Photography

vivo Announces V30 Pro, Elevating Smartphone Portrait Photography in Collaboration with ZEISS

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vivo Announces V30 Pro, Elevating Smartphone Portrait Photography in Collaboration with ZEISS
  • vivo and ZEISS bring joint R&D to the V series for the first time.
  • Each rear camera on V30 Pro offers professional imaging quality that meets ZEISS Optics standards.
  • The slim and powerful V30 Pro comes in stunning new color themes.

SHENZHEN, China, Feb. 28, 2024 /PRNewswire/ — vivo, a leading global technology company, today introduced V30 Pro, the first V series smartphone to feature a vivo ZEISS Co-Engineered Imaging system, elevating smartphone portrait photography to a new level. The new device boasts a ZEISS Triple Main Camera and ZEISS Style Portrait, allowing users to capture professional-quality portraits with ease. V30 Pro combines cutting-edge technology with stunning design, featuring new outstanding color themes and textures. As one of the slimmest phones with a 5000 mAh (TYP) battery in the V series, V30 Pro ensures users stay connected all day long in style. And, with a large battery, bright display and a 4 nm Flagship Chip, V30 Pro delivers excellent performance for reliable daily use, smooth mobile gaming and immersive entertainment.


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V30 Pro, co-engineered with ZEISS.
V30 Pro, co-engineered with ZEISS.
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“We are thrilled to expand our imaging collaboration with ZEISS and bring our joint expertise to the V series for the first time. With each of the three rear cameras offering professional-grade imaging quality that meets ZEISS Optics standards, users can expect an exceptional portrait photography experience,” said Yongduan Zhou, General Manager of Overseas Products. “V30 Pro boasts a large-capacity battery in a sleek frame, with stunning new color themes for a perfect blend of style and performance.”

V30 Pro meets ZEISS Optics standards, enabling professional-level photography

vivo and ZEISS are now bringing their joint innovation to the V series for the first time. Together, vivo and ZEISS integrate cutting-edge optical technology with adapted smartphone design to bring advanced mobile imaging technologies to vivo smartphone users. The joint efforts span optical design specification and selection, implementation, as well as verification and validation of the imaging system and related features, such as ZEISS Style Portrait, ZEISS Natural Color and more.

V30 Pro, co-engineered with ZEISS, features ZEISS Triple Main Camera, meaning each rear camera on the smartphone meets the ZEISS Optics standards for professional-grade image quality.

V30 Pro is the first smartphone to feature a 50 MP Professional Portrait Camera, offering a 50 mm focal length for more realistic and vivid portraits. The overall perspective closely aligns with the human eye’s natural viewpoint, preventing distortions for a more natural appearance. With a significant increase in pixel count, now four times greater than the previous 12 MP portrait camera, V30 Pro can capture richer details in portraits, rendering even the finest strands of hair. Additionally, the 2x zoom allows for excellent portrait quality, even from a distance.

The 50 MP AF Ultra Wide-Angle Camera offers 119° Ultra Wide-Angle Perspective[1], perfect for group shots or beautiful landscape photography. It is the V series’ first 50 MP ultra wide-angle camera equipped with Auto Focus, offering 6.25 times the pixel count of an ordinary 8 MP wide-angle camera. It also features AI Group Portrait for clear group portraits of up to 30 people.

The rear camera setup is complete with a 50 MP vivo VCS True Color Main Camera that captures true colors with exceptional clarity in low-light conditions. The vivo-exclusive Camera-Bionic Spectrum (VCS) transforms the light intake from a quantitative change to a qualitative one, allowing the sensor to receive raw information that is increasingly closer to what is perceived by the human eye.

The 50 MP VCS True Color Main Camera boasts a 1/1.49″ sensor, the largest sensor in V series, supported by powerful Optical Image Stabilization, enabling users to capture clearer and brighter pictures at night.

V30 Pro provides users with the flexibility to customize color profiles according to their preferences. The vivo Color System Professional Colors feature offers three distinct color profiles. ZEISS Natural Color is a joint effort by vivo and ZEISS to capture colors that are true to what the human eye sees. This profile is ideal for professional users who require room for post-editing and users who prefer a more authentic look. vivo Vivid Color is a vibrant color profile refined over four years based on user preference. vivo Textured Color offers rich and delicate color expressions to capture the mood of the moment.

[1] The optical field of view of the 50 MP AF Ultra Wide-Angle Camera is 119°, and 109.2° after distortion correction.

Iconic photography style

vivo has teamed up with ZEISS to introduce ZEISS Style Portrait to V30 Pro. ZEISS Style Portrait offers six different portrait style bokeh options inspired by the distinctive bokeh look of iconic ZEISS lenses. These include ZEISS Biotar, Sonnar, Planar, Distagon, Cinematic Style Bokeh and ZEISS Cine-Flare Portrait.

V30 Pro introduces ZEISS Cinematic Video Bokeh, bringing an iconic cinematic style to videos. It features a unique cinematic aspect ratio of 2.39:1, adding a movie-like look and feel, and uses advanced AI-based depth calculations to achieve a more natural bokeh effect.

In addition, with ZEISS Border Watermark, users can now apply customized frames with photo parameters, adding an artistic touch to their photos while showcasing the vivo ZEISS Co-engineered Imaging System.

Professional Aura Light Portrait, your portable photography studio

V30 Pro brings an enhanced Aura Light Portrait with softer light, smart adjustment for close-ups and distant photos, and intelligent cool and warm light adjustment based on the subject’s surroundings to ensure color consistency.

Aura Light provides softer yet more powerful lighting for portraits compared to standard flash. Its light-emitting area is 19 times larger and 50 times softer[2], allowing users to capture delicate details for stunning portraits. V30 Pro also comes with an integrated Smart Color Temperature Adjustment that intelligently identifies and adjusts the color temperature based on the subject’s surroundings, preventing issues such as color casting and blurring of facial features often caused by environmental light.

V30 Pro further simplifies portrait photography with Distance-Sensitive Lighting that adjusts the Aura Light brightness level based on the subject’s distance in real-time with centimeter-level precision. The light is softer and more uniform when the subject is close and clearer and brighter when the subject is far.

