Photography

Jaw-dropping images win big in the World Nature Photography Awards 2024

Jaw-dropping images win big in the World Nature Photography Awards 2024

Behaviour – Birds – Gold and Grand Prize Winner |
Tracey Lund, UK |
Two gannets under the water 
“Taken whilst on holiday in Shetland, sat on the side of a RIB. The hired DSLR camera in the waterproof housing was attached to polecam system and lowered into the water. Thousands of gannets were in the sky above us and then started to dive into the sea after locally-caught fish. An unbelievable spectacle to witness, let alone photograph. I took 1800 images on that day but only had 2 that I could use.”
(Image credit: © Tracey Lund)

The World Nature Photography Awards always produces an abundance of exceptional photographs, and this year has been no exception. Some of the best wildlife cameras have been used to capture nature in all its beauty, from portraits of exotic animals to the humble mushroom the competition brings together the best photography from all over the world. 

The title of World Nature Photographer of the Year 2024 was awarded to Tracey Lund from the UK, for her image ‘Underwater gannets’, an underwater image that depicts two hungry gannets diving for their meal. Taken whilst on holiday off of the coast of Shetland, UK, Lund used a DSLR in an underwater housing attached to a pole cam, all while sitting on the edge of a boat. The image won gold in the Behaviour – Birds category, one of 14 category winners entered into the grand prize draw.  

Speaking on the moment of capture, Lund says, “Thousands of gannets were in the sky above us and then started to dive into the sea after locally caught fish. An unbelievable spectacle to witness, let alone to photograph. I took 1800 images on that day but only had 2 that I could use”. 

Drawn from a pool of thousands of entries submitted from over 6 continents, Lund’s winning image shows exceptional patience and technical skill, awarding her the prestigious title and the $1,000 prize money. 

The winners of the 13 other categories and their images can be seen below: 

People and Nature – Gold |
Ioannis Pavlos Evangelidis , Greece |
Traditional stilt fishermen try their luck at sunset

“Traditional stilt fishermen try their luck with the changing tide at sunset in Koggala, Sri Lanka. It showcases the water movement in contrast to the stillness of the fishermen. Traditional, artisanal fishing methods like these, used for subsistence do not pose significant threats to the ocean’s natural resources and on the contrary, makes local communities stakeholders to the ocean’s health.”
(Image credit: © Ioannis Pavlos Evangelidis)

Black and White – Gold |
Richard Li, USA |
Leopard
In a hidden shelter in Kenya, I patiently waited until late into the night to capture the graceful moment when a leopard approached the pond, elegantly turning around.”
(Image credit: © Richard Li)

Nature Art – Gold |
Miki Spitzer, Israel |
Blue watery veins, glacial braids, and golden sediment

“Icy blue watery veins, shimmering glacial braids and glistening golden sediment come together to provide a delightful mirage for the human eye. Is it a beautiful elephant with a flowing lion’s mane? Or a lion’s head with luxurious flowing braids? It’s up to you and your imagination. This is the gift of Iceland’s magical topography.”
(Image credit: © Miki Spitzer)

Animal Portraits – Gold |
Nicolas Remy, Australia |
A black frogfish (or black anglerfish in Australia)

“I was aware of this black anglerfish living in a reef that I regularly dive and had in mind a portrait that would emphasise the character of this ambushed predator.”
(Image credit: © Nicolas Remy)

Behaviour – Amphibians and Reptiles – Gold |
John Seager, UK |
A lava lizard standing on a marine iguana

“I took this image during a trip to the Galápagos Islands. The Islands are full of iconic marine iguanas and lava lizards. This was the only time I saw a lizard basking on the head of an iguana, both obviously enjoying the occasion with beatific smiles!”
(Image credit: © John Seager)

Behavior – Invertebrates – Gold |
Bill Klipp, USA |
Sally light-foot crabs

“It was late afternoon in Puerto Egas, Santiago Island, Galapagos and the colorful Sally Light Foot Crabs were returning to the lava-rock-encrusted shoreline. I knew that when a wave came in, the crabs would lock down, holding on tight so they did not get washed away, so I set up my tripod and pre-focused on the rocks setting a very slow shutter speed to blur the moving water while keeping the stationary crab sharp.”
(Image credit: © Bill Klipp)

Plants and Fungi – Gold|
Chatree Lertsintanakorn, Thailand |
Thismia thaithongiana

“Once, a photographer whom I respected, Suchat Chanhomhuan, took me to Doi Hua Mot Mountain, Umphang Wildlife Sanctuary, Tak Province, Thailand, to meet a kind of living organism with a strange shape that looked like an owl. The scientific name of this plant is Thismia thaithongiana.”
(Image credit: ©Chatree Lertsintanakorn)

Behavior – Mammals – Gold |
Alex Brackx, Belgium |
Mother zebra and her foal being attacked by a cheetah

“That morning, we decided to follow four cheetahs on the hunt. We followed them for hours. We passed herds of topis, gazelles, and zebras. We knew something was going to happen. When, five hours later, our Maasai guide whispered, ‘they are going for the zebras,’ I was convinced they would attack the topis or gazelles dotted across the valley. Seconds later, the cheetahs burst into a small group of zebras. One cheetah ran towards us, clinging onto a foal. In those seconds, I took this picture of the mother zebra launching a last attempt to push her foal away from the attacking cheetah. She failed. I will remember those last seconds for the rest of my life.”
(Image credit: © Alex Brackx)

Nature Photojournalism – Gold |
Celia Kujala, USA |
Sea lion pup
“Play is very important in the development of California sea lion pups and everything in their environment is a potential toy. It is not uncommon to observe them playing with rocks, seaweed and starfish. Sadly, it is becoming much more common to see them playing with another type of toy: a dangerous toy. Human garbage is entering the ocean and arriving at their remote, uninhabited homes on ocean currents. On this day, in the span of two dives, I was able to collect six pieces of garbage that they were playing with, including the one pictured, and take them out of the ocean. It is extremely sad to see what our waste is doing to them and even though it is hard to make changes, we must do better. This image was taken at Coronado Islands, Baja California, Mexico.”
(Image credit: ©Celia Kujala)

