Announced today, the Sony World Photography Awards 2023 aim to captivate and enthral, highlighting the art of a range of individuals working in the field – from seasoned professionals to emerging names and students. Produced by the World Photography Organisation, the prestigious competition, now in its 16th year, was conceived as a free-to-enter event to celebrate imagination, innovation, creativity and the world’s most influential artists in the global photography scene. 

As part of the reveal, acclaimed Portuguese photographer Edgar Martins scooped the Photographer of the Year title, for his series Our War, ‘an homage to Martins’ friend, photojournalist Anton Hammerl, who was killed during the Libyan Civil War in 2011’. 

The artist said: ‘It is a huge honour to be recognised and although I am philosophical about awards and the subjective nature of someone’s choice, knowing that there were over 180,000 entries to this year’s Professional competition is very humbling. In this case, it is also quite an emotional experience because I get to honour my friend on a world stage and bring attention to the family’s plight to find his remains. There’s no award that has the reach of the Sony World Photography Awards.’

Sony World Photography Awards 2023: Architecture & Design

Among the Sony World Photography Awards 2023 gongs is the Architecture & Design category, which this year saw Fan Li from China crowned top winner, for his series ‘Cement Factory’. Runners-up Servaas Van Belle from Belgium and Andres Gallardo Albajar from Spain took the second and third places respectively. 

The Professional section also includes categories for creative; documentary projects; environment; landscape portfolio; portraiture; sport; still life; and wildlife & nature. All category winners receive Sony’s digital imaging kit. 

More areas of the competition are Open Photography, which is open to non-professionals underlining the power of a single image (and went to Mexican Dinorah Graue Obscura); and Student Photography, flagging up the dynamism and potential of emerging voices in the field (won by Long Jing of the Yunnan Arts University, China). 

Separate from the latter is the Young Photographer category, which revealed its winner to be 17-year-old Hai Wang, who commented: ‘I appreciate all the attention and support the public gives to global teenage photographers. As a member of this age group, I can say that we are trying to make a change throughout the world in a brand-new way, to try not to waste a single second of our lives.’ 

A new section, the Sustainability Prize, was introduced this year, highlighting awareness of the climate crisis. Italian Alessandro Cinque, the winner, focuses on fog nets and the way they are used to capture moisture for local residents in Lima, Peru, helping to tackle chronic water shortages. 

Meanwhile, Rinko Kawauchi was acknowledged through an Outstanding Contribution to Photography prize. 

The winners’ announcement was made today (13 April 2023) at a dedicated ceremony in London’s Somerset House. Launching at the same time is the Sony World Photography Awards 2023 exhibition on site, which will run from 14 April – 1 May 2023. 

worldphoto.org (opens in new tab) 

A series of portraits paying homage to late photojournalist Anton Hammerl, who was killed during the 2011 Libyan Civil War, have won the top prize at the Sony Photography Awards 2023.

Edgar Martins was named Photographer of the Year with his collection titled Our War.

The prestigious awards, organised in collaboration with the World Photography Organisation, announced this year’s winners at a gala in London earlier this week.

Martins won the competition’s overall grand prize, including $25,000 and a range of Sony photography equipment.

His work took him to Libya in an attempt to find his friend’s remains after he was killed by Libyan militia. He was brought in covertly by a petrol smuggler and due to volatile conditions, soon realised he would not be able to carry out a thorough investigation. Instead, he used photography to “tell a story without witness, testimony, evidence or subject”.

“It is a huge honour to be recognised and although I am philosophical about awards and the subjective nature of someone’s choice, knowing that there were over 180,000 entries to this year’s Professional competition, is very humbling,” Martins said. “In this case, it is also quite an emotional experience because I get to honour my friend on a world stage and bring attention to the family’s plight to find his remains. There’s no award that has the reach of the Sony World Photography Awards.”

Martins was selected from 10 category winners of the Professional competition, who were also announced at the gala, alongside the overall winners of the awards’ Open, Youth and Student competitions.