Aura Light supports a range of new modes, such as Aura Light Portrait Video and Aura Light Food Mood, encouraging users to explore their creativity. Aura Light Portrait Video works with the smartphone’s powerful Hybrid Image Stabilization (OIS + EIS) to capture perfectly lit and clear videos even in low light.[3] Aura Light Food Mood challenges even the most complex restaurant lighting to help users capture bright, textured, and appetizing food photos with a single tap.

[2] The improvement data of the light-emitting area and softness comes from vivo’s laboratory based on a comparison of the Aura Light and the flash on V30 Pro.

[3] The Hybrid Image Stabilization (OIS + EIS) works when you are shooting with the main camera at 1x or above zoom.

Ultra-slim design and stunning new color options

V30 Pro maintains the V series’ signature slim design language while providing exceptional battery performance with its 5000 mAh (TYP) Battery. To achieve this, V30 Pro leverages an industry-leading One-Piece Encapsulation Technique that involves reconfiguring the battery casing to make it thinner, creating additional space for the battery cells. Additionally, V30 Pro has improved its 3D Curved Screen design for a better in-hand feel and grip, further enhancing the user experience.

The rear camera module is designed with the View Catcher concept in mind, reflecting the phone’s powerful photography features. It boasts a sophisticated 2.5D Glass Lens with a polished metal bezel that is fine-tuned using a diamond cutting technique for an elegant and refined look.

The innovative Color, Materials and Finish design brings a new visual and tactile experience to V30 Pro with outstanding new color themes. The Bloom White edition has a stunning 3D Petal Pattern created using photolithography, adding an incredible 13 million lines to the phone’s surface. Waving Aqua uses a Rippling Magnetic Particle process, integrating tens of thousands of tiny magnetic particles into flowing resin for a unique rippling effect with a greenish-blue hue. Lush Green uses the iconic Color Changing technology of the V series, bringing an elegant green shade that transforms into a deep blue hue under UV light. Finally, V30 Pro is also available in the elegant Noble Black version for those who prefer a more classic look.

All-day smooth and powerful performance

V30 Pro provides a powerful gaming and immersive entertainment experience, combining a large battery, a powerful chipset, and a stunning bright screen.

The large 5000 mAh (TYP) battery, supported by the Super Battery Saver, provides up to 20 days of standby time and can be fully charged in just 46 minutes[4] using the 80W FlashCharge[5] for smooth daily use. V30 Pro has also introduced leading battery technology that doubles its battery lifespan. The battery health remains above 80% even after 1600 charge-discharge cycles, maintaining a battery lifespan of four years.[6]

[4] The maximum standby time is for screen-off standby with a 4G network. The data is from vivo laboratory. Charging data is based on vivo laboratory environmental tests. The data was provided by vivo’s lab according to tests conducted under the device’s default charging mode. Actual battery duration and charging speed is subject to actual usage and may vary depending on environment and other factors.

[5] Equipped with vivo standard charger and cable, the product supports up to 80W FlashCharge. The actual charging power is dynamically adjusted as the scene changes, and subject to actual use.

For heavy-use tasks and gaming, V30 Pro boasts a powerful 4nm Flagship Processor and enhanced 12GB+12GB Extended RAM, ensuring lag-free operation. The device also features an Ultra Large Cooling System with a large vapor chamber of 3002 mm2, achieving multi-layer efficient heat dissipation for peak performance. With 11 built-in temperature sensors for real-time detection, V30 Pro remains smooth and stable.

V30 Pro boasts a 1.5K Ultra Clear Sunlight Display for an immersive entertainment experience with an ultra-clear AMOLED display, 3D curved screen and a 120 Hz refresh rate. With peak local brightness of 2800 nits, 213% higher than the previous generation, and maximum overall brightness of 1200 nits, users can enjoy screen content in strong sunlight. The display prioritizes eye protection and comfort with flagship-level features and has received SGS eye protection certification.

V30 Pro has a Comprehensive Cushioning Structure for lightweight durability. It features “Schott α” glass screen protection and raised metal bezels that shield the camera module. Reinforced sides and customized aluminum alloy corners increase the device’s overall strength, making it visually stunning and impressively tough. V30 Pro has an IP54[7] rating for dust and water resistance.

[6] These tests simulate daily usage habits (charging and discharging a phone once a day) and indicate that 1600 cycles equal approximately 4 years of usage. The above data was provided by vivo’s lab according to tests conducted in a simulated environment, with ambient and battery temperatures of 23°C±2°C for a full charge and discharge. Actual results may vary due to differences in test equipment, test environment, personal usage patterns and habits.

[7] This product is rated as IP54 for splash, water, and dust resistance under IEC standard 60529 and was tested under controlled laboratory conditions. The resistance to splashes, water and dust is not permanent and may be reduced due to daily use. Do not charge the mobile phone when it is wet. Refer to Safety information in Settings for cleaning and drying instructions. Damage due to liquid ingress is not covered by the warranty.

Pricing and availability

V30 Pro will be available in over six markets, including India, Indonesia, Thailand, Malaysia, Philippines, and Taiwan. The availability, pricing, and specifications may vary based on local market conditions and consumer preferences. Visit vivo’s official website for more information about pricing and color availability. 

About vivo

vivo is a technology company that creates great products based on a design-driven value, with smart devices and intelligent services as its core. The company aims to build a bridge between humans and the digital world. Through unique creativity, vivo provides users with an increasingly convenient mobile and digital life. Following the company’s core values, which include Benfen,* user-orientation, design-driven value, continuous learning and team spirit, vivo has implemented a sustainable development strategy with the vision of developing into a healthier, more sustainable world-class corporation.

While bringing together and developing the best local talents to deliver excellence, vivo is supported by a network of R&D centers in Shenzhen, Dongguan, Nanjing, Beijing, Hangzhou, Shanghai and Xi’an, focusing on the development of state-of-the-art consumer technologies, including 5G, artificial intelligence, industrial design, imaging system and other up-and-coming technologies. vivo has also set up an intelligent manufacturing network (including those authorized by vivo), with an annual production capacity of nearly 200 million smartphones. As of now, vivo has branched out its sales network across more than 60 countries and regions, and is loved by more than 400 million users worldwide.

*”Benfen” is a term describing the attitude on doing the right things and doing things right – which is the ideal description of vivo’s mission to create value for society.

