Joshua Mann Pailet was born in the middle of the year, the middle of the day in the middle of the century on June 30,1950.
Joshua’s mother, Charlotte Mannova was born in Brno, Czechoslovokia and survived the Holocaust via Kindertransport.
The rest of her immediate family did not survive.
She met Joshua’s father in England when he was a Lieutenant in the US Army and moved to New Orleans, USA.
Joshua attended Rice University in 1968-1972-1973 where he studied Engineering, Economics and obtained in Masters in Accounting.
He took a photography course with Eve Sonneman to satisfy his fine Art credit.
He fell in love with the medium and began shooting his Nikon FE2 everyday.
His photography class exhibited their photographs at the Rice Gallery and Dominique and John de Menil of the Menil foundation purchased 19 of his photographs.
Joshua attributes Mrs. de Menil‘s continued collecting of his work to allowing him complete artistic freedom.
Joshua opened A Gallery for Fine Photography in New Orleans in 1975 to represent other artists.
With more good luck, Pailet met Harry Lunn, who assisted him with access to his first Ansel Adams Show.
Joshua closed A Gallery to live on the American Freedom Train for a year as their official Photographer.
The American Freedom Train was a red, white and blue steam engine that  traveled across the country and was one of the last steam engines in the US.
He reopened his gallery in 1977 and began showing artists including Brassaï, Diane Arbus, Ansel Adams and all the major Photographers.
Joshua is a founding member of AIPAD and was in the group of original photography dealers at Art Basel in Switzerland in 1989.
He procured a booth at both photo fairs for 15 years.
He continues to operate his gallery in New Orleans and work on his own photographs.
Joshua represents Henri Cartier-Bresson, Helmut Newton, Elliott Erwitt, Herman Leonard, Peter Beard and many many more.
A Gallery is the longest surviving photography gallery in the World and is located at 241 Chartres St, New Orleans, USA.
Joshua has over 350,000 black and white negatives and 150,000 color slides.
His work includes rock and roll, New Orleans culture, major American history events, Hurricane Katrina and many European images showcasing Paris, Prague and Switzerland.
His love of photography, honesty of the human condition, range of work and his ability to capture  moments at their truthful speed allows viewers to see and feel life all around.
His work resides in the Bibliothèque Nationale in France, the New Orleans Museum of Art, the Ogden Museum of Southern Art, the Polk Museum of Art, the Smithsonian Instituion and the Library of Congress.

A Gallery for Fine Photography
241 Chartres St
New Orleans, LA 70130
www.agallery.com

An informal lunchtime program with engaging speakers or films held on selected Wednesdays from noon-1pm with coffee and cookies provided. Bring your own bag lunch and feed your hunger for art! Sponsored by Caroline and Jeffrey Blydenburgh. Additional support provided by The Joe & Sarah Galloway Foundation.

November 1: Photography as Visual Storytelling and Community Memory
presented by Peter Schreyer, Director of Crealdé School of Art

Peter Schreyer will share observations and invite discussion about his favorite images from Bearing Witness: Early 20th-Century Photography from the Karen and Frederick Dawson Collection. As a working film-based photographer, he will also show important period cameras used in the creation of the historic images from the collection. Schreyer is a Swiss-born internationally exhibited, award-winning documentary photographer and the long-time director of Crealdé School of Art in Winter Park.

Many photographers will say that your camera lens is as important (or even more important) than your camera body. All of the light that your camera body captures has to go through some sort of lens, which affects sharpness, distortion, amount of light, perspective, and many other variables.

Although your camera body is important and you may benefit from different features with different styles of photography, having the right lens is often key to making many great shots – regardless of what body you have. This guide will provide you with the information you will need to decide what camera lens(es) you should buy. Fair warning: lens acquisition can be addicting!

Table of Contents

What Is a Lens?

First things first: what even are lenses, and why do photographers obsess over them? Lenses direct the light from the scene you want to capture toward the camera’s sensor. In film cameras, lenses direct light onto the film. Lenses are typically characterized by their focal length, in millimeters, and their aperture, in f-stops.

