DES MOINES, Iowa (KCCI) – An Iowa man is using his personal camera collection to help teach and empower young girls through the power of photography.

Dan Troxell, from Des Moines, is using his collection for the “Butterfly Effect,” an after-school program which teaches students the art and essentials of photography, like loading film, and shutter speeds.

It’s part of a partnership aligning with the mission of empowering girls.

Troxell said it’s a way to get students away from selfies and social media to explore photography as an art form.

“Get them away from Facebook, Instagram, Twitter, Snapchat, you know, instant gratification, into a more thoughtful, artistic way to view the world,” Troxell said.

It’s just one of 30 after-school programs supported by the Chrysalis Foundation.

To learn more and to find out how you can support the effort, you can head to the Chrysalis Foundation’s website.

Copyright 2024 KCRG. All rights reserved.

June 04, 2024

Lead ImageThe Filial Daughter孝女Photography by by Mengyu Zhou

The Acer SpatialLabs Eyes Stereo Camera is a new camera with two lenses positioned apart, just like eyes, to capture a stereoscopic 3D image.

The device is a straightforward ‘box’ design, with two eight-megapixel cameras, a weatherproof design, EIS, and a ‘manual mode’.

It is designed to provide ‘eyes’ to Acer’s existing range of 3D products – monitors and laptops which have 3D displays which don’t need glasses.

Acer’s SpatialLabs tech relies on a lenticular monitor, but the technology has moved on a long way from the ridged screens over static images you might remember from years ago (or the Nintendo 3DS).

Acer’s screens use eye-tracking cameras to ensure the correct image is projected, allowing the user a certain amount of movement.

There are still limitations. There are four apps that make up the SpatialLabs suite, all for Windows, so Mac users won’t be able to take advantage. Each requires switching to full screen; the 4K monitors work on a SBS (side by side) approach, which is – in so far as any 3D system is – well-recognised. What that means is video is sent as two side-by-side images; a side-effect in YouTube for a long while was messed-up control icons.

The result, though, is that (in person) objects can appear to be about 10cm / 3-inches closer to you than the surface of the screen itself.

Ok, so the camera…

The camera lenses have an aperture of f/2 with a 21mm EFL. Together the provide an 80-degree horizontal and 52-degree vertical field of view. The ‘eyes’ are 63mm apart, similar to human eyes, and each possesses a 1/2.8-inch CMOS sensor.

These deliver a photo resolution of 7680 x 2160 SBS, or a 30fps video at the same resolution (or 60fps at 3840 x 2160). This lower resolution is also available for stereo webcam and for a 30fps HDR mode.

The back of the camera sports a 2.41-inch touchscreen, though there is also a ‘built-in selfie mirror’ so the camera can be aimed for meetings and the like.

The camera does a boast 6-axis gyro for image stabilization, and a light 220g weight (perhaps as it only has 37 minutes of recording time untethered).

These specs suggest that when Acer say ‘designed for photographers’ they’re using a modern take on the term, very video and streaming bias, but at least the lenses are appropriate positioned (though it is interesting that the EFL is narrower than the 42mm you might expect – presumably this is to allow the user to ‘frame’ themselves/their subject).

The device’s uses aren’t as niche as you might imagine either; 3D content is increasingly standardized (so much so it’s a barely mentioned feature of plenty of TVs). Anything which can handle a video feed can, in theory, handle SBS video, so 3D video calling on Teams, Zoom, and Google Meet are cited by Acer as practical uses.

This, admittedly, is something customers will need to wait for, until another SpatialLabs widget comes along, promised for Q3 this year, but then the camera itself won’t go on sale in Q3 for US$549. 

Until then, it is a good reminder that innovations in photography aren’t all being led by traditional photography brands. Sure, faster focusing and eye-tracking are exciting but they’re improvements – but this is a markedly different approach but one which might yet take-off given the impetus coming from the many AR and VR products. This is a more complete example, but Apple Spatial Video can already be recorded on some iPhones, so Acer isn’t alone here.

If you’re interested in 3D, have you considered the best 360-degree cameras?

Dune: Part Two has been one of the biggest cinema blockbusters of 2024. Praised for its outstanding action sequences and set design, it turned Budapest, Hungary, into a far-off alien planet. It drew to a close the new version of the movie franchise and featured stunning visual storytelling, thanks to world-renowned and Oscar-winning cinematographer Greig Fraser. 

His visual wizardry isn’t limited to using cinema cameras, though; Fraser is also a prolific stills photographer, and made the most of his time with the star-studded cast to capture an intimate look behind the scenes of Denis Villeneuve’s Dune films. 