Stay informed of latest vivo news at https://www.vivo.com/en/about-vivo/news   

SOURCE vivo

Howard Schatz: ‘Pairs’ photography book

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Howard Schatz: ‘Pairs’ photography book

Where do you start with someone like Howard Schatz? After initially working as an eye surgeon, Howard went ‘all-in’ on becoming one of the worlds best sports photographers, and onto what would be an incredibly prolific photographers that you will ever encounter.

His work transcends the sport arena and explores the human form with spell binding studio work that utilises so many skills including underwater, multi-strobe and fascinating long exposures.

He has already published 24 photography books, featured in countless exhibitions, campaigns and awards. He’s even been a judge for our inaugural Capture Awards!

The Pairs photography book

Released at the end of 2023 is his latest photography book ‘Pairs’. It’s an exploration of the relationship between two subjects and the visual, graphic, emotional, social, physical and even spiritual dynamic that results from the pairing.

It features an incredible range of people from athletes to movie stars to dancers, artists, models and other interesting characters.

Image: Howard Schatz

When quizzed on what the book is about, Howard has said “I am in search of the electric, sometimes eccentric and always compelling connections possible with a combination of two whether dancers, athletes, mothers and newborns, gymnasts and even inanimate objects. Sometimes they were brought together intentionally: I’ve found other images that speak to each other in ways I had not previously noticed. The connections are sometimes subtle, sometimes not.

I’ve scoured for pairings of every sort. Not necessarily the Shakespearean form of heroic couplets, but couplets nevertheless. I have tried to look for both the unexpected and the unusual in my art. A photographic odyssey into the world of twos is a natural outgrowth of my ongoing search for surprise and delight. I continue to make new images in pursuit of this quest.”

You can see more of Howard’s incredible work on his website, or purchase the Pairs book here.

Image: Howards Schatz

FUJIFILM Photo Collection II Capturing the Human Experience: World Photography in the 20th Century

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FUJIFILM Photo Collection II Capturing the Human Experience: World Photography in the 20th Century

TOKYO – February 27, 2024 —

FUJIFILM Holdings Corporation (President and CEO, Representative Director: Teiichi Goto) announces the acquisition of the highly esteemed FUJIFILM Photo Collection II, consisting of 53 exquisite original prints, which capture the human experience, to commemorate the Fujifilm Group’s 90th anniversary. These photographs created by renowned international photographers, who are among the giants of world photography in the 20th century. From April 26 to May 16, “FUJIFILM Photo Collection II – Capturing the Human Experience: World Photography in the 20th Century“ will be held at FUJIFILM SQUARE, in Tokyo, Japan.

In 2014, on the occasion of its 80th founding anniversary, Fujifilm collected 101 selected photographs by 101 photographers from the end of the Edo and Meiji periods (mid of 1860~) to the present day as the “FUJIFILM Photo Collection*1”. The collection has been exhibited at more than 20 locations, including FUJIFILM SQUARE and museums nationwide, and has been used to convey their artistic value to more than 200,000 people, as well as to promote a systematic understanding of the history of Japanese photography.

Portrait photography is considered to be the starting point of the photography and the strongest motivation at the dawn of photography. Throughout the history of photography, in which many new techniques have been evolved, portrait photography has always been and continues to be at the center of people’s interest.

Works in the FUJIFILM Photo Collection II

Alfred Stieglitz, The Steerage, 1907

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W. Eugene Smith, The Walk to Paradise Garden, 1946
© 1946, 2024 The Heirs of W. Eugene Smith

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August Sander, Aviator, 1920-28

The photographs above are works by Alfred Stieglitz (1864-1946), known as the “father of modern photography,” W. Eugene Smith (1918-1978), a humanist photographer and photojournalist, and August Sander (1876-1964), a great German photographer.
In addition, “FUJIFILM Photo Collection II” includes the largest number (15) of works by the master of portraiture, Yousuf Karsh (1908-2002), whose profound portraits of world-famous people were so well received that “having your portrait taken by him was seen as proof of celebrity”. The exhibition consists of 53 works of great historical value, taken by 20 photographers who have left their mark on the history of world photography in the 20th century, including works by Elliott Erwitt (1928-2023), a photographer who has continued to shoot works that are beloved by many people through the ages.

Fujifilm will carefully preserve these works of timeless value as FUJIFILM Photo Collection II, and exhibit them in Japan and abroad.

On the occasion of its 90th anniversary on January 20, 2024, the Fujifilm Group established the Group Purpose: “Giving Our World More Smiles”. Through the “FUJIFILM Photo Collection II,” it will continue to communicate the intrinsic value of photography on a global scale, and contribute to enriching people’s hearts and fostering connections, as well as “Giving Our World More Smiles”.

  • 1 The collection and exhibition activities of the FUJIFILM Photo Collection, together with the operation of the Fujifilm Photo Salon and the Museum of Photographic History, received the “Art of the Moment Award” for excellence at the Mecenat Awards 2018 organized by the Japan Corporate Mecenat Association.

1. Exhibition overview

Title

Exhibition to Commemorate 90 Years of Fujifilm Group
FUJIFILM Photo Collection II
Capturing the Human Experience: World Photography in the 20th Century

Period

April 26(Fri) – May 16(Thu), 2024
10:00–19:00 
(The exhibition opens at 11:00 on the first day, and closes at 14:00 on the final day. Last admission is ten minutes before closing.)
Open every day
Please note that, due to the circumstances, days, hours,
and galleries to be opened is subject to change without notice.

Place

FUJIFILM SQUARE (Tokyo Midtown West)
7-3 Akasaka, 9-chome, Minato-ku, Tokyo, 107-0052, Japan
Phone +81-3-6271-3350 (10:00–18:00)
URL https://fujifilmsquare.jp/en/

Admission fee

Free

  • This is a Mecenat exhibition and is open to the general public for free.

