Aberystwyth University academics are curating a photography exhibition exploring attitudes to independence within Wales, Scotland and Catalonia.

‘Head/Heart: Framing the Future: Photography from Wales, Scotland, and Catalonia’ will showcase 46 photographs from 35 photographers across the three nations. It will be held at Caernarfon’s Oriel CARN gallery from 10-17 February.

The exhibition will offer visitors an insight into how people’s life experiences in the three nations can impact on how they think and feel about the future of their own country. The exhibition also gathers visitors’ own feelings and thoughts by posing the question: ‘What is important to you about the future of Wales?’ 

Curated by Dr Elin Royles and Dr Anwen Elias from the Centre for Welsh Politics and Society at Aberystwyth University, the free exhibition is part of their academic study on the sentiments and experiences that shape people’s perspectives on independence.

Dr Elin Royles said:

“A vital component to our research is this exhibition, which captures people’s emotions and feelings. We’re interested in how people from different backgrounds, from different nations, think and feel about their different futures, and what experiences shape their views.

“These photographs provide striking responses to the issue of independence. Through captions accompanying the photographs, viewers can assess whether their reflections on the images correspond to what the photographers were trying to convey. We’ll be sharing the research findings in Cardiff in May.” 

This brand-new approach is set to challenge academics’ conventional reliance on survey responses and demographic data such as age, gender or class to examine attitudes to independence.

Dr Anwen Elias, a member of the Independent Commission on the Constitutional Future of Wales, said: 

“Photography is a powerful tool in providing a more rounded understanding of what’s going on, and to help determine to what extent emotion dictates people’s standpoints on issues like independence. I’ve certainly been persuaded by this new methodology, which I now believe has a real role to play in continuing the conversation about Wales’s constitutional future.”

Ahead of the official exhibition reception on 15 February, special guest Siân Gwenllian MS (Arfon MS) said:

“This exciting photography exhibition at Oriel CARN, led by Aberystwyth University, is a real eye-opener. I’m particularly struck by the fact that there was often a tension between the head and the heart. Whatever your political views, this contributes a new layer of understanding to the ongoing debates about constitutional futures in Wales, Scotland, and Catalonia.”

The exhibition comprises work by photographers from Aberystwyth Camera Club; Workers Gallery in Ynyshir, y Rhondda; Foto-Cine Mataró d’UEC (Mataró Camera Club); and IEFC: Institut d’Estudis Fotogràfics de Catalunya (Catalonia Institute of Photographic Studies).

North Wales photographer Richard Jones, who has two of his photographs in the exhibition, said: 

“My photographs ‘Dolbadarn yn deffro’ (Dolbadarn awakens) and ‘Annibyniaeth Barn’ (Independent Opinion) express the kind of new dawn that I believe independence could bring to Wales. Because the exhibition itself does not promote a particular position on independence, it has been illuminating to see my photographs alongside the work of photographers from different sides of the debate.”

CARN Co-ordinator, Menna Thomas, said: 

“We are delighted to have this thought-provoking, pioneering exhibition at Oriel CARN in Caernarfon. We recommend very much for the public to come along and explore this fascinating collection of more than 40 photographs and contribute to Aberystwyth University’s project if they so wish.” 

The exhibition is part of a project funded by the Economic and Social Research Council as part of the WISERD/ ESRC Civil Society Research Centre (Wales Institute of Social and Economic Research and Data).

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Ancient army characters – as well as singers, violinists, choir performances and Chengdu acrobats – were part of the parade

Photograph: Christopher Thomond/The Guardian

At a recent electronic music performance, the English duo Rob Brown and Sean Booth, who perform as Autechre, plunged Sydney’s City Recital Hall into darkness.

Prior to the performance, I was made aware through the ticket information that the set would be played in the dark. This information made me eager to shut my eyes and completely immerse myself in a pure auditory experience.

However, I wasn’t prepared for the absence of the usual photographic opportunities that come with such events.

Capturing cultural events through smartphone snapshots has become almost instinctive. It’s a common sight to witness thousands of people with raised arms, recording performances for sharing on social media.

The phrase “pics or it didn’t happen” reflects the need to validate an experience by photographing it to share. Yet, in the context of the Autechre concert, this rule couldn’t be applied.

Like everyone else, I refrained from raising my phone to capture the performance, the stage or the light show simply because there were none. Not even the musicians were visible! Only the faint green glow of the emergency exit signs illuminated the recital hall.

Autechre offered not only an auditory feast but also respite from having yet another experience mediated through my phone. My need to photograph everything was thwarted for an hour of sonic bliss.