Urban Wildlife – Gold |
Roy Wiesner, Israel |
Female Sunbird

“A nest built on a half-broken dragon mobile hanging in the porch of a residential home, constantly moving in all directions by the wind. I watched for hours as the male and female flew in turns to add a twig, feather, hair and even clothes tags that they collected nearby to build this perfectly shaped nest that can hold several eggs. They flew back and forth for days, mission driven, unfazed by the humans sitting nearby. Finally, the female was content and agreed to pose at the entrance to her new home. Even the dragon couldn’t but smile.”
(Image credit: © Roy Wiesner)

Underwater – Gold |
Andy Schmid, Switzerland |
A female orca splitting a herring bait ball

“A female orca splitting a herring bait ball while diving through it to get one, shot from underneath while freediving. Every winter, enormous schools of herring migrate from the open ocean into the fjords of Northern Norway and attract large numbers of big predators such as orcas and humpback whales. Witnessing orcas feeding on herring using the so-called carousel feeding technique is very exciting but not easy to capture due to various factors: limited light and visibility, fast-paced action plus cold surface and water temperature. Being able to freedive and capture the action on an ongoing feeding frenzy in these conditions is difficult but I managed to create a series of photos I had never dreamt of capturing.”
(Image credit: © Andy Schmid)

Animals in their Habitat – Gold |
Amit Eshel, Israel |
Nubian Ibex

“Nubian Ibex battle on the edge of the cliff with the beautiful backdrop of Zin Desert mountains. During the rut males fur becomes darker in areas such as front chest and legs, the neck muscles thicken and they fight for the right to breed with the females. The battle usually begins with a display of the horns while tilting the head to the sides. In the second stage, if a fight develops, the males push each other as they both turn their heads and the base of their horns towards each other. If the opponents are equal, more vigorous fighting ensues as the males stand on their hind legs and strike each other. In this mode, the collisions of the horns make a loud sound that can be heard far and wide. Despite these violent fights, there is no damage to the skull, but sometimes horns are broken. Courting males seldom feed and expend much energy on fighting or mating, sometimes resulting in severe deterioration of their physical condition. I envisioned and dreamed about such kind of a image for many years since I started following and photographing the Nubian Ibex herd that live in this stunning environment. I always wanted to capture 2 adult males fighting in that exact spot by using a wide angle lens and include the beautiful desert habitat but I have never had a chance to do it until that special morning when I spotted these adults males just after sunrise on the cliff above me as they just started battling. I wanted to include the Zin valley and mountains in the image so I knew I will have to hike up and and position myself above them with the stunning backdrop. I made my way up the cliff In a careful detour trying not to spook them and slowly positioned myself closer and closer to them in order to achieve the composition and angle of sunlight I envisioned in my mind.”
(Image credit: © Amit Eshel)

Planet Earth’s Landscapes and Environments – Gold |
Ivan Pedretti, Italy |
Beach and Vestrahorn mountain

“Winter in Stokksnes, Iceland. The beach with its black sand and the majestic mountain called Vestrahorn, I love the contrast in colors between the white mountains and the black dunes with yellow grass.”
 
(Image credit: © Ivan Pedretti)

The Gold prize category winners are an exceptional example of wildlife and nature photography, a big congratulations to all of the winners. 

Adrian Dinsdale, co-founder of the WNPAs says, “Our winners never fail to take our breath away with their stunning images. As always, it’s such a joy to see the amazing caliber of entries into the awards”.

A full list of winners and runners-up can be found on the World Photography Nature Awards website, along with details on how to enter the World Photography Nature Awards 2025 which has now opened for calls. 

The art of war | Blavatnik Art, Film and Photography Galleries, Imperial War Museum, London

The art of war | Blavatnik Art, Film and Photography Galleries, Imperial War Museum, London

“Art is the thing that is most hopeful.”

This quotation from artist Rita Duffy is one of a number that feature on the walls of the new Blavatnik Art, Film and Photography Galleries at the Imperial War Museum (IWM), London. They set the tone for a suite of displays that have people, images and image-making at their heart.

The galleries are beautifully designed, visually rich and interestingly interpreted. A clear emphasis has been put on under-represented groups and less well-known conflicts.

Visitors are greeted by an introductory gallery with a dense, floor-to-ceiling hang of images that show the depth and range of the collection to be explored. A light-touch chronological hang roots the collection and displays in the founding of IWM after world war one, but demonstrates how the museum’s remit has expanded with the spread of modern conflict. The core message is that visual works have a role in war, reflecting social, cultural and political changes and shaping how we think about conflict.

I was struck by the use of the term “visual practitioners” in the introductory text, which highlights the curators’ careful decision to present art, film and photography on an equal playing field of practice and with the different media combined in the hangs.

Land Army Girls going to Bed, 1943, by Evelyn Mary Dunbar © IWM

Displaying film alongside two-dimensional works can present challenges, but here the visual balance works well and the sound is carefully controlled. The works on paper are largely originals or exhibition prints so the hangs presumably allow for ongoing rest and rotation of works.

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Space to discover

After the introductory gallery, visitors can explore the further six spaces in any order. The open design draws you in, with varied hangs allowing striking visual relationships and juxtapositions.

The section titled Practice and Process highlights a series of people who engaged visually with war, and the different technologies used to do so. Focus objects in central cases are supported by a band of images running around the walls that show visual practitioners at work.