2. Number of works

53 works

3.Photographers

Ansel Adams, Manuel Álvarez Bravo, Harry Callahan, Henri Cartier-Bresson, Imogen Cunningham, Bruce Davidson, Elliott Erwitt, Walker Evans, Emmet Gowin, Yasuhiro Ishimoto, Yousuf Karsh, Jacques Henri Lartigue, Steve McCurry, Arnold Newman, Martin Parr, Sebastião Salgado, August Sander, W. Eugene Smith, Alfred Stieglitz, Edward Weston (A total of 20 artists in alphabetical order)

Organizer: FUJIFILM Corporation
Supporter: Minato City Board of Education
Planning: Photo Classic

Works on display

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Alfred Stieglitz, The Steerage, 1907

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W. Eugene Smith, The Walk to Paradise Garden, 1946
© 1946, 2024 The Heirs of W. Eugene Smith

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August Sander, Aviator, 1920-28

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August Sander, Photographer’s Wife [ Anna Sander], ca. 1902

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Walker Evans, Penny Picture Display, Savannah, 1936

All works other than those listed above will also be exhibited.

Notes

Please refrain from using the photography data in this press release for secondary purposes without our permission. If you are interested in using the photography data, please contact to FUJIFILM SQUARE Public Relations office.
TEL:81-3-6271-3350 (Weekday 10:00~18:00 JST) e-mail：square@fujifilm.com

We kindly ask you to follow the general instructions below when incorporating the photography data into your materials.

  1. The purpose to use the photography data is limited to the announcement of “FUJIFILM Photo Collection II” exhibition. After the use, it should be discarded.
  2. Please refrain from trimming the photography data.
  3. Please credit the photography data appropriately, such as the photographer’s name and the photography title.
  4. Please refrain from superimposing text over photographs.

Contact

Media Contact

FUJIFILM Holdings Corporation
Coprorate Communications Division
Public Relations Group

+81-3-6271-2000

  • Please note that the contents including the product availability, specification, prices and contacts in this website are current as of the date of the press announcement and may be subject to change without prior notice.

Release ID: 89122645

In the event of encountering any errors, concerns, or inconsistencies within the content shared in this press release, we kindly request that you immediately contact us at error@releasecontact.com. Our dedicated team will be readily accessible to address your feedback within 8 hours and take appropriate measures to rectify any identified issues or facilitate press release takedowns. Ensuring accuracy and reliability are central to our commitment.

Edward Burtynsky at the Saatchi Gallery — awesome beauty of a ravaged planet

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Edward Burtynsky’s disturbingly beautiful photography brings a giant’s eye view to our ravaged planet, rendering mining sites as glimmering jewel boxes, desertscapes as geometric puzzles and dumping grounds as Jackson Pollock-like eruptions of chaos and colour. This fascinating exhibition covers his journey of more than 40 years — hanging out of Cessna planes, elevated by cranes and latterly deploying drones — to document the way large-scale industry and agriculture have impacted on the natural world.

Burtynsky’s distinctive aesthetic has spawned several imitators, but none who match the scale or impact of his uncompromising vision. Born in Ontario, Canada, to Ukrainian parents who had survived Stalin’s famine, the Holodomor, he was given his first camera — a 35mm Minolta — by his factory-worker father. His father would die, aged 45, from cancer that his doctors said was caused by the electrical insulating oils (PCBs) that he used on the welding line at the General Motors plant in the industrial town of St Catharines. It took Burtynsky until his mid-twenties to decide that he would make the insidious effects of industry his central theme, though it’s intrinsic to his work that there’s nothing dogmatic or condemnatory about what he shows.

Instead, what you’re most likely to feel is a sense of wonder as you enter the first room of the Saatchi Gallery’s Extraction/Abstraction, judiciously curated by Marc Mayer, the former director of the National Gallery of Canada. The first image, with its striking blobs of colour, could be a work by the Swiss-German modernist Paul Klee or a mutating virus, but when you read the caption you discover that it’s “Salt Ponds #1, Near Fatick, Senegal” (2019). The egg-yolk yellows and luscious greens are produced by salt-resistant micro-organisms that change colour as the salt concentration increases.

An aerial photograph shows a landscape of green blotched with blue and other colours, littered with what look like dead trees, with a murky multi-hued river running through it
‘Oil Bunkering #9, Niger Delta, Nigeria, 2016’ © Edward Burtynsky, courtesy Flowers Gallery, London

This defiant, often provocative exhibition — the largest survey of his work to date, produced in collaboration with Flowers Gallery in London — covers two floors of the gallery and is divided into five sections: Abstraction, Agriculture, Extraction, Manufacturing & Industry and Waste. In the first gallery, Burtynsky pares the images down to lines and shapes — so that, for instance, ploughed earth in “Farming #4, Cingil, Ankara Province, Türkiye” (2022) resembles grooves on a vinyl record, while grass looks like stitched felt. In “Tailings Pond #2, Wesselton Diamond Mine, Kimberley, Northern Cape, South Africa” (2018), waste material — kimberlite tailings — from the mine flares out from a conveyor belt like petals on a flower. There’s no prettification here — Burtynsky simply observes and presents what he finds, inviting us to contemplate the paradoxes of a world in which beauty often walks hand in hand with destruction.

As the exhibition continues, the patterns become more complex. When you look at one of the 13 high-resolution murals, “Erosion Control #1, Yeşilhisar, Central Anatolia, Türkiye” (2022), the terraces on the bare hills look like contour lines sketched by assiduous 18th-century cartographers. Another image, “Thjorsá River, Southern Region, Iceland” (2012), is luscious with silvery and emerald greens as a river flowing from an ice-capped active Icelandic volcano displaces eroded soil. “Cerro Prieto Geothermal Station #2, Sonora, Mexico” (2012) — the largest geothermal station in the world, we discover — looks like opulent stained glass with an elaborate gilded frame. Pools on a Gujarat salt farm shimmer like scales on a fish. 

While humans are largely absent from these images, we are gently probed to contemplate how complicit we all are in these compromised situations. Maybe it’s the diamond in your engagement ring, the petrol in your car, the lithium battery in your mobile phone or the granite on your kitchen counter. At least one and probably more of the luxuries in your life will involve the systematic destruction of landscape. What’s the point at which you put your hand up and say, “This has to stop”? 

