Gigi Hadid stars in Miu Miu‘s newest campaign, celebrating the work of pioneering English photographer Yevonde. Known for her innovative use of color within portrait photography, the young Women’s Rights activist started out as a photography apprentice after answering an advert in The Suffragette and went on to become one of the most sought-after society photographers of the 1930s.

Tributing her distinctive portraiture style, the campaign sees Hadid captured against dégradé backgrounds with saturated pink and blue hues. Lensed by the legendary Steven Meisel and styled by Lotta Volkova, the new campaign spotlights the brand’s classic Wander and Arcadie bags.

The campaign celebrates Yevonde’s dynamic spirit and a career defined by independence and defiance. After opening her studio at just 21 years old — at a time when women’s career paths were hugely limited — the photographer’s fearless legacy lives on through her surrealist style and collage-inspired arrangements. Showcasing vivid new colorways of Miu Miu’s signature bags, the Arcadie and Wander appear in hues of “Caramel” and “Cognac” alongside “Soleil” and bright orange.

Take a closer look at Gigi Hadid for Miu Miu above and head to the brand’s website to purchase the new styles.

While you’re here, check out every look from Zendaya’s Challengers press tour.

The demand for photo restoration services is significant, especially among those with old photo albums, historical documents, and family heirlooms that have suffered the ravages of time. Whether faded, stained, water-damaged, or sticking to glass, these precious memories can be revived. Karen Vaisman Photography addresses this need with a personal touch, treating each photo as a priceless piece of history.

The total solar eclipse is not just a momentous event for scientists delving into celestial mysteries; it’s also a golden hour for photography enthusiasts of all levels. From amateur shutterbugs to seasoned selfie aficionados, the eclipse presents a unique opportunity to capture breathtaking images that blend cosmic wonder with earthly beauty. Beth Anthony of NASA and other photography experts offer invaluable tips for anyone aiming to photograph this rare event.

#1 – Prioritize Safety for Eyes and Equipment

The paramount rule of eclipse photography is safety. Direct exposure to the sun can harm both your eyes and camera sensor. Equip your camera with a special solar filter for the partial phases of the eclipse and don your eclipse glasses to safeguard your vision. However, when totality arrives, and the Moon fully obscures the Sun, remove your camera’s filter to witness and capture the glowing corona in all its glory.

#2 – The Best Camera Is the One You Have

A memorable photo is crafted by the photographer, not the camera. Whether you’re using a sophisticated DSLR or the camera on your phone, you can take stunning eclipse photos. What truly matters is your vision and the ability to see the potential in your surroundings. If you’re without a telephoto lens, embrace the wider landscape, capturing the surreal changes in light and shadow.

To enhance your photography, consider a tripod for stability in low light and a delayed shutter release timer to prevent camera shake. These tools can be instrumental in achieving clear, crisp images.

#3 – Embrace the Full Experience

While the eclipse itself is mesmerizing, don’t overlook the world around you. The changing light casts an otherworldly glow, and the shadows form patterns that are equally captivating. NASA photographer Bill Ingalls advises capturing the human element: the awe, the joy, and the communal experience of eclipse watching. These moments can add a powerful narrative to your eclipse imagery.

#4 – Know Your Gear and Practice

Familiarize yourself with your camera’s settings and capabilities well before the eclipse. Practice adjusting exposures to manage the challenging lighting conditions you’ll face. For DSLR users, experiment with different shutter speeds and apertures to find the ideal settings for both the partial phases and the totality. The corona’s varying brightness during totality calls for a range of exposures to capture its full majesty.

#5 – Share Your Journey

After the eclipse, share your experiences and images with friends, family, and the wider world. Tagging @NASA when you post your photos on social media can connect you with a global community of eclipse enthusiasts. This shared experience can amplify the joy and wonder of your celestial captures.

In the end, while you’re focused on photographing this spectacular event, don’t forget to take a moment to witness it directly. The experience of seeing a total solar eclipse with your own eyes is unparalleled. Just remember, safety first—use your eclipse glasses before and after totality to protect your vision.

As we look forward to the total solar eclipse, let these tips from NASA and photography experts guide you in capturing not just images, but memories that will last a lifetime. Whether you’re an experienced photographer or someone who’s never pointed a lens at the sky, this eclipse offers a moment to connect with the cosmos in a uniquely personal way.

HT: NASA

The total solar eclipse is not just a momentous event for scientists delving into celestial mysteries; it’s also a golden hour for photography enthusiasts of all levels. From amateur shutterbugs to seasoned selfie aficionados, the eclipse presents a unique opportunity to capture breathtaking images that blend cosmic wonder with earthly beauty. Beth Anthony of NASA and other photography experts offer invaluable tips for anyone aiming to photograph this rare event.

