Nieuport Aviation, in partnership with Toronto-based photographer Ajani Charles, has unveiled the Project T-Dot exhibit in the passenger terminal at Billy Bishop Toronto City Airport.

Project T-Dot is the largest art installation ever at the airport and depicts candid images of Toronto’s most renowned hip-hop figures, as well as many others who are lesser-known but influential in Toronto’s hip-hop scene, providing travelers with the opportunity to engage with the culture of the city as they pass through Billy Bishop Airport.

Passengers traveling through Billy Bishop Airport will be greeted with 60 large-scale photographic panels in the terminal’s atrium alongside an interactive touchscreen where they can learn more about Toronto’s hip-hop culture, community and history by exploring engaging supplementary information.

Project T-Dot will be on display at the airport for the duration of 2024. In keeping with the interactive nature of the exhibit, travelers are encouraged to share their own thoughts and experiences of the art on social media using the hashtag #projecttdot.

Project T-Dot, which premiered at Toronto City Hall and Nathan Phillips Square in 2022, presents a definitive visual story that sheds new light on the city’s hip-hop scene and features instantly recognizable subjects such as Drake, The Weeknd, Director X, Kardinal Offishall, Jessie Reyez, Jully Black, Master T, Maestro Fresh Wes, and organizations like The Remix Project, Honey Jam, Manifesto Community Projects, October’s Very Own, and MuchMusic, among many others.

Reflecting the diversity of the hip-hop subculture, the exhibit features members of the 2SLGBTQ+, black and indigenous communities, women, youth from equity-deserving neighborhoods, recent immigrants and other marginalized groups.

“As the owner and operator of the passenger terminal at Billy Bishop Airport, Nieuport Aviation is committed to not only playing a vital role in connecting travelers to the places they want to be, but also to connecting our neighbors and travelers Toronto’s vibrant culture,” said Neil Pakey, president and CEO of Nieuport Aviation. “We’re pleased to be partnering with a talent like Ajani Charles to present this one-of-a-kind exhibit to our valued passengers, employees and community members.”

“We are honoured to be joining our partners Nieuport Aviation in unveiling Project T-Dot at Billy Bishop Toronto City Airport. This large-scale installation reflects Toronto’s vibrant hip-hop culture and the contributions of some of this city’s most renowned figures on the scene,” added RJ Steenstra, president and CEO of PortsToronto.

“Thank you to Nieuport Aviation and the City of Toronto for bringing this interactive, engaging artwork to the terminal where it will be accessible to both passengers and the public, helping to bring people together, generate conversation and make the important connections that we strive to make at Billy Bishop Toronto City Airport even deeper.”

“I have dedicated 18 years of my life and a significant part of my consciousness to documenting the inspiring, talented, resourceful, and diverse individuals and organizations that define Toronto’s unique hip-hop culture, community, and history,” commented photographer Ajani Charles. “I am grateful for the opportunity to introduce the general public and millions of travelers to one of Toronto’s most influential subcultures through my latest exhibit at Billy Bishop Airport. I’d like to thank Nieuport Aviation, PortsToronto, Sony Music Entertainment Canada, and other dedicated partners like the City of Toronto, Canon Canada and the Scotiabank Contact Photography Festival.”

Read more of the latest displays and signage updates from the passenger terminal industry, here.

Introduction

Ease of Use

The Nikon Z 135mm f/1.8 S Plena is one of the larger prime lenses in the Z series.

It’s probably not one you’d want to consider as an “everyday” or “walk around” lens, but more for specific shooting requirements or events, such as portraits, weddings and so on.

At 995g / 2lb 3.1oz, it’s slightly lighter than the comparable Z 85mm f/1.2 S lens, and measuring 98mm x 139.5mm (3.9in. x 5.5in.) (diameter / length), it’s slightly smaller too.

Having said all of that, though, it still balances fairly well with full-frame cameras in the Z series – we’ve been using it with the Zf, but it would also work even better with the Z8 and Z9.

Although it will fit on the Nikon Z APS-C models, the smaller size of those cameras would make it very front-heavy and generally unwieldy to use.

Similarly to the other lenses in this line-up, build construction is very high quality, with a metal lens mount.

To attach the lens to your camera, you first need to line up the white dot around the base of the lens to the white dot on the lens mount.

Once you’ve done that, twist it to lock into place. When you want to release the lens, you need to push down the button at the side of the lens mount and twist in the opposite direction.