Today, many entry-level cameras are what we call “point-and-shoot” cameras. They usually have built-in, non-interchangeable lenses that can zoom. Although these have greatly improved in quality in the past decade, there are still limits to having a built-in lens that can’t be changed. On the other hand, DSLRs and mirrorless cameras dominate the professional market right now and usually allow photographers to change lenses depending on their situation. To find out if your camera’s lens can be changed, read its manual or search the internet.

Lens Characterization: Focal Length

In basic terms, the focal length of a lens is how “zoomed in” or “zoomed out” your lens can be. This is very important when deciding what lens to get. The actual measurement is in millimeters, and it is the distance between your lens’s optical center and your camera’s image sensor when the lens is focused.

The higher the number, the more zoomed in your image will be. The lower the number, the more zoomed out your image will be. On a zoom lens, you’ll see focal length written as “##-##mm,” where the lower number is the most zoomed out and the higher number is the most zoomed-in focal length that a lens can achieve.

For reference, if your eyes had a focal length, it would be somewhere around 20mm, which is fairly wide. On the other end of the spectrum, many sports and wildlife photographers that you’ll see with large lenses are using focal lengths somewhere around 300-800mm.

You can easily find lenses that go as wide as 18mm and zoom in to 300mm, but mechanical limitations mean that it’s less common to have a lens that “does it all” with great quality. Yes, 18-300mm lenses exist (and many combinations in-between), but they might be heavier, lower quality, more expensive, or perform worse in low light than other focal lengths.

In the lens world, you’ll often hear people refer to “kit lenses.” These are usually less-expensive lenses that come with a camera body when you buy a kit. The most common kit lens is an 18-55mm lens, which goes from fairly wide to slightly zoomed in.

While many lenses zoom, some lenses don’t. These are called prime lenses, and they have a single, fixed focal length.

Read more: Prime vs Zoom Lenses: A Beginner’s Guide

Prime lenses often have wider maximum apertures than zoom lenses, which will be discussed later in this article. They’re also sometimes lighter, more compact, and sharper because their components don’t need to move. They tend to have fewer mechanical errors because there are fewer moving parts. Their biggest downsides are that they don’t zoom in or out at all, so you might need to carry more than one lens to a shoot if you’re using any prime lenses.

The most common prime lens is a 50mm lens that many photographers call the “nifty-fifty.”

A note about sensor crop: Sensor size affects a lens’s field of view, which can be confusing. A full-frame sensor camera, which is usually more expensive, will produce images without any crop (hence full-frame). A crop sensor camera, also called an APS-C sensor (common in entry-level DSLR and mirrorless cameras), produces images with ~1.5x relative crop.

In other words, an image shot at 50mm on an APS-C sensor would have the same field of view as an image shot at 75mm on a full-frame sensor camera. Many sports and wildlife photographers opt for APS-C sensors because of the increased relative zoom. Many landscape photographers opt for full-frame sensors because they give wider relative images.

To figure out your camera’s sensor size, check your camera’s manual or search the internet. To learn more about different sensor sizes, check out this article.

Lens Characterization: Aperture

Aperture is an opening inside a lens that light travels through, and it’s another very important consideration when choosing a new lens. It can be wider and let more light through, or smaller and let less light through. Additionally, wider apertures create more of a blurry background (more depth of field). Some lens apertures can go wider than others, letting more light through and thus being easier to shoot with in dark environments. Some apertures are fixed, and can’t open and close. Either way, lenses are often more expensive if they have wider apertures – mostly because that requires more glass. If you want to learn more about what aperture actually does and how to use it, check out this guide.

Lenses will most often be named with their focal length followed by their maximum aperture. Aperture is written in f-stops, and will look like “f/#.#.” Due to mechanics, some zoom lenses have variable maximum apertures. They’ll be written something like “f/#.#-#.#.” This denotes the maximum aperture that the lens can achieve at each end of its zoom range (zoomed out to zoomed in). For example, the most common kit lens mentioned above is an 18-55mm f/3.5-5.6 lens.

