeshift bed with a curious cheetah named Eden. As he slept, Eden approached him, likely intrigued by his presence, and decided to settle next to him for a nap. The slight nudges from Eden eventually woke Dolph, who was stunned but delighted by the trust and affection shown by this majestic creature.
With his camera by his side, Dolph didn’t miss the opportunity to document this extraordinary event. The photos and videos he captured show Eden displaying an unexpected gentleness, nuzzling against him, playfully biting, and even licking him. These tender interactions have not only strengthened his bond with the cheetahs he works to protect but have also made him a beacon of hope for animal conservationists worldwide.
Often referred to as “the cheetah charmer,” Dolph uses his platform, including a YouTube channel, to share insights into the behavior of these fast, fascinating felines. His stories and visuals help educate people about the plight of cheetahs, which are among the most threatened felines in Africa due to poaching and habitat loss.
This experience beautifully illustrates the surprising ways in which wildlife can interact with humans when given respect and space. For Dolph, it was a poignant reminder of why he dedicates his life to these creatures: to ensure that future generations will not only know of them through photos and videos but will be able to experience their grace in the wild. Such moments of connection underscore the urgency and beauty of wildlife conservation.
Western Canada’s second-largest camera show is coming to Richmond next weekend, as the hobby of photography continues to gain popularity.
On May 4, hundreds of photographers and filmmakers will gather at South Arm United Church for the Richmond Camera Show.
Patrons will get to explore offerings including all formats of film gear, cameras and lenses and accessories, and connect with other enthusiasts. A consignment table and appraisals will also be available.
Film photography and Y2K digital cameras have continued to gain renewed interest over the past few years, with many on social media rediscovering the small, pocket-sized digital cameras first introduced more than three decades ago.
One potential reason for this rise in popularity is accessibility, said Kevin Shen, founder of the Point & Shoot Club in Aberdeen Square.
“People think (the trend) probably started two or three years ago, but it actually (goes) way back when those cameras were selling for around $10.”
“$10 doesn’t hurt anything, right? So you spent $10 and figured out it’s pretty fun, and the trend (keeps) going.”
Digital point-and-shoot cameras also often come with built-in flashes, which is better value for money, said Shen.
He added film photography may also be appealing to those who are interested in photography but find the digital editing aspect daunting.
Although the cost of shooting film and point and shoots has since gone up, Shen said they remain more affordable than the average DSLR and mirrorless camera.
Sometimes, people might not even have to purchase a camera, he added.
“You can always (find) in your garage or your mom’s, your grandma’s places… I guarantee you will have those old cameras just lying around waiting for you,” he said.
Spanning two storefronts, the Point & Shoot Club serves as a camera shop, a studio and a clubhouse for Shen and his fellow photography enthusiasts.
Shen, who began taking photos more than 10 years ago, told the Richmond News he first set out to be a photographer but when that didn’t work out, he realized he could sell cameras.
He decided to start the club to provide a space for his business as well as his friends who also enjoy photography.
“I don’t know anything else (outside of photography),” said Shen.
The Point & Shoot Club sells anything vintage and used, but it also recently expanded by adding a studio space for local photographers. It also offers a film development service.
“I’m sort of an entrepreneur. I force myself to be an entrepreneur,” said Shen, who said he started the business to fund his dreams.
Not only does the studio welcome beginners to borrow props for photoshoots, Shen and other members of the club are also happy to offer advice. For example, those who are interested in film development can either set up a workshop with Shen, or he could simply show them his secret tricks.
“There (aren’t) many hidden secrets,” he said.
The Richmond Camera Show will be held from 10 a.m. to 3 p.m. at South Arm United Church at 11051 No. 3 Rd. Tickets are $5 and early bird admission from 9 to 10 a.m. is $10. For more information, click here.
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As photographers, we are constantly told that our gear or camera does not matter. As someone who has pushed this narrative, it is finally time to admit I’ve been wrong this entire time.