Like most Z mount lenses, the outward construction is fairly simple and straightforward. Towards the base you have the focal length and aperture written (135 / 1.8 S), while just next to it is a switch for moving between autofocus and manual focus. When working in autofocus, you can still manually override the focus if necessary.

A thin, ridged ring sits towards the base of the lens. This is a control ring which can be set to a few different functions via the main menu.

It will have a default option, for example adjusting aperture in aperture priority, but you can also assign it to exposure compensation or ISO sensitivity if you prefer.

You can even set it to have function whatsoever, which might be helpful if you were worried about accidentally knocking it and changing a setting.

At the centre of the lens, you have two more controls that are typically only found on Nikon’s more expensive, premium-end Z series lenses, namely some customisable L-Fn buttons.

Unlike the control dial, the L-Fn buttons can be assigned to a far greater range of controls, including metering, switching on raw, zooming into the scene (to check for focus), playback and much more. Again, you can also have them set to “none” if you prefer.

Strangely, there’s no OLED display window on this lens, as found on the comparable 50mm f/1.2, where it usefully displays either the aperture or focusing distance.

A large ring in the centre of the lens is used for adjusting manual focus. This is ridged and has just enough give to make slight adjustments easy to do.

However, it doesn’t have hard stops at either end to help you ascertain when you’ve reached the maximum/minimum focusing limit.

If you are using manual focusing, there are some settings you can activate to make it easier. From the camera’s main menu, switching on focus peaking will help you ensure easier focus, while zooming into the scene can also ensure focusing is on point – which is especially important if you want to focus manually at very wide apertures such as f/1.8.

Focusing, if you choose to stick with autofocusing, is very quick thanks to the dual STM stepping motors, and very quiet, which makes it ideal for use in a wide range of situations where quiet focusing is advantageous – for example while shooting video, or in quiet places such as churches.

A very large lens hood is supplied in the box (HB-108), which you can attach to the front of the lens. To do this, you need to line up the white dot on the lens hood with the white dot at the front of the lens.

Simply then twist it to lock it into place – and do the reverse when you want to take it off. You can also turn the lens hood backwards for easier storage and transportation.

Focal Range

The Nikon Z 135mm f/1.8 S Plena lens has a single focal length. If using the lens on a full-frame camera with DX format activated, or with a DX-camera, the equivalent focal length is 202.5mm. The angle of view when shooting in FX format is 18°10′, and in the DX format, 12°.

Chromatic Aberrations

The Nikon Z 135mm f/1.8 S Plena lens has been designed to the highest optical standards, and as such we wouldn’t expect to find too much evidence of chromatic aberration. Usually typified as blue or purple fringing along high-contrast edges, it is often a problem with cheaper lenses.

We struggled to find any incidence of chromatic aberration appearing with this lens, even when examining images closely at 100%.

Vignetting

At the widest aperture of f/1.8, there is some very slight shading in the corners when photographing a white wall. This is not something which is overly noticeable with more usual subjects, and the effect lessens at f/2.8, before pretty much disappearing altogether at f/4.

Distortion

Pin-cushion distortion is well controlled in both the JPEG and RAW files.

Sunstars and Flare

The Nikon Z 135mm f/1.8 S Plena is capable of creating quite nice sunstars when stopped-down to f/16, as shown below, and flare is fairly well controlled even when shooting directly into the sun.

Macro

The Nikon Z 135mm f/1.8 S Plena lens is not a designated close-up or macro lens, but thanks to its focal length, it’s still a good option to consider when shooting classic macro-type subjects, such as flowers. The minimum focusing distance is 0.82m / 2.69ft and the maximum magnification is 0.2x.

Bokeh

Bokeh is the word used to describe the out of focus area in an image. It is generally described in qualitative terms, such as creamy, smooth or pleasing.

With a wide maximum aperture, 11 rounded diaphragm blades, and a short telephoto focal length, we’d expect the bokeh from the Nikon Z 135mm f/1.8 S Plena lens to be nothing less than stellar, and it certainly does not disappoint.

Bokeh here is very rounded and attractive, while also producing a natural drop-off effect from the main subject. Since feelings on bokeh can be quite subjective, we have included some examples below to help you make your own mind up.

Sharpness

In order to show you how sharp the Nikon Z 135mm f/1.8 S Plena lens is, we are providing 100% crops on the following page.

For example, in an image called After Psyche Revived by Cupid’s Kiss (2019), Liao’s partner, who is referred to as Moro, is seen lying prone and passive on Liao’s lap wearing nothing apart from a pair of pulled-up white cotton socks and what looks like an apron tied around his waist.

