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Editor’s Note: This article was originally published by The Art Newspaper, an editorial partner of CNN Style.

The Smithsonian’s National Portrait Gallery (NPG) in Washington, DC, has acquired the earliest known photograph of a US First Lady.

The quarter-plate daguerreotype of former First Lady Dolley Madison, wife of fourth US president James Madison, dates from around 1846. It joins a host of other early photographic portraits in the NPG’s collection, including what is believed to be the earliest photograph of a US president, an 1843 daguerreotype of John Quincy Adams by Philip Haas, which was acquired by the museum in 2017.

The Dolley Madison daguerreotype, made by artist and entrepreneur John Plumbe Jr., shows the trailblazing First Lady when she was in her late seventies. Plumbe, an English immigrant who came to America in 1821, picked up photography professionally around 20 years after his arrival, establishing studios in more than a dozen cities before selling his business in 1847. In addition to his portrait of Madison, he created the earliest extant image of the US Capitol.

The NPG bought the Madison photograph for $456,000 at a Sotheby’s auction of books, manuscripts and Americana on June 28, more than six times the lot’s high estimate of $70,000. The funds were provided in part by the Secretary of the Smithsonian, Lonnie G. Bunch III, and the Joseph L. and Emily K. Gidwitz Memorial Foundation Endowment, in addition to private support. Sotheby’s auction catalog described the piece as “one of exceedingly few surviving photographs of the woman who has defined for two centuries what it means to be the First Lady of the United States of America”.

“This artifact will provide the Smithsonian another opportunity to tell a more robust American story and illuminate the vital role women like Madison have played in the nation’s progress,” Bunch said in a statement.

Dolley Payne Todd Madison, who was raised by a Quaker family in Philadelphia, is considered by many to have invented the role of First Lady. Her extroversion, intelligence and prowess as a hostess helped her husband create strategic political friendships and position the White House at the center of Washington society.

– Source:
CNN
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Jacquelyn Palumbo

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03:09

– Source:
CNN

Her Wednesday night soirees became the stuff of legend during her tenure as First Lady, and the US House of Representatives granted her an honorary seat whenever she wanted to attend sessions at the Capitol. At her funeral, President Zachary Taylor characterized Madison as “the first lady of the land for half a century”, marking the first ever use of the phrase “First Lady.”

The daguerreotype was the first widely available photographic process, invented by its namesake, Louis Daguerre, in 1839. The process involves polishing a sheet of silver-plated copper and treating it with light-sensitive fumes before exposing it to a camera, and then drawing the latent image forth with mercury vapor and chemical treatments. It was the most popular and accessible form of photographic image-making in the 1840s and ‘50s.

Read more stories from The Art Newspaper here.

There’s only a couple of months to go until we expect to see the iPhone 16 Pro/Max (and other iPhone 16 models) announced, so I’ve been thinking about what I’m hoping to see this year.

In recent times, iPhone announcements haven’t been exactly revolutionary. The models are still pretty good, but I haven’t been particularly excited by anything Apple has had to offer in recent years – plenty of Androids have better cameras, including the Xiaomi 14 Ultra, the Samsung Galaxy S24 Ultra and the Google Pixel 8 Pro.

But, that doesn’t stop me daring to dream because I like using iPhones more than I like using Androids (don’t come at me). Here’s what I’d like to see in September, when we expect the latest Phone 16 Pro to be revealed, it’s not much, so I don’t see why Apple can’t grant all my wishes!

1. A much, much better selfie camera

Recently, I carried out a group test to discover which is the best smartphone for selfies. To my surprise not only was the iPhone 15 Pro Max not the best, it was quite clearly the worst. I take selfies all the time – even more now that I have a baby daughter to show off in them – so I was quite surprised. If they could sort this out alone, I’d be a bit happier.

2. A larger main sensor

There’s quite a few smartphones which have large sensors, such as the Xiaomi 14 Ultra. Considering Apple phones are pretty expensive, I don’t see why I should have to slum it with a tiny sensor. A bigger one would be better for detail, low light shooting, improving background bokeh and for my ability to go around telling everyone that I’ve got a big one. What’s not to like?

3. Higher resolution additional sensors

It took them a while, but Apple granted us a high resolution main sensor a couple of generations back. Now it’s time to extend that grace to the other sensors. The main sensor in the iPhone 15 Pro/Max is 48MP, with a standard output of 24MP. That’s great. The ultrawide and telephoto lenses only have 12MP sensors though. I want more!

4. A better and/or additional telephoto lens

Speaking of the telephoto lens, the one found on the iPhone 15 Pro Max, well it’s alright. But I’d prefer to actually have two if possible – a 3x and a 5x, just like we see on the Samsung Galaxy S24 Ultra and the Xiaomi 14 Ultra. Sometimes 3x is far more practical than 5x. I’d also like to see it perform a bit better, produce sharper images and be something I actually want to use all the time, too.

5. Better macro

When macro first came to iPhone, it was really good. Or at least I remember thinking “well, this is rather good.” Since then however, it’s been far eclipsed by other models. I’ve been particularly impressed by the Xiaomi 14 Ultra’s macro capabilities. I’ve taken photos with it that I think you’d be hard pushed to tell it’s not taken with a “real camera”. The Xiaomi uses a floating telephoto for macro mode, which is perhaps what helps it to outperform the iPhone quite so much. Other models, like the Samsung Galaxy S24 Ultra have also got pretty good macro capabilities too. It’s time for Apple to catch up, again.