An aerial photograph shows a river system making spectacular, sinuous patterns in the terrain
‘Thjorsá River #1, Iceland, 2012’ © Edward Burtynsky, courtesy Flowers Gallery, London

Burtynsky is not demanding answers right now — instead he is using beauty as bait to make us think about our complex, interconnected world. While the captions often invite comparisons with modernist artists, he is clearly driven by a profound fascination with industry: its social impact, its machinery, its sheer scale. There’s beauty here too that’s less sinister: bright yellow canola fields offsetting black mountains in Yunnan Province, China, “pivot irrigation” schemes yielding green circles of vegetation in the Arizona desert, the Italian quarry that produced marble for Michelangelo’s “David”. Though the sense of our Promethean contract is never far away, it hangs particularly heavily in his helicopter shots of oil theft in Nigeria, or in the pictures of barefoot men hired to destroy decommissioned oil tankers in Bangladesh. 

Part of the fascination is inevitably in Burtynsky’s work process, and one section displays his equipment — whether it’s the sci-fi spider-like Hasselblad H4D 39MP Camera, the DJI Mavic 2 Pro drone, or simply his ideas notepad. The stories behind each picture can be accessed by mobile phone, along with augmented reality features. The immersive film In the Wake of Progress (2022), screened in London for the first time, begins across three screens, contemplating a pristine forest from British Columbia, then suddenly whirling through landscapes blighted by logging, over-farming, oil spillage, snaking road systems, or industrial chemicals that blotch the feet of child-workers.

It would be easy to be overwhelmed, but the curator has paced the exhibition judiciously, allowing for a slow build in intensity and creating a subtle balance between amazement and concern.

What’s most striking, though, is a sense of one man’s determination to discover everything he can about some of the most inaccessible environments on our planet and reveal them as places in which we are all invested. Burtynsky discovers beauty where we least expect it — some of the most ravishing pictures are from the mollusc-like patterns left behind by an extractor machine in a Siberian potash mine. A conceptual and visual tour de force.

To May 6, saatchigallery.com. An accompanying exhibition of new works is at Flowers Gallery to April 6, flowersgallery.com

The Film Recipes Every Canon Photographer Needs

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The Film Recipes Every Canon Photographer Needs
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There’s something about the way that film recipes look that gives us all spellbound. It’s seriously almost like we were cursed by the wizards of photography to believe that every time we see film photos, we’d fall madly in love. It’s part of the reason why Fujifilm cameras are so appealing. And it’s also why Lumix is growing in popularity with the Real-Time LUT feature. But Canon has just never truly embraced it as something of their own. But luckily, you don’t need to rely on Canon for this. Instead, there are film styles out there that you can load up on various cameras. In fact, I loaded them up into a camera dating back all the way to 2017.

Film Recipes on Canon Cameras

To get film recipes on Canon cameras, you need a few things. First, if you’re using an interchangeable lens camera, you need the EOS Utility version that supports it. For everything that I did, I used EOS Utility 3. For clarity, I did this process of getting film recipes on Canon cameras in January 2024.

Make sure that your camera will connect to your computer. Honestly, I’d recommend using a cable here. I’m also using a Mac, which present it’s own problems, but this is all still doable.

I did some research on YouTube, Flickr, and articles. Then I found Thomas Fransson, who makes some of the best film recipes for Canon cameras. He’s got a whole store of things that you can choose from, and he even lets you set your own price with them. I paid him a dollar each for the three that I purchased — and hopefully, the Phoblographer will probably get him a lot more. But I thought that it should be known that, yes, I indeed did pay for these.

I purchased the Portra, Krowdac, and Fuji Pro Negative styles. After unzipping the files, I loaded them all onto my cameras.

The Cameras I Used

I’ve got several Canon cameras around the office. The Canon EOS R3 and the Canon EOS R5 get the most use from me. When I’m photo walking, I’ll use the Canon EOS R or the Canon G1x Mk III. And if I’m shooting wildlife, I’ll use the Canon EOS R7. I use the Canon EOS R8 for web streaming. All of these cameras were able to easily load the film recipes.

So how do you get the film recipes on Canon cameras?

  • Download the recipes from Thomas’s store
  • Unzip them until they can’t be unzipped anymore
  • Open up EOS Utility, whatever version is the latest
  • Connect your camera to your computer via a cable
  • Choose to adjust the camera styles
  • Add three user-defined styles one at a time.
  • Close the software and go shoot.
  • If you’re using a camera that doesn’t have an interchangeable lens, then download the Canon Picture Style Registration tool from Canon Hong Kong’s website.

Make sure that you’ve got the right cable. Sometimes, one cable works better than another. Also, remember that the picture style only affects the JPEG output, not the RAW files. You can further customize them in the camera if you wish. Sometimes I only shoot in tungsten or daylight. At other times, I use the auto-image optimization. It’s totally possible to not have to do any post-production at all if you’re using the exposure simulation mode. And even so, you can generally trust the color science. Experiment around and play with them to see how they react to different lighting scenarios.

I also really like adding in a Pro Mist filter for extra vibes.

Friends again? President Ruto, Raila and the power of photography

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Friends again? President Ruto, Raila and the power of photography

The photo dump came late in the evening. It was accompanied by a short, 91-word statement that talked of “the ultimate goal to form the East African Political Federation” and “critical issues that affect our two countries such as energy and petroleum”, but very few people noticed these little gems of diplomatic twaddle. The story was not in the text, but in the photos.

President William Ruto stood in the bushland of Kisozi, Uganda with his host, Yoweri Museveni. And with them was an unlikely candidate, Raila Odinga, perhaps one of the most divisive characters in Kenya Kwanza circles since he ran, unsuccessfully, against Dr Ruto in the last General Election.

President William Ruto

President William Ruto (left), opposition leader Raila Odinga and Uganda’s President Yoweri Museveni in Kisozi, Uganda, on February 26, 2024.

Photo credit: Pool

Since then, Mr Odinga has been a thorn in the flesh of the Ruto administration. He has claimed all manner of things against the President and his government, including the belief that his victory was stolen, that the current administration is illegitimate, that Dr Ruto is mismanaging the country, and that he and his cohorts should be kicked out of office through a series of protests.

So why would this same man, the architect of a series of sentimental and violent protestations against the Kenya Kwanza government, be photographed in the Kisozi plains in the company of his arch-nemesis, herding Museveni’s Ankole cows? Was there a thawing of hostilities between the two, and could this, as many suggested online, be the beginning of a new ‘Handshake’ era? If so, what would it mean to the rank and file of the Kenya Kwanza brigade, most of whom have this passionate, vehement dislike for Mr Odinga?

