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Core SWX has recently introduced its groundbreaking NANOX batteries, specifically designed to address the dynamic requirements of hybrid shooters in the film and photography sectors. These innovative power solutions combine lightweight construction with a rugged design, ensuring reliability under various shooting conditions. With options including 98Wh and 150Wh capacities and compatibility with both V- and Gold Mounts, the NANOX batteries are poised to transform power management in content creation.
The NANOX batteries stand out with their ‘NexCore’ compound shell, a state-of-the-art polymer blend engineered for exceptional impact, vibration, and extreme weather resistance. This robust construction does not come at the expense of portability, as the batteries maintain a compact and lightweight form factor, making them ideal for on-the-go shooting scenarios. Each battery is equipped with versatile auxiliary ports, including USB-A, a 100W USB-C PD, and a 12V P-Tap, catering to a broad spectrum of devices and accessories. An LED display for accurate power management and an EmLED Display for enhanced durability further underscore the thoughtful design behind these batteries.
Core SWX has integrated RFID technology into the NANOX batteries, enabling seamless communication with selected cameras and smartphones. This feature, coupled with the forthcoming Voltbridge iD app, promises to offer users an unprecedented level of control and monitoring over their power usage. The inclusion of these technologies highlights Core SWX’s commitment to innovation and its focus on meeting the evolving needs of modern content creators, who require reliable and efficient power management solutions.
Targeting outdoor, news, and travel cinematographers, as well as independent creators, the NANOX batteries are designed to support a wide array of projects and workflows. Their versatility and durability make them an invaluable tool for professionals who demand power efficiency and portability in their equipment. Available for preorder at $285 for the 98Wh version and $395 for the 150Wh variant, in both V-Mount and Gold Mount options, these batteries are set to become an essential component of any content creator’s toolkit.
As the film and photography industries continue to evolve, the demand for innovative and adaptable power solutions grows. Core SWX’s introduction of the NANOX batteries represents a significant leap forward in meeting these demands, offering hybrid shooters a potent combination of performance, durability, and versatility. With their rugged design and advanced features, these batteries are poised to become a staple in the equipment arsenals of content creators worldwide, reshaping power management in the process.
In the world of photography, where moments are frozen in time, entrepreneur Jackie McGriff has discovered a profound connection between photography and self-love. As the owner of Jackie Photography, her journey began with an indirect inheritance from her grandmother, who unknowingly passed on a passion that would become McGriff’s sanctuary during challenging times.
McGriff vividly recalls her grandmother’s love for taking pictures of her and her sister with her polaroid camera. McGriff also remembers visiting her grandmother’s photo room, where pictures adorned a clothesline, a precursor to her own immersion in the world of photography. In the midst of battling low self-esteem due to childhood bullying and coping with the death of her grandmother, McGriff found solace and empowerment through the lens of her camera, a journey she now extends to others.
Embarking on her photographic journey, McGriff initially confronted her self-esteem issues by taking daily selfies — a step beyond her comfort zone. She paired this with a daily affirmation in front of the mirror, slowly building confidence. “The first time I did it I felt so dumb, but I did it. The more I said it, the more comfortable I became with it,” McGriff revealed.
Her exploration deepened when she joined a local church’s free photography class. Encouraged to invest in a quality camera, McGriff began capturing the beauty of Rochester, proving that in a city that some may feel is not aesthetically pleasing, there are untold stories waiting to be seen. McGriff’s mentor, Mona Isler, often refers to her camera as “God’s eye,” recognizing McGriff’s unique ability to perceive beauty where others might not.
As McGriff honed her craft, her client base expanded, revealing a common thread — many struggled with self-esteem issues similar to her own. One poignant memory remains etched in McGriff’s heart: a client who believed a photograph of herself would break the camera. It fueled McGriff’s mission to use photography as a tool for self-empowerment.
However, McGriff’s journey as a Black woman business owner in a male-dominated industry hasn’t been without challenges. Frequently, her knowledge and skills are underestimated, and she often encounters assumptions of being a novice. McGriff has also noticed a deficit in representation of Black photographers, causing a feeling of loneliness in her profession. McGriff addressed this by joining the international group, Black Women, Fems and Non-binary people in Photography, discovering a network that countered her initial sense of isolation.