Examples range from the hat, sketchbook and pencil box used by artist and satirical cartoonist Ronald Searle during his time as a Japanese prisoner of war in world war two, to a wristwatch and notepad used by journalist Paul Eedle while filming in Iraq in 2003. They give a sense of the everyday mixed with the extraordinary. 

The sections entitled Perspectives and Frontiers and Mind and Body focus on landscapes and people respectively, showing war on the ground and in the air, on the home front and in the medical arena.

Both galleries highlight how conflict has pushed artists to find new ways to portray what they see. They also both combine the museum’s rich collections from the two world wars with more recent works, including modern commissions.

An old wooden box, paintbrushes and separate small tin with tubes of paint in it
Wartime cartoonist Ronald Searles artists tools © IWM

Each of the latter galleries also features a dedicated area for viewing longer films. Art Box is focused on artists’ films while Screening Space shows more documentary material.

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There is a running order of what is on throughout the day, but I was surprised that no information was provided on what to expect from each film. These varied hugely in length and content, meaning the lack of information made me less likely to stop and commit time, which does the content a disservice.

This was especially surprising, because otherwise the interpretation is a highlight of the galleries and has clearly been given careful thought. Following a concise introductory panel for each space, and further brief information on two or three sub-sections in each room, information is focused on the object labels.

Each follows a three-part structure introducing the practitioner, the image or object, and the context. This draws attention to the importance of the images and their makers, as well as puts them in context.

This allows expansion on the artist’s wider practice, life or influences, as well as the context of conflict, as needed. I loved this approach, which means you can dip in and out of different aspects of each image or object.

The Power of the Image gallery brings the role of image-making in how we see conflict right up to date, focusing on propaganda and evidence. Social media images from recent conflicts raise key questions about the responsibility and authority of images.

For instance, with certain types of image seeming to be more real or creating particular public responses, how should we as viewers come to these with a critical eye? How does this inform how we look at the historic images alongside?

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I was surprised that this was the only gallery to feature a content warning, when a number of other works on display included challenging and upsetting content.

Focus on… the conservation of Gassed by John Singer Sargent

Ahead of the centre-stage redisplay of John Singer Sargent’s Gassed in the new Blavatnik Art, Film and Photography Galleries, the monumental first world war painting has undergone significant conservation. Varnish removal, remedial structural work, as well as frame conservation, has revealed afresh the visual power of the work.

Following conservation, cutting edge technology captured high-resolution data in 3D, colour and infrared.

The opportunity to conserve Gassed has provided insight not afforded to anyone since the creation of the work in 1919. No IWM team before now has had the project context, budget or time for such an undertaking.

The scale of the work has dictated much of its life, and necessitated innovation from curators and conservators alike. A unique hanging system and install methodology that supported the canvas and frame independently of one another was constructed to ensure the future structural integrity of the six-metre-long work.

The restoration has also yielded new data about the physical history of the work and Sargent’s process. This has further enabled cutting-edge forms of photographic scanning that can be shared with audiences.

Presented on a bespoke vista wall and as the centrepiece of a thematic gallery dedicated to the Mind and Body, Gassed has been reunited with other works made under the British War Memorials Scheme in the first world war. The freshness of Sargent’s colour and light is striking and allows visitors to make connections with the vivid human experience of war more than a century ago.

Rebecca Newell is the head of art for IWM and was the lead curator for the new galleries 

There is a notable focus on accessibility throughout the Blavatnik galleries. For instance, a dedicated area of the introductory gallery features an information point with a tactile gallery map, BSL film and large-print guides.

And well-designed seating – with backs and arm rests – is spaced regularly throughout the galleries, although I did feel that some of the longer films included in the mixed-media hangs expected visitors to stand for an unreasonably long time.

Likewise, the focus on using language such as “visual practitioner and “image” clearly aims to move away from a hierarchy of art and artists, and to allow for the widest diversity of lived experiences and practitioners to be represented.

I was struck, for instance, by the portrait of company quarter-master-sergeant Van Omoheusen of the ATS in Ceylon in the introductory gallery, and a number of works from the British government’s “native-born colonial artists” scheme.

More recent works include Emily Jacir’s Where We Come From Series (2001-03) reflecting the experiences of Palestinians living in exile.

A large painting depicting first world war soldiers with bandages round their eyes holding each others shoulders as they walk in a straight line after being gassed. Dead bodies in the foreground.
Gassed, 1919, by John Singer Sargent is a centrepiece in the new galleries© IWM

Visitors to these galleries will find famous masterpieces of IWM’s visual collections redisplayed alongside perhaps lesser-known contemporary works.

John Singer Sargent’s seminal work Gassed (1919) has undergone significant conservation and now appears in a powerful juxtaposition with Steve McQueen’s Queen and Country (2006), creating the long central view through the suite of galleries.

The displays will offer an important means to think about images and conflict for both those encountering these collections for the first time and those revisiting old friends. Like the best permanent galleries, I suspect they can only fully be appreciated through repeat and frequent visits.

Project data

Main funders

Blavatnik Family Foundation; Department for Culture, Media and Sport; Ministry for Defence; IWM Development Trust; Bloomberg Philanthropies; David Lean Foundation; Finnis Scott Foundation; Foyle Foundation; John S Cohen Foundation; Lovington Foundation; Michael Bishop Foundation; David Pearl; Wolfson Foundation

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The Magic of AI: How Smartphones are Revolutionizing Photography

The Magic of AI: How Smartphones are Revolutionizing Photography

The smartphone has become an indispensable tool in our lives, and its camera capabilities have evolved at a breakneck pace. Gone are the days of grainy, low-resolution photos. Today’s smartphones boast impressive camera hardware, but the true magic lies in the software – specifically, the integration of Artificial Intelligence (AI).