From beautiful shooting locations and otherworldly costumes to capturing cinematic characters and candid actors in equal measure, it culminates in a gallery of hundreds of images displayed for us all to enjoy in a new photography book – Dune: Exposures. 

The movies’ visuals are so strong that there have already been three books on Dune’s art and photography. However, these differ as they look at the images captured by unit stills photographer Chiabella James and capture the world of Dune from the outside. 

Fraser’s images are very much a documentation of the process of making the film from within – a perfect companion to the existing books, highlighting the humanity and emotions of the cast and crew’s experiences while bringing to life Villeneuve and Frank Herbert’s Dune. 

Greig Fraser is a confessed geek about light and camera optics, and recently explained how he used infrared cinema cameras to capture one of the movie’s most memorable scenes. This obsession has made him one of Hollywood’s most in-demand cinematographers, but it also translates to capturing technically impressive still photographs. 

But it isn’t just the technical ability that shines in Dune: Exposures, as the book is packed full of striking emotion, giving the reader a sense of what it was like to be on set. This sense of emotion is helped by the poetic text woven throughout the book, written by actor Josh Brolin. 

Brolin and Fraser developed a unique bond during production, forming a connection that led to this remarkable collaboration. Brolin’s poignant writing elevates the book, providing heartfelt commentary and context to the vivid images, pulled from his first-hand experiences on set. 

Yet it delves deeper than that and asks more philosophical questions that arose during his time filming Dune. Brolin writes of youth, ambitions and self-discovery in a vulnerable tone that we don’t often see much any more, yet we are in desperate need of. 

Candid moments on set were captured with grace, enabling the viewer to imagine themselves among the star-studded cast of actors – the likes of Timothee Chalamet, Zendaya, Austin Butler, Florence Pugh and, of course, Brolin himself.

This book is already a classic and will continue to be in years to come. It provides never-before-seen insight into many of the rising movie stars of today, in a more sophisticated and thoughtful medium than the social media feed we are accustomed to. 

“These are ours, Greig Fraser’s, and mine. His photographs. My words,” writes Brolin. “They were prompted by a love of people and process, and they are the direct result of Tonya LaPoint [producer on Dune: Part 1 and 2] one day presenting and pushing the idea that Greig and I should come together and create a book. As messy, artistic, and raw as the photos are are as messy, fun, sensorial as I hope the words that accompany them are.” 

Dune: Exposures is published by and available now for $60 / £50 / AU$107. 

This book is for fans of cinema, as it is for fans of photography, as it is for fans of great writing. It has something for everyone and is an ideal coffee table book to be picked up and read again and again, delving in at a point speaks to you at the time.

Check out our story on the new photography book released by Poor Things director Yorgos Lanthimos, Dear God, the Parthenon is Broken.

You might also be interested in our guides to the best coffee table books on photography and the best books on portrait photography. 

The Latest published market study on Worldwide Microstock Photography Agency Market provides an overview of the current market dynamics in the Worldwide Microstock Photography Agency space, as well as what our survey respondents- all outsourcing decision-makers- predict the market will look like in 2029. The study breaks the market by revenue and volume (wherever applicable) and price history to estimate the size and trend analysis and identify gaps and opportunities. Some of the players that are in coverage of the study are 123RF Limited, Adobe, Depositphotos, Inc, HelloRF, Huitu, iStockphoto, Meisu Pic, Microfotos Inc., OriginooStock, Paixin, Shutterstock, Inc., Tuchong & Veer.

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Craig Francis (PR & Marketing Manager)
HTF Market Intelligence Consulting Private Limited
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About Author:
HTF Market Intelligence Consulting is uniquely positioned to empower and inspire with research and consulting services to empower businesses with growth strategies, by offering services with extraordinary depth and breadth of thought leadership, resea rch, tools, events, and experience that assist in decision-making.

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“I could spend hours admiring my surroundings depending on the time of the day and what kind of lighting there is,” says photographer Rodrigo Oliveira in an interview with the Phoblographer. “Anything could look beautiful to me under the right light, and I always wait for the right time of the day to shoot, and that is what gives me the dreamy feeling when I’m shooting, so my photos give that dreamy sensation because it’s exactly how I felt the moment I shot it.” That’s a deep love that so many of us don’t experience as we’re too busy focusing on a specific task. But Rodrigo feels awe when sunset approaches, so he makes his photographs during that time. Indeed, he’s not planning any of it in advance. This sense of adoration for everything around him has earned him the respect of many clients, including those on the VSCO Hub.

This article is presented in partnership with VSCO. If you’re looking to find new work, be sure to check out the new VSCO Hub. Follow Rodrigo at his VSCO profile.