The first photo in the series showed Mr Odinga standing between Dr Ruto and Mr Museveni, and behind them the long-horned cows grazing in the lush of Kisozi. They all are supporting themselves with herding canes, the type that African herdsboys like to walk around with as a mark of authority and village swagger.

Kaunda suit

Dr Ruto is in what has now become his trademark Kaunda suit while Mr Odinga stands in the middle, his left hand in his pocket and the right holding the cane. Mr Museveni appears to be the one talking in the shot, which captures him gesticulating in an oversize shirt. To the uninitiated eye, this could pass as just another episode of banter among three African statesmen, but to those who have followed Kenya’s robust political scene in the last one year, this photograph spoke volumes about both Mr Odinga and Dr Ruto.

If also offered silent but powerful insights into the psyches of two of Kenya’s most prominent politicians who were once bossom buddies, but who had a dramatic parting of ways slightly more than 10 years ago. That the President, who has borne the brunt of criticism from the Odinga camp, and who has himself castigated the Opposition leader for attempting to overthrow his government, would be meeting with that same man surprised many.

President Yoweri Museveni

President William Ruto (left), Uganda’s President Yoweri Museveni and opposition leader Raila Odinga in Kisozi, Uganda, on February 26, 2024.

Photo credit: Pool

Mr Robert Alai, the ODM Member of County Assembly for Kileleshwa Ward in Nairobi, tweeted: “Let me tell you with a lot of certainty; if Baba is not in the race in 2027, and given between (Wiper Democratic Movement leader) Kalonzo (Musyoka) and Ruto, ODM supporters would easily go for Ruto.”

He went on to claim that “ODM supporters would trust Ruto over Kalonzo any day”, and finished the tweet with a tongue-in-cheek warning that also exposed the thinking within the ODM fraternity, that “I know that Rigathi Gachagua and Uhuru hate this more than anyone else, but that’s the truth”.

Mr Rigathi Gachagua is Dr Ruto’s deputy, a ruthless political schemer who comes complete with an acerbic tongue and the power to mobilise millions to his fold through grassroots mobilisation. Many see Mr Odinga’s warming-up to Dr Ruto as a repeat of the Uhuru Kenyatta years, when the ODM leader was accused of elbowing out Dr Ruto from the Kenyatta high table. Could this new relationship, therefore, signal the beginning of the end for Mr Gachagua, who has been steadfastly loyal to the President, and who has been keen to establish himself as the Mt Kenya political kingpin? Should that happen, would Mt Kenya, which rebelled against Mr Kenyatta for, among others, abandoning his “brother” William Ruto for the Raila ‘Handshake’, go with the tide and embrace Raila, or agitate in favour of its son, Gachagua?

The President has been keen to introduce his new bonhomie with Mr Odinga as part of a campaign to help the ODM leader ascend to the chairmanship of the African Union in Addis Ababa, Ethiopia. Mr Odinga has himself expressed interest in the position and is banking on Dr Ruto’s ambassadorship to, one, nominate him, and, two, launch and fund a continental campaign blitzkrieg in his favour. The voting for the AU chairmanship is slated for next year, but even before then it is already causing political jitters across the country.

The Kisozi pictures, however, go beyond that African Union dream. They tell the story of brilliant political calculations, patience that defies logic, and the fragile nature of partisan relationships. By accepting Mr Odinga into his fold and even propping him up for the AU chairmanship, Dr Ruto has shifted the tectonic plates of the country’s political landscape in his favour. He has presented himself as a true, forgiving and tolerant statesman who is willing to cross political lines and sheath his bayonet. Most importantly, he has, with little effort, put an end to the seize mentality that governs Kenyan politics, diffusing anger and sectarian tensions and pointing the nation away from the chaos of its virulent dogmaticism.

This is a political masterstroke from Dr Ruto, who is himself known as a hard-nosed, imperturbable strategist. Should Mr Odinga get the AU position, he would be out of circulation during campaigns in 2027, when Dr Ruto hopes to successfully defend his seat. With the Opposition already divided over who should succeed Mr Odinga, and with both Kalonzo and former Kakamega governor Wycliffe Oparanya jostling to take over, Dr Ruto would literally be running against himself in 2027.

Most notably – and perhaps terrifyingly, too – is that, should Mr Odinga fail in his AU bid, he would be ‘damaged goods’; his credentials beaten, his African standing whittled down, and his Opposition clusters in total disarray. In the ensuing commotion, and with his social and political standing in disarray, he would be hamstrung on the campaign trail, giving Dr Ruto a fantastic head start to his own race.

Raila Odinga

 Opposition leader Raila Odinga (left) President William Ruto and Uganda’s President Yoweri Museveni in Kisozi, Uganda, on February 26, 2024.

Photo credit: Pool

In Kisozi, both Dr Ruto and Mr Odinga fired up our collective imagination. They shocked us, just as they calmed our nerves. So powerful, so important, so shuddering were these photos that they went viral on social media soon after the official X and Facebook accounts of the Presidency shared them. By 3pm on Tuesday, barely 17 hours after they were shared, the three posts on X that highlighted the meeting had accumulated a combined 1.8 million impressions. The aggregated value of those impressions could be in the tens of millions, given that these images gained virality within seconds and were shared more than 20,000 times on Facebook and X alone.

The photos once again captured the power of photography in the right moment. State House did not officially share them with newsrooms, and the meeting had not been announced earlier, as is usually the case. But where they lacked in protocol and stateliness, they made up for it with the setting and the powerful yet muted message they conveyed. In the words of Nation Visual and Syndication Editor Joan Pereruan, both Raila and Ruto were projected in the images as “friends walking down the same path”.

“They are satisfied with the outcome of the meeting,” she says. “There is no tension among them, and both appear casual and relaxed. These are African fathers in both spirit and flesh, coming together in a shared vision, and being happy to share their newfound camaraderie in a casual setting, away from the drabness of State House photo-ops.”

To Ms Pereruan, however, Mr Museveni is the man of the moment. The best photo from the series is that of the three men standing in the wild, with Museveni in the middle. It captures conflict resolution in the African way and style, with an elder statesman guiding two warring sons and bringing them to his familial bonds.