6. The same camera set up on both the Pro and Pro Max models

I don’t understand why I have to be punished with a massive phone I don’t want just to get the best camera set up. Please put the same camera set up on the smaller and larger models to give me (and everybody else, I suppose) the choice to have something pocket friendly but still offering the best shooting ability.

7. Digital zoom that’s actually decent

I’m so bored of all these phones boasting that they have 100x, 120x or god knows what else they like to bang on about. When you look at images taken at those magnitudes, they are always rubbish and unusable, and who even needs to zoom that far anyway? What’s the point? Why not work on a digital zoom that is actually good, using computational wizardry or something – it must be possible by now. It doesn’t need to be 100-120x, I’d be happy with something normal like 15-20x, if it was actually useable. The iPhone 15 Pro Max has a 25x digital zoom, but it’s rubbish. Improvements can be made.

8. Better editing in the native app

There’s some editing you can do via the native Photos app. OK, there’s quite a lot. But where’s all the things that some other phones on the market can do, like object removal. Or a little bit of facial improvement (as long as it’s not too much and people end up looking plastic)? Who can be bothered to load up a separate app to sort out that kind of stuff? Not me, I want it right there within easy reach, dammit.

9. Even better Portrait mode

One of my favourite things about the iPhone 15 Pro/Max is its ability to automatically recognise portrait subjects, to give you the option to add portrait effects after the fact if you want to, without having to go into the portrait mode specifically.

However, Portraits are still far from perfect. Or rather, I’ve seen better elsewhere. We’ve still got some reasonably shonky outlines around hair and so on, that others seem to have got just that little better. If Apple could make what they’re already doing even better, that would be great.

10. An improved screen

The iPhone 15 Pro Max screen is not bad. But things can always, always be better. I’d like it to be a bit brighter – all the better for viewing my images and videos. But what I’d really like is it for it to have the same kind of anti-reflective magic that the Samsung Galaxy S24 Ultra has. While you’re there, Apple, you may as well make the bezels a little bit thinner so that more of the screen takes up the front of the unit – it’ll look nicer.

One thing I categorically do not want is for the screen to be bigger. I read a rumour that said the iPhone 16 Pro Max screen will be 6.9”. Who wants these enormous mega-phones? At 6.7”, I find the 15 Pro Max already too big – I struggle to type emails with it one handed, and that’s a real problem when you’re trying to multitask – send thoughts and prayers etc.

The Samsung Galaxy S24 Ultra is 6.8”, and that’s too big too. When will it end? Just stop.

11. The ability to expand storage

OK let’s face it, this is never gonna happen, but a girl can dream. I’d like to be able to pop a memory card in and expand my storage. Apple is almost certainly never going to allow that because then it can’t sell me extortionately priced iPhones with more storage than I’ll probably ever need anyway. But regardless, it’s what I want.

12. Better battery life

It’s a bit of an old trope that iPhones have bad battery life. Things have moved on significantly in the last few years, and now it’s not so bad. But I still don’t feel confident going out for a full day somewhere without a battery pack, especially considering our whole lives – train tickets, credit cards, our ability to function as human beings – are on our phones. Apparently the bigger screen is going to enable a bigger battery. Yeah, well I don’t want that – I want a better battery without also having to invest in new trousers to fit the bloody thing in.

13. A shutter button

The iPhone 15 Pro Max debuted a new Action button, which I have set to launch the camera. That’s been pretty good in allowing me to quickly launch the camera app when I need it. However, of course, I’m still not satisfied. I’d love there to be a dedicated button purely for the camera, which you could perhaps quickly double tap to launch, and then single tap to actually take a picture. Then I could set my Action button to something else, too.

14. More camera settings within the app

I’ve been moaning about this for a while. A lot of the camera settings for the iPhone aren’t in the app itself. You have to come out of that, unlock the phone, and dive into the general settings of the iPhone to make certain changes. Why? It’s convoluted and not very elegant. It could easily be changed, so why not do it?

15. One last thing – more exciting colours

This one’s a bit of a frippery, but hey, it’s worth an ask. The iPhone Pro series always seems to have the most boring colours. I’m guessing the insinuation here is that “serious” people don’t like bright colours – they like muted silvers and blacks. Well, piffle I say. I’m super serious about my photography, of course, doesn’t mean I don’t like bright red or bright purple or whatever else – make things a bit more fun, Apple!

So that’s my wishlist – just 15 things, not much is it? What would you like to see for the iPhone 16 Pro?

Related content:

Photography services Market

Photography Services Market was valued at $32.6 billion in 2022, and is estimated to reach $56 billion by 2032, growing at a CAGR of 5.7% from 2023 to 2032.

DELAWARE, WILMINGTON, UNITED STATES, July 9, 2024 /EINPresswire.com/ — According to a new report published by Allied Market Research, titled, “Photography Services Market,” The photography services market was valued at $32.6 billion in 2022, and is estimated to reach $56 billion by 2032, growing at a CAGR of 5.7% from 2023 to 2032.

The photographic service market shows high growth potential in Europe and Asia-Pacific regions. The photographic service market in Europe is a dynamic and diverse industry, encompassing a wide range of products and services catering to various customer segments. Europe is home to many of the world’s leading camera and photographic service equipment manufacturers, as well as numerous photographic service-related businesses and service providers. One of the key sub-segments of the European photographic service market is the consumer market, which includes individual customers who purchase photographic service-related products and services for personal use.

