The sculptor had a breakthrough in the late 1990s with his torqued metal rings. Then the attack on the World Trade Center, which Serra witnessed, gave them a sudden new significance.
When Richard Serra’s Steel Curves Became a Memorial
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Outrage as photograph showing body of Shani Louk wins competition
A photograph from October 7 depicting Hamas terrorists with the half-naked corpse of German-Israeli Shani Louk has been awarded Team Picture Story of the Year, along with a collection of other graphic photos from the Israel-Hamas war, by the world’s oldest photojournalism award competition, sparking outrage online.
The Pictures of the Year award, run by the Donald W. Reynolds Journalism Institute at the Missouri School of Journalism includes a Team Picture Story of the Year category which recognises “the collaborative effort of a photography staff covering a single topic or news story.” First place was awarded to a selection of 20 photos from the Israel-Hamas war taken by Associated Press (AP) photographers.
The first photo in the selection was taken by Ali Mahmoud and depicts the horrific moment in which 22-year-old Louk’s body was transported in the back of a truck by Hamas terrorists. It is captioned: “Palestinian militants drive back to the Gaza Strip with the body of Shani Louk, a German-Israeli dual citizen, during their cross-border attack on Israel, Saturday, Oct. 7, 2023.”
22-year-old German-Israeli Shani Louk was murdered at the Nova festival on October 7.
The collection, which includes AP photos depicting both Israelis and Palestinians in the days following October 7, was posted to Instagram last week by POY and swiftly criticised by those who claimed the photographer and the agency showed disrespect to Louk and her family by snapping the distressing photo and now, winning an award for it.
https://www.instagram.com/p/C4yazrtO73s/?igsh=dWR4Ym51dDloMno3
One user commented: “I am horrified. This is a picture of terrorists parading a dead body of a Jewish woman after they murdered her. Shame on you.”
Another user wrote: “So the ‘reporter’ who stood there while Shani got raped and murdered and took a photo of it is getting rewarded?”
HonestReporting, a media watchdog organisation devoted to exposing anti-Israel media bias, posed “serious ethical questions” in November 2023 about why a number of AP and Reuters Gaza-based photojournalists were so quick to arrive at the scenes of the October 7 massacre.
HonestReporting acknowledged the photo’s appearance in the winning Team Picture Story of the Year category, writing on X: “Congratulations to AP for winning a Pictures of the Year award. How does it feel to do so on the back of Palestinian photojournalists who infiltrated Israel on Oct. 7 and took photos like the one below of Shani Louk’s dead body in a Hamas pickup? Was RJI bothered about that before bestowing the award?”
Congratulations to @AP for winning a Pictures of the Year award. How does it feel to do so on the back of Palestinian photojournalists who infiltrated Israel on Oct. 7 and took photos like the one below of Shani Louk’s dead body in a Hamas pickup?
Was @RJI bothered about that… pic.twitter.com/MSasc9yzVp
— HonestReporting (@HonestReporting) March 22, 2024
In February, the families of Louk and other Nova massacre victims sued AP and Reuters for what they alleged to be the involvement of photojournalists employed by those agencies in the atrocities of October 7.
AP wrote a statement responding to the accusations on 22 February, writing that the agency has “the deepest sympathy for those affected by the horrific October 7 attacks in Israel,” but that the lawsuit filed against AP for its reporting is “baseless.”
“AP had no advance knowledge of the October 7 attacks, nor have we seen any evidence — including in the lawsuit — that the freelance journalists who contributed to our coverage did. Allegations like this are reckless and create even more potential danger for journalists in the region.
“Documenting breaking news events around the world — no matter how horrific — is our job. Without AP and other news organisations, the world would not have known what was happening on October 7.”
The organisers of the competition have been approached for comment.
The Xiaomi 14 Ultra is a photography nerd’s dream
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The Xiaomi 14 Ultra’s formidable phone camera is made even better with an upgraded grip and photo accessory kit.