To give you an idea of how much aperture affects lens cost, a used Canon EF 70-200mm f/2.8 L lens is somewhere around $600-800 in the current market, with obvious variations in age and quality. A used Canon EF 70-200mm f/4.0 L lens is somewhere around $300-400. The extra stop of light is worth double the price to many people. There are other considerations about lens sharpness and other features, but the aperture is the most important in this case.

Other Lens Parameters

Aside from focal length and aperture, there are other features that you may come across when deciding what lens to buy.

• Autofocus and manual focus. This is often abbreviated using an “AF/MF” button on most lenses. This isn’t just a matter of old versus new lenses, as some manufacturers produce new lenses that are manually focused for a variety of reasons. The biggest reason is to cut lens costs, and manual focus lenses can often be much more economical.
• Image stabilization. Different manufacturers use different abbreviations for this, but you may see it referred to as IS (Image Stabilization), VR (Vibration Reduction), or something more simple such as Stabilization. This technology essentially uses electronics to stabilize a lens, reducing the amount of handheld camera shake that is present in an image. Lenses with stabilization are harder to make, and therefore they are usually more expensive. When paired with a camera body that has in-body stabilization, shake can be reduced dramatically.
• Minimum focusing distance. Every lens has a minimum distance at which it must be from a subject in order for the subject to still be in focus. Macro lenses, for example, have very low minimum focusing distances so that photographers can get inches (or even closer) from their subjects and still focus properly. Some older, larger lenses have minimum focusing distances of many feet.
• Lens diameter. This is often confused with focal length because it is also measured in millimeters. This is usually found on the end of a lens barrel and denotes the inner diameter of the front of the lens. This is useful for finding filters that will fit correctly, amongst other things.
• Lens weight. Although it may not seem fully necessary for everybody to consider, lenses can get quite heavy because they’re often made of a lot of glass. Shooting with a lens that’s too heavy for hours on end can be exhausting, so many photographers like to compare lens weights when looking at different lenses. Although a tripod can help alleviate exhaustion, tripods can’t always handle really heavy camera and lens weights. Tripods also can be cumbersome to set up and move around.
• Special uses. Some lenses are designed to create special effects or be used for certain things. Tilt-shift lenses, for example, have special components that allow the photographer to straighten lines (often used in architectural photography). Fisheye lenses are usually very wide lenses that create interesting, properly-named effects. Macro lenses can allow for incredible magnification of subjects that are fractions of an inch away from the end of the lens.

So, Which Lens Should I Buy?

After learning about different lens terms and parameters, you need to find a lens that will do what you want on your budget. Many people swear by lenses that come directly from your camera manufacturer (i.e. Canon, Nikon, Sony), but they’re usually a bit more expensive.

Others believe in the power of third-party lenses (i.e. Tamron, Sigma, Rokinon, Samyang, Tokina), and some even claim that certain models are sharper or better than the same lens coming from the camera manufacturer.

Another option is to buy a used lens, although it can come with risks. New lenses usually come with warranties, return periods, and the assurance that the lens is high-quality. Old lenses can have cracks, mold, faulty mechanisms, and more. However, used lenses can also be fantastic deals on gear that someone is simply not using anymore. Manufacturers usually make lens editions, and buying a first or second edition of a lens can often be much less expensive than the latest edition with similar quality. Newer lenses tend to have faster autofocus and better stabilization, but if you don’t mind waiting a bit longer for autofocus or keeping your camera more steady, older used lenses might be the way to go.

If you’re really torn between two or more lenses and you want to really make the right decision, there are many lens rental services available locally or online. Some rental services will ship you a lens with a return shipping label, and all you have to do is pay for shipping plus the days that you’re using the lens. The process is streamlined and very useful when deciding what to invest in.