➡️𝐃𝐨𝐰𝐧𝐥𝐨𝐚𝐝 𝐑𝐞𝐬𝐞𝐚𝐫𝐜𝐡 𝐑𝐞𝐩𝐨𝐫𝐭 𝐒𝐚𝐦𝐩𝐥𝐞 & 𝐓𝐎𝐂 : https://www.alliedmarketresearch.com/request-sample/74909

The photography services industry is mostly driven by the increasing demand for high-quality visual content across various industries, the rise of social media and online marketing, advances in technology, and the availability of photographic service education and training results in photography services market trends. As businesses and individuals continue to prioritize visual content, the photographic service market is expected to continue to grow in the coming years which surges the photography services market share.

However, one of the major problems hindering the expansion of the photographic service market is the increase in competition. Market competition can also lead to prioritizing quantity over quality. As companies compete to offer the lowest prices, they may need to make adjustments in quality and customer service for the photography services market growth. This can lead to dissatisfied customers who may turn to other vendors for their photography needs. Additionally, increased competition could lead to the commoditization of photography services, with companies offering similar services and packages. This can make it harder for businesses to stand out in the photography services market size.

The photography services market analysis on the basis of type, end-user, and region. By type, the market is divided into commercial photographic service and consumer photographic service. Further, the consumer photographic service segment is classified into wedding photographic service, portrait photographic service, wildlife photographic service, and others. As per end user, the market is divided into individual and commercial. Region wise, the market is divided into North America (U.S., Canada, and Mexico), Europe (UK, Germany, France, Italy, Spain, Russia, and the Rest of Europe), Asia-Pacific (China, Japan, India, Australia, South Korea, and Rest of Asia-Pacific), and LAMEA (Brazil, Argentina, UAE, South Africa, Saudi Arabia, and Rest of LAMEA).

By type, the market is divided into commercial photographic service and consumer photographic service. The consumer photographic service segment held the major share of the market in 2022 and is expected to grow at a significant CAGR during the forecast period. Commercial photographic service is the practice of creating photographs for use in commercial contexts, such as advertising, marketing, or sales. Commercial photographers may work on a variety of projects, including product photographic service, fashion photographic service, architectural photographic service, and editorial photographic service which increases the photography services market demand.

➡️𝐑𝐞𝐪𝐮𝐞𝐬𝐭 𝐂𝐮𝐬𝐭𝐨𝐦𝐢𝐳𝐚𝐭𝐢𝐨𝐧 𝐖𝐞 𝐨𝐟𝐟𝐞𝐫 𝐜𝐮𝐬𝐭𝐨𝐦𝐢𝐳𝐞𝐝 𝐫𝐞𝐩𝐨𝐫𝐭 𝐚𝐬 𝐩𝐞𝐫 𝐲𝐨𝐮𝐫 𝐫𝐞𝐪𝐮𝐢𝐫𝐦𝐞𝐧𝐭: https://www.alliedmarketresearch.com/request-for-customization/74909

By end user, the market is divided into individual and commercial. The individual segment held the major share in the market in 2022 and is expected to grow at a significant CAGR during the forecast period. Individuals are a significant market segment in the photographic service industry, encompassing a wide range of consumers who purchase photographic service-related products and services for personal or professional use. Individuals in the photographic service market are often characterized by their desire for high-quality, personalized products and services that reflect their individual tastes and interests. Individual trends in the photographic service market are constantly evolving and changing, driven by advances in technology, changing consumer preferences, and emerging cultural trends. One of the key trends in recent years has been the rise of mobile photographic service, with many individuals using their smartphones as their primary photographic service tool. This has led to an increased demand for mobile photographic service accessories and apps that can enhance the quality of images captured on mobile devices.

By region, the market is divided into North America, Europe, Asia-Pacific, and LAMEA. The North America region held the major share in the market in 2022 and is expected to grow at a significant CAGR during the forecast period. The photographic service market in North America is a diverse and thriving industry, encompassing a wide range of products and services catering to a variety of clients and customers. North America is home to many of the world’s leading photographic service companies and businesses, including major camera manufacturers, photographic service equipment retailers, and large-scale photographic service providers. With a large and diverse customer base and a wide range of products and services on offer, the North American photographic service market is likely to continue to be a significant player in the global photographic service industry for years to come.

The major players operating in the market focus on key market strategies, such as mergers, product launches, acquisitions, collaborations, and partnerships. They also have been focusing on strengthening their market reach to maintain their goodwill in the ever-competitive market. Some of the key players in the photographic service market include Fisher Studios Ltd., Carma Media Productions, Bella Baby Photographic Service, Angle Platform, Shutterfly, LLC, Studio Alice Co. Ltd., Getty Images Holdings, Inc., Lifetouch Inc., Portrait Innovations Inc., and Cherry Hill Programs, Inc.

