Canon Europe (www.Canon-Europe.com) today announces, ‘World Unseen’, with a photography exhibition that invites visitors – blind, partially sighted and sighted – to experience photography in a new, accessible and immersive way. The exhibition will be held at Somerset House, London between 5-7 April, in partnership with the Royal National Institute of Blind People (RNIB).

There are at least 2.2 billion people globally who have some form of visual impairment[1], for whom photography remains largely out of reach. Designed with the experience of blind and partially sighted people in mind, the exhibition will feature a series of photographs taken by world-renowned photographers. These are accompanied with elevated prints, audio descriptions, soundscapes and braille for a tactile experience that helps visitors connect with these powerful images and the stories they tell.

Sighted people too will gain a better appreciation of the partially sighted experience. Each image will be obscured in different ways to convey different types of visual impairment, from glaucoma to diabetic retinopathy. While this raises awareness of accessibility in arts and cultural spaces, it also draws attention to how inclusive design heightens the experiences for everyone.

The exhibition will feature works from world-renowned photographers and Canon ambassadors from around the globe, including multi-award-winning South African photojournalist Brent Stirton, renowned Brazilian Photojournalist Sebastião Salgado, Nigerian photojournalist Yagazie Emezi, sports photographer Samo Vidic, fashion photographer Heidi Rondak and Pulitzer winning photojournalist Muhammed Muheisen. 

An accompanying video series (https://apo-opa.co/43niJLr) will feature partially sighted individuals, including British disability activist, Lucy Edwards, and Menna Fitzpatrick MBE, Britain’s most decorated Winter Paralympian, who have collaborated with Canon to tell their stories and show their reaction to experiencing this photography for the first time.

“Photography is an incredibly powerful medium that can push the imagination and we want this experience to be accessible to everyone. This exhibition was created with blind and partially sighted people in mind to share imagery and the stories behind them in an entirely new way. With Canon’s elevated print technology, we hope all visitors will feel a deeper connection to the emotions and stories that imaging can bring to life,” says Pete Morris, Brand and Sponsorship Senior Manager, Canon EMEA.

Dave Williams, Inclusive Design Ambassador at RNIB, said: “The World Unseen exhibition opens up the world of photography and enables more blind and partially sighted people to experience the emotive stories, and physical touch, of these iconic images. As a braille user, it’s fantastic to be working with Canon to raise awareness of the possibilities of textured print and to see in action how technology can make art more accessible for people with sight loss.”

This isn’t the first time that Canon has brought the arts to life through elevated print. Through its proprietary PRISMAelevate XL software and Arizona printer series, Canon has been making arts more accessible for blind and partially sighted people for many years, supporting art galleries and museums globally with tactile printing and braille signage. Most recently at an experimental photo exhibition in Vienna (https://apo-opa.co/3P9Cwb8) and one in the Netherlands (https://apo-opa.co/48OKgX0).  

Tickets for free admission are now available: https://apo-opa.co/4a1emYj

Distributed by APO Group on behalf of Canon Central and North Africa (CCNA).

Media enquiries, please contact:
Canon Central and North Africa
Mai Youssef
e. Mai.youssef@canon-me.com

APO Group – PR Agency
Rania ElRafie
e. Rania.ElRafie@apo-opa.com

About Canon Central and North Africa:
Canon Central and North Africa (CCNA) (www.Canon-CNA.com) is a division within Canon Middle East FZ LLC (CME), a subsidiary of Canon Europe. The formation of CCNA in 2016 was a strategic step that aimed to enhance Canon’s business within the Africa region – by strengthening Canon’s in-country presence and focus. CCNA also demonstrates Canon’s commitment to operating closer to its customers and meeting their demands in the rapidly evolving African market.

Canon has been represented in the African continent for more than 15 years through distributors and partners that have successfully built a solid customer base in the region. CCNA ensures the provision of high quality, technologically advanced products that meet the requirements of Africa’s rapidly evolving marketplace. With over 100 employees, CCNA manages sales and marketing activities across 44 countries in Africa.

Canon’s corporate philosophy is Kyosei (https://apo-opa.co/3SvVhrS) – ‘living and working together for the common good’. CCNA pursues sustainable business growth, focusing on reducing its own environmental impact and supporting customers to reduce theirs using Canon’s products, solutions and services. At Canon, we are pioneers, constantly redefining the world of imaging for the greater good. Through our technology and our spirit of innovation, we push the bounds of what is possible – helping us to see our world in ways we never have before. We help bring creativity to life, one image at a time. Because when we can see our world, we can transform it for the better.

For more information: www.Canon-CNA.com

An updated version of the V1, the Godox V1 Pro is a powerful battery-powered flashgun, which features a revolutionary round flash head, instead of the traditional rectangular-shape. This enables it to produce smooth-graduated lighting, with natural-looking fall-off and more pleasing results. 

Powered by a high-capacity 7.2V/2980mAh rechargeable lithium-ion battery, the flashgun is capable of firing up to 100 continuous full-powered shots, while upgraded thermal protection guards against overheating. In all, a fully charged battery can deliver up to 500 full-power flashes between charges, and the battery can be charged via the included charging dock, or via its USB Type-C port. 