If you’re looking for a lens based on a certain type of photography, here are a few pointers. Keep in mind that these are just starting places, and many people have gotten great results using unconventional lenses in different scenarios.

Landscape: You probably want a lens that can zoom pretty wide (called a wide-angle lens). Something as wide as 12mm might be a bit overkill, but popular landscape lenses are the 24-70mm lens or something a bit wider like a 16-35mm lens.

Portrait: Your biggest priority should be a wide maximum aperture so that you can create a nice blurry background. The most widely used portrait lens is a “nifty fifty,” which is a 50mm f/1.8 lens. They’re usually cost-effective, lightweight, and produce great shots. Anything with a maximum aperture around f/1.8, or even around f/2.8 would be good for portraits. Other fantastic portrait lenses include 85mm lenses, which can often flatter subjects more due to their compression at a higher focal length and greater distance from the subject. Some photographers use 70-200mm lenses to achieve a similar result.

Wildlife and Sports: Usually, you’ll want a lens that can make your subject fill the frame. This might be a telephoto (zoom) lens, like a 75-300mm or 100-400mm lens. You may also want something with a faster maximum aperture and with greater image quality, so you could look into getting a prime lens such as a 300, 400, or 500mm lens. Many professional sports photographers shoot with really fast prime lenses, which is why their lenses are so large.

Street: A lot of street photography is at times when there is little light. You’ll probably want something versatile, like a zoom lens with a fairly wide maximum aperture. A 24-105mm f/4 lens might be a good place to start. A 24-70mm f/2.8 might suit others better.

Macro: This one pretty much writes itself. You’ll probably want a macro lens, which is specifically designed to have a small minimum focusing distance. These come in lots of shapes and sizes, so consider what you’ll actually need for what you want to do.

Astrophotography: You need as much light as possible entering your camera, so go for a lens with a really wide maximum aperture. Something like f/2.8 is pretty fast, but even f/1.8, f/1.4, or f/1.2 just gets better. The faster the lens, the more detail that can be captured in the stars.

Conclusion

There are lots of factors to consider when buying a camera lens. The two most important factors are focal length and aperture, which can have great impacts on price and quality. Decide what you’re trying to achieve with your new lens, and look at lenses that will help you achieve those goals.

Remember that, although there are many traditional uses for certain lenses, people have made names for themselves by using lenses in new ways. Wide-angle sports images or telephoto landscapes often help people stand out from the crowd. Lenses will help you achieve your creative goals, but they may also force you to expand what your goals are.

Once you’ve decided what lens you’re looking to purchase, remember that there are many options for purchasing lenses. You can buy name-brand lenses from the manufacturer, third-party lenses, or take a look at used lens options.

Regardless of what you decide, buying a lens carefully is likely to help you take your photography where you want it to go with impressive results.

Image credits: Header photo licensed from Depositphotos

Phlog, Egypt’s pioneering online photography platform, has joined hands with Sony MEA to mark World Photography Day by orchestrating three photography walks capturing the breathtaking essence of the Nile. The initiative aimed to showcase Cairo’s most significant aesthetic attributes while providing a platform for talented photographers to unveil their skills, nurture their potential, and contribute to the advancement of the photography sector in Egypt.

Phlog is always keen to support the photography community in Egypt in various ways. Through its partnership with Sony MEA, Phlog provided an exceptional opportunity for 45 photographers to participate in three photo walks along the Qasr El-Nil Bridge. The first walk captured the beauty of sunrise, the second the enchanting sunset, and the final one ventured into the mesmerizing night. Equipped with Sony cameras, these walls were led by a team of seasoned photographers, including Ahmed Mansour, a professional street and documentary photographer, Roger Anis, a renowned photojournalist with international newspaper and news agency experience, and Ahmed Naguib, a studio and portrait photography expert.

On this occasion, Khaled Taher, Founder and CEO of Phlog, stated: “We are delighted to collaborate with Sony MEA in creating opportunities for photography talents. We firmly believe in nurturing the skills of emerging photographers and empowering them to make a positive impact on society through art, thereby advancing the photography sector in Egypt.”