➡️𝐋𝐈𝐌𝐈𝐓𝐄𝐃-𝐓𝐈𝐌𝐄 𝐎𝐅𝐅𝐄𝐑 – 𝐁𝐮𝐲 𝐍𝐨𝐰 & 𝐆𝐞𝐭 𝐄𝐱𝐜𝐥𝐮𝐬𝐢𝐯𝐞 𝟏𝟓 % 𝐃𝐢𝐬𝐜𝐨𝐮𝐧𝐭 𝐎𝐧 𝐓𝐡𝐢𝐬 𝐑𝐞𝐩𝐨𝐫𝐭 @ https://www.alliedmarketresearch.com/checkout-final/e3180cd68a72e66e16355ac357ac34c8

𝐊𝐞𝐲 𝐟𝐢𝐧𝐝𝐢𝐧𝐠𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐭𝐮𝐝𝐲 :
• This report provides a quantitative analysis of the market segments, current trends, estimations, and dynamics of the photography services market analysis from 2022 to 2032 to identify the prevailing photography services market opportunities.
• The market research is offered along with information related to key drivers, restraints, and opportunities.
• Porter’s five forces analysis highlights the potency of buyers and suppliers to enable stakeholders make profit-oriented business decisions and strengthen their supplier-buyer network.
• In-depth analysis of the photography services market segmentation assists to determine the prevailing market opportunities.
• Major countries in each region are mapped according to their revenue contribution to the global market.
• Market player positioning facilitates benchmarking and provides a clear understanding of the present position of the market players.
• The report includes the analysis of the regional as well as global photography services market trends, key players, market segments, application areas, and market growth strategies.

➡️𝐓𝐨𝐩 𝐓𝐫𝐞𝐧𝐝𝐢𝐧𝐠 𝐑𝐞𝐩𝐨𝐫𝐭𝐬:
• Baby Walker Market
https://www.alliedmarketresearch.com/baby-walker-market-A15090

• Badminton Apparel Market
https://www.alliedmarketresearch.com/badminton-apparel-market-A15091

• Bagster Bags Market
https://www.alliedmarketresearch.com/bagster-bag-market-A15094

• Bicycle Horn Market
https://www.alliedmarketresearch.com/bicycle-horn-market-A15093

David Correa
Allied Market Research
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There’s a story that artist Mous Lamrabat likes to tell, about when he first became obsessed with brands. He was 14, a teenager born in Morocco and living with his family in Belgium. Lamrabat and his eight siblings were working class kids who wore plain clothes, long before plain clothes were adopted by the quiet luxury crowd and thus became cool. Back then, the cool kids, they were covered in logos; symbols of a club he desperately wanted to be a part of.

“As a kid, you just want to belong,” he remembered. So the teenager took a hat his father wore to mosque and embroidered it with a Nike swoosh. With needle and thread and a logo born 5,000 miles away, the people’s republic of Mousganistan was founded.

“Mousganistan,” a manifesto, an exhibition title, and now the name of Lamrabat’s first book, is a “utopia of multiculturalism and unconditional belonging.” It is, as all utopias are, more an idea than a place. It acknowledges all the identities we wear through life, and says, “it’s ok to not be one person,” explained Lamrabat, now 41. We think we have to decide which person to be in any given moment, he added; “American” outside the home, Arab inside, for example. Mousganistan says, “It’s fine. Let’s be both.”

This idea has guided Lamrabat’s photography for years, manifested in sign and symbol. Lamrabat rose to prominence by melding Western iconography — especially its symbols of consumerism — with people and places from Africa and the Middle East. His work combines gauche branding with fine-art sensibilities, operating as a cultural melting pot ripe with playful contrast. In Mousganistan, a Tuareg tagelmust (headscarf) is made from Ikea bag straps, women sport henna Wu-Tang Clan logos, and niqabs look like Lakers and Bulls jerseys. Because why not? They are, at their core, heightened reflections of the cultural osmosis and lived experience of millions of people every day.

The mischievousness is the point. But as his profile has risen, has Lamrabat run into any issues with the companies his artworks co-opt? “Never,” he said. “A lot of the time, I’m contacted by these brands or creative directors to congratulate me. They’re a big fan.”

“In a way, I’m still thinking, ‘Hey, hire me,’” he added, laughing.

Some have. The Belgian Moroccan artist shot a campaign for WhatsApp, has had work appear on the cover of Vogue and Esquire, and been profiled by GQ. But there have also been lean periods, he admits, and a year when he didn’t pick up a camera. He’s hustled and hustled, he explained, using friends as models and never working with big budgets (“this actually made my work stronger”).

His debut monograph spans eight years of work — a long time, and a long time coming, as he admits he put off the project for years. “It felt like so much work … Now that I’ve made the book, I realized that was true,” Lamrabat joked. But he recognizes it as a big moment: “Everything that I’ve done so far led me to the point I’m at now.”

Unsurprisingly, one word has followed Lamrabat around: iconoclastic. “I don’t even know what iconoclastic means,” he said, chuckling. “I’ve always lived in a bubble and created in a bubble. It was only when I started doing interviews that people started (mentioning this).”

Lamrabat concedes he’s no art connoisseur, though he is a lover of fashion, where “symbols are so important lately.” He describes influencers proudly displaying even the most throwaway items adorned with brand logos on social media. “I almost feel like (fashion has) become a kind of religion by itself. Like a cult.”

His art hasn’t shied away from religion, particularly the flowing fabrics of Islamic womenswear. Bright and bold (in part, a result of an eye condition limiting Lamrabat’s color sight), these playful interpretations nevertheless read as respectful of his heritage. (Perhaps his most provocative work, of a veiled model wearing a Make America Great Again cap, titled “I Just Did,” was not intended to be read as explicitly religious, he noted.)

More recently, Lamrabat has taken to draping fabrics over models for a more secular interpretation that focuses on silhouette and the quality of the textile. He explained he wanted to remove the attracting but distracting presence of faces from his work. The idea came to him after a tough period in which he wasn’t proud of much of his output.