McGriff encourages other Black photographers to network actively, collaborate with fellow Black-owned businesses and proudly promote their work. Through this approach, she and other Black Women Photographers (BWP) in the community launched a local meetup in Rochester. The meetup fosters a sense of community for local photographers and opportunities to network and learn from each other.
While accolades abound, Jackie values the internal healing that photography has brought her. “You are worthy of getting your photos taken,” she insists, echoing the personal affirmation that kick started her journey. Through her lens, Jackie continues to inspire others to embrace their worth, one photograph at a time.
To discover more about Jackie Photography, visit www.jackiephotographs.com.
New York Public Library to Display Theatre Photography of Friedman-Abeles Studio
The exhibit will feature images from Purlie, Camelot, West Side Story, and more.
The New York Public Library for the Performing Arts at Lincoln Center will celebrate the theatre photography of the Friedman-Abeles
Studio in an upcoming exhibit offering a unique presentation of lenticular
prints. Entitled Reanimating Theater: The Photography of Friedman–Abeles, the exhibit will open March 15 and continue through September 25.
From 1954–1970, the Friedman-Abeles
Studio—featuring the work of Leo Friedman and Joseph Abeles—photographed the majority of the shows on Broadway, including color images that the Library received as slides. The
cost of reproducing these images in the pre-digital era meant that few have ever been seen before.
Rather
than selecting a single shot from these shows, the Library has used the technology of lenticular printing to
simulate animations of several of the shots, giving a
sense of the movement of the original production.
This
exhibition, curated by Doug Reside, will showcase selections of some of the studio’s most iconic images from the original Broadway productions of Purlie, Camelot, West Side Story, and Bye Bye Birdie.
Click here for more information.
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From time immemorial, artists from all mediums have long been drawn to self-portraiture. Michaelangelo made an appearance in his famous fresco on the ceiling of the Sistine Chapel and Hitchcock couldn’t resist cameos in most of his films. So what lies at the heart of artists’ enduring desire to create images of themselves?
Photographer Giulia Bersani has been taking self-portraits since her earliest experiments with a camera. Initially, this was for pragmatic reasons – she was the only consistently available model. Gradually, she also realised this practice created an opportunity to explore her own identity and psyche. She began to think of these pictures as “precious documents” for their ability to offer insight into her interiority, as well as her physicality. The Milan-born photographer tells Dazed, “I think self-portraits have an extra value since the presence and essence of the artist is double.”
Dating back to 2011, her ongoing series of self-portraits express the photographer’s fervent curiosity about her experiences, her identity, and the world around her. Often staggeringly beautiful, sometimes melancholic, Bersani’s pictures feel confessional and incredibly intimate. She describes them as the “rawest and realest” of all her work. Many of the portraits are nudes, which amplifies the intense sense of how vulnerable Bersani dares make herself. Nothing is hidden – be it pleasure, heartache, insecurity, fear, loss, passion. Sometimes the presence of the camera is explicit and she meets our gaze. Other times, we feel much more like voyeurs spectating on an unaware Bersani as she eats dinner or rides in the back of a car.
Below, we chat with Giulia Bersani about what obsesses her as a photographer, why she turns the camera on herself, and the experience of making such intimate work public.
What period do the pictures span? And what led you to turn the camera on yourself?
Giulia Bersani: I started to take self-portraits as soon as I started taking photos – in 2011, I was 18 years old – and I shot the last one yesterday. The first reason I turned the camera on myself was very simple; I wanted to photographically exploit my free time and I was often the only available model. Over time, I started to notice the value of those pictures as a precious document and the value of this process that gave me some space to work on myself in the research of who I am.
Are these self-portraits staged or spontaneous? Could you please tell us a bit about the process?
Giulia Bersani: They are very diverse, but most of them were taken in a spontaneous and real context. During my quotidian life, I keep observing myself and when I feel like there is something interesting in the moment I’m living – aesthetically or emotionally – I search for my camera, put it on a chair or a stack of books, or hang it on the wall with scotch tape, and I take a self-portrait of the scene as it was.