The Rise of the AI Camera: How Artificial Intelligence is Revolutionizing Smartphone Photography

camera setup

This article delves into the transformative role of AI in smartphone cameras. We’ll explore how AI algorithms are enhancing image processing, optimizing settings, and democratizing photography for users of all skill levels. We’ll also analyze the impact on specific aspects of smartphone photography and the exciting possibilities it holds for the future.

Understanding AI in Smartphone Cameras

AI, in the context of smartphone cameras, refers to the use of machine learning algorithms trained on massive datasets of images. These algorithms analyze real-time data captured by the camera sensor and apply intelligent adjustments to various aspects of image processing. This can include:

  • Scene Detection: AI identifies the scene being captured (portrait, landscape, food, etc.) and adjusts camera settings accordingly.
  • Object Recognition: AI recognizes objects within the frame (people, animals, buildings) and optimizes settings for specific details.
  • Noise Reduction: AI algorithms analyze the image for noise caused by low light conditions and apply effective noise reduction techniques.
  • HDR (High Dynamic Range) Processing: AI can combine multiple exposures to create images with a wider dynamic range, capturing details in both highlights and shadows.
  • Color Correction: AI adjusts color balance and saturation for a more natural or artistic look based on the scene.

The Benefits of AI-powered Photography

The integration of AI in smartphone cameras offers numerous benefits for users:

  • Enhanced Image Quality: AI algorithms can significantly improve image quality, especially in challenging lighting conditions. Noise reduction techniques produce cleaner images, and HDR processing helps capture details in both bright and dark areas.
  • Effortless Photography: AI automates many complex photography tasks. Users no longer need to be photography experts to capture stunning images. Scene detection and object recognition ensure optimal settings are applied automatically.
  • Creative Freedom: AI opens doors to creative exploration. Some smartphones offer AI-powered filters and effects that can be applied in real-time or during post-processing. This allows users to experiment with different styles and looks without needing dedicated photo editing software.
  • Improved Low-Light Performance: Smartphone cameras have limitations in low-light conditions. However, AI can significantly improve low-light photography by using techniques like multi-frame processing and noise reduction. This allows users to capture clear photos even in dimly lit environments.
  • Accessibility and Democratization: AI makes professional-looking photos achievable for everyone. Users don’t need to understand complex camera settings or manual controls. AI takes care of the technical aspects, allowing anyone to capture high-quality images.

Exploring the Impact on Specific Photography Areas

Let’s delve deeper into how AI is impacting specific aspects of smartphone photography:

  • Portrait Mode: AI-powered portrait mode intelligently detects faces and blurs the background, creating a professional bokeh effect. It can also optimize skin tones and facial features for a more flattering look.
  • Night Photography: Capturing clear photos at night has traditionally been a challenge for smartphones. AI algorithms can analyze low-light scenes, combine multiple exposures, and enhance details for brighter, clearer night-time photos.
  • Action Photography: AI is becoming adept at capturing fast-moving subjects. Algorithms can predict movement and adjust focus and exposure accordingly, resulting in sharper action shots with reduced blur.

The Future of AI-powered Smartphone Photography

The future of AI in smartphone cameras is brimming with exciting possibilities:

  • Personalized Photography: AI could personalize camera settings based on user preferences and shooting habits. Imagine AI suggesting different filters or effects based on the scene or recommending post-processing adjustments tailored to your style.
  • Real-time Image Analysis and Feedback: AI could offer real-time feedback on your composition, lighting, and focus. Imagine on-screen prompts suggesting subtle adjustments to frame your subject better or achieve a more balanced exposure.
  • Object and Scene Recognition with Advanced Applications: AI’s ability to recognize objects and scenes could lead to innovative features. Imagine automatically tagging photos with relevant information or suggesting points of interest based on what you’re capturing.
  • Augmented Reality (AR) Integration: The future of smartphone photography might be intertwined with AR. AI could enable real-time placement of virtual objects within the frame, creating interactive and immersive photo experiences.
  • Enhanced Video Capabilities: The impact of AI isn’t limited to photos. AI algorithms can enhance video recording by stabilizing footage, optimizing focus during movement, and automatically adjusting settings for different video environments.

Challenges and Considerations

While AI offers tremendous potential, some challenges need to be addressed to fully unlock its capabilities in smartphone cameras:

  • Processing Power: Running complex AI algorithms requires significant processing power. This can be a strain on smartphone batteries and might limit the real-time performance of AI features on lower-end devices. As chipsets become more powerful and energy-efficient, AI features will become smoother and more accessible across different smartphone tiers.
  • Data Privacy Concerns: AI algorithms require vast amounts of training data, which often includes user-generated images. Manufacturers need to ensure robust data privacy practices are in place to protect user data used for training AI models. Transparency regarding data collection and usage is crucial to maintain user trust.
  • Algorithmic Bias: AI algorithms are only as good as the data they are trained on. If training data is biased, it can lead to biases in the resulting AI-powered features. Smartphone camera manufacturers need to ensure diverse datasets are used for training to avoid biases in scene detection, object recognition, and other AI-powered functionalities.
  • User Control and Customization: While AI automation simplifies photography, some users might prefer more control over their photos. Offering options to adjust AI settings or toggle certain features on and off allows users to strike a balance between automation and creative control.

Galaxy S23 Ultra Camera

The Road Ahead: A Collaborative Effort

The future of AI-powered smartphone cameras will be shaped by a collaborative effort between various stakeholders:

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  • Smartphone Manufacturers: Investing in powerful processors and efficient AI integration is crucial. Additionally, focusing on responsible data practices and user privacy is paramount.
  • AI Developers: Developing innovative AI algorithms that are efficient, unbiased, and cater to diverse user needs is essential.
  • App Developers: Creating AI-powered photo editing apps that leverage smartphone processing power and offer users creative freedom will further enhance the photography experience.
  • Users: Providing feedback on AI features and functionalities helps manufacturers and developers refine their offerings and cater to user preferences.