Compatible with the Nikon Creative Lighting System, it supports TTL, High-Speed Sync and Stroboscopic flash modes. A built-in 2.4GHz flash receiver enables the flash to fired remotely via one of Godox’s compatible triggers. The flash head also features a magnetic modifier mount, enabling it to be used with a plethora of magnetic modifiers with a minimum of fuss, and a detachable sub-flash module can be easily attached to supply additional fill light. 

The Godox V1 Pro Round-Head Speedlite Alta Pro 3VRL retails at £308/$329. See it at The Photography & Video Show from March 16-19 on stand K404

The Photography & Video Show 2024 : everything to know

If you look at the current state of media, you’ll realize that print didn’t die. It hibernated and bided its time like Canon watching a camera market and stepping in at the last minute with something like the Canon EOS R. It seems this isn’t just a fad. In fact, there’s a lot of credible data that says that the global camera market is going to slow its growth. And while that happens, the print will become much more important than it already is.

According to credible data, the global print market in 2032 is supposed to be worth 28.2 billion dollars. However, in 2032, the camera market isn’t supposed to be worth that much. The major players in the camera market are cited to Canon, Nikon, Sony, Panasonic, Fujifilm, and others who aren’t specifically named. These stats are centered around just the digital camera market — it’s not even including Fuji Instax. It also doesn’t include Leica — who I truly feel might one day be the last camera company standing.

The quality of smartphone cameras has improved dramatically in recent years. Most individuals no longer need to carry or purchase a dedicated camera. While photo enthusiasts and professionals are expected to obtain superior results with high-end lenses and cameras, current smartphones produce images that are certainly enough for the average consumer’s needs.

Mordor Intelligence

In contrast, the major players in print are Shutterfly, Snapfish, Mpix, Nations Photo Lab, Bay Photo Lab, WhiteWall, Adorama Pix, etc. This means photographers and others will start going to these places more often for prints instead of heading to Walmart and other local spots. That’s sad news, as mom-and-pop print shops often have techniques that bigger companies don’t do. If you haven’t started printing yet, you’re truly missing out on the experience photo books, nice zines, and more can give you.

The digital camera companies are part of much larger corporations with several business units that make up a larger company. But the print companies really mostly focus on making prints.

This is a major change in the world. The print industry shrank for several years because people looked at images on their phones and computers. They also figured it was better for the environment to not make prints. However, recent shifts have changed things — and this data could prove that it will change even more in the next decade. So if cameras are good enough, we don’t need to keep buying them. And instead, we can just make better art with what we have. Plus, the Phoblographer is actively working to ensure that amateur and professional photographers are covered through our insurance program.

There’s weight to this data, too. So many people are sick of staring at screens since the pandemic. Photographers are starting to wake up and realize that they’re not content creators. Instead, they shouldn’t be considered the same thing. So they’re printing again. Small meetup groups are happening where photographers can be in a safe space and talk about their images via print.

Several publications are looking at the idea of print media again. In fact, it worked out in Utah really well according to Poynter. In fact, I want the Phoblographer to get into print again. Often, I also encourage photographers to make their own zines too.

Long live the print. Long live the idea of taking back the idea of the photograph and not scrolling past it when a million other notifications are coming through.

News

The Butler Institute of American Art is hosting an exhibition from artist and photographer, Ruwaidah Barhoum, titled Simple Life as part of their Regional Photography program. “My artwork reveals the connection between culture and lifestyle that exposes h

Katie Martin, a Homer-based photographer, reveals her deep-rooted affinity for the natural world through her first public photography exhibit at Grace Ridge Brewing. Transitioning from a casual hobby to a professional showcase, Martin displays 13 captivating landscape images, drawing from her adventures in Alberta and Alaska. This exhibit not only marks Martin’s debut in the public eye but also reflects her commitment to blending her career with her passion for the outdoors and photography.

From Hobby to Exhibit

For over a decade, photography has been a personal journey for Martin, a journey she shared only with close acquaintances and through social media. The transition to a public exhibit represents a significant step in her artistic journey, showcasing her ability to capture the essence of the natural landscapes she traverses. Martin’s work, ranging from the serene Peyto Lake in Alberta to the dynamic landscapes of Alaska, encapsulates her experiences and perspectives, offering viewers a glimpse into her world.

Behind the Lens

Martin’s career as a director, formerly in nursing, parallels her creative pursuits, providing a balance between her professional responsibilities and her creative aspirations. Her move to Homer in 2013, propelled by an initial fishing trip, opened new vistas for her photography, shifting her focus towards the wild, untamed beauty of Alaska’s landscapes. This shift not only expanded her creative outlook but also deepened her connection with nature, further fueling her passion for photography. Martin’s adaptability and openness to exploring different mediums, from painting to pottery, underscore her versatile creative spirit.