Alessandro Cinque, from Italy, was announced as the first winner of the Sustainability Prize, developed in collaboration with the United Nations Foundation and Sony’s Picture This initiative. The $5,000 prize recognises the stories, people and organisations whose actions highlight one of the UN’s environmental Sustainable Development Goals.

Full list of award winners

Architecture & Design

Winner: Fan Li (China Mainland) for his series Cement Factory

Creative

Winner: Lee-Ann Olwage (South Africa) for her series The Right to Play

Documentary Projects

Winner: Hugh Kinsella Cunningham (United Kingdom) for his series The Women’s Peace Movement in Congo

Environment

Winners: Marisol Mendez (Bolivia) & Federico Kaplan (Argentina) for their series Miruku

Landscape

Winner: Kacper Kowalski (Poland) for his series Event Horizon

Portfolio

Winner: James Deavin (United Kingdom) for his submission Portfolio

Portraiture

Winner: Edgar Martins (Portugal) for his series Our War

Sport

Winner: Al Bello (United States) for his series Female Pro Baseball Player Succeeds in All Male Pro League

Still Life

Winner: Kechun Zhang (China Mainland) for his series The Sky Garden

Wildlife & Nature

Winner: Corey Arnold (United States) for his series Cities Gone Wild

The Sony World Photography Awards 2023 exhibition, featuring works from the main category winners and shortlisted photographers, opens at Somerset House, London, on Friday and runs until May 1

Updated: April 13, 2023, 10:00 PM

I’ve long been a believer that wildlife and landscape photography does a lot of good for wildlife by raising awareness of conservation issues. But there’s a problem that many of us don’t consider. Are you aware of what can you do to ensure your photography is doing more good than harm?

There’s an old children’s story about a king who demanded the world’s biggest birthday cake. The baker made this monstrous delight and placed it in a huge box. Inquisitive members of the royal household passed by and looked inside the box, and each was tempted to try one small piece, thinking nobody would notice. When the king’s birthday arrived, he opened the box and there was only a small crumb left.

Wildlife and landscape photographers, often unwittingly, are doing the same with the subjects they shoot. Wildlife populations are plummeting, and the world is waking up to the damage photographers do.

The Importance of Where You Live

Wherever you live, there is a certainty that it will be important to different species of creatures. The coastline where I am is next to an estuary. It teams with wildlife. The rocky and sandy shores, the tidal mudflats, and the dunes are host to an incredible variety of wildlife. Many of the birds that visit here are migratory, so this little corner of Great Britain is of global importance.

I enjoy photographing those birds and the scenery here. However, I certainly don’t consider myself a wildlife photographer. That definition is preserved for those who study the creatures and use that knowledge to understand them and their behaviors. It’s those who capture astounding photos. About a third of my bookshelves are filled with wildlife photography books because I enjoy seeing those great images. I find them inspirational but, most importantly, I can learn something about the creatures because the photographers are experts in their field. Invariably, these days, that information is about how they are at threat of being wiped out by human interference.

Worldwide, hundreds of thousands of photographers, just like me, long to take wildlife and landscape photos good enough to adorn the front cover of National Geographic Magazine. But we don’t have the time to learn the fabulous skills of Andy Rouse, Apub Shah, or Rathika Ramasamy. We are, therefore, tempted to take shortcuts and don’t bother to learn how to take photos without upsetting the wildlife. Consequently, along with the rest of humanity, we are gradually eating away at that cake. In my lifetime, nearly three-quarters of wildlife have been lost from this planet.

Bad Practice in Photography

Responsible wildlife photographers learn how to cause minimum impact on their subjects. But so many do not. Here are some examples.

Close to where I live, little owls breed (Athena noctua). Although their status is of the least concern worldwide, their numbers are declining rapidly here in the UK, probably because of intensive farming methods and the shocking loss of invertebrates and small mammals on which they feed. Just 7% of Britain’s native woodlands, where they live, are in good condition ecologically. It’s not the photographers’ fault that they are disappearing.