Mostafa Aidaros, Egypt Country Manager for Sony MEA, expressed: “Sony MEA takes great pride in partnering with the Phlog app to celebrate World Photography Day. This comes as part of the company’s ongoing efforts to support Egyptian photographers in their diverse fields by providing them with opportunities to enhance their skills.”

Along with the photo walks, Phlog celebrated World Photography Day by unveiling a series of videos featuring photography tips provided by Salma El Kashef, Sony MEA Ambassador. These videos were designed to offer guidance to aspiring photographers, enabling them to infuse their shots with professional flair and fresh visual perspectives.

It is worth mentioning that Phlog is the first of its kind in Egypt that builds a community that equips photographers with the tools to uniquely capture their world, and to monetize their work without compromise, through two applications, photographers’ application, which was launched on a trial basis in March 2022 and succeeded in reaching more than 34,000 users. This application had more than 34,000 photos uploaded to the application, and more than 65 campaigns with an average of 122 winners in the first year of its launch. The other application is for image buyers.

Spanish photographer García de Marina’s work blurs the line between the camera and the subject. Marina’s photographic style is minimalist, and his subjects are fascinating objects. His fine art begs the question, where does the photography end and the subject itself begin?

Marina’s work has been celebrated by many, and he has been featured in exhibitions worldwide. He is currently hosting a retrospective exhibition in his native Spain, where he is showing 250 of his works.

Alongside this exhibition, de Marina is the subject of a documentary, Crónicas de un Viaje. Well-known photographers, including famous Nat Geo photographer Steve McCurry, have collaborated for the documentary.

“Since 2011, I use objects as a means of expression. I am interested in their symbolism, that random connection of elements that a priori lack of relation, condensation, or essentiality, in order to translate them into an emotional burden. My work revolves around intuition and ideas, surrealism, and the world of the subconscious and dreams,” de Marina tells PetaPixel in an email.

He adds that his work seeks to transform objects and give them new identities. He aims to play with expectations and beliefs and challenge what may seem at first glance to be obvious.

“The basis of my photography is imagination and to find a point of union between objects that are very different from each other,” de Marina explained to Phlearn in a 2018 interview.

Although many excellent photographers make images evocative of a time and place, de Marina’s artwork is very much connected to an object and how the viewer interacts with not just that object itself but the idea of the object.

The minimalist approach and the heavy use of negative space within de Marina’s prolific body of work leave significant room for the viewer to assign meaning to each photograph. With so much space for interpretation and interaction between the viewer and an image, a person’s cultural background and experience can significantly affect how they think about de Marina’s work.

His photographic techniques are similarly straightforward. He told Dodho that he uses natural light through a window. In a presentation, “The Other Side of Things,” de Marina explains that he does not perform any digital manipulation on his images. Instead, he transforms real objects and photographs them in different ways to deliver his artistic vision.

His still-life photos are simultaneously basic and extremely high concept. His straightforward composition, simple backgrounds, and naturalistic approach to lighting lend a certain intensity to every image.

It can be tempting to confuse minimal with simple, but that would be doing a great disservice to the amount of effort and thought required to reduce any object and image of that object to its essential components.

More of García de Marina’s photography is available on his website and Instagram.

Image credits: All images © García de Marina

A wedding photographer has urged brides not to ask for refunds from wedding photographers on the island of Maui after it was hit with devastating wildfires.

Reyna Edmonds has a sister who is a wedding photographer on Maui and has been receiving “tone-deaf” messages from brides who are more concerned about their weddings than the catastrophic fires on the island.

“First off, I just want to say that my heart goes out to the people of Maui, I don’t think that anybody on the mainland has any idea of how horrific things actually are or were over there,” she says on TikTok.

“My sister’s told me that her and a bunch of other vendors on the island are getting messages from their brides on the mainland requesting their deposits back,” she continues.