Liao, staring straight into the camera, is dressed in a terry cloth robe with a mandarin collar, her left fist raised towards the sky. In it, she is clutching the camera’s shutter release above Moro’s exposed buttocks.

In Story Time (2022), a fully dressed Liao is sitting in a chair holding a copy of Emmanuelle, the French novel about female sexual liberation. A naked Moro is seen kneeling at Liao’s feet, looking attentive.

Young naked women are their canvas – Hong Kong artists’ erotic nude art

“I imagined that I was a female teacher teaching Moro about female sexuality,” Liao says with a smile.

Liao is bemused by the fact that even in 2024, photos of her younger, Japanese partner posing naked still manage to shock.

She has been exhibiting staged photos of the two of them since 2008, shortly after her ongoing series called “Experimental Relationship” began.

Liao says she occasionally gets hate comments online from those disturbed by her work. But she wants to make clear that she is not calling for war against men, nor is she pushing for women to have revenge and assume dominance over men.

Instead, her photos reflect how she and Moro flexibly share control and power in their relationship after years of experimentation and finding their own comfort zone.

She explains that Moro’s vulnerability on camera is only possible because the two have built deep mutual trust and firm boundaries.

“During the photo shoot, it’s kind of like a jam session. He has a lot of his own way of controlling things. I would have a very concrete idea of what I want to do. But I want him to be comfortable.

“So he will kind of adjust his body based on how he feels and what he thinks he should be like in that situation,” Liao says.

She has also been respectful of what he feels comfortable with, she says. “No full- frontal nudity,” she says.

Evidence of the alternating power dynamic in the photos is the way the cable release is sometimes held by Liao, sometimes by Moro.

At first, it wasn’t intentional that they would take turns in controlling when the photo would be taken. Liao simply didn’t have the strength to press the button, so Moro had to do it.

“A long time when he was the only one who could control the cable release, I would just be waiting there, not knowing when he’s going to squeeze. He might take his time and press when I’m blinking my eyes,” Liao says. “I worked out, gained some strength and now I can do it.”

In that sense, Intertwined, one of her latest works, may portray the couple’s shared control and power in the most straightforward manner.

In the photo, the couple sit in a bathtub. Both of them are naked, looking into each other’s eyes while holding on to the cable release together. The long camera cable that loops around their necks multiple times reflects the important role photography plays in their relationship.

Liao says her work is possible only because they both feel completely safe with each other, and that’s where the title of the exhibition, “Comfort Zone”, comes from.

In the back alleys of Kowloon, camera around his neck, he’s in his element

In a photograph titled Comfort Zone, one of the biggest in the exhibition, which is printed on the wall of the gallery, Liao peeks out from between Moro’s legs, right under his crotch.

“I think this one’s very funny because in Chinese we have this saying ‘The humiliation of being under somebody’s crotch’. But for me, it’s actually a comfort zone. It’s almost like the secret of our relationship.

“The reason we can collaborate on many levels is because we feel comfortable with each other,” Liao says.

“He is like a shelter or support for me and I think I mean the same things to him. So even though this might not be a conventionally ‘good’ pose, I feel very comfortable because we are each other’s comfort zone.”

“Comfort Zone”, Blindspot Gallery, 15/F, Po Chai Industrial Building, 28 Wong Chuk Hang Road, Wong Chuk Hang. Tue-Sat 10.30am-6.30pm. Until March 9.

Photography Shark Studios

Lauren Bazinet, the designer behind the acclaimed swimwear brand Lauren’s Swim, has selected Photography Shark Studios to showcase her line of swimwear.

ROCKLAND, MASSACHUSETTS, UNITED STATES, January 29, 2024 /EINPresswire.com/ — Lauren Bazinet, the visionary designer behind the acclaimed swimwear brand Lauren’s Swim, has selected Photography Shark Studios, led by accomplished photographer Chris McCarthy, to showcase the artistry and uniqueness of her custom handmade swimwear line. This collaboration brings together the creative prowess of Bazinet and the visual storytelling finesse of Photography Shark Studios, promising to elevate the allure of Lauren’s Swim to new heights.

About Lauren Bazinet and Lauren’s Swim:
Lauren Bazinet is celebrated for her innovative approach to swimwear design, combining craftsmanship with avant-garde aesthetics. Her swimwear line, available at www.laurensswim.com, has garnered attention for its exclusive designs, meticulous detailing, and commitment to sustainable fashion.