Photography Detox

This departure from a vision-centric sensory experience was compelling. We are often absorbed in our screens and, if we aren’t, we are witnessing others engrossed in theirs.

This concert created a different communal presence. As I focused on my own auditory journey, I also attuned to the people around me. In the absence of smartphone distraction I wondered whether they felt a deep relief to have nothing to photograph.

The Autechre experience wasn’t like going to the movies, where phones are silenced and we swap the small screen of our smartphones with the big screen of cinema. There was no screen, no image – only sound.

I’m reminded of a period earlier this year when I decided to detox from photographing. The detox lasted two months. My aim was to get off my phone and be more present in my life.

A so-called photographer by profession, it was a challenging endeavour. But then again, we are all photographers today. I imagine it would be challenging for anyone, given how photographing as an act is deeply embedded in daily life and communication with others.

During the detox I observed how the absence of photographing affected me. It led me to quickly explore other forms of creative expression, such as writing lists and jotting down experiences in words. It was a valuable experience, replacing one artistic outlet with another.

The photography detox also shed light on the social aspects of photographing. As someone who actively shares photos on Instagram and sends daily pictures to my friends, I understood that not having new photos to share affected my sociability. I became quiet and withdrawn.

With my gregarious family humming with photo exchanges on WhatsApp, I found myself responding with emojis rather than photographic images. The detox revealed how I use photography to speak to others; how vital photographing is to expressing my personality.

It wasn’t just about photographing to remember; it was an impulse – a reflex triggered by excitement, anxiety, boredom or a need to connect.

I felt the same twitch to reach for my phone throughout the Autechre concert.

Completely Unphotographable

The late French philosopher Jean-Luc Nancy explored how listening turns us inward, while sight directs us outward. In his 2007 essay Listening Nancy asks:

Why, in the case of the ear, is there withdrawal and turning inward, a making resonant, but, in the case of the eye, there is manifestation and display, making evident?

This question resonates deeply with the concert experience. Autechre provided a forced blackout and an hour to listen without the burden of having to “evidence” myself listening.

The lack of photo ops reminds me of Daniel Libeskind’s architectural provocation Voided Void, or Holocaust Tower, in Berlin’s Jewish Museum. Visitors enter the tower in small groups, and the irregularly shaped claustrophobic space is closed off by a heavy door. Once inside, we were left in complete darkness, with only a sliver of light filtering in from the ceiling.

A concrete structure; a small light from above.

In this concrete chamber, every sound was magnified, my heart beat louder and faster, the sound of my shoes on the floor echoed I was alive. My camera was useless.

The Autechre concert encapsulated what the controlled absence of photography and visual stimulus affords. I found myself immersed in complex sounds and literally feeling the physical vibrations of the bass.

With nothing to see with my eyes, I had nothing to photograph. The experience was akin to deep meditation. This made me realise that, despite the lack of sociability experienced during my photo detox, taking photos rarely takes me inward.

I also admit that I was among those who frantically photographed the previous act and the stage manager who stood under a photogenic light when instructing us to go to the bathroom before Autechre’s piece.

I also saw people photographing the concert poster near the box office. How else were they to evidence where they’d been and what they’d seen? In the arts, creating visual content that is photogenic and Instagrammable is the norm.

Autechre were radical in creating an artwork that was totally ephemeral and completely unphotographable.

About the author: Cherine Fahd is an Associate Professor in Visual Communication at the University of Technology Sydney The opinions expressed in this article are solely those of the author. This article was originally published at The Conversation and is being republished under a Creative Commons license.

Navigating through fog transforms familiar landscapes into realms of mystery and depth, providing a canvas for creativity that few other weather conditions can match. The allure of fog lies in its ability to simplify scenes, mute distractions, and introduce a sense of depth and mood that can elevate the most mundane subjects into captivating images.

Coming to you from Adrian with aows, this enlightening video delves into the art of capturing foggy landscapes and urban scenes. Adrian emphasizes fog’s unique capability to layer images, creating a visual hierarchy where subjects closer to the camera appear more pronounced against those shrouded in the mist. This characteristic is a boon for photographers aiming to achieve more notable depth in their compositions. The video further explores how fog can serve as a tool for minimalism, turning chaotic environments into serene, simplified vistas. This transition from complexity to simplicity is particularly striking in urban settings, where fog masks the usual clutter, allowing for cleaner, more focused compositions. 