Rodrigo grew up infatuated with the work that he’d seen in National Geographic magazine. “All those gorgeous wildlife, landscapes, and portraiture shots were so interesting to me,” he tells us. “But it wasn’t until I was a Biology undergraduate student that I got my first digital camera, a Nikon D3100. At that time I thought of linking my biology studies with wildlife photography in hopes of becoming a Nat Geo photographer/explorer one day, but in 2013 I got awarded a full paid scholarship to study a year and a half in Melbourne, Australia.” There, he experienced a very multicultural world that fueled his love of portraiture.

To make his images, he goes all in on Nikon. In his hands is the Nikon D850 — which he finds perfect for his commissioned assignments. He pairs it with a Nikon 70-210mm f4-5.6 when shooting portraits. He uses this lens on his Nikon F70 and Nikon F2 film camera too.

“For these cameras I use a wide range of lenses but my favorites are the non-AI Nikkor 50mm f/1.2, great for soft focus,” Rodrigo tells us. “The non-AI Nikkor 35mm f/2 and the AI-S 135mm f/2, all of them are pretty sharp. Nikon’s older lenses are just excellent.” When paired with either Kodak Portra 400, Vision 3 500T, 250D, Cinestill 800T and Fuji Superia Xtra 400, he can get many of the same looks that inspired VSCO.

Sometimes, Rodrigo also uses an iPhone and edits the photos within the VSCO app. However, in general, Rodrigo doesn’t do a lot of post-production. He doesn’t like Lightroom, so he edits in Adobe Camera Raw and Photoshop to adjust curves and such. And when shooting film, he doesn’t do much besides correcting exposure or removing dust spots. When shooting digital photos, it all just depends on what the clients want — though he works to get it right in-camera as much as possible so he doesn’t need to do much post-production.

His work speaks to an audience that has felt underrepresented for a long time — and in many ways, still is within the art world. Rodrigo Oliveira identifies as a queer black photographer. More than anything though, Rodrigo is trying to spread the message of love.

One thing that I believe stands out in my work is that either my project with queer POCs in Rio de Janeiro or my ongoing project on Barra de Guaratiba comes from a very sensitive place, there’s a strong connection that ties me to these subjects. It comes from someone from within the community and territory. I’m a black queer photographer and working with other creatives on my series ‘Carioca, Negro & Queer’ was very touching as it gave a proper representation of an often marginalized community in Brazil. My ongoing project ‘Barra de Guaratiba: A Love Story’ is a series of photographs taken on film around the suburb I grew up in Rio de Janeiro and spent most of my 32 years. It’s a projects that really grasp that dreamy feeling views have going through my portfolio and it shows a place within a big city that seems to have slowed down in time and retained a healthy laidback lifestyle. Purely a project about the love and respect I have for my roots and I think that’s a differential in itself. Lately I’ve been seeing quite a few projects misrepresenting communities and places that were captured by outsiders. Rio de Janeiro, for example, is all over social media channels but frequently portrayed in ways that just represents an old fashioned stereotype of the city and its culture and I thought that in 2024 people would know better.   

Rodrigo Oliveira

He’s represented by Rocket Science Studios, but his website is a big part of what’s getting him his work — and his clients find it to be a great resource. He uses Instagram and social media as a way to keep brands and creative directors updated on his projects — but he mostly uses it for collaborators to contact him. What he’s also been using is VSCO. “VSCO is growing a lot, and I feel like I grew a lot along with it as well; it’s been a part of my journey with photography since I started back in 2014 when VSCO was a preset pack for ACR and not yet an app,” he tells us. “Recently, VSCO released the VSCO Hub feature to connect pro members with brands and clients, so I’m looking forward to having some opportunities coming from there, too.”

Like every other photographer, he’s feeling out his own feelings with AI and such. He believes it to be a fun, creative tool and that it can help people make things that otherwise weren’t possible. “But there’s also the potential to create scenarios and situations based on real people or real life events that does not depict the truth and this can be very confusing and not everyone makes the effort to tell AI from reality apart before making a judgment,” he says. And this is part of what so many photographers like Rodrigo are trying to combat with authenticity efforts.

AUTHENTICITY STATEMENT

The Phoblographer works with human photographers to verify that they’ve actually created their work through shoots. These are done by providing us assets such as BTS captures, screenshots of post-production, extra photos from the shoot, etc. We do this to help our readers realize that this is authentically human work. Here’s what this photographer provided for us.

Poster image of the Korea Tourism Organization’s photo contest (KTO)

The Korea Tourism Organization announced that it is accepting applications for a photo contest aimed at discovering the charms of South Korea.