Why Photography Shark Studios:
In the pursuit of capturing the distinctive beauty of her swimwear creations, Lauren Bazinet turned to Photography Shark Studios for their unparalleled expertise in visual storytelling and a proven track record of showcasing fashion in its truest form.

1. Commitment to Excellence:
Photography Shark Studios is renowned for its unwavering commitment to excellence in every frame. The studio’s team of skilled photographers, led by [Photographer Name], is dedicated to capturing the intricate details, vibrant colors, and unique textures of Bazinet’s handmade swimwear. The commitment to excellence aligns seamlessly with Bazinet’s own dedication to craftsmanship.

2. Artistic Vision and Style:
Known for their artistic vision and distinctive style, Photography Shark Studios brings a fresh and dynamic approach to fashion photography. Bazinet’s swimwear line, characterized by its artistic flair, finds a perfect match in the studio’s ability to transform fashion into a visual narrative.

3. Collaboration and Creativity:
The collaboration between Lauren Bazinet and Photography Shark Studios is founded on a shared commitment to creativity. Through a collaborative process, the studio ensures that the essence of Bazinet’s swimwear designs is captured authentically, resulting in images that tell a compelling story.

4. Unique Studio and Location Options:
Photography Shark Studios offers a range of studio and location options, providing versatility to showcase Bazinet’s swimwear line in diverse settings. Whether within the studio’s controlled environment or against the backdrop of iconic Boston locations, each photograph tells a story that complements the unique aesthetic of Bazinet’s creations.

5. Seamless Online Integration:
With Lauren’s Swim’s primary platform being www.laurensswim.com and Photography Shark Studios showcasing their work at www.photographyshark.com, this collaboration promises a seamless integration of visual content. The synergy between both online spaces will provide audiences with an immersive experience, highlighting the intersection of fashion and photography.

Quotes:

Lauren Bazinet, Designer at Lauren’s Swim:
“I chose Photography Shark Studios because of their unmatched expertise in fashion photography and Chris McCarthy’s exceptional eye for capturing the essence of design. I believe that this collaboration will not only bring out the beauty of Lauren’s Swim but also showcase the artistry and sustainability at the heart of the brand.”

Chris McCarthy, Lead Photographer at Photography Shark Studios:
“It’s an honor to collaborate with Lauren Bazinet and capture the visual story of Lauren’s Swim. Our shared commitment to artistic excellence and sustainable fashion creates an exciting synergy. I look forward to translating the unique beauty of Lauren’s Swim’s swimwear into compelling visuals that resonate with audiences.”

About Photography Shark Studios:
Photography Shark Studios, accessible at www.photographyshark.com, is a Boston-based photography studio specializing in fashion, Boston headshots, and portrait photography. Led by lead photographer Chris McCarthy, the studio is known for its artistic flair and commitment to visual storytelling.

Chris
Photography Shark Studios
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There are over 10,000 acid attacks throughout the world every year.

And availability of acid originally intended for use in industry, particularly textiles, is a proven factor in regions having higher than average numbers of incidents.

Now, the fashion industry, often criticised for its lack of action on headline issues, is partnering with the Acid Survivors Trust International (ASTI) to raise awareness of the issue and encourage industry partners to strengthen processes for a more responsible supply chain.

Legendary British photographer Rankin was asked to shoot acid attack survivor Patricia Lefranc for a series of powerful photographs which frame the physical destruction the substance can cause when thrown at another human.

The Tear Couture Look Book/campaign aims to start highlighting the devastating effects of acid attacks, and in particular, the specific link to the fashion, textiles, retail and manufacturing industries, based on research which shows a correlation between legitimate business uses of acid and the incidence of acid attacks in parts of the global south.

According to ASTI, Over 700 acid attacks were recorded in England and Wales in 2022, compared to 421 in 2021. The total economic cost of all the attacks that year was more than £44 million.

The total cost of reported acid attacks to UK society over the past five years exceeds £200 million. However, the actual number of attacks (and associated costs) is likely to be even higher as not all police forces respond to FOI requests.

ASTI estimates that the number of global attacks exceeds 10,000 each year. But this is a very conservative estimate as governments in many countries do not maintain official records of acid attacks.

Rankin comments: “I have a special affinity with the fashion industry, and I’ve been delighted to see the changes that have taken place within the industry in recent years to make it more sustainable and responsible. When ASTi explained to me the issue of acid misuse within supply chains, I knew I had to take action.”