#1 – Prioritize Safety for Eyes and Equipment

The paramount rule of eclipse photography is safety. Direct exposure to the sun can harm both your eyes and camera sensor. Equip your camera with a special solar filter for the partial phases of the eclipse and don your eclipse glasses to safeguard your vision. However, when totality arrives, and the Moon fully obscures the Sun, remove your camera’s filter to witness and capture the glowing corona in all its glory.

#2 – The Best Camera Is the One You Have

A memorable photo is crafted by the photographer, not the camera. Whether you’re using a sophisticated DSLR or the camera on your phone, you can take stunning eclipse photos. What truly matters is your vision and the ability to see the potential in your surroundings. If you’re without a telephoto lens, embrace the wider landscape, capturing the surreal changes in light and shadow.

To enhance your photography, consider a tripod for stability in low light and a delayed shutter release timer to prevent camera shake. These tools can be instrumental in achieving clear, crisp images.

#3 – Embrace the Full Experience

While the eclipse itself is mesmerizing, don’t overlook the world around you. The changing light casts an otherworldly glow, and the shadows form patterns that are equally captivating. NASA photographer Bill Ingalls advises capturing the human element: the awe, the joy, and the communal experience of eclipse watching. These moments can add a powerful narrative to your eclipse imagery.

#4 – Know Your Gear and Practice

Familiarize yourself with your camera’s settings and capabilities well before the eclipse. Practice adjusting exposures to manage the challenging lighting conditions you’ll face. For DSLR users, experiment with different shutter speeds and apertures to find the ideal settings for both the partial phases and the totality. The corona’s varying brightness during totality calls for a range of exposures to capture its full majesty.

#5 – Share Your Journey

After the eclipse, share your experiences and images with friends, family, and the wider world. Tagging @NASA when you post your photos on social media can connect you with a global community of eclipse enthusiasts. This shared experience can amplify the joy and wonder of your celestial captures.

In the end, while you’re focused on photographing this spectacular event, don’t forget to take a moment to witness it directly. The experience of seeing a total solar eclipse with your own eyes is unparalleled. Just remember, safety first—use your eclipse glasses before and after totality to protect your vision.

As we look forward to the total solar eclipse, let these tips from NASA and photography experts guide you in capturing not just images, but memories that will last a lifetime. Whether you’re an experienced photographer or someone who’s never pointed a lens at the sky, this eclipse offers a moment to connect with the cosmos in a uniquely personal way.

HT: NASA

The works of the photographer Gabriele Micalizzi are to be showcased for the first time in Milan. The exhibition, “A Kind of Beauty”, is curated by Tiziana Castelluzzo and brings together photographs ranging from black and white prints to gelatine silver prints and colour. They include shots from some of the biggest clashes of the past two decades, from the Arab revolutions to the fighting in Ukraine and Palestine.

Gabriele Micalizzi was born in Milan in 1984. His first experience of war was at the age of 23, in Afghanistan, followed by a trip to Thailand during the riots created by the Red Shirts in central Bangkok. It was here that he realised his vocation was to be a photojournalist. Micalizzi describes the war as

In this striking black and white image, we witness the profound and transformative moments as a mother steps into a birth pool during labor. The high-contrast composition enhances the depth and intensity of the scene, allowing emotions and sensations to take center stage.

Standing confidently and nude, the mother embraces the power and vulnerability of her body. The soft illumination from outside the sliding glass door delicately highlights her form, creating a captivating interplay of light and shadows. This ethereal lighting accentuates her curves and contours, symbolizing the radiant strength and beauty that emanates from within.

Behind the mother, a set of birth affirmation card hang, serving as a visual anchor amidst the anticipation and intensity of labor. The first card bears the words “relax, soften, open,” a gentle reminder for the mother to surrender to the natural rhythm of her body, to trust in the process, and to embrace the transformative journey ahead.

As she steps into the birth pool, the mother allows her body to acclimate to the soothing temperature of the water. This moment of pause and reflection signifies a pivotal transition, where the water becomes a sanctuary of comfort and support, easing the physical and emotional strain of labor.

The black and white aesthetic of the image adds a timeless quality, emphasizing the raw and primal nature of childbirth. By stripping away color, the image invites us to focus on the essence of the moment – the mother’s strength, determination, and connection with her body.

Through this captivating composition, we are reminded of the inherent beauty and power of childbirth. It is a testament to the mother’s resilience, courage, and ability to embrace the unknown. This image encapsulates the transformative journey of labor, the importance of self-affirmation, and the profound connection between a mother and her body.

It serves as a tribute to the incredible strength and grace exhibited by mothers during childbirth, as they navigate the depths of their own being to bring new life into the world.

Apple consistently demonstrates its dedication to innovation and exceptional performance, with the release of the iPhone15, the remarkable Photography Snaptacular feature sets a new standard in the industry, emphasizing the company’s dedication to raising the standards for the industry.