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For most people, the compact camera is long since dead; a camera is a phone and a phone is a camera. But despite all of the technological developments over the past few years, phones still leave something to be desired if you’re the kind of person who likes to go take photos.
Traditional cameras — especially of a certain size and shape — are still alive and kicking, partly because there’s nothing that beats real buttons, dials, and a sturdy grip. They’re things that phones generally don’t have — except for the Xiaomi 14 Ultra. It’s the camera-iest phone camera I’ve used in the last decade (RIP the Nokia Lumia 1020), and I dearly wish it was available in the US.
The Xiaomi 14 Ultra photography kit — an optional accessory bundle for Xiaomi’s flagship — is what really turns this phone into a camera. It’s a follow-up to the photography kit introduced with the 13 Ultra last year, and for the most part, Xiaomi made a good thing better. Like the previous version, it includes a phone case and a detachable grip that snaps on to the case. The grip has a two-stage shutter button and a zoom rocker, now joined by a customizable dial and a video button.
Truly, it’s all killer, no filler — everything on the grip is super handy. The dial is set to exposure compensation by default, and that’s where I left it; I love being able to shift image brightness up and down without tapping around on the screen. This works in the standard camera shooting mode, too, not just manual. My only complaint is that it’s a little too easy to bump it and accidentally knock your exposure up or down a notch without realizing it.
The video button is equally useful; I don’t have to look at the screen to switch to recording video. You can customize all of these input mechanisms. Crucially, you can set the zoom rocker to switch incrementally between lenses rather than using continuous digital zoom between them. It’s a thing of beauty.
This year’s camera grip includes a bigger battery and a USB connector that plugs right into the phone’s charge port. It’s more useful since it can provide some power to the phone if you run low, and it also reduces the control latency over last year’s version, which only connected over Bluetooth. The previous version wasn’t slow by any means, but this year’s version is a hair faster — and every millisecond makes a difference. The only downside is that the battery adds a little weight, and it’s enough to notice the difference when you have the phone balanced in one hand with the grip. Can’t have everything, I guess.
The Xiaomi 14 Ultra uses a 1-inch-type main camera sensor — that’s about as big as they come on smartphone cameras, and all things being equal, a bigger sensor is better. There are 3x, 5x, and ultrawide cameras on the rear camera bump, too. But the big story is that the main camera offers an f/1.63-f/4 stepless variable aperture, building on the 13 Ultra’s dual aperture design. I owe this new aperture an apology for initially calling it a gimmick; having used it a bit, I think it’s only a little bit of a gimmick.
Pretty much any phone camera you’ve ever used has a fixed aperture; only a few of them have ever offered an aperture with more than one setting. That’s fine — most phone camera sensors and lenses are so small that you really want the widest aperture setting at all times to let in more light. But the Xiaomi 14 Ultra, as noted, is not most phone cameras. The 1-inch sensor format is big enough that being able to stop down to a smaller aperture really is helpful in a couple of ways — I like Android Authority’s deeper dive on this.
Basically, a larger sensor and lens means it’s possible to produce shallower depth of field at a wide aperture setting, and sometimes you might actually want more of your subject in focus than that setting allows. Plus, phone cameras with 1-inch sensors oftenshow some ugly lens aberrations at wide aperture settings that disappear when you stop down. Helpful! Still, situations where you’d want to stop down to f/4 seem rare, and the native auto mode sticks to f/2 a lot of the time. But my favorite feature of this new aperture design has nothing to do with any of that: it’s sunstars.
Sunstars are a byproduct of the aperture’s 6-blade design. That’s entirely new to the 14 Ultra since the 13 Ultra used a circular diaphragm: no blades, no stars. It’s kind of a minor thing, but reader, I was absolutely thrilled to discover I could get sunstars on a smartphone camera.
I’ve been shooting with the 14 Ultra for a couple of weeks, and I still feel like I’m only scratching the surface — there’s just so much this camera can do. Image quality so far is very impressive, but if I can lodge one complaint, it’s that portrait mode segmentation isn’t as sophisticated as Samsung’s. Even though the 14 Ultra’s camera sensor is big, you’ll still need portrait mode if you want a really soft background and your subject is more than a foot away. It’s a good portrait mode for sure, but it’s not the very best in the game.