As a full-time landscape photographer with a small platform to voice my opinions to more than just my pets or friends, words carry meaning. Phrases like “gear doesn’t matter,” which I’ve said for years. The intention behind those words is to express that gear shouldn’t hinder you from pursuing photography, or finding ways to improve your work simply because you don’t have a certain lens or camera. While the intent of the phrase remains true, interpreting the words more literally could very easily be misleading to those that are newer to photography.
Gear does matter! Every person touting that it doesn’t (me included) is simultaneously taking photos with multi-thousand dollar equipment. Recently I’ve realized that gear even makes us better photographers, and if you don’t agree, then I’ve got a plethora of reasons to change your mind.
Excitement is one of the most important aspects of photography. It motivates us to get outside and experience nature, or into the studio to learn how light changes the mood of a portrait, or to invite friends around to practice on. This is how many of us fall in love with photography. If you’ve ever been excited to capture photos on a new piece of gear, then it has made you a better photographer!
When I first dived into the hobby of photography back in 2009, I purchased a camera and was genuinely excited to learn everything about how it worked while learning many of the technical aspects of photography in the process. I spent weeks or even months researching a particular lens I wanted to the point where, when it finally came in, it single-handedly reinvigorated my excitement to go out and take more photos. This continually made me a better photographer, even if I didn’t realize it at the time.
This is a great time to vocalize that it’s okay to enjoy gear! While I personally don’t get nearly as excited as I once did, it is totally okay if you do.
I’ve spent the majority of my landscape photography career without the ability to photograph anything cohesive past a 200 mm focal length. Once I finally took the plunge and bought the Canon RF 100-500mm so I could photograph wildlife in Alaska, it opened a new door for what I could capture during my travels. Did such a lens suddenly make me a master wildlife photographer? Of course not. However, by giving me access to a genre I once avoided, I had to learn (and continue to learn) a myriad of new photography techniques.
Landscape photographers typically are not worried about autofocus, shutter speed, or burst modes. Wildlife photography is the exact opposite, and I had to teach myself the ideal shutter speed for a flying bird or just how far I can push my ISO for noise reduction software later. Without the lens, I simply would have just enjoyed the moment in front of me and moved on.
Imagine the widest focal length lens you own is 35mm and you recently got a super-wide angle lens such as the Canon RF 15-35mm to capture astrophotography. That is an entirely new genre of photography with a lifetime worth of knowledge to learn by simply opening the door with a new lens, thus resulting in you becoming a better photographer in the process.
While I personally don’t get too excited about new gear anymore, I do find myself continually on the hunt for a camera that just gets out of my way so I can focus on creating. I gravitate towards cameras that are ergonomically better for my hands, have simple menu systems, or reliable autofocus. A few years ago, I even “downgraded” the image quality of my videos on YouTube by trading in my Fuji X-T4 for a Canon R7. The biggest reason is I couldn’t rely on the autofocus when recording myself. This fault, along with a poorly organized menu system, meant I got frustrated enough times to get rid of it.
You never want to be frustrated with the camera you’re using. As photographers, if we spend more time focused on getting the camera to do what we want rather than the story or art we want to represent, we won’t capture the moments that matter. This is incredibly important in the moments where I’m not only trying to capture the photo as it happens, but also record me capturing the photo. So how does a camera that gets out of my way make me a better photographer?
Simple, I can focus on the photography! A camera that gets out of your way so much that it becomes second nature to you and you can focus all your energy on the composition, the lighting, or the moment. This will slowly improve your skills as a photographer. Not only that, but you’ll be more excited to go out and shoot when you’ve got such a positive relationship with your gear.
Like an old car that only you can start the engine on, developing a relationship with your camera is far more important than you might imagine. If your camera hinders you from capturing the images you want, you are likely going to be unmotivated to go out and shoot. If you love the camera you have, you’ll find yourself enjoying the experience much more, which results in your becoming a better photographer in the process.