His photography is the powerful heart of the campaign, stark imagery of the horrendous damage to the face and body of 59-year-old Patricia, attacked with sulphuric acid by her former partner in 2009, whose strength in the wake of multiple surgeries is awe-inspiring.

Following her attack, Patrica spent 12 weeks in a coma and was in hospital for nine months. She has undergone over 100 surgeries, including multiple skin grafts.

In one of Rankin’s photos, she is staring straight at the camera, holding up a picture of herself that was taken before the attack. The shot offers a stark contrast with her former appearance.

Patricia adds: “Many people are unaware of the enormous pain and suffering that acid attack survivors go through. I’m so grateful to Rankin for this opportunity to raise awareness of our situation and to take steps together to prevent further attacks.”

Another feature of the Look Book is an image of one of Patricia’s tears, captured, photographed, magnified and preserved on textile as a reminder of all the crying she has done in the wake of the attack.

The majority of acid attack survivors are women, and the first recorded cases of such violence in the UK were recorded in the 18th Century, as the Industrial Revolution took hold and corrosive materials became easier to obtain.

Sadly, the correlation between the availability of acid in industrial regions and the number of attacks is still strong. Research shows that incidents often occur in districts and provinces with a large textile production base, such as the ‘Cotton Belt’ in southern Punjab, Pakistan.

Campaigners believe there is a significant opportunity to improve how corrosive chemicals are transported, stored, dispensed and handled within factories to both reduce the risk of injury to workers and to reduce access to those substances that could be used in premeditated acid attacks.

Jaf Shah, Executive Director of ASTi, says: “Industry has a key role to play in stopping incidences of acid attacks. We’re so grateful to all those helping to bring this issue into the spotlight: HRH Princess Anne for writing the foreword to the Look Book and, of course, Patricia and Rankin. With their support, we aim to partner with businesses and make the changes needed to achieve this goal together.”

In her foreword to the Look Book, ASTI patron HRH Princess Anne concludes: “Businesses that use corrosive substances in their supply chain have a vital role in preventing attacks. Multiple interventions are required, including prevention of easy access to dangerous corrosives.

“I encourage companies to partner with ASTi and share its mission to end acid violence. We all have it in ourselves to help prevent this enormously harmful act of violence.”

The Tear Couture Look Book has been created with McCann Health London.

Wildlife photography can be simultaneously one of the most frustrating, yet rewarding genres the art form has to offer. Having patience is often more important than the kit you have, as you stake out hides and wildlife hotspots waiting for an animal to appear – then hoping the lighting, your camera settings, and focus are just right!

When you only see the end results on sites and apps like Instagram, it can be easy to romanticize wildlife photography and forget about the weeks, months and even years that can go into planning and waiting to culminate in the perfect shot. Wildlife shoots rarely go to plan, and the weather often doesn’t play ball.

• To shoot stunning wildlife of your own, check out the best lenses for bird photography

Reader of PhotoPlus: The Canon Magazine, Thomas Lechthaler, is based in Manchester and is currently retraining as a HGV driver. Photographing landscapes is his main passion and he uses it to unwind in his spare time when not working.

While he’s a very capable landscape photographer, he has a love for all things outdoors and was keen to learn more about wildlife photography, which he sometimes struggles with. We paired him up for the day with professional wildlife photographer Paul Fowlie at his wildlife hides in Yorkshire to show him the ropes on an unusually rainy summer’s day! Sometimes that’s just how it goes though, here we’ll run through Paul’s top tips to achieve top wildlife portraits even in a downpour.

Paul Fowlie

Paul has been a pro wildlife and landscape photographer since 2010. Based in Yorkshire, he runs photography workshops in the Lake District, the Yorkshire Dales, Scotland and Scandinavia, and is also the author of A Year with Nature: A Photographic Guide to Wildlife.

1. Manual mode

Tom shoots in Manual mode when photographing his landscapes and Paul recommended he stayed in this mode for wildlife shots too. The weather was rainy and overcast so the light levels were fairly constant throughout the day. He suggested starting with an aperture of around f/8 for good sharpness with the owls and boosting the ISO until he had the desired shutter speed. Usually 1/2000 sec would be good for wildlife, but with more stationary subjects around 1/400 sec is usually fast enough.

2. High speed burst

For landscapes you usually have the luxury of taking your time and firing off just a single exposure. Wildlife photography can be a lot more fast-paced and frantic, so a high speed burst, such as the top 20fps continuous modes on both Tom and Paul’s Canon EOS R5 cameras is ideal. A faster burst rate gives you more chance of catching the best moment, and hopefully more than one frame will be sharp and in focus too.