“Me and my girlfriend (now fiancé) were driving through the desert and it was so beautiful,” he recalled. “I wanted to make it so simple; something pure. We shot one photo and it looked amazing.” He began singling out more interesting fabrics and giving them focus, “creating fashion without fashion.”

Doing so rekindled childhood memories. “When I was little, my parents gifted fabrics, which I never understood,” Lamrabat said. “Why would you not at least give them a dress or something, you know?” But he grew to learn of their significance, and the stories these fabrics tell, and how cherished they were by his own culture and others.

Lamrabat has found other ways to manifest the personal in his work. He is Amazigh, North African tribespeople with a flag comprised of three horizontal stripes: blue top, green middle, yellow bottom, representing sky, mountains and desert. Over the stripes is a red letter in the Tifinagh language, symbolizing resistance, that also looks like a human figure, head in the sky, feet in the sand. “If you look at all of my photos, almost all of them, there’s blue behind the head,” he explained. “That’s why I like shooting outside.”

Despite all these throughlines in his work, Lamrabat’s book possibly closes a chapter of his life. “Maybe everything until now was Mousganistan,” he said, “me trying to find solutions for different worlds we live in.”

“I’m at a crossroads,” he shared, “and I need to make a decision (about) what’s next.”

As daunting as that may sound, he has some ideas — none of which involve photography. “I’m not a photographer,” he insisted. “The camera is just a creative output for my ideas … I want to try to not always think in photography, if that makes sense.”

He’s wary of any endeavor that limits his creative freedom. “There should be no rules when it comes to the creative industry,” he argued, and bemoaned artists “losing our rawness” in commercial work, rife as it is with polish and compromise.

He floats getting into sculpture, although he’s not sure where to begin. Let the practical details follow; Lamrabat has always been an ideas guy anyway, and that’s not going to change any time soon.

“What Mousganistan is, is a big construction of bridges,” he said. “I would love to keep doing that, because I truly feel that if we focus on the things that we have in common instead of the differences, it can bring a lot of people closer together.”

“Mousganistan” is available to buy now.

Seabourn has announced the launch of its immersive “Image Masters” photography program on select voyages starting August 2024.

The new hands-on program provides in-the-field instruction on photo composition, camera technique, editing, and retouching. It will be led by an accomplished nature photographer.

Seabourn Image Masters program.

“Having a sharp eye for photography when surrounded by natural wonders in remote regions of the world is an extraordinary way to capture the moment, and our new Image Masters program will teach guests how to best photograph the incredible landscapes and wildlife seen on our expedition voyages,” Seabourn vice president and general manager, expedition operations and planning, Robin West, said.

“Like every element of the Seabourn experience, Image Masters is designed for guests to enjoy their time with us to the fullest and share it when they return home.”

The photography program will be offered on select sailings of the new, purpose-built expedition ships, Seabourn Venture and Seabourn Pursuit. It will be limited to just 10 guests per voyage who will get priority access to the onboard photographer, curated outings onboard and ashore, and priority access to the photo studio.

There will also be programs designed to polish photography skills such as:

• Photographer-led Zodiac tours and walks
• Exclusive lectures and workshops
• 1:1 mentoring and coaching sessions
• Private photo studio hours with Lightroom access
• Photographer hosted dinner

Guests who enrol in the program can expect to leave with an enhanced understanding of basic photography principles, editing expertise, a new community of fellow photographers and professional-level photos from their adventure.

Seabourn will roll out the new program on Seabourn Venture’s 11-Day Fjords of East Greenland voyage, departing 5 August 2024.

Watching a rocket launch live must be a breathtaking experience. I hope I will have a chance to see it at least once, but I can’t wait until then, so I made a miniature version with practical effects.

I am an amateur space junkie. I love space science, especially the Moon landing. I even make educational videos about it from a photographer’s perspective. I have had sooo many arguments with people who say the Moon landing was a hoax… But I have patience, and I tell and describe to them for the 789th time how it was.

I am really passionate about this; it’s fascinating how people in the Apollo program could achieve this almost impossible challenge. And now we do it again, but at the next level! In their honor (the scientists, astronauts, engineers, programmers, and many more), I put every bit of knowledge and energy into this photography project. I wanted to make something “WOW” that is worthy of this mission.

Of course, I did my research to understand what the Artemis program is all about. Why we go back, how we go back, and what the long-term plans and goals are. Really exciting. The Artemis program is actually the first step to landing on Mars. Long story short, the Artemis program’s main goal is to create a permanent moonbase where we can start our journey to Mars.

I looked at many photos of the Artemis I launch and studied how the rocket works and how Orion operates. For example, in the Orion photo, I was wondering if I should put some engine fire behind the module (because that would look cool) or not. So I watched some video simulations and saw that during the Moon orbit, they won’t use thrust. Only for the Earth-to-Moon path. Actually, this is really logical; once they reach the Moon, gravity does its job and keeps the Orion capsule in orbit.

Let’s see the photos and I will tell you more stories about the whole process! :))

More info: Instagram

Waiting For The Launch

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This photo, which represents the calm, mighty look of the rocket before the launch, was the easiest. I just needed a nice cloudy sky. But I was dumb enough to transport the rocket in a stupid way, so it crashed. I had to go home, rebuild it, and go back to the shooting location, which was the same place where the lift-off pic was made.

3…2…1, We Have A Lift-Off!

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Orion Module Around The Moon

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Before the blue hour, I built up the scenery in the last rays of the sun.