Beyond the Smartphone: AI’s Expanding Role in Mobile Photography

The impact of AI extends beyond the smartphone itself. Here’s a look at how AI is influencing the mobile photography ecosystem:

  • Cloud-based Image Processing: With AI-powered cloud processing, users can upload raw or partially processed photos to the cloud for enhanced editing and optimization. AI algorithms can handle complex tasks like noise reduction, HDR processing, and even object removal, all on powerful cloud servers, freeing up the smartphone’s processing power.
  • AI-powered Photo Editing Apps: Third-party photo editing apps are embracing AI for a more streamlined and user-friendly experience. Features like AI-powered object selection for selective editing, automatic background replacement, and genre-specific filters powered by AI are becoming increasingly popular.
  • Smart Accessories and AI Integration: Camera accessories like tripods and gimbals are incorporating AI for smarter functionality. Imagine tripods that automatically adjust to frame your subject or gimbals that utilize AI for superior stabilization and smooth motion tracking.

Ethical Considerations and the Responsible Use of AI

While AI offers numerous benefits, it’s crucial to consider the ethical implications of its use in smartphone photography. Here are some key points to ponder:

  • Manipulation and Misinformation: AI’s ability to edit photos realistically raises concerns about the potential for manipulation and the spread of misinformation. Educating users on identifying AI-edited photos and promoting responsible editing practices is essential.
  • Privacy Concerns with Facial Recognition: Advanced AI for object and scene recognition, including facial recognition, can raise privacy concerns. Transparency regarding data collection and usage, as well as user control over facial recognition features, is crucial to maintain user trust.
  • Algorithmic Bias in Editing Tools: Similar to AI in smartphone cameras, AI-powered editing tools can perpetuate biases if trained on non-diverse datasets. Promoting inclusivity and ensuring diverse representation in training data is essential for ethical AI development.

Tips and Tricks to Maximize Your AI-powered Smartphone Photography Experience

The world of AI-powered smartphone photography is constantly evolving, but here are some tips and tricks to help you leverage its potential and capture stunning images:

Understanding Your Smartphone’s AI Features:

  • Dive into Your Camera Settings: Most smartphones offer dedicated AI camera modes or settings. Familiarize yourself with the available options, such as Scene Detection, Portrait Mode, or Night Mode. Experiment with these modes to understand their strengths and limitations.
  • Consult Your User Manual: Refer to your smartphone’s user manual or manufacturer’s website for detailed explanations of AI features and how to best utilize them.

Optimizing Your AI Photography Workflow:

  • Utilize Scene Detection: Let AI be your guide! When unsure about the best settings, rely on AI scene detection. It automatically adjusts camera parameters for portraits, landscapes, food photography, and more.
  • Embrace Portrait Mode: AI-powered portrait mode creates professional-looking photos with blurred backgrounds. Experiment with different portrait lighting effects for a touch of artistic flair.
  • Don’t Fear Night Mode: Don’t let low-light conditions deter you. AI-powered night mode significantly improves image quality in dimly lit environments. However, remember that night mode might require holding your phone steady for a few seconds to capture a clear image.
  • Explore Third-party AI Editing Apps: Many photo editing apps leverage AI for powerful and user-friendly editing. Explore options like AI-powered background replacement, object selection for selective editing, or genre-specific AI filters to enhance your photos further.

Taking Creative Control Alongside AI:

  • Don’t Be Afraid to Override AI: While AI automates many tasks, you can still exert creative control. Some smartphones allow adjusting settings within AI modes, like exposure compensation or white balance.
  • Learn Basic Composition Techniques: A fundamental understanding of composition rules can significantly enhance your photos, even with AI assistance. Learn the rule of thirds, leading lines, and negative space to frame your subjects more effectively.
  • Experiment with Manual Mode (Optional): If you’re comfortable with more control, explore your smartphone’s manual mode (if available). While AI simplifies photography, manual mode allows you to fine-tune settings for a truly personalized touch.

Camera Setup of Mate 60 Pro+ - AI smartphone photography

Additional Considerations:

  • Keep Your Smartphone Updated: Regular software updates often include improvements to AI features and camera performance. Ensure your smartphone is running the latest available software.
  • Invest in a Quality Case: Accidental drops can damage your smartphone camera. Invest in a sturdy case to protect your valuable photography tool.
  • Join Online Photography Communities: Connect with other smartphone photography enthusiasts. Share your work, learn from others, and discover new tips and tricks to elevate your mobile photography skills.

By following these tips and staying informed about the latest advancements in AI for smartphone cameras, you can unleash your creativity and capture captivating images that go beyond point-and-shoot simplicity. Remember, AI is a powerful tool, but the human touch remains essential for capturing the essence of a scene and telling a story through your photos. So, embrace the power of AI, experiment, and have fun exploring the ever-evolving world of mobile photography!

Conclusion: A New Era of Creativity and Exploration

The integration of AI in smartphone cameras marks a paradigm shift in mobile photography. It empowers users of all skill levels to capture stunning images, pushing the boundaries of what’s possible with a smartphone. As AI technology continues to evolve, we can expect even more innovative features and functionalities, blurring the lines between smartphone and professional photography.

The future of smartphone photography is intelligent, personalized, and brimming with possibilities. With responsible development, collaboration, and user feedback, AI has the potential to democratize photography further, making it an accessible and enriching experience for everyone.

Disclaimer: We may be compensated by some of the companies whose products we talk about, but our articles and reviews are always our honest opinions. For more details, you can check out our editorial guidelines and learn about how we use affiliate links.

Lessons Learned From a Hiking Lark in Wyoming Backcountry

Lessons Learned From a Hiking Lark in Wyoming Backcountry
image

Now for the Wind River Range. With clouded optics from the rainy onslaught and the naive optimism of a sunny forecast ahead, my vision was to go pedal to the metal the next handful of days. I mean, I felt fine, and there was finally sun in the forecast for fuck sake. What could go wrong?