They live on inaccessible private land. Consequently, wildlife photographers entice them by baiting them with mealworms on a boundary fence post. This might seem harmless. After all, they are feeding the birds. However, the fence post is by a road, which increases the risk of the owls being hit by a vehicle; one of them has been. Furthermore, the post is also in the open, making these tiny birds more likely to be predated. As the owls regularly visit the same spot to get food, so too will the bigger hunters that will see the tiny owls as easy meals.

Some photographers play bird songs on their phones, which attracts others of that species. They arrive not to be photographed but to defend their territory against this nonexistent intruder. Everything birds do is about survival, so this seemingly harmless act distracts them from finding food for themselves, winning a mate, feeding their young, defending their territory from real intruders, and protecting their families from predation.

Every winter, large migratory flocks of shore birds arrive on the mud flats here to feed. They make a magnificent spectacle. Many of these migrated vast distances to get to their feeding grounds. They must replenish their energy reserves, ready to return to their nesting grounds thousands of miles away. Last year, I saw a woman run into the flock to make them take to the wing and then started photographing them with her phone. Photographers often stalk these birds, getting as close as they can to get a photo, but ultimately frightening them away.

The use of drones is increasingly restricted because of the disturbance they cause to wildlife. Even when flying 100 meters away, they can cause distress. Most unmanned aerial vehicle (AEV) pilots do not want to disturb wildlife and will ask for advice from experts. Even though they might not seem to be causing a disturbance, drones can still cause huge amounts of stress to animals and birds.

Each of those actions seems small when considered individually. The photographer probably thinks that their action alone is not causing too big a problem. However, each unwanted disturbance increases the chance of the bird being unable to cope with additional stresses in their lives. Furthermore, multiply each incident by the tens of thousands of unskilled wildlife photographers who carry out similar acts and, overall, it has a huge impact. Wildlife photography is helping to destroy wildlife.

We often see bird photographers creeping toward wildlife, putting pressure on them to the inevitable point that they fly away.

Space For Shorebirds, Northumberland UK

Landscape photographers can be equally problematic for these creatures.

Similarly, we see photographers walking in areas where birds are feeding or roosting to get into position to take a photo of one of our spectacular castles or the beautiful landscape. This can often mean hundreds of birds being disturbed, some mid-migration to West Africa and some during the depths of winter, when every calorie consumed and spent, can matter to the birds.

Space for Shorebirds, Northumberland UK

So, What Should We Do About It?

To misquote a certain superhero, with great wildlife photography comes great responsibility. The techniques used by the very best photographers to get the very best photographs are those that cause the least impact.

I asked Philadelphia zoologist and wildlife photographer Anwar Abdul-Qawi, to ask for his expert advice:

I am actually working on a presentation called “Ethical Wildlife Photography”. Mainly, it focuses on what it means to be a wildlife photographer and the footprint that we leave behind. As wildlife photographers, it is our responsibility not only to capture the beauty of the natural world but also to advocate for its protection.

The issue with wildlife photography is that there are so many different forms all over the world and what that means is that everyone comes up with their own ethical way of doing things. I advocate for whatever technique gives the least amount of stress on my subject.

No matter what we do as wildlife photographers when we are in the field, we ultimately leave some sort of environmental footprint, I just try to ensure that mine is as small as possible.

Learning From Wildlife Documentaries

I’ve watched a series of superb nature documentaries produced by the BBC, and some of their incredible footage took months or even years to achieve. We are unlikely to be able to invest that much time. What is more, nowadays, people have the desire to fill every moment with some activity, usually doing something with their cell phones. Consequently, many have lost the skill of sitting still and doing nothing. So, the temptation is to blunder into an environment, taking shortcuts to get our shots. It’s those shortcuts that are especially harmful to the animals we photograph.

You don’t have to sit on an uncomfortable platform in a tree canopy for months on end, but if staying still in a bird hide for a couple of hours and waiting isn’t your thing, then wildlife photography is probably not for you.

Simple Things to Do to Improve Your Wildlife Photography

Do your research. Speak to the naturalists in the area where you are going to shoot. Ask them about simple things you can do to get better photos in the area while safeguarding the creatures in the environment you are visiting.

There are also common things that always make a difference in your successes and bring about less impact:

The first secret to capturing great wildlife shots is patience. Keep still. Stay in one spot and wait for the action to happen.