And that, perhaps, is the power of photography in the right moment.

Tennessee Man Arrested for Non-consensual Nude Photography and Dis…

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Tennessee Man Arrested for Non-consensual Nude Photography and Dis…
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In a recent incident that has sparked widespread concern, Colin Rowe, a 36-year-old from Franklin, Tennessee, was arrested following allegations of taking and sharing unauthorized nude photographs and videos of a woman. The discovery was made in September of 2023 when the victim found the invasive images on Rowe’s laptop, leading to his arrest by the Metro Nashville Police Department and the Williamson County Sheriff’s Office.

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Unveiling the Incident

The case came to light after the victim stumbled upon disturbing content on Rowe’s laptop, which included nude images and videos captured without her consent. According to the authorities, these were taken surreptitiously through a hidden camera and later distributed on social media platforms. Rowe faces serious charges, including one count of felony distribution of unlawful photographs and three counts of misdemeanor unlawful photography. This incident raises significant concerns about privacy violations and the misuse of technology to exploit individuals.

Legal Implications and Public Reaction

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The legal framework surrounding unauthorized photography and the dissemination of such content is complex. Exploring Texas Statutes Regarding Unauthorized Photography and Intrusive Visual Recording sheds light on similar laws, indicating potential criminal charges and civil litigation that offenders may face. While the incident occurred in Tennessee, the legal principles and public outrage echo universally, emphasizing the need for stringent privacy protections and awareness regarding the consequences of such violations.

Societal Implications and Preventive Measures

The case of Colin Rowe not only highlights individual privacy rights but also prompts a broader discussion on the ethical use of technology. As digital devices become increasingly integrated into daily life, the potential for misuse escalates, underscoring the importance of legal and social measures to safeguard against privacy invasions. Public education on the rights individuals have over their own images and the legal recourses available to victims of such crimes is crucial in preventing future occurrences.

This incident serves as a stark reminder of the ongoing challenges in protecting personal privacy in the digital age. It underscores the imperative for both legal reforms and societal shifts in attitude towards privacy and consent. As the legal proceedings against Rowe unfold, many will be watching closely, hoping for justice for the victim and a reevaluation of privacy protections in the digital realm.

Franklin man arrested for allegedly using hidden camera to photograph nude woman

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Franklin man arrested for allegedly using hidden camera to photograph nude woman
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A Franklin man has been charged with one count of distribution of unlawful photographs and three counts of unlawful photography after police said he used a hidden camera to take nude photos and videos of a woman.

According to a Metro Nashville Police Department news release, 36-year-old Colin T. Rowe was arrested on Tuesday by Williamson County Sheriff’s Office deputies following a “months-long investigation.”

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Police allege that Rowe secretly took the nonconsensual images of an unidentified “female acquaintance” who discovered the images on Rowe’s laptop in September 2023. He is also accused of sharing the images and videos online.

Rowe was booked in jail on a $9,500 bond and is scheduled to appear in court on Thursday.

Bringing Barbara McGrady’s Photography To Life

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Bringing Barbara McGrady’s Photography To Life

The Chau Chak Wing Museum is currently showing work from Gomeroi/Gamilaraay photographer Barbara McGrady’s extensive collection. Learn more about her love of photography and award-winning work.

Cultural advice: Aboriginal and Torres Strait Islander visitors are advised that this display and article contains images and references to deceased persons.

It’s hard to miss the picture of Barbara McGrady when entering the Mezzanine at the Chau Chak Wing Museum. The photograph, taken by Barbara herself, captures her reflection in a mirror at the cherished Glebe landmark, the Badde Manors cafe.

Beyond her self-portrait begins a journey through Barbara’s most memorable moments in time- from her humble start with a chemist camera to her award-winning collection brimming with famous names, places, and events.

“I hope that when people look at my images, they see what deadly people we are and always have been,” Barbara said. “And I’m a great believer in showing that.”

Barbara’s love for photography led her to pursue photojournalism, where she spent 30 years documenting elite sports, activism, events, and other “odd jobs”. In 2009, she chased another passion for anthropology and started studying at the University of Sydney, but photography was never far away.

“I was always interested in photography, and of course I was the family photographer and things like that. Whenever I could get a hold of the camera or a little chemist camera,” Barbara said. “It’s not really a career, it’s just something I’ve always done. And if people paid me for it, well, I must be doing it right.”

Some of her renowned works on display in the Australia has a Black History exhibit commemorate her connections with First Nations sports legends like Anthony Mundine and Ash Barty. But it’s not all sport, the exhibit also captures the many times First Nations people were forced to make a stand.

“Lots of Rugby Leage and AFL, of course. I have always been into rugby league. My father played rugby league in the 1920s,” Barbara said. “But also lots of big, big rallies and big protests, lots of big conferences.”

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Images: Retired boxer (the late) Wally Carr shows support, Redfern Aboriginal Tent Embassy, The Block, Redfern 2014 and Gamilaraay/Gomeroi countryman, Paul Spearim, Redfern Aboriginal Tent Embassy 2014 by Barbara McGrady

At times, the themes in the exhibit interplay. Like in an image where retired boxer, the late Wally Carr, showed support for the Aboriginal Tent Embassy in Redfern, a meeting place for activists and protesters. “The late Wally Carr was an old friend as well as a local Redfern identity, so it was good to see him at the Redfern Tent Embassy at The Block,” Barbara said. “It was an incredible two years of bearing witness and photographing the protest for better outcomes for Indigenous people.”

Barbara’s presence extended to pivotal moments in history, including her coverage of the Closing the Gap rallies in Redfern, the Black Lives Matter protests in Martin Place, and the Grandmothers Against Removalists group fearlessly staging outside Parliament House.

“I’m an old activist from a long time ago,” Barbara explained. “Actually, I stood up for everyone, not just all Aboriginal people, but for the underdogs all the time. So I suppose it stemmed from there.”

Lily Thomas-McKnight, the exhibition curator and current University of Sydney student, explored the relationships in Barbara’s archive when she began bringing the exhibition to life. “When we had the photos, we thought it would be best to categorise them, even if they all still kind of overlap,” she said. “Yeah, all of it pretty much relates to community and the importance of empowering First Nations people.”