“Emails asking silly, frivolous questions like ‘Do you think my wedding’s going to be okay five months from now?’ Or brides asking their opinion if their wedding should go ahead. While I realize to brides it is the most important day of their life, it is extremely tone-deaf for what is going on on the island of Maui.”

@reynarobyn If you would like to donate, need help with your wedding or are a vendor who wants to help please DM me or see my website www.reynarobynphotography.com #maui #mauifires #mauifire2023 #helpmaui #mauidonations @Maui Wedding Films ♬ original sound – Reyna Edmonds

“Unless you are sending your vendors words of positivity, love, and encouragement and asking how you can help them and donate, please do not reach out and email them,” she says.

“They are trying to find out how to keep themselves together, many of them have lost their homes, they’ve lost friends, they’ve lost family. Some of them have lost their gear, people have lost their lives, so please be patient, please give them the time that they need to figure out what is going on and only reach out if you’re actually willing to help.”

Edmonds is offering her own services in lieu of the affected photographers on the island of Maui while also encouraging other wedding photographers who would be willing to give their services for free to contact her.

“I know people having to cancel and reschedule their weddings is nothing compared to what the people on the island of Maui are going through right now, what they have seen and what they have endured, but I am hoping that by offering my services and by getting a group of vendors together who can offer their services will alleviate the pressure of the vendors there and allow them to at least keep some of the money that is their income so they can continue to feed their families, keep their homes, and do anything they need to do to keep their business afloat.”

The death toll in Maui has reached 114 victims and the local mayor says that 850 people are still missing. President Biden is traveling to Hawaii today to survey the damage.

Edmonds can be contacted via her website.

Image credits: Photo of Maui courtesy of Adam Gray.

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A wedding videographer has candidly criticised brides for worrying about their big days and asking for refunds amid relief efforts for the Maui wildfires.

Shayna Kiesler couldn’t believe how many requests she’d received from individuals looking to get their non-refundable deposits back from her company, Portola Wedding Films in Maui, because they would no longer be able to host their nuptials on the island. The community is being forced to not only deal with the loss of loved ones, landmarks, homes, businesses, and crops, but as she noted, brides-to-be are also worried about their personal fortunes too.

According to Hawaii Governor Josh Green, as of 16 August, more than 110 lives have been lost due to the devastating and unexpected fires that engulfed Lahaina last week. Governor Green also speculated that there are “probably still over 1,000” unaccounted for.

Kiesler’s sister, Reyna Edmonds, posted a TikTok on 14 August urging brides to stop making these monetary demands, as she noted conditions on the island are “horrific”. The Seattle-based wedding photographer attempted to appeal to the frustrated individuals, while also opening their eyes to the realities of Maui residents right now.

“While I realise to brides this is the most important day of their life, it is extremely tone-deaf for what is going on on the island of Maui,” she said. “Please be patient, please give them their time that they need to figure out what is going on, and only reach out if you’re actually willing to help.”

Edmonds also spoke to People, where she suggested that tourists don’t seem to have “empathy” for individuals like her sister. “From a vendor’s perspective, it’s frustrating. These people have no empathy for what the island is going through and what these [wedding] vendors are going through,” she proclaimed. “Like, yeah, my sister didn’t lose her home, but she knows people who have and her friends still have family that are missing.”

She continued: “I think that… everyone wants their beautiful wedding day, and [brides] can sometimes be a little bit selfish without realising they are and in this case, I felt like it was really happening and I just felt like I needed to say something on behalf of my sister.”

To assist struggling wedding vendors on the island, Edmonds is connecting them with other photographers and planners willing to service their customers for free so that the money they’ve paid to Maui business owners can stay with them.

“Obviously, I couldn’t imagine planning your dream wedding and then having this happen but I think that like everyone just needs to have a little bit of empathy,” Edmonds confessed.

In her video caption, she asked interested viewers to visit her website if they would like to donate, need help with their own wedding, or can provide services for those who do.

The Independent has contacted Edmonds to request comment from her and her sister.