Well, it turns out the vistas were beautiful but they came at a cost. A week into our trip, so close to our grand prize view I had been willing us towards, we witnessed a complete breakdown of our summer dream team about 12 of the 13 miles and 3,500 of the 3,800 feet into our longest day of backpacking yet.

What ensued was a sobering juxtaposition of one of the most beautiful landscapes you will ever see paired with expletive shouts shared from across a lake. Just moments from our desired alpine lake we frantically broke off into two groups in search of a new place to rest our heads.

Photography saved a local woman during the most trying times

Photography saved a local woman during the most trying times

EDITOR’S NOTE: The following is a guest article submitted by a local woman whose passion for photography helped her find her way out of a very dark place.

Photography has gotten me through the hardest times of my life.  

From the age of 9, I always have had a camera in my hand. From the disposable cameras in my elementary school years to the high-tech digital camera with all the accessories I have now in my late 30’s, the love, and need, for capturing the beauty around me has only grown.

The first camera I ever bought was a Fujifilm FinePix S. I was excited to get home and start shooting photos. This was the beginning of my photography journey to learn and educate myself to take beautiful photos for others to enjoy.

Shortly after starting at Bay Mills Community College in 2011, I met a man who I didn’t know would change the direction I wanted to go with photography. A few months into our relationship, this man not only destroyed my camera, he also tried to destroy me.

I was devastated.

It only stopped me temporarily from pursuing my dream and finding peace in capturing the beauty around me. His destroying that camera only made me more determined.

I still had the camera on my phone and continued to take pictures without an actual camera in hand.

However, the abusive relationship continued for six years but I never gave up my passion.

Eventually, that relationship ended, and my love for photography grew even more.

I was doubling my photo intake. I was taking photos everywhere I went with my phone. Most of those pictures were of my children. 

Taking pictures of nature didn’t have a huge impact on me yet.

Eventually, I would take more and more walks on the trails, and take fall photos of a friend of mine and her children. I would go to my parents every fall and take photos of my own children, my family and other friends. I loved putting smiles on their faces when they would receive their photos. I enjoyed every click of the shutter taking hundreds of photos in a day. 

A friend told me that her family made her a blanket from the memories I was able to capture. It was a realization that I was able to do what I love and put smiles on people’s faces. This was an amazing and exciting feeling for me knowing I made a family happy. It made me want to keep moving on with my dream no matter what life threw at me.

After my father died in Dec. 2015, I made the courageous decision to leave my abusive relationship.  At that time, taking pictures was my go-to for even more peace and release. I started doubling my photo intake. I had to. It was the way I was going to survive.

I got married in 2018 and that year was the biggest year of my journey yet. He understood how much I loved photography and introduced me to more advanced equipment.

Fast-forward to 2023.  

My love for picture-taking took a hit in February. I developed carpal tunnel and other issues in both hands. It was hard to manage. I had surgery to correct the issues. Eventually, I got back into the groove of taking pictures. Then I took another hit. My husband picked up and left and never came back. Again, depression returned.

I found all my summer and fall photos and just focused on my photography and learning to edit photos. It kept me positive and hopeful.

I am not exclusive to these kinds of hardships in life. Some have had it worse than me. 

But I can say this.

To those who struggle, find something to make you happy. Make yourself find peace. Make yourself live another day.  

For me, that is photography and of course, my three loving wonderful children.

I am happy and proud of the direction I am going. If you would like to see my work, please check out my Facebook page.
 

nubia Z60 Ultra Photographer Edition brings camera-inspired design and more AI features

nubia Z60 Ultra Photographer Edition brings camera-inspired design and more AI features

The nubia Z60 Ultra just got a special Photographer Edition makeover with a revised design inspired by traditional cameras. Nubia went with a dual-tone look incorporating both vegan leather and glass on the back of the Z60 Ultra Photograph Edition achieved with a special micro etching process.

nubia Z60 Ultra Photographer Edition brings camera-inspired design and more AI features

The other new bits include several AI optimizations for photography including the option to fine-tune image processing and the ability to remove unwanted objects from shots. Z60 Ultra Photography Edition also brings generative AI image features and real-time language translation for calls and in-person translations.

Z60 Ultra Photographer Edition retains the rest of the spec sheet with a 6.8-inch AMOLED display, Snapdragon 8 Gen 3, and the optically stabilized triple camera setup featuring a 50MP main cam (35mm), 64MP periscope (85mm) and 50MP ultrawide (16mm) all with OIS.

nubia Z60 Ultra Photographer Edition brings camera-inspired design and more AI features

Nubia Z60 Ultra Photography Edition comes in a single 16GB RAM and 512GB storage trim and is priced at CNY 4,299 ($595). Nubia did not share any plans for an international launch of the Z60 Ultra Photography Edition for now.

Source (in Chinese)

Thibaut Derien Immortalizes the Aging Facades of France’s Shuttered Shops in Poignant Photographs

Thibaut Derien Immortalizes the Aging Facades of France’s Shuttered Shops in Poignant Photographs



Photography

#architecture
#France
#memory
#Thibaut Derien

March 28, 2024

Kate Mothes

An art nouveau style shop or cafe facade in France called Au Terminus with an arched wooden door and sign carved into the plaster.

All images © Thibaut Derien, shared with permission

Shuttered blinds, peeling paint, and aging doors don’t usually indicate an invitation, but for French photographer Thibaut Derien, the fading facades of long-closed shops are well worth a stop. In his ongoing series J’habite une ville fantôm, which translates to “I live in a ghost city,” he captures myriad eras and architectural details in storefronts ranging from cafes to photo studios to fishmongers, drawn to what he describes as a desire to “immortalize” them before they disappear for good.