Additionally, the discussion on gear and settings provides practical advice for navigating the challenges fog presents, from focusing difficulties to exposure adjustments. The choice of lenses, the importance of weather-sealed gear, and techniques for preventing condensation are all covered, offering a comprehensive guide to preparing for and thriving in foggy conditions. Moreover, the emphasis on safety, such as wearing visible clothing and being cautious when flying drones in fog, reflects a responsible approach to capturing these ethereal moments. Check out the video above for the full rundown.

The work of Bob Willoughby, the first outside photographer invited to Hollywood film sets, is now on display at Kentucky Gateway Museum Center until March 16.

Exhibits Curator Marla Toncray shared some remarks regarding Willoughby’s status in photography and Hollywood. She noted the importance of Willoughby’s permissions to be on sets in Hollywood.

“This was huge for him, that he got this clearance from all the studios. Universal, Warner, Paramount, all of them, to come on to the movie set,” she said.

According to a representative of Mid-America Arts Alliance, Willoughby’s clearance goes along with the exhibit title “Backstage Hollywood: The Photographs of Bob Willoughby.”

The exhibit gives viewers the chance to “venture backstage into the golden age of Hollywood,” the representative said.

Toncray said the traveling exhibit is owned by Bob Willoughby Archives and toured by Exhibits USA of Mid-America Arts Alliance. She noted permissions to use the artwork were given by Willoughby’s wife and daughter.

“We’re very excited to have it (the traveling exhibit) because it’s a wowser. It’s really nice,” Toncray said. “I’m excited because it’s just like, such a metropolitan, big city exhibit.”

According to Toncray, Willoughby was an innovator in the photography world. She noted that he introduced several ideas in the profession, including he used while behind the scenes of classic films.

Toncray described Willoughby’s tactics to capture candid moments while on each movie set. She explained he set up radio-controlled cameras around each set to ensure he never missed a moment between actors and some of the staff.

“He was a real innovator as well when it came to photography and how to capture these very candid moments of these stars while they were actively working or taking a, they were on set,” Toncray remarked.

She noted that, after given clearance to photograph on sets, Willoughby captured photos of several famous actors and actresses from to 1950’s, 60’s, and 70’s. She called the names “huge.”

In the traveling exhibit, there are 92 photographs from 17 different movies, Toncray said. Some of the movies that can be seen include “My Fair Lady,” “Who’s Afraid of Virginia Woolf?,” “The Great Race,” and “A Star Is Born.”

According to Toncray, anyone interested in Hollywood will recognize the names photographed. Some names that can be seen include Audrey Hepburn, Alfred Hitchcock, Judy Garland, Dustin Hoffman, and Natalie Wood.

There are many other well-known actors and actresses photographed in the exhibit, Toncray noted.

She went on to discuss a few photographs taken by Willoughby that showed his ability to capture moments on set. Toncray noted they can be seen in the exhibit at KYGMC.

In one photo, Willoughby captured an interaction between Jean Seberg and a crew member. Seberg can be seen trying a cigarette for the first time and making a face that suggests she did not like the taste.

Toncray noted Willoughby’s ability to capture “shenanigans” that took place on set when filming was not in progress.

“It’s those types of candid moments too that give you a glimpse of kinda the shenanigans that maybe went on backstage while they were not filming,” she said. Toncray went on to describe another picture taken by Willoughby on a set.

She described a photograph of Marilyn Monroe sitting alone on a set, not aware she was being photographed. In the photo, Monroe can be seen staring off into the distance.

Toncray noted the feelings you may have when you see the picture.

“When you look at this photograph, it’s very poignant. She looks very sad, she looks lonely,” Toncray remarked. “It’s not just a photograph of some Hollywood star, he captures the emotion of the moment that he, that they were in.”

She discussed other ways Willoughby showed his talents while he was backstage in Hollywood.

Toncray described a photo of Richard Burton taken on the set of “Who’s Afraid of Virginia Woolf?” where Willoughby captured a moment where a reflection of Elizabeth Taylor could be seen in Burton’s eyeglasses.

She noted she was unable to tell what the reflection was at first. After further inspection, Toncray was able to determine the reflection was not just a glare or a light. She could see Taylor’s definition in the photograph.

“That’s how clever this photographer was, this Bob Willoughby,” Toncray said. “It’s just phenomenal work.”

In addition to the photos taken on set, there are 10 information panels throughout the room about Willoughby and his career. Toncray said there are also books displayed with other works taken by Willoughby.

According to Toncray, she expects the Maysville community and surrounding areas to find interest in the exhibit given the area’s artistic background and interests.