Under the theme of “Discover Amazing Moments in Korea,” this year’s contest, which started on Tuesday, offers the applicants an opportunity to present their photos of South Korea from three different sections: digital camera, smartphone and drone.

The submitted works will be evaluated in four categories — photography, tourism, promotion and marketing — by the public and experts from various fields. To prevent biased assessments, the KTO will use an anonymous review process.

The annual event will give the top winner — regardless of the competitive sectors — a presidential award and prize money of 5 million won ($3,643).

Winners for gold, silver and bronze prizes will be selected as well.

Those who earn the gold prizes, or the culture minister’s awards, will receive 3 million won (2,186). The silver and bronze prize winners will be awarded with 2 million and 1 million won, respectively.

A total of 90 pictures will also be selected for 300,000 won ($218.6) in prize money.

According to the KTO, anyone who lives in the country can participate in the photo contest.

Applicants can submit their works via the KTO’s official website kto.visitkorea.or.kr/photocon until 4 p.m., July 18.

“The photo contest will offer a chance to see the charm of South Korean tourism from a new perspective. The submitted works will be used to promote the country in the near future as well,” You Jin-ho, the executive vice president of KTO’s tourism content strategy division, said Tuesday. The photos will be featured in the organization’s promotional works, at KTO’s overseas branches and in Korean embassies abroad, You added.

Online and offline exhibitions of this year’s winning photos are scheduled to be held at the end of the year.

The winners will be announced Nov. 5, according to the KTO.

CHARLOTTE, N.C. (QUEEN CITY NEWS) – Ryan Allen lives in the moment these days.

“Elizabeth Street, kind of my favorite street in the city,” he says, strolling in Charlotte with camera in hand. “I kind of fell into street photography, because it’s a way that gets me out of my apartment.”

In recent years, the former chef-turned-photographer says he stopped wondering what’s around the corner. In the process, he faced his struggles with mental health head-on.

“We often think we should be somewhere else, versus where we’re at,” Allen told Queen City News, taking random photographs as he often does.

“You don’t see someone carrying a mannequin head every day. Well, I guess you do here,” he said, with his head on a swivel in search of photo opportunities.

“CBD joints! Looks like somebody had a good time,” Allen exclaimed, clicking along the way. “Smoke ‘em if you got ‘em.”

When Covid forced restaurants to shut down in 2020, Ryan went from chef to shutterbug. The emotional release that comes with pointing and clicking helped Ryan reflect. He was in a stressful career, and his mother was diagnosed with breast cancer.

Ryan tells us he was NOT the picture of mental health.

“I was like, ‘The pandemic has been hard on me, laying people off has been hard on me.’ And in my mind, I was going in and out of suicidal tendencies,” he revealed. “I think a lot of people have those thoughts, some days you just feel like it could be easier not to keep going.”

Learning to play with his depth of field eventually led to deeper thoughts about his view of life.

“If you’re not present, if you’re thinking about a good situation or a bad situation, you’ll miss the situation that’s right in front of you,” says Allen.

He still works in the food industry, but lately, his focus has been on photography. Allen’s portfolio includes a series called “American Gastronomy,” which shines a light on the cultural impact of food; his way of merging two passions.

“I can take my time and show why the industry I love is so important,” he said.

Meanwhile, street photography helps him connect with the community. Sometimes, he’s reminded of his life before the lens.

Allen still wants a place in the culinary world. His dream is to build a creative marketplace that includes his two loves—food and photography.

In Elizabeth, he bumped into the Schoolmeesters, who fondly remember him as a chef.

“You look great! You look a lot less stressed!” Holly Schoolmeester told Allen.

“Yeah, a lot has shifted,” he replied.

“So it’s good to see him now calm and happy and secure in his own skin,” says Schoolmeester. “I’m not surprised to see him as a photographer because I feel like he was always so creative and that’s why we liked him as a chef.”

“In the moment! Like, I’ve been talking all day about the flow of life,” Allen stressed to the couple.

Once he went with the flow, he unlocked a conversation that once made him uncomfortable.

“Mental health should be everyday health, you know. It shouldn’t be a thing that we’re afraid of,” Allen said.

With a camera in his hands, he believes he’s right where he needs to be.

“We’re really good at looking at everything we’re not doing in life. And we’re not good at stopping and zooming in on what we’ve achieved,” he says.

“[The camera is] like the viewfinder is a teleporter for you to smile. Like happiness comes right through it!” said Allen.

That’s part of the reason why street photography is such a passion.

“Every day’s a leg day when you’re a photographer,” he says.