Future Aspirations

Inspired by the positive reception to her debut exhibit, Martin remains open to the possibility of future showcases. However, she emphasizes the importance of maintaining her joy and passion for photography without the pressures of constant exhibitions. Her approach to photography, grounded in the desire to capture and share the beauty of her surroundings, remains her guiding principle. As she continues to explore and experiment with her craft, Martin’s work stands as a testament to the power of photography to connect us with the beauty of the natural world.

Viewing Martin’s landscapes offers an opportunity for reflection on the importance of nature in our lives and the ways in which art can bridge the gap between our everyday experiences and the extraordinary vistas that surround us. Through her lens, Martin invites us to join her in appreciating the splendor of the natural world, reminding us of the transformative power of art and nature.

On a bright Saturday in downtown Bakersfield, Kern’s creative community gathered at the Bakersfield Museum of Art (BMOA) for a unique event titled ‘Through the Lens: A Panel Discussion‘. Led by Bakersfield College’s esteemed professor of photography, Kristopher Stallworth, the panel embarked on a journey through time, exploring the pivotal role of women in photography and their contributions to social, political, and economic revolutions since the 1900s. This event, held in honor of Women’s History Month, coincides with BMOA’s showcase, ‘Modern Women | Modern Vision: Photography from the Bank of America Collection’, and aims to highlight the legacy and ongoing influence of female photographers.

Trailblazers Behind the Camera

The discussion highlighted the groundbreaking work of early female photographers who, against the odds, carved a niche for themselves in a predominantly male-dominated field. These pioneers not only mastered the art of photography but also used their lenses as tools for advocacy, bringing attention to critical issues and inspiring change. The panelists, comprising a diverse group of Kern’s photographers and creatives, shared personal anecdotes and reflections on how these trailblazers have served as role models, influencing their work and the broader artistic community.

Empowering Future Generations

The significance of preserving women’s contributions to the photographic and cinematic arts was a focal point of the discussion. Drawing parallels with the efforts of the Women’s Film Preservation Fund of NYWIFT, as highlighted in a recent article on ProductionHub, the panel underscored the importance of safeguarding women’s film heritage. This act of preservation is not just about maintaining a historical record but also about ensuring that future generations of female artists have access to their rich legacy, empowering them to continue breaking barriers and shaping the arts.

Modern Women, Modern Vision

The ‘Modern Women | Modern Vision’ exhibit at BMOA serves as a testament to the evolution of women’s roles in photography and the arts. By showcasing works from the Bank of America Collection, the exhibit offers attendees a glimpse into the diverse perspectives and narratives that women have brought to the forefront through their lenses. This panel discussion, coupled with the ongoing exhibit, invites the community to reflect on the transformative power of photography and the enduring impact of women’s voices in the arts.

As the event concluded, attendees were left with a profound appreciation for the contributions of women to photography and the arts. The stories shared and the history uncovered during the panel discussion serve as a reminder of the resilience, creativity, and vision of female photographers who have paved the way for future generations. As we move forward, the legacy of these trailblazers continues to inspire and challenge us to view the world through a broader, more inclusive lens.

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After a heart-wrenching theft, an Oklahoma wedding photographer and a newlywed couple face the devastating loss of their wedding memories. Robert Jacobs, owner of Everything Photography, experienced the shock of discovering his equipment, including memory cards containing an entire wedding album, stolen from his car. The theft not only stripped the photographer of his valuable tools but also left Jeffrey Henderson and his bride without most of their cherished wedding day memories.

Unfortunate Oversight Leads to Loss

Jacobs admitted to inadvertently leaving his car unlocked, a mistake that paved the way for thieves to make off with camera bags, lenses, and most critically, the memory cards. The cards held the only copies of the Lovchiks’ wedding photos, including backups, resulting in an irreplaceable loss. The incident has sparked a mix of devastation and frustration, with the groom expressing anger towards the unforeseeable turn of events that led to the loss of such precious memories.

Community Efforts and Hopes for Recovery

In the face of this adversity, the Lovchiks are taking proactive steps by visiting pawn shops and inquiring around the photographer’s neighborhood in hopes of recovering their stolen memories. The couple has managed to retain a few preview photos provided by Jacobs before the theft, which now serve as the sole remnants of their special day. Amidst the disappointment, there’s a shared hope that the perpetrator might return the stolen items, driven by a sense of empathy for the couple’s loss.

A Gesture of Goodwill and Future Precautions

In a bid to alleviate some of the distress caused by the incident, Jacobs has offered to conduct a reshoot for the couple. While this gesture cannot replace the original memories captured on their wedding day, it demonstrates the photographer’s commitment to his clients amidst unfortunate circumstances. This event serves as a poignant reminder of the vulnerability of physical and digital possessions, highlighting the importance of stringent security measures to safeguard valuable and irreplaceable items like wedding photographs.

The theft of the Lovchiks’ wedding memories is a stark illustration of how quickly joyous occasions can be overshadowed by unforeseen events. As the couple and their photographer hope for the return of their cherished photos, this incident underscores the fragility of physical tokens of memory in the digital age. It prompts a reflection on the value we assign to such memories and the measures we take to protect them.