Lily also highlighted the emotional depth of Barbara’s photographs. “Aunty Barbara knows most of the subjects and the photos personally. So it just brings it to another level.”

This exhibition acknowledges how powerful and successful Aboriginal people are as well. It’s also a celebration.

Lily Thomas-McKnight

In other images, Barbara captured the cultural vibrancy of First Nations communities, as well as their success in film, music, and arts. For Wiradjuri and Gomeroi women like Lily, celebrating success is an important part of the narratives told in museum spaces.

“The history of museums and galleries is quite ethnographic…. It isn’t always positive, usually, when this kind of thing is in a museum,” Lily said. “But Barbara’s photos are not only creating positive representation, they are also acknowledging the past without taking away that things still need to change.

“This exhibition acknowledges how powerful and successful Aboriginal people are as well. It’s also a celebration.”

Barbara anticipates that her photographs will resonate with visitors, hoping to inspire First Nations people to persevere. “And I know for a fact that some of the young Aboriginal people will walk past and say ‘that’s my uncle. There. That’s my real uncle’,” she said. “And because our truth has been erased from history, they can see my images and think, ‘well I can do that too’.”

But the Australia Has a Black History exhibit has something for all, Barbara said. “My photos are not just Indigenous photos of Indigenous people; they are images for all of Australia’s historical peoples and events throughout history. As a longtime photojournalist I see my images as stories of time and place, of culture and community in the public domain.”

‘Barbara McGrady: Australia Has a Black History’ is open until 10 June 2024 on level 4 of the Chau Chak Wing Museum.

Address: Level 4 Mezzanine, Chau Chak Wing Museum, University Place, University of Sydney, Camperdown

Opening hours: 10am-5pm, Monday to Friday (until 9pm on Thursday); 12-4pm weekends; closed on public holidays.

Cost: Free

Hero image: Remember TJ Hickey – Gail Hickey (mother of TJ) & family protest for justice for her son, Redfern Park 2014 by Barbara McGrady

/University Release. This material from the originating organization/author(s) might be of the point-in-time nature, and edited for clarity, style and length. Mirage.News does not take institutional positions or sides, and all views, positions, and conclusions expressed herein are solely those of the author(s).View in full here.

Dubai photographer reveals the UAE’s hidden wildlife

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Dubai photographer reveals the UAE’s hidden wildlife

Editor’s Note: This CNN series is, or was, sponsored by the country it highlights. CNN retains full editorial control over subject matter, reporting and frequency of the articles and videos within the sponsorship, in compliance with our policy.



CNN
 — 

In a country best known for its soaring skyscrapers, modern architecture and sprawling desert, wildlife isn’t always what comes to mind when people think of the United Arab Emirates (UAE). But Dubai-based photographer Anish Karingattil is determined to change that.

Originally from India, Karingattil moved to Dubai 17 years ago and began photographing wildlife shortly after, specializing in macro photography, using extreme close ups. Highlights of his stunning portfolio of images, taken across the seven Emirates, include a scorpion with her babies, an Arabian horned viper hiding in the desert sand, and two black and yellow mud daubers covered in dew drops.

“Photographers get to tell a story through images,” Karingattil says. “Macro photography allows me to see life and the world around me in a brand-new way.”

Despite its hot climate and harsh desert, the UAE is home to over 1,000 plant and animal species. The waters around the country are home to the largest concentration of Indian Ocean humpbacks dolphin in the world, and the second-largest population of dugongs, after Australia.

With the UAE’s president recently extending the country’s “Year of Sustainability” into 2024, Karingattil uses wildlife photography as a method of capturing the country’s biodiversity and sharing it with others.

While interior design is his full-time job, “herping” is his passion. “Herping is the act of observing, studying, and photographing reptiles and amphibians in their natural habitats,” says Karingattil. “It is a popular hobby among nature enthusiasts and wildlife photographers who are fascinated by the diversity and beauty of these creatures.”

Many snakes found in the UAE, including this saw-scaled viper, are aggressive and highly venomous.

But photographing potentially dangerous animals like snakes and spiders takes a lot of preparation. Before attempting to photograph any wildlife, Karingattil says it is important to research its behavior, habitat and potential risks to understand how to approach it safely and minimize the risk of harm to both the photographer and the animal.

For Karingattil, conservation is an important aspect of wildlife photography, which he believes can serve as a powerful tool for advocacy.

“By documenting the beauty and fragility of the natural world, photographers can help policymakers and the general public understand the value of protecting the environment and the need for sustainable practices,” he says. And with over 69,000 followers on Instagram, Karingattil uses social media to educate people about the species he photographs.

Biodiversity in the UAE

The UAE has 49 terrestrial and marine protected areas, including eight in Dubai. Accounting for over 18% of the country’s land territory and 12% of its marine and coastal territory, these protected areas are often natural reserves which include all the major ecosystems found in the region: mountain, desert, coastal and marine.

Andrew Gardner, associate director of Biodiversity Conservation at Emirates Nature-WWF, says wildlife conservation is recognized as an “important responsibility and obligation by the UAE.” For example, the country is a signatory to multiple international conservation conventions, such as the Convention on Biological Diversity, and has helped reintroduce animals such as the Arabian oryx to the Arabian Peninsula. According to Gardner, there are now over 1,600 oryx in two of the UAE’s protected areas, and thousands more in zoos across the region.

However, rapid development and population growth across the Emirates mean that “53% of bird species, 46.7% of mammal species, 19% of reptile species, and 8% of plant species” are endangered, according to a government report.

It was Karingattil's long-term desire to photograph a scorpion, so when he came across this scorpion with her babies, he couldn't let the chance pass by.

Gardner says the Arabian wolf and striped hyena have both gone extinct from the UAE in recent decades, and a small population of Arabian leopards that lived the Hajar Mountains until the mid-1990s are now also believed to be extinct.

Karingattil points to habitat loss, climate change and overfishing as some of the major threats facing wildlife in the UAE, but one issue he thinks people should take more action against is plastic pollution.

“Whenever I explore the desert or other areas, I make it a point to clean up the surroundings,” he says. “By removing litter and debris, we can reduce the impact of human activities on the natural world.”

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