Don’t approach your subjects, let them approach you.

If you must move, then gentle, slow movements are less likely to scare away your subjects.

Looking directly at a bird will often scare it off; two forward-facing eyes are those of a predator. Holding the camera to your face hides your eyes. But many telephoto lenses are heavy and so a good quality monopod gives you stability and movability.

Having a Positive Impact With Photography

If taking the photograph is more important to you than the welfare of the creature you are photographing, then there it’s worth taking note of a paradigm shift in wildlife photography.

While photographing birds in a nest has long been frowned upon, these days, photographers and even the people who buy photos are increasingly shunning those who show disregard for wildlife in other ways. On a scale of importance, our photographs, and our enjoyment of taking them is at the bottom and the animal or bird’s welfare is at the top. If your approach is to get the photo at any cost, your reputation will be harmed.

I can already hear the what-about brigade screaming that other human activities are far more damaging to wildlife than photography, and they are right. Most of the wildlife loss is caused by bad agricultural practices including monocultures, insecticide use, habitat destruction, over-fishing and hunting, pollution, and other exploitations of our planet. Added to this is climate change.

But that is no reason why we photographers should not do our best not to cause harm. We achieve that by discovering and employing best practices. What is more, we can even employ our skills to do some good.

You can use your photography positively by combining it with scientific research. Conservation organizations want to know the locations and nesting sites of certain birds, and one can sometimes help with counting animals or birds. There will be similar work where you live too. Often, drones can be used for surveys, and photographs of large herds and flocks can assist with counting too.

The Surprise in the King’s Box

At the end of the children’s story that I mentioned earlier, the King was happy because when he opened the box, although there was only a crumb left; it was a surprise. If photographers continue to contribute to the destruction of our wildlife, we will be in for a surprise too, just a much less pleasant one. As our wildlife fades away, from the humblest pollinating insect to the largest pachyderms, the tapestry of life on Planet Earth will continue to unravel and not having creatures to photograph will be the least of our worries.

When it was first introduced, many people sharply believed that autofocus would never have a clear place in the photography industry, puns intended. Why have a machine guess where to focus when you can just turn the focusing ring yourself? Today, autofocus systems are among the primary selling points for new camera and lens technology.

Artificial intelligence has even made its way into recent autofocus systems, and it uses image databases to learn how to focus on different subjects. If you use autofocus often, you’ve probably wondered how your camera can focus quickly with such good (or bad) accuracy. This article will provide a guide to how autofocus works in photography.

Active and Passive Autofocus Systems

If you find the focusing ring on your lens, you’ll probably see distances (in meters and/or feet) written along the circumference of the ring. These are the possible distances between your sensor and the point of focus, which is usually your subject. With this logic, it makes sense to think that autofocus systems would measure the distance to your subject and automatically turn the focusing ring to whatever focusing distance makes sense. This is the idea behind active autofocus (AF).

Active AF requires the camera to send out signals toward the subject, such as light or radio waves, and then receive distance data when that signal bounces back to the camera. This works well in dark environments because it doesn’t rely on the existing light levels to function. However, it requires the path from the camera to the subject to be clear, and it doesn’t work very well with moving subjects. There is also a limit to how far the signal can travel and still come back to the camera, so active AF doesn’t work well with subjects that are far away. Active AF is nearly extinct in modern cameras because of its limitations.

Passive AF is the primary autofocusing system used in modern cameras. Instead of sending out a signal to the surrounding environment, it works by only analyzing data coming into the camera. It uses two primary methods, which will be discussed next.

Passive AF: Phase Detection AF

This autofocus method is fast and fairly accurate, and it’s present in most modern professional cameras. It relies on principles that were widely implemented in rangefinder cameras, with changes to adapt to the digital age.

In DSLRs, a mirror reflects incoming light toward the viewfinder so that the photographer can see what they’re photographing. This mirror is slightly transparent, and some light can get through to a second mirror. The second mirror reflects the light down to autofocus sensors that usually sit near the bottom of a DSLR. These sensors have microlenses above them that split the light into two images.