“This exhibit should appeal to everyone who has that theatrical, movie, Hollywood glamour, you know, passion,” Toncray said. “His photography is just phenomenal.”

Toncray noted that Willoughby’s work has been on display in museums around the world. She called him a “prolific” photographer and continue to describe his unique abilities as an artist.

She shared some final remarks regarding her hopes for community interest in the exhibit.

“This is a phenomenal exhibit to be here in Maysville and I just really hope that everyone in our seven county area and beyond will take the time to come see it because they truly are just masterpieces, they’re just beautiful pieces of photography,” Toncray said.

Backstage Hollywood: The Photographs of Bob Willoughby is on display at KYGMC in the Jean Weis Calvert Gallery until March 16. KYGMC is open Tuesday through Saturday from 10 a.m. to 4 p.m.

Admission is $10 for adults and $2 for students.

In a world where capturing the perfect shot often means getting closer to the action, the Canon Extender EF 1.4x III has emerged as a game-changer for photographers. This compact and lightweight teleconverter not only extends the focal length of compatible lenses by 1.4 times but also preserves the image quality and optimizes autofocus performance.

A Photographer’s Dream Companion

The Canon Extender EF 1.4x III is a well-engineered piece of equipment that seamlessly integrates with Canon’s L-series telephoto prime and zoom lenses. Measuring just over an inch thick and weighing a mere 190g, this teleconverter is as unobtrusive as it is effective. Its protruding inner section extends into the cavity at the rear of the main lens, allowing for a secure and stable connection.

One of the key benefits of the Canon Extender EF 1.4x III is its ability to maintain image quality even when increasing the focal length. While there may be a slight drop in sharpness and a minimal increase in color fringing, the overall photo performance remains impressive. Autofocus speed and image stabilization are largely unaffected, making it an ideal tool for photojournalists, sports photographers, and wildlife enthusiasts.

Built to Last

The Canon Extender EF 1.4x III boasts a tougher construction than its predecessors, ensuring it can withstand the rigors of professional use. Its redesigned optical path and integrated microprocessor further enhance its durability and functionality. This microprocessor facilitates enhanced data communication between the lens and the camera body, ensuring accurate exposure and focusing.

For those concerned about compatibility, the Canon Extender EF 1.4x III can be used with both DSLRs and EOS R-system mirrorless cameras via an adapter. Additionally, it comes with front and rear Canon caps to protect the teleconverter when not in use.

An Investment in Quality

The Canon Extender EF 1.4x III is currently available for purchase online, offering photographers the chance to expand their creative horizons without breaking the bank. With free standard shipping on orders over €30.00 and a 30-day return policy, there’s never been a better time to invest in this high-quality piece of equipment.

Whether capturing the thrill of a sporting event or the raw beauty of the natural world, the Canon Extender EF 1.4x III offers photographers the ability to get closer to the action while maintaining the highest standards of image quality. As one satisfied customer put it, “The extender is in pristine clean condition with no dents, fungus, haze, or scratches. It works perfectly on multiple lenses, making it an essential part of my photography kit.”

In today’s fast-paced world, where the power of a single image can shape perceptions and tell stories, the Canon Extender EF 1.4x III empowers photographers to capture moments in their full glory. With its compact design, impressive performance, and unparalleled compatibility, this teleconverter is more than just a tool; it’s a photographer’s dream come true.

Exploring winter landscapes offers unique opportunities and challenges for photographers, particularly when it comes to capturing scenes transformed by snow. The stark, simplified beauty of snow-covered environments requires a distinct approach to composition and technique, underscoring the importance of preparation and adaptability in the field.

Coming to you from Mads Peter Iversen, this educational video delves into the nuances of winter photography, offering practical tips for making the most of snowy landscapes. Iversen highlights the significance of scouting and pre-visualizing locations before the snowfall, yet also emphasizes the value of spontaneity and exploration. Discovering unexpected subjects, like a boat frozen in a lake, showcases the potential for serendipitous compositions. Moreover, Iversen’s approach to using long focal lengths for capturing distant details and creating depth illustrates the versatility required for successful winter photography.

Additionally, Iversen explores the use of drones for achieving unique perspectives in winter photography, revealing how aerial views can uncover abstract patterns and compositions not visible from the ground, allowing you to diversify your portfolio with images that stand out. The emphasis on minimalism, as shown through drone imagery of stark trees against snow-covered landscapes, further reinforces the aesthetic potential of winter scenes. These examples serve as a reminder that creativity in photography often comes from leveraging the tools and conditions at hand instead of being overly rigid. Check out the video above for the full rundown from Iversen.