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The biggest challenge was the lift-off image. I knew I would use cotton balls, and the old airfield nearby was going to be a perfect location. I miscalculated two things. One: the amount of cotton balls, I nearly ran out of them. Second: the mosquitoes. They ate me alive.

The full setting, with LED kit to light up the tower and the launchpad. Yepp, that’s a shot glass under the boosters.

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Also, I had to be careful with the LEGO set not to get it destroyed during the transportation (spoiler: I crashed it before the last pic…). The fire smoke was quite a challenge to build from cotton. I made several test shots with the flashlight to see how it looked.

Using cottonballs to create smoke.

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The Orion module and the Moon surface from gypsum.

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With the Orion photo, I realized something during the set building. If I just pour the gypsum powder on the table, its structure will be quite unrealistic and strange, especially when I use low-angle lights.

The lights were essential at this picture.

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As a solution, I took a simple A/4 paper piece and compressed the powder a bit, so I got smooth surfaces mixed with the powder texture. After that, I used my finger to “draw” craters in the gypsum.

Watch the full behind the scenes video!

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It’s not easy to put a focal range length for the landscape photography genre, but it’s safe to say that most people think of wide and ultrawide lenses when we mention this topic. That’s not to say that telephoto lenses can’t produce exceptional landscape photos. Some of my most memorable landscape travel photos were taken using telephoto lenses. We’ve even written an article some years ago on how they can make your landscape photos stand out. But for the sake of this article, we’ll be excluding them. We showcase some of the best lenses we’ve tried and tested that can help you get great landscape photos in any condition. All of the lenses below have received at least a four-star rating in our tests

How We Test And Choose The Best Landscape Photography Lenses

• The Phoblographer’s various product round-up features are done in-house. Our philosophy is simple: you wouldn’t get a Wagyu beef steak review from a lifelong vegetarian. And you wouldn’t get photography advice from someone who doesn’t touch the product. We only recommend gear we’ve fully reviewed in these roundups.
• If you’re wondering why your favorite product didn’t make the cut, there’s a chance it’s on another list. If we haven’t reviewed it, we won’t recommend it. This method keeps our lists packed with industry-leading knowledge. Some of our stories include affiliate links. If you buy something through one of these links, we may earn an affiliate commission. You can read more about our ethics on this on our Disclaimer page.
• When we test products we’ve got various things in mind. First off, we consider who might want to buy the product and what they might do with it. With that in mind, we try to tackle at least three genres of photography with that product in a variety of situations. For example, if a lens has weather resistance, then we’ll test it accordingly with a weather-resistant camera. We also test the autofocus of the lens in continuous mode, single mode, with exposure preview effects, without those effects, and then with all the major image quality parameters. These days, no one really makes a bad lens — but some are far better than others. And that’s what we’re trying to find in our reviews.
• In all of our roundups, we’re basing our findings on the reviews that we’ve done. We’re choosing a favorite, but we’re also giving photographers a bunch of others that they might like, depending on how they shoot.

Our Choice Amongst the Best Landscape Photography Lenses You Can Buy In 2024: Tamron 17-28mm F2.8 Di III RXD

Supremely sharp, fast to autofocus, and weather-sealed (great to shoot landscapes in the rain), the Tamron 17-28mm f2.8 Di III RXD is one fantastic lens. It’s almost small enough to be a prime lens, giving you extra room in your camera bag to keep more accessories. And it’s small because it’s an internally zooming lens. Because it zooms internally, there are fewer places for moisture and dust to get inside and disrupt the way it works. The lens also has sealing around the mount, a very important feature as the seal keeps moisture out. The last thing you want in your narrow aperture images is dust creeping in on your sensor, showing up as spots in your photos. In our extensive review, we noted:

The Tamron 17-28mm f2.8 Di III RXD is a lens both professionals and enthusiasts will enjoy. If you’re not in love with the size, you’ll be seduced by the image quality. You’ll then stay for the autofocus performance. But most of all, you’ll appreciate how reliable this lens is due to the build quality. Photographers who want a trinity of f2.8 zooms can get it from Tamron. Both their 17-28mm and their 28-75mm lenses are great. If you need and mostly shoot at the under 100mm range, then this lens and the 28-75mm f2.8 will be perfect for you.

Tech Specs

Tech specs are taken from the Adorama listing:

• Lens Mount: Lens Mount: Sony E Mount
• Lens Format: Lens Format: Full-Frame
• Lens Type: Wide Angle Zoom Lens
• Maximum Aperture: Maximum Aperture: f/2.8
• Mirrorless: Zoom: 17-28mm
• Special Features: Aspherical, Bokeh Effect, Weather Resistant

Get yours today from Adorama

For Some Photographers, These Might Be The Best Budget Landscape Lenses To Choose From

Here are some other great options for landscape photography that might appeal to you.