Each DSLR focus point has sensors to gauge the distance, or phase difference, between these two images. To obtain a sharp image, the system adjusts focus until there is no phase difference between the split images, resulting in an image that is focused on the desired area. This is a quick and accurate process because the camera can determine how much and in which direction to turn the focusing ring based on the phase difference of the incoming light.

One downside to phase detection AF is that it involves hardware that needs to be calibrated. If the hardware falls out of calibration, there can be consistent issues with autofocus accuracy.

This hardware may include the camera’s mirrors, autofocusing sensors, and lenses.

Mirrorless cameras lack mirrors, hence their name. Instead of using mirrors to bounce light to autofocus sensors like DSLR cameras, mirrorless cameras use pixels on their imaging sensors for phase detection. Some cameras have separate pixels for phase detection and imaging, while others use all pixels for both imaging and autofocus data (Canon’s Dual Pixel AF is the most well-known example of this). Some mirrorless cameras also gather contrast-detection AF data, which will be discussed next.

Passive AF: Contrast Detection AF

This method of passive AF relies on brightness and color in different areas of an image. With contrast detection AF, high contrast is a characteristic of a sharp image, while low contrast is a characteristic of an image that is out of focus. The term “muddy” is often used to describe a blurry image, because all of the details blend together in an indistinguishable, low-contrast mess.

When you attempt to focus your camera using autofocus, data from the autofocus point(s) is analyzed using software within your camera. The autofocus system is constantly moving back and forth to see if it is improving focus. If software in your camera determines that there can be more contrast in your desired focusing area, it will attempt to make the image sharper by moving the focusing ring one way or another. It doesn’t know exactly how far or in which direction to move the ring, so this method is slower. The image is focused when contrast is maximized, as determined by the software.

This method is more accurate when focusing on still subjects because it doesn’t rely on calibrated mechanics to work correctly. However, in scenes with low contrast, it has a very hard time determining where the areas of high and low contrast are. Most DSLRs use this method when shooting in Live View because the mirror mechanism is not in a position to allow phase detection AF.

Passive AF: Hybrid AF

Some cameras make use of both phase detection and contrast detection AF systems since there are some advantages to both in different scenarios. They may switch between the methods depending on the scenario or shooting mode, or they may use both at the same time. Ultimately, both methods are ways to gather focusing data about the scene, and more data will generally lead to a more efficient autofocusing process.

Focus Points

Focus points in phase-detect autofocus systems are different points in an image where your camera will attempt to achieve focus. Different cameras tend to have different numbers and types of focus points, and higher-end cameras tend to have higher-end focus point options. Focus points are usually used in different arrays, such as spot, single-point, zone, and more. Your camera’s manual will tell you more about different focus point options.

The three main types of focus points are vertical, horizontal, and cross-type. Vertical and horizontal focus points detect contrast and generate autofocus data in vertical and horizontal directions only, while cross-type focus points work in both directions. Cross-type focus points are more accurate and versatile, but they tend to be more expensive than the other types.

Most mirrorless focus points are one-dimensional, partially because they tend to have focus points integrated throughout the entire image sensor. There can easily be many more focus points in a mirrorless camera than in a DSLR, so there is less of a need for cross-type focus points. There are other, more technical reasons that mirrorless autofocusing technology limits the type of autofocus points used, but they are a bit beyond the scope of this article.

Focusing Modes

There are three main autofocus modes that most professional cameras offer. Each can be used in different scenarios, and you’ll get the most out of your camera by switching depending on your situation.

1. Single (AF-S or One-Shot AF): This allows your camera to lock focus when you press the focus button. If you or your subject move, focus won’t be reacquired by the camera automatically. This is best for stable subjects, such as landscapes or architecture.

2. Continuous (AF-C or AI Servo): This is best for moving subjects, and the camera will attempt to track the subject as it moves throughout the frame. This is best for wildlife, portraits of moving people, and sports photography.