“The perfect photograph to me is very personal and connected to precious memories” – Giulia Bersani
As a photographer, what would you say are the recurring themes in your work? What obsesses you?
Giulia Bersani: Intimacy between people obsesses me… love, sex, motherhood etcetera. But also intimacy with myself – which you can find in those self-portraits – and intimacy between me and the people I photograph.
Thinking about your practice, what would you say are the guiding principles when it comes to making an image?
Giulia Bersani: I’m very quiet when I photograph; I move slowly and talk softly. The most important thing is to leave the subject enough space to open up; to take off the mask, and to leave myself enough time to observe everything without judging.
In your opinion, what elements make a perfect photograph? And how do you edit your work and make selections of which pictures to choose?
Giulia Bersani: The perfect photograph to me is very personal and connected to precious memories. I let my stomach and my instinct choose which pictures are the most powerful to me. It’s often about the strength of gestures and colours.
“You can see my insecurities, my melancholy, my fears, but also the house of my parents where I grew up, my love stories, the story of my body” – Giulia Bersani
As a body of work, what do you think these self-portraits reveal about you as an artist and as an individual?
Giulia Bersani: This part of my work is probably the rawest and the realest part. You can see my insecurities, my melancholy, my fears, but also the house of my parents where I grew up, my love stories, the story of my body.
How does it feel to make public such intimate work?
Giulia Bersani: It feels good, it doesn’t scare me. I love transparency and I think those pictures are simple and true enough not to be misunderstood. It’s about self-representation. Since it’s my own vision about myself (as a woman), it’s precious.
Where, ultimately, do you intend this series to live?
Giulia Bersani: I would love, sooner or later, to see it both as a photobook and an exhibition. I’m waiting for the right occasion. It’s an ongoing series but I already collected more than 120 different self-portraits in 12 years so it would make sense for me to elaborate on them in a new shape at some point.
For updates on Giulia Bersani’s ongoing series of self-portraits and other work, you can follow her on Instagram.
An Australian photographer accused Taylor Swift’s father, Scott Swift, of punching him in the face as the pop star and her entourage disembarked a yacht.
New South Wales police said they were investigating a report that a 71-year-old man assaulted a 51-year-old man at a wharf in the Sydney area early Tuesday morning, after Taylor wrapped up her final concert in the city on her worldwide “Eras” tour.
“We don’t confirm names of victims and offenders of crimes, but if every other news agency in the world is using those names, you wouldn’t be wrong,” a police statement said.
The BBC cited a video shown on Australian media, in which Taylor and her father are seen walking toward a car, with the singer hiding her face under an umbrella and her father briefly throwing up his middle finger.
Photographer Ben McDonald told Agence France-Presse that a security guard used an umbrella to try to stop him from taking photos, and that an older man then hit him as Taylor entered the car.
“He punched me in the chops,” McDonald said. “It was a shock. That’s never happened to me in 26 years.”
Taylor’s spokesperson Tree Paine sent a statement accusing McDonald and another photographer present of “aggressively pushing their way towards Taylor, grabbing at her security personnel, and threatening to throw a female staff member into the water.”
A video published by Australian media shows photographers flashing pictures of the Swifts as someone instructs: “Go ahead and step away from the vehicle.” Then, an umbrella gets rustled.
“Don’t touch my umbrella,” someone says. “No, you touched my umbrella,” another person replies, before the video falls sideways.
Scott, nicknamed “Papa Swift,” is beloved by the megastar’s fans for public acts of kindness, including handing out sandwiches to fans at an earlier concert in Sydney. He left Australia with Taylor as scheduled after the incident, Good Morning America reported.
Taylor will continue touring in Singapore. The “Eras” tour became the highest-grossing music tour of all time last year, and the first to earn over $1 billion in revenue.
This story has been updated.
The Sony World Photography Awards 2024 have revealed the winners of the National and Regional competition which celebrates photographic communities in all corners of the world.
All the winners will receive Sony camera equipment and have their work exhibited. The Student, Youth, Open, and Professional competitions of the Sony World Photography Awards 2024 will be announced on April 18.