Viltrox AF 16mm f1.8

The only reason this lens didn’t take the top spot on our list was that the Tamron pipped it for being slightly more capable as a zoom lens. Otherwise, if ultrawide landscapes are your thing, don’t think twice about this one. The Viltrox AF 16mm f1.8 is the absolute sharpest ultrawide prime I’ve seen with zero distortion at such a wide focal length. You’re getting weather sealing and dust resistance; the lens mount is also made of metal, which aids in this. And while landscape photos are often taken while stopping the lens down, it’s great to be able to shoot at f1.8 when you need to. In our review we said:

The autofocus on the Viltrox AF 16mm f1.8 lens is blazing quick; the sharpness is incredible for a lens at this price point, and the build quality is exceptional. The distortion? Almost non-existent. Weather sealing? You got it. Want a physical aperture ring? It’s there for you. Worried about your 77m screw-on filters being left unused? Not anymore; this lens has no bulbous front element. In short, Viltrox may have just created the perfect ultrawide lens for amateur and professional photographers and videographers. Currently available for Sony’s FE mount, it’ll soon make its way to more brands’ cameras. This lens could and should have other manufacturers shaking in their boots. It’s a fascinatingly good lens for such an affordable price, and it will tick off all the boxes that many photographers (and videographers) looking for an ultrawide lens would have.

Hasselblad 38mm F2.5 XCD

Sure it’s pricey, but it’s not a lesser landscape lens by any means. The Hasselblad 38mm F2.5 XCD is one of the finest medium format lenses we have used for landscape photography. It’s lightweight, compact, and comfortable to photograph with on the longest workdays. Distortions are minimal, and imperfections are easily corrected. We had high praise for it in our review:

The Hasselblad 38mm f2.5 XCD lens is lightweight, compact, and a perfect travel companion. It is comfortable to photograph with on the longest work days. The focal length is ideal for landscapes, cityscapes, street photography, architecture, commercial, still life, and fun portraits. Hasselblad’s 38mm f2.5 lens satisfies a wishlist for medium format photographers wanting faster primes. And speaking of fast, it is swift to focus in well-lit environments. Backlit images can take a little longer. It also sometimes focuses on the background instead of your subject for macro-type images. Manual focus comes in quite handy here. Other than that, there’s a lot to like about this lens.

IRIX 15mm F2.4 FireFly

More famous for their Cine Lenses, Irix does make a few lenses aimed at photographers too. One of the better ones from this lot of theirs is the IRIX 15mm F2.4 FireFly. Like the pricier IRIX 15mm f2.4 BlackStone, this version too has great weather sealing. It’s got a massive 92mm front element, which is something to be seriously considered if you’re someone that uses circular screw on or magnetic filters. In our review we said:

The IRIX 15mm f2.4 FireFly has lots of the benefits of its bigger brother with very few drawbacks. The IRIX 15mm f2.4 FireFly has weather sealing incorporated into the lens everywhere but the front of the lens. So if you’re shooting, be sure to keep the front covered or get a filter for it. Granted, it’s a massive front filter. Despite the lack of weather sealing and the plastic body, it’s still designed and built very well; nothing about it feels cheap. In hands of varying sizes, the IRIX 15mm f2.4 FireFly will feel comfortable due to not only its chunky design but also because of the rubber grip.

Sigma 14-24mm F2.8 DG DN Art

In terms of color rendition, the Sigma 14-24mm F2.8 DG DN Art has to be among our top picks. Every sort of photographer using this lens will feel satisfied with the results. The best things about it are the colors and the sharpness. It’s capable of rendering bokeh, but it’s not something you’d pick this lens for often. Instead, accept it as a wide-angle zoom, that gives you a deeper depth of field. We had high praise for it in our review:

The Sigma 14-24mm f2.8 DG DN Art is a good lens in many ways. Not only does it have solid image quality, but you’ll be hard-pressed to best its build quality. For Sony E mount, you’ve got very good options with this, Sony’s 16-35mm f2.8 G Master, and Tamron’s 17-28mm f2.8 lenses. However, this lens is the best compliment to Sony’s trinity of zoom lenses. Event photographers, photojournalists, and landscape photographers will really enjoy this lens mated to their camera. Couple this with the autofocus speed and you’ve got something that’s bound to stay in your bag. It’s heavy and large for Sony, but with the L mount, it’s pretty much the same size as everything else.

Olympus 12-45mm f4 PRO

OM System, as they are known nowadays, is a brand gaining traction among older photographers who want to cut down on their camera gear. I know quite a few photographers who have switched to them to reduce the load on their backs when traveling for landscape photography. Among their more popular lenses for landscape photography is the Olympus 12-45mm f4 PRO. In our review, we said:

I really like Olympus 12-45mm f4 PRO as an enthusiast’s lens. And that’s what it’s being targeted to. This is a fantastic walkaround lens that you’ll enjoy mounting on your camera. It’s as small as a prime and it’s versatile. You never need to stop it down really. But where I find the lens to be lacking is more so in its initial design. I wish that it was a faster aperture zoom. That’s what Olympus really needs.

Fujifilm XF 16-80mm f4 R OIS WR Lens

We would have preferred this to be an f2.8 lens, but you don’t always get what you wish for. As its name indicates, the Fujifilm XF 16-80mm f4 R OIS WR is a weather-resistant and optically image-stabilized zoom lens featuring a dedicated aperture control ring. Weighing in at just 0.97 lbs / 440 g, it’s pretty lightweight as well. We loved using it during our review:

The Fujifilm 16-80mm f4 R OIS WR delivers a ton of great features in an affordable package that is compact, lightweight, and well-built. It combines versatile focal range coverage, weather sealing, and optical image stabilization, with overall excellent image quality. While it’s not the sharpest zoom in Fujifilm’s lens lineup (specifically towards the corners), you’re getting a lot for your money with the 16-80mm f4. Would we have preferred a brighter maximum constant aperture of f2.8? Definitely. Corner to corner sharpness? Who wouldn’t? But that would be a pipe dream for the MSRP of $799. You get what you pay for, and you’re getting a hell of a bargain with the Fujifilm XF 16-80mm f4, folks. Its combination of excellent overall image quality, reliable performance, form factor, feature set, and build quality should be more than adequate for most photographers.