3. Hybrid/Automatic (AF-A or AI Focus AF): This basically tells the camera to switch between Single and Continuous modes depending on whether it senses motion or not. This is best for situations where you know you’ll have both stationary and moving subjects and won’t have time to switch between modes on your own. Otherwise, this mode isn’t always accurate and you can get better results by setting your autofocus mode yourself.

The Future of Autofocus

As mentioned briefly above, manufacturers are starting to incorporate AI and machine learning into their autofocus systems. It’s likely that the actual mechanisms won’t change a ton in the next few years, but we’ll see revolutionary changes in the intelligence of the software that works with the autofocus technology.

Many new autofocus systems are already pulling from databases to learn about different focusing scenarios, such as weddings, different sports with helmets and other gear, and even specific people. Autofocus systems have expanded from being able to detect and focus on human eyes to animal eyes and animal subjects.

Additionally, improvements to systems such as eye-control autofocus will help further eliminate the camera’s guesswork. Is it possible that we’ll eventually have cameras that always know exactly what to focus on? It’s hard to say, but we’re getting closer and closer to near-perfect autofocus systems with every new development.

Conclusion

Autofocus modes, terminology, and methods can seem confusing in the beginning. However, they are some of the most important features to understand in your camera. There’s a lot of innovation and technology that is going into developing even better autofocus technology, and it’s all building upon the methods explained here that work well in cameras today. The next time you get a little (or a lot of) help from autofocus, think about all of the extraordinary processes at work so that your camera can make an educated decision on how to help make your image sharp.

Image credits: Header photos from Depositphotos

… it was beautiful down at the lake today … winds were calm, spring flowers are everywhere beautiful and life was everywhere. In one back bay we turned the engine off and just spent time listening to the sounds of nature … and we got some nice shots.

Earth is still orbiting the sun and the sun continues to provide us with about 99% of our energy. It was warm on the lake today thanks to old Sol … still breathing and still loving this little planet we find ourselves on.

I love the shot of the great blue heron above as he flew up the lake with spring flowers in the background and as you can see in the photo below all is well with our great horned owl as she sits on the eggs in her nest … they will be hatching soon and then the task is to feed the young until they fledge and leave the nest.

This is it for the week … have beautiful days and carry into the weekend nothing but joy!

Ted

I know I do not understand this world,
This universe of life and growth and death,
I do not damn the Maker, saying still
Within myself that surely all is well.
The myriad stars shine nightly in the sky,
The earth yields forth her budding brood in spring,
And always dawn and noon and dark succeed;
Volcanoes burst and flooding rains descend,
And sprigs shoot forth where barren winter lay,
The piping winds bound through the bending trees,
And withered leaves again return to earth;
Soft lips grow hard and tresses gold turn grey;
Sweet babes are born, and stooping, aged men
Depart into the soft and silent night.
And not one jot of all this can I change.

excerpt from The Task by Max Ehrmann

###

The easiest way to reach Mr. Grussing is by email: ted@tedgrussing.com

In addition to sales of photographs already taken Ted does special shoots for patrons on request and also does air-to-air photography for those who want photographs of their airplanes in flight. All special photographic sessions are billed on an hourly basis.

Ted also does one-on-one workshops for those interested in learning the techniques he uses.  By special arrangement Ted will do one-on-one aerial photography workshops which will include actual photo sessions in the air.

More about Ted Grussing …

Canon USA has announced the development of Cadabra, a curated photography marketplace for non-fungible tokens (NFTs). The Cadabra marketplace will “empower creators by connecting them to enthusiastic collectors who celebrate the art of photography through a shared appreciation for these digital artworks,” explains Canon.

Canon is the latest photography company to launch an NFT marketplace, following Meta’s announcement last fall that creators would be able to mint their own “digital collectibles” on Instagram.

The NFT space is still a confusing one for many visual artists. Some artists have made significant money selling NFTs, including Mike Winkelmann, known as Beeple, who sold a single JPEG image in an online auction for a staggering $69.3 million in 2021.

In its guide to NFTs, PetaPixel explains NFTs: “NFTs are verified using the blockchain, which is basically a transparent history of ownership, purchases, and trades that no one can edit and anyone can see. The blockchain ensures there will always be a trace from the current owner to the original creator.”