Derien, who is also a musician, has traveled all over France, visiting countless small towns and villages along the way. He often avoids major highways, preferring country roads and local streets where development is slower. “I continue this series because I’m still touched each time I discover an old shop,” he tells Colossal, “always standing despite abandonment as a resistance to the modern world. I always think about people who spent their life behind those walls.”

A closed shop represents more than simply a bygone era or an empty facade for the artist, who is interested in capturing the individuality of each location in light of the homogeneity of today’s commercial developments. Derien looks closer: “First, it’s just a facade; you can think it’s sad, but if you look a little bit more you see old paintings, old mosaics, some ‘know-how’… Many commercial centers—all the same—have replaced the small shops, each one different.”

An abandoned shop in France with blue and white shutters, and the sign on the awning reads Au Temps Jadis

Derien considers how technology like cars and online ordering have shifted the way people buy. Rather than stopping into one specialty shop after another, now big box stores require a drive out of the city center and much less personal interaction. “It’s the social link which disappears,” he says. “I remember going to all these shops, one after one with my mother. She was talking with every trader and with other customers, and before going back home, we made a stop at the cafe. Now we take our car to go to the supermarket, and the only person we can talk is the cashier—when it’s not a machine.”

The artist’s poignant photographs capture a sense of shifting values, evoking nostalgia for the relationships formed through small businesses, a fulcrum of community. “I heard on the radio a reportage about a butcher who was telling to a journalist that he closed his shop because he had no more clients, and he became a butcher in a supermarket,” Derien says. “The journalist said to him, ‘So, it’s the same thing for you. There is no difference.’ He answered, ‘There is a difference: now I don’t eat what I sell.’”

Derien previously released a book of more than four dozen photographs from J’habite une ville fantôm, and he is currently planning a second for release next year, including a few of the photos shared here. His work will also be on view at Gallery New York in Mannheim, Germany, from May 2 to June 30. Find more on the artist’s website and Instagram.

An abandoned cafe in France with closed blinds and curtains drawn on the door. The sign reads simply. 'Cafe.'

A side-by-side image of two abandoned storefronts in France. On the left, a gray building with a red door belongs to Cafe de la Paix, and on he right, a yellow and red building has a sign for Kodak

A colorful, abandoned local storefront in France with a pink sign that reads Droguerie, a yellow door, and a logo for Levis

An abandoned storefront in France called Palais de la Mode with part of the plaster sign broken off.

A midcentury modern abandoned storefront in France with green mosaic tile and two signs that read Tricots, or knitting.

An abandoned newsstand, or journaux, in France with orange shutters and fading orange paint.

#architecture
#France
#memory
#Thibaut Derien

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Outrage as photograph showing body of Shani Louk wins competition

Outrage as photograph showing body of Shani Louk wins competition

A photograph from October 7 depicting Hamas terrorists with the half-naked corpse of German-Israeli Shani Louk has been awarded Team Picture Story of the Year, along with a collection of other graphic photos from the Israel-Hamas war, by the world’s oldest photojournalism award competition, sparking outrage online.

The Pictures of the Year award, run by the Donald W. Reynolds Journalism Institute at the Missouri School of Journalism includes a Team Picture Story of the Year category which recognises “the collaborative effort of a photography staff covering a single topic or news story.” First place was awarded to a selection of 20 photos from the Israel-Hamas war taken by Associated Press (AP) photographers.

The first photo in the selection was taken by  Ali Mahmoud and depicts the horrific moment in which 22-year-old Louk’s body was transported in the back of a truck by Hamas terrorists. It is captioned: “Palestinian militants drive back to the Gaza Strip with the body of Shani Louk, a German-Israeli dual citizen, during their cross-border attack on Israel, Saturday, Oct. 7, 2023.”

The collection, which includes AP photos depicting both Israelis and Palestinians in the days following October 7, was posted to Instagram last week by POY and swiftly criticised by those who claimed the photographer and the agency showed disrespect to Louk and her family by snapping the distressing photo and now, winning an award for it.

https://www.instagram.com/p/C4yazrtO73s/?igsh=dWR4Ym51dDloMno3

One user commented: “I am horrified. This is a picture of terrorists parading a dead body of a Jewish woman after they murdered her. Shame on you.”

Another user wrote: “So the ‘reporter’ who stood there while Shani got raped and murdered and took a photo of it is getting rewarded?”

HonestReporting, a media watchdog organisation devoted to exposing anti-Israel media bias, posed “serious ethical questions” in November 2023 about why a number of AP and Reuters Gaza-based photojournalists were so quick to arrive at the scenes of the October 7 massacre. 

HonestReporting acknowledged the photo’s appearance in the winning Team Picture Story of the Year category, writing on X: “Congratulations to AP for winning a Pictures of the Year award. How does it feel to do so on the back of Palestinian photojournalists who infiltrated Israel on Oct. 7 and took photos like the one below of Shani Louk’s dead body in a Hamas pickup? Was RJI bothered about that before bestowing the award?”

In February, the families of Louk and other Nova massacre victims sued AP and Reuters for what they alleged to be the involvement of photojournalists employed by those agencies in the atrocities of October 7.

AP wrote a statement responding to the accusations on 22 February, writing that the agency has “the deepest sympathy for those affected by the horrific October 7 attacks in Israel,” but that the lawsuit filed against AP for its reporting is “baseless.”

“AP had no advance knowledge of the October 7 attacks, nor have we seen any evidence — including in the lawsuit — that the freelance journalists who contributed to our coverage did. Allegations like this are reckless and create even more potential danger for journalists in the region.

“Documenting breaking news events around the world — no matter how horrific — is our job. Without AP and other news organisations, the world would not have known what was happening on October 7.”