The latest outdoor campaign from Apple has captured the attention of passersby as the Photography Snaptacular feature steals the spotlight on clear white hoarding placed in high-traffic outdoor spaces, showcasing the extraordinary capabilities of the iPhone 15 camera

 the unmistakable camera eye icon lies on both sides of the billboard, boldly proclaiming the device’s prowess in capturing stunning imagery, accompanying this clear visual is the text “iPhone 15 Photography Snaptacular,” as a powerful declaration of the device’s capabilities, igniting a spark of inspiration within every viewer by showcasing the potential for creativity and expression through iPhone photography

through this outdoor campaign, Apple invites users to explore the world in new exciting ways and experience the most advanced dual-camera system yet.

To find more details about the OOH industry, visit Insiteopedia and navigate its different sections.

In an advert dated 1916, studio photographer FD Hampson arranges five Panama hats in a 2-1-2 formation. A small shower of white objects against a black background, the hats appear like flying saucers hovering in a blank void. ‘It’s a total transformation that makes the hats sing,’ suggests Virginia McBride, a research associate at the Metropolitan Museum of Art and curator of the recently opened exhibition, ‘The Real Thing: Unpackaging Product Photography’, in which Hampson’s photograph features. ‘Immediately, it summoned for me the work of people like Max Ernst,’ she continues, alluding to the Dada pioneer’s The Hat Makes the Man collage from 1920.

Comprised of more than 60 works from the first century of photo advertising (beginning in the 1850s), the images in the exhibition were pulled solely from the Met’s own collection in New York – a constraint that helped set parameters says McBride, noting that it is not a complete history of commercial photography – and most of the pieces have rarely been publicly exhibited. The curator was keen to rectify this, she says, and moreover she was curious to unpack their role in shaping the visual language of modernism, as the show endeavours to do. 

‘The Real Thing: Unpacking Product Photography’ 

‘I was interested in going back to the source material, the trade catalogue, and was struck by its own sort of modernism. Looking at the way it presents these objects for sale, and thinking about the relationship between avant-garde aesthetics and this more applied set of circumstances and commercial priorities, and how they talk to each other,’ she says, relaying the show’s earliest genesis. ‘The photographers in this exhibition reanimate objects that are not usually of great cultural value – the tube of toothpaste or the fork on the table for example – showing that these can be subjects not only for commerce, but for artistic reverie.’

Mapped out in categories in what McBride describes as an ‘episodic romp’, wall labels bear titles such as ‘The Inventory’ and ‘The Unfamiliar Thing’, foregrounding work by celebrated photographers like August Sander and Paul Outerbridge, as well as lesser known artists including Hampson. The work is predominantly monochromatic, with gelatin silver prints, daguerreotypes and ambrotypes all featured, but viewers are also made privy to early colour work, such as in ‘Worth Reaching For’ by Anton Bruehl for Kentucky Whiskey distillery Four Roses; shot in 1949, its hot air balloon scenario was constructed with the help of miniaturists, set dressers and a celebrity florist. 

Visually anchored in a previous time, the show’s sensibility is largely informed by a more contemporary moment, says McBride. ‘Product photography is, now, completely inescapable – it follows you around and stalks you on social media – and that condition is very interesting,’ she asserts, reflecting on the modern commerce landscape and this relationship between the past and present. ‘It obviously informs a viewing of the historical material, and so I wanted to look at how we got to the place we are now in; what conventions informed these current circumstances.’ 

Echoing one of the most famous taglines of the late 20th century, the show’s moniker was employed as a nod to the concept of truth in advertising and its significance for photography specifically. ‘I wanted to engage the language of buying and selling, and that slogan seemed particularly apt to invoke the dialogues around the history of photography,’ says the curator. ‘The promise of photography, from its earliest days, was that it shows the world in an objective way – of course, we know now to question those claims – but “The Real Thing” seemed an inappropriate wink at this narrative of photographic truth.’

Further observations of this play on reality occur throughout the exhibition. André Kertész’s ‘Fork’ (1928) for example, shot on a whim at a friend’s dinner party, would later be acquired by a German silverware company: the fork it appears to advertise was in fact from a French department store. 

‘Part of the show explores “The New Vision”, and how photographers in the 1920s and 1930s, especially, were using the camera to transform the ordinary world via unexpected angles, or surprisingly oblique perspectives to make the known world unfamiliar,’ explains McBride. ‘That impulse persists today, while the innovations of this first century of product photographers plays out constantly in contemporary photography. People assume Photoshop and digital photography transformed the nature of the medium, but retouching and manipulation goes back to the earliest history of the medium.’

‘The Real Thing: Unpackaging Product Photography’, at the Metropolitan Museum of Art, New York, is on until 4 August 2024

metmuseum.org