To sell NFTs, artists “tokenize” a digital good, like a photograph, and upload it to an NFT marketplace for sale. Artists have control over the sale of their goods without needing to make physical copies, while prospective owners become the verifiable possessor of a digital good via the blockchain.

CEO of NFT marketplace Bitski, Donnie Dinch, told PetaPixel that NFTs offer photographers new opportunities to earn money. “I think that the biggest reason is that you can monetize yourself easier,” Dinch said. “There’s a market for photography, but with the proliferation of things like Instagram, where a lot of photographers are putting out incredible content and getting tons of likes, but haven’t been able to convert that into paying rent.”

Concerning Cadabra, Canon hasn’t announced many specific details about how its new curated NFT marketplace will operate. Canon says it will share information about creators and Cadabra’s “first drop” later this year.

Canon is previewing its Cadabra digital marketplace at the annual NFT.NYC event that’s currently ongoing at the Javits Center in New York City.

“The digital art will range from landscape, wildlife, lifestyle, sports, abstract, and other categories to spotlight the stunning work of the invited creators,” Canon says.

At launch, the Cadabra marketplace will only be available in the United States, with additional availability arriving at an unspecified time.

Some NFT marketplaces require users to buy items with specific cryptocurrencies. Canon says that Cadabra will support cryptocurrency wallets and credit and debit cards. Digital art on Cadabra will be minted on the Ethereum blockchain.

Expanding beyond the digital space, Canon says that creators of all levels will also have the choice of offering purchasers prints with their initial drops, which Canon will fulfill, allowing the digital content owners to have a physical item to display.

Photographers interested in Cadabra can sign up on Canon’s dedicated Cadabra website to receive information as soon as it’s available.

This isn’t Canon’s first foray into NFTs. Last June, Canon announced that several members of its Canon Legends program minted a limited collection of photo NFTs on the NFT marketplace Immutable Image. “The Legends Mint” collection included photograph NFTs from accomplished photographers Sam Abell, Barbara Bordnick, Gregory Heisler, Ryszard Horowitz, Walter Iooss, Jr., Melvin Sokolsky, and Joyce Tenneson.

Ahead of Cadabra’s launch later this year, photographers can learn more about making money using NFTs in PetaPixel’s guide, “How to Create and Sell NFTs for Free.”

The Lomographic Society has announced the Lomography School, promising an “analog education like never before.” For film photographers, especially beginners, it can be challenging to find the resources they need to learn about all aspects of analog photography and Lomography. The Lomo School delivers “everything from the analog basics to exciting experimental techniques” in one place.

The Lomographic Society started more than 30 years ago when a group of “happy-go-lucky” and “unruly” students joined to support each other’s creative photography endeavors. That idea expanded into the vast Lomography community of today, including Lomography’s various products, its magazine, competitions, and photo-sharing tools. Lomography’s shop includes a wide range of films, cameras, lenses, and accessories for analog photographers.

The new Lomo School takes the idea of supporting and supplying analog photographers to the logical next step, providing an educational resource that tackles film photography topics from the basic to the very advanced.

“This new section of our website is aimed at anyone and everyone with a passion for analog. Whether they’re someone who’s never touched a film camera before, someone who likes the look of Lomography but has no idea where to start, or an experienced film photographer looking to get more creative – everyone is welcome at the Lomography School,” explains the Lomographic Society.

Featured topics include multiple exposure photography, instant photography, film photography basics, film scanning, and different types of film. Many topics are available in the Lomo School, but if photographers can’t find what they’re looking for, they’re invited to email school@lomography.com to ask their “most burning questions.”

The Lomography School will grow and expand over time based on feedback. Lomography also hopes its new school will be an interactive space that provides analog photographers of all skill levels the tools they need to grow as artists and creators.

The Lomography community is already one million strong, and the new school will likely spurn new growth.

Film photographers are welcome to explore the new Lomography School and research nearly any topic concerning analog photography equipment and techniques. The resource is free for all users.

P.S. PetaPixel also recently published a trio of guides focused on film photography, including:

Image credits: Lomography