 The organisers of the competition have been approached for comment.

The Xiaomi 14 Ultra is a photography nerd’s dream

The Xiaomi 14 Ultra is a photography nerd’s dream

/

The Xiaomi 14 Ultra’s formidable phone camera is made even better with an upgraded grip and photo accessory kit.

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Xiaomi 14 Ultra with photography kit.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>It’s a beaut.

For most people, the compact camera is long since dead; a camera is a phone and a phone is a camera. But despite all of the technological developments over the past few years, phones still leave something to be desired if you’re the kind of person who likes to go take photos.

Traditional cameras — especially of a certain size and shape — are still alive and kicking, partly because there’s nothing that beats real buttons, dials, and a sturdy grip. They’re things that phones generally don’t have — except for the Xiaomi 14 Ultra. It’s the camera-iest phone camera I’ve used in the last decade (RIP the Nokia Lumia 1020), and I dearly wish it was available in the US.

Xiaomi 14 Ultra with camera kit showing shutter button from above.

Xiaomi 14 Ultra with camera kit showing shutter button from above.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>We love to see an exposure comp dial.

The Xiaomi 14 Ultra photography kit — an optional accessory bundle for Xiaomi’s flagship — is what really turns this phone into a camera. It’s a follow-up to the photography kit introduced with the 13 Ultra last year, and for the most part, Xiaomi made a good thing better. Like the previous version, it includes a phone case and a detachable grip that snaps on to the case. The grip has a two-stage shutter button and a zoom rocker, now joined by a customizable dial and a video button.

Truly, it’s all killer, no filler — everything on the grip is super handy. The dial is set to exposure compensation by default, and that’s where I left it; I love being able to shift image brightness up and down without tapping around on the screen. This works in the standard camera shooting mode, too, not just manual. My only complaint is that it’s a little too easy to bump it and accidentally knock your exposure up or down a notch without realizing it.

The video button is equally useful; I don’t have to look at the screen to switch to recording video. You can customize all of these input mechanisms. Crucially, you can set the zoom rocker to switch incrementally between lenses rather than using continuous digital zoom between them. It’s a thing of beauty.

This year’s camera grip includes a bigger battery and a USB connector that plugs right into the phone’s charge port. It’s more useful since it can provide some power to the phone if you run low, and it also reduces the control latency over last year’s version, which only connected over Bluetooth. The previous version wasn’t slow by any means, but this year’s version is a hair faster — and every millisecond makes a difference. The only downside is that the battery adds a little weight, and it’s enough to notice the difference when you have the phone balanced in one hand with the grip. Can’t have everything, I guess.

The Xiaomi 14 Ultra uses a 1-inch-type main camera sensor — that’s about as big as they come on smartphone cameras, and all things being equal, a bigger sensor is better. There are 3x, 5x, and ultrawide cameras on the rear camera bump, too. But the big story is that the main camera offers an f/1.63-f/4 stepless variable aperture, building on the 13 Ultra’s dual aperture design. I owe this new aperture an apology for initially calling it a gimmick; having used it a bit, I think it’s only a little bit of a gimmick.

Photo of Xiaomi 14 Ultra and camera bump showing main camera with aperture blades visible.

Photo of Xiaomi 14 Ultra and camera bump showing main camera with aperture blades visible.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>The 14 Ultra’s main camera with the aperture stopped down to f/4.

Pretty much any phone camera you’ve ever used has a fixed aperture; only a few of them have ever offered an aperture with more than one setting. That’s fine — most phone camera sensors and lenses are so small that you really want the widest aperture setting at all times to let in more light. But the Xiaomi 14 Ultra, as noted, is not most phone cameras. The 1-inch sensor format is big enough that being able to stop down to a smaller aperture really is helpful in a couple of ways — I like Android Authority’s deeper dive on this.

Basically, a larger sensor and lens means it’s possible to produce shallower depth of field at a wide aperture setting, and sometimes you might actually want more of your subject in focus than that setting allows. Plus, phone cameras with 1-inch sensors oftenshow some ugly lens aberrations at wide aperture settings that disappear when you stop down. Helpful! Still, situations where you’d want to stop down to f/4 seem rare, and the native auto mode sticks to f/2 a lot of the time. But my favorite feature of this new aperture design has nothing to do with any of that: it’s sunstars.

Photo of a young child at a window with sunstar in corner of the frame.

Photo of a young child at a window with sunstar in corner of the frame.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>Just look at that sunstar!

Sunstars are a byproduct of the aperture’s 6-blade design. That’s entirely new to the 14 Ultra since the 13 Ultra used a circular diaphragm: no blades, no stars. It’s kind of a minor thing, but reader, I was absolutely thrilled to discover I could get sunstars on a smartphone camera.

I’ve been shooting with the 14 Ultra for a couple of weeks, and I still feel like I’m only scratching the surface — there’s just so much this camera can do. Image quality so far is very impressive, but if I can lodge one complaint, it’s that portrait mode segmentation isn’t as sophisticated as Samsung’s. Even though the 14 Ultra’s camera sensor is big, you’ll still need portrait mode if you want a really soft background and your subject is more than a foot away. It’s a good portrait mode for sure, but it’s not the very best in the game.

At the risk of making an extremely obvious point, it’s worth remembering that this is all available on a phone. I can download a Lightroom app on it. I can post my photos directly to Instagram. I can upload photos to my shared Google Photos albums with a few taps. Sorry to be a weirdo, but I can’t get over the fact that I can have an exposure compensation dial and all of the above on the same device.

To be clear, I don’t think phones can or should replace traditional cameras. But I’m happy to see a phone manufacturer taking smart cues from the world of traditional cameras, and I think traditional cameras could learn a thing or two from phones. I just wish I could buy this particular phone here — it’s a really nice camera.

Photography by Allison Johnson / The Verge