While a camera that doesn’t get in your way is great for someone like me, what about cameras that do get in your way? That might sound ridiculous, but think about it. The most popular camera in the last 5 years is very likely to be the Fuji X100 line. A fixed lens, crop sensor, “slower” camera.
Combined with the significant resurgence of film, it’s pretty clear that many people out there are looking to slow down and take a less-is-more approach. Just like having access to any focal length you could possibly want, restricting yourself to a fixed focal length provides unique challenges within itself. You have to find images that fit into that frame, and many photographers out there find these challenges refreshing or fun.
These restrictions test your capabilities, challenge you in new ways, and ultimately push you to become a better photographer simply because of the camera you picked up that day. This goes even further when trying to learn film. As someone who hasn’t taken the plunge yet, I know for certain that I will become a better photographer with an arguably much worse, slower, and older camera when I snap my first 35mm roll of film. These cameras are more about the experience and relationship you have when capturing photographs than they are about the end result.
Before you get your pitchfork out in the comments, please note that I’ve never said any of these things suddenly make you a good photographer. A new expensive or old expensive camera won’t suddenly turn you from amateur to master. They will all continually motivate you in different ways to improve as a photographer though. Even if you don’t care about the gear aspect at all, I’m sure there’s something you love about the tool you use that makes you a better photographer.
Still disagree? I’d love to know why in the comments and welcome any opposing views!
“The winning photograph captures the human side, how the community became close together, and how people showed support for each other during a difficult time,” says in the jury’s review of the press photograph of the year.
mbl.is/Kristinn Magnússon
Yesterday, Kristinn Magnússon, photographer for the newspaper Morgunblaðið and mbl.is, received the prize for news photo of the year 2023. The photo was taken at Hallgrímskirkja church where the residents of Grindavík came together in November.
At 15 am yesterday, at the Reykjavík Museum of Photography photographers were awarded awarded the prize for the for the news photo of the year and the photo of the year. The Icelandic Journalists’ Association announced this yesterday.
“This year’s news picture shows the other side of one of the biggest news stories of the year, the Reykjanes earthquake. The picture is from a time when the Grindvíkingar were together at Hallgrímskirkja. We saw many great pictures of the actual fires and the destruction caused by the earthquake, but the winning photograph captures the human side, how the community became close together, and how people showed support for each other during a difficult time,” the jury’s review of the picture says.
Kjartan Þorbjörnsson, or Golli, a photographer at Heimur and a former photographer for mbl.is, was awarded the prize for the photo of the year in 2023.
“The photo of the year 2023 is at first sight simple and quiet. It is highly symbolic and full of emotion. The film depicts Yazan, a young refugee from Gaza, temporarily decorating his home in Iceland with Christmas lights and the flag of his home country. The film evokes feelings such as sadness and empathy and is a good way to express his pride in his origin and home, a home that is now lost,” the jury’s review reads.
At the Museum of Photography, an independent jury selected 102 photographs from 17 press photographs from several submitted photographs. The six categories of photographs were news, daily life, sports, portraits, environment, and series. This year the jury awarded a prize for news photograph of the year and one picture from the former categories was chosen as the picture of the year.
The jury was composed of Árni Torfason, Hrund Þórsdóttir, Snorri Gunnarsson, and Andrea Bruce, who chaired the jury. Andrea is a war photographer from the United States who has worked in Iraq and Palestine for magazines like The New York Times and National Geographic.
Pablita Velarde launched a female dynasty in the art world with her own “studio style” paintings and subsequent works by her daughter, Helen Hardin, and her granddaughter, Margarete Bagshaw.
All three women broke boundaries — Velarde by taking brush to canvas, something Santa Clara Pueblo women were forbidden to do; Hardin with her forays combining traditional cultural imagery with geometry; and Bagshaw with her large-scale works reflecting both pueblo motifs and the modern artists of her time.