At the risk of making an extremely obvious point, it’s worth remembering that this is all available on a phone. I can download a Lightroom app on it. I can post my photos directly to Instagram. I can upload photos to my shared Google Photos albums with a few taps. Sorry to be a weirdo, but I can’t get over the fact that I can have an exposure compensation dial and all of the above on the same device.
To be clear, I don’t think phones can or should replace traditional cameras. But I’m happy to see a phone manufacturer taking smart cues from the world of traditional cameras, and I think traditional cameras could learn a thing or two from phones. I just wish I could buy this particular phone here — it’s a really nice camera.
Photography by Allison Johnson / The Verge
Meet the artist wowing audiences with her AR sculpture at DTLA’S “Limitless” exhibit
California Live’s Amber Pfister visits LA’s Hotel Figueroa to chat with Leah Smithson, the venue’s 2024 featured artist behind the “Limitless” exhibition. Smithson is the cutting-edge creative, developing the hotel’s first-ever immersive AR sculpture.
Five beginner landscape photography mistakes you’re most likely making
Landscape photography can be incredibly rewarding, and it sure is one of my favorite genres. But if you’re new to it, there are plenty of obstacles and mistakes at first. In his latest video, Mark Denney points out some of the most common mistakes beginners make while also revisiting his older video from 2019. Whether you’re a complete novice or looking to refine your skills, understanding these common pitfalls can help you avoid frustration and start creating stunning landscape photos.
Rule of Thirds… Always?
In 2019, Mark advised relying on the famous Rule of Thirds for composing landscape photos. It was his go-to technique, which he believed would instantly elevate any beginner’s image. However, after years of experience and countless landscapes captured, his perspective has shifted.
Now, Mark encourages you to experiment more. After all, it’s not interesting to have all the photos composed the same. While the Rule of Thirds remains a solid compositional foundation, Mark urges you to explore a broader toolbox of techniques. Leading lines, for example, can guide the viewer’s eye directly into the heart of the scene. Reflections can introduce a sense of symmetry and tranquility. Framing, like using a natural arch or a foreground element, can draw attention to your subject. And don’t forget foreground interest. A bed of vibrant wildflowers or a scattering of interesting rocks in the foreground can add depth and context to your landscape.
By embracing these various approaches, Mark argues, photographers can unlock their creativity and escape the monotony of relying solely on the rule of thirds.
New gear focus
Five years ago, Mark’s message was clear: gear acquisition syndrome is real. Aspiring landscape photographers shouldn’t get caught up in the endless chase for the latest and greatest camera. But this time around, his focus has shifted. Now, he emphasizes the importance of focusing on your gear… As long as it’s the gear you already own. Let me elaborate.
According to Mark, truly understanding your camera’s capabilities and limitations is the key to unlocking its full potential. Instead of obsessing about constantly fantasizing about the latest gear, become familiar with the one you already have and all of its settings. Only this way will you gain the confidence to tackle any lighting situation and capture stunning landscapes without feeling restricted by your gear. In essence, Mark is advocating for a deeper photographer-camera connection, where technical knowledge empowers you to translate your vision into reality.
Fundamental avoidance
One of the biggest mistakes Mark identified from his 2019 session was the tendency for beginners to overlook the fundamental building blocks of photography. This, he argues, is like trying to build a house without a foundation. The exposure triangle, the holy grail of capturing a well-lit image, is a prime example.
Understanding how aperture, shutter speed, and ISO work together to control light exposure is paramount. Learning to “read” a histogram, a visual representation of your image’s tonal values, becomes crucial in ensuring your photos aren’t under or overexposed. Mastering these concepts empowers you to take control of the creative process. By building a strong foundation in these fundamentals, Mark emphasizes, you’ll be well-equipped to translate your vision into captivating landscape images.