And if you really want to dive into landscape photography, check out our latest tutorial, “Photographing the World: Japan With Elia Locardi!” 

I was gazing out of our south-facing kitchen window the other day. We’ve got a bird feeder in view, hung in an adjacent fig tree that basks in the sun, and a bird I rarely see was perched on one of the branches, eyeing up the feeder.

Naturally I sprinted to get my mirrorless camera and grab a few snaps. I didn’t have time to fiddle with camera settings in case I missed the feathered visitor, and for the following minute or two the bird obliged me for this impromptu photoshoot, dancing from branch to branch around the feeder.

I grabbed some great shots – the bird comically yawning was a highlight, all my images were nicely backlit by the morning sun. At least, I thought I’d got some great shots. The bird eventually flew off, and I eagerly hit the play button to find that yawning photo.

Oops – there was no memory card in the camera. 

The leading camera brands are holding back

I’m know I’m not the only photographer to experience such heart-sinking moments; and maybe it’s just me, but they also seem to happen at the worst possible times, causing bigger disasters than a few lost snaps taken from the comfort of my kitchen. A forgotten card on a long trip. A full memory card just a short while into a shoot. 

It’s part photographer error of course. We should remember to do the basic checks: battery charged, memory card inserted, and with enough capacity. But there are times, like the aforementioned scenario, when there’s no time to do those checks, or they’re forgotten. That said, here I am using a camera that cost me north of $2,000 / £2,000 / $AU3,500 body-only, and it doesn’t even have built-in memory like my phone does. What’s up with that? 

I do have another camera with built-in memory – one of the best compact cameras around, the Ricoh GR III X, which offers a modest 2GB. The Hasselblad X2D 100C is another of my favorite mirrorless cameras, and it has a massive 1TB of internal storage and a card slot, while some digital Leica models do too.

It’s perfectly possible to include built-in memory in a camera, but none of the mainstream camera brands do it. Come on Sony, Nikon, Canon, Fujifilm, Panasonic and others – it’s high time your cameras came with built-in memory as standard.

Getting things right in-camera

Since that missed moment the other day, I’ve got smart. As George Bernard Shaw said, only fools repeat the same things over and over, expecting to obtain different results, and I’ve finally gotten around to customizing my camera so that it wont take pictures if there’s no memory card inserted. 

Most enthusiast and pro mirrorless cameras I’ve used have the option to lock the shutter when there’s no card inserted. The method varies between models, but with the Nikon Z6 II the option is found deep within the setup menu, and you simply choose your preference with a single press. Locking the shutter also prompts a flashing no card symbol in the EVF / LCD display, just in case the zero feedback from pressing the shutter wasn’t indication enough.

Adjusting that setting will ensure that you avoid scenario like the one I described. However, employing such a failsafe in-camera is no good if you discover while on location that you’ve forgotten your memory cards altogether. Even with that lock shutter fail safe in place, my request to camera makers – and I clear my throat – is please add built-in memory to your cameras as standard! 

Why not?

There are reasons why the leading brands don’t include built-in memory in popular models. No good reasons, but reasons. Cost would be up there for sure. Built-in high-performance memory isn’t cheap, and brands would struggle to include internal memory in cameras below $1,000 / £1,000 / AU$1,500 without it necessitating a significant price hike. Adding built-in memory is entirely possible though for pro cameras above the $2,000 / £,2000 / AU$3,500 mark.  

Could it also be because of limitations in terms of memory speed? I don’t think so. Top-quality solid-state drives are just as fast as the best removable memory. And frankly I’d happily have cheap and slow internal memory as a failsafe, as in my own Ricoh GR III X, and combine that with high-speed removable memory. After all, virtually all the cameras I’ve used that have built-in memory also accept memory cards, like the super-slim medium-format beauty that is the Hasselblad X2D 100C.

There’s also the small risk of built-in memory corruption. In such a case, your only real option would be to send the camera back for repair, and that’s a lot more hassle than a memory card that you can reformat or simply throw away if it’s not repairable. Again though, cameras can have both built-in and removable memory. 

As a consumer I wouldn’t mind paying extra for a camera that features built-in memory. Yes, I already own memory cards that I can reuse for most cameras, but a lot of people need to fork out for memory cards when buying a new camera anyway.

I think I’ve made my case clearly enough, so all that’s left for me to say to Sony, Canon and others – and third time’s a charm – is: it’s high time your cameras came with built-in memory as standard! 

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