Nikon Z 14-30mm F4 S

You can argue that the Nikon 14-24mm f2.8 Z lens is a better lens, but it also comes at a much more premium price tag. The first of their ultrawides for the Z mount, the Nikon Z 14-30mm F4 S is a great lens that can produce some stunning landscape photos with sharpness to die for. In our review we noted:

The Nikon NIKKOR Z 14-30mm f4 S is the first native ultra-wide angle lens for Nikon’s Z mount Full Frame mirrorless cameras, covering a focal range favored by many architectural, landscape, and travel photographers. Slight vignetting is noticeable when shooting with the lens at its widest focal length, but rarely to the point where it becomes distracting. The 14-30mm f4 S for Nikon Z cameras produces remarkable images with outstanding sharpness and little to no distracting aberrations, and is constructed to withstand the elements while maintaining a diminutive footprint

Canon RF 15-35mm F2.8 L IS USM

What’s not to like about an f2.8 wide angle lens that’s weather sealed to perfection. The Canon RF 15-35mm F2.8 L IS USM brings to their mirrorless lineup one of their most popular DSLR era lenses. In our review we stated:

The Canon RF 15-35mm f2.8 L IS USM has truly won me over. Despite a couple of minor things that should be expected (vignetting and a little distortion) with a lens like this, the Canon RF 15-35mm f2.8 L IS USM is perfect, and it would make an excellent addition to any Canon photographer’s library of lenses.

Using This Guide To The Best Landscape Photography Lenses Of 2024

If you’re considering purchasing anything from this list of the best budget landscape lenses, consider the following:

• All the product images and sample photos in these roundups are shot by our staff. In fact, we don’t talk about products at length in roundups like this unless we’ve done full reviews of them. But you can surely know that we’ve done all the research ourselves.
• Does landscape photography mystify you? Here’s a cheatsheet to help you
• We’d never recommend a product to you that we haven’t tested or that we really didn’t like. You can reference our linked reviews, for more information on this.

Picking the Right One For You

If you’re still a bit confused as to the right landscape lens for you, here are some questions to ask yourself

• What’s your budget?
• How will you use the product?
• What lighting situations are you in, and how will that affect what you’re doing? Our reviews hyperlinked in this article can help with that.
• Are you traveling a lot with it?
• Will you be using it in a situation that’s a bit rougher?
• Who else uses this product? How are they using it?
• What’s so appealing about this product that I can’t get from what I have already or something else?
• When will I really have time to use this product?
• Where will I bring this product?
• How will this product help bring me joy and joy in my photography?

Many of the most memorable automotive shoots we’ve commissioned for Wallpaper* over the years have been the work of photographer Benedict Redgrove. Combining his love of all things automotive – the more eccentric and exotic the better – with architectural photography and extensive, innovative post-production work, Redgrove has also shot for many of the major manufacturers, from Aston Martin and McLaren through to Polestar and Roborace’s self-driving car.

Over two decades’ worth of assignments have been brought together in this new book, which not only presents the striking finished images, but goes behind the scenes to explore the meticulous physical set-ups and lighting rigs that Redgrove has developed to shoot cars in both physical and virtual environments.

Auto Photo Manual follows the pattern taken with Redgrove’s earlier publishing venture, The NASA Project (featured in our 2017 article), as it chronicles how an obsessive interest can be parlayed into art.

As the title suggests, Auto Photo Manual is both a portfolio and a how-to book, a behind-the-scenes look into the evolution of the world of car photography. At the same time, the machines themselves become more complex and elaborate, demanding more and more from the photographer as they attempt to bridge the worlds of art and science.

Redgrove has proved more than adept at balancing these demands. He sometimes chooses to shoot all-white cars, all the better to explore their form language and juxtapose it with architectural backdrops, be they real, CGI or a post-production blend of the two.

One of his early Wallpaper* commissions, a shoot at the now-defunct Bertone design studio in Turin, is shown here, a rare occasion where car and location could be perfectly dovetailed in camera. Shoots for Giugiaro and Pininfarina are also included, making up some of the definitive images of these legendary names.

Finding, or creating, a location is as much of an art as lighting, composition and post-production, and all this painstaking background work is chronicled in the book. Redgrove is also explicit about the role of neurodivergence on his approach, and how it affects the way he approaches a shoot.

‘I wanted to make a book that shows the work and projects in their entirety,’ Redgrove explains. ‘Often, I create a large body of work, but due to space or budget, only a few images are shown in magazines or campaigns. This way, I can release the full sets and talk about the how, why, when, and where of the images, which I often get asked about.’

A must-have for automotive enthusiasts, photography fans and art directors of all stripes, Auto Photo Manual is a beautiful and essential visual guide to the art of car design, the craft of photography, the importance of composition and the creative processes that bring it all to life.

Auto Photo Manual is available to back on Kickstarter.com

Auto-Photo-Manual.com, BenedictRedgrove.com, @BenedictRedgrove

Key Biscayne, FL

(33149)

Today

Cloudy skies. High 88F. Winds ESE at 5 to 10 mph..

Tonight

Cloudy skies early will become partly cloudy later at night. Low 82F. Winds ESE at 5 to 10 mph.

Updated: July 9, 2024 @ 12:16 am