Stop thinking, start doing
In his 2019 video, Mark acknowledged the importance of information for aspiring photographers. Back then, his focus was on providing a solid foundation of knowledge. He recommended watching photography tutorials, subscribing to educational channels, and soaking up all the technical details he could. But in his latest video, Mark recognizes a potential pitfall – information overload.
For beginners, getting bombarded with endless technical tips and tricks can be overwhelming. Mark now emphasizes a different approach: prioritize practice over information consumption. While a fundamental understanding of photography is still essential, the best way to truly learn is by getting out there and taking pictures.
Editing is a crucial step in landscape photography
In his 2019 video, Mark’s stance on photo editing for landscape photography was a little more reserved. Back then, the focus was on capturing the perfect image in-camera, minimizing the need for heavy post-processing. He advocated for mastering camera settings to achieve the desired results upfront.
However, in the new video, Mark seems to embrace the power of photo editing as a crucial step in the landscape photography workflow. You may not enjoy post-processing, but the more you learn about it, the easier and more enjoyable it will become. So, learn basic editing skills, like exposure correction, color balancing, and selective adjustments. It will allow you to fine-tune your images and bring out their full potential.
Conclusion
By embracing these insights and actively working to overcome these common rookie mistakes, you’ll be well on your way to capturing breathtaking landscapes that leave a lasting impression. Remember, landscape photography is a journey of exploration and experimentation. So, grab your camera, head outdoors, and put these tips into practice. And let us know – have these mistakes been in your arsenal, too? We won’t judge! 🙂
[5 Landscape Photography Mistakes I See All Beginners Make! | Mark Denney]WePresent | Simon Wheatley’s photos of France’s banlieues in 2005
Blois, central France. A Gothic cathedral stands tall and proud, surrounded by chateaus filled with ornate decor and historic artworks of late kings, and lush gardens to rival Eden are set along the river Loire. It’s a picturesque city, one we might call typically French. What Blois doesn’t reveal is the country’s problematic approach to housing the country’s migrant populations, that 20,000 of its 50,000 inhabitants live in the fourth largest housing estate in France just a kilometer away.
On October 27, 2005, after the death of 17-year-old Zyed and 15-year-old Bouna resulting from a police chase, France’s suburbs, or banlieues, erupted in protest against the country’s systematic police violence and racism. Simon Wheatley didn’t intend to stay in France when he was sent on assignment to capture the mood of a nation characteristically in protest towards its authorities—he jumped on a train after hearing that no photographer was documenting the French estates at the time.
“Always and Forever There,” his book published late 2023 (18 years after the photos were taken) is a tale of youth pushed to the margins of French life, as Simon says in the book, “lumped on the edge of town.” Wheatley photographed Blois and its inhabitants in 2005 after being commissioned by Magnum. “It was a bit of a media tour,” he says of when the journalists first arrived. “We saw some burnt out trucks and cars. I made a few photos but it seemed like a very pointless exercise. It was almost tourist journalism.”
Dior x Tia-Thuy Nguyen: The Ethereal Lady Cloud Bag Sculpture
Discover the ethereal collaboration between Dior and Tia-Thuy Nguyen as they transform the iconic Lady Bag into a quartz-based sculpture resembling a cloud. Explore more at Tia-Thuy Nguyen’s website.
Iconic bunny sculptures are back in Saginaw in time for Easter egg hunt
SAGINAW, Mich. – Hippity-hop to the Saginaw County Courthouse lawn to see the community’s iconic Easter bunny sculptures!The more than 20-year-old sculptures ar
ArtSEA: Celebrating Richard Serra’s massive Northwest sculptures
Plus, the National Nordic Museum’s new show of mixed media works by Black artist expats in 20th-century Scandinavia.
Capping off graduation, a rodeo mishap and more of the week’s best photos
March 24 | Hebron, West Bank
Israeli soldiers guard Jewish settlers, wearing costumes, as they celebrate the holiday of Purim during an annual parade. The Jewish holiday commemorates the Jews’ salvation from genocide in ancient Persia, as recounted in the biblical Book of Esther.
Heidi Levine for The Washington Post