3. It’s a sign!

Paul has set up signs, logs and tree stumps in front of his wildlife hides. This is a convenient place for the birds and wild animals to perch on, and also makes for more interesting and photogenic shots. He’s screwed some plastic containers onto the rear side of his perches where he can top up the food so that these don’t appear in the shots. Any small bits of bird feed or droppings can then be easily removed in post production. Why not try placing some photogenic logs in front of your bird feeders at home and give it a go?

4. Pop-up wildlife hide

While Paul has dedicated timber bird-watching hides at many of his sites he also uses these one man pop-up style hides from Nitehawk. They come in various colours and camouflage options and conveniently fold away into a backpack for easy transportation. These were handy when photographing the little owls in the rain as they allowed us to stay out of the drizzle and remain hidden so we wouldn’t spook our skittish subjects. See our guide to the best portable hides for wildlife photography

5. Autofocus cases

Pro Canon cameras like the EOS R5 allow you to fine-tune the autofocus so it’s more or less responsive. You need to go into your AF Menu and change the AF Cases in the third menu. The camera can be more or less sensitive when tracking, or ignore items in the foreground – for example when tracking an animal. Paul uses Case 3 for wildlife with tracking sensitivity and accel/decel tracking at +1.

6. Animal Eye subject detection

Up until recently Paul had been shooting on a Canon EOS-1D X Mark III DSLR, but made the move to mirrorless with the Canon EOS R5. One of the greatest advantages of the new system he’s found is the animal eye subject detection mode, which makes it much easier to lock onto an animal’s eye and keep it in focus even as you track your animal or it moves within the frame. If your Canon EOS has this feature you’ll find it within the AF Menu under ‘Subject to detect’.

7. Battery grip

Paul has paired his Canon EOS R5 with the BG-R10 battery grip which makes it feel a bit more like his old EOS-1D X Mark III, which had a built-in grip. Using a grip makes it easier and more natural to shoot with the camera in the portrait orientation as it has an extra shutter button and command dials on the grip. It also means he can use two of Canon’s LP-E6NH batteries to power his EOS R5, so he can go for longer periods without needing to change batteries, making him less likely to miss that magical moment.

8. Short telephoto zoom lens

Paul and Tom use short telephoto lenses such as a Canon EF 70-200mm f/2.8L IS II USM, Tom uses his with his EOS R5 via the EF-EOS R mount adapter. A 70-200mm zoom range is ideal for larger animals so you can get closer – used for the red squirrels at the reflection pool hide. 

When used with a Canon EOS body with an APS-C sensor they’ll appear even more ‘zoomed in’ due to the 1.6x crop factor. The wide and constant f/2.8 aperture in the zoom range is great for blurring the background (and foreground) of animal portraits and helps draw attention to your subject with this shallow depth of field.

9. Wait for the right moment

Patience is key to taking top wildlife shots, so it often pays to frame up and wait for your subject to move into an interesting pose, or turn to face the right direction. For this shot of the red squirrel, Tom framed up shooting through the heather but the squirrel was facing away to begin with and was looking out of the frame. He kept still and waited for the squirrel to turn so that it was making eye contact with the camera which makes a much stronger composition.

10. Keep your lenses dry

While professional Canon cameras and lenses should be weather-resistant and sealed to a degree, it’s certainly worth taking some extra precautions when shooting in a heavy downpour. A rain shield for your lens is a great idea to keep water off, and a lens hood will also help keep rain from landing on the front element of your lens. You may need to wipe your lens with a microfibre cloth regularly to clear any water drops which will cause soft spots, and be sure to pat your lenses thoroughly with a towel once you’re back home so that they can dry out properly indoors.

See our guide to the best rain shields for cameras

If you’re really into wildlife photography, you’ll want to check out the best lenses for wildlife. Paul uses a Canon EOS R3. 

Paul Mpagi Sepuya’s photography is instantly recognisable in its content and its composition. His practice, which he considers more art than photography, has gone back two decades and has looked at queer bodies, sexuality, race and colonial history through the captured image. Spanning portraiture, self-portraiture and collage, his studio-based work uses mirrors, found objects and the camera itself to explore our perceptions of bodies in relation to photography. 

Now, a survey of his recent work, ‘Exposures’, is on view at Nottingham Contemporary, in the artists’ first UK institutional show (until 5 May 2024).

Sepuya never casts his images, and everyone who features in his work is a friend or a friend of a friend. Captured organically, he might shoot images at a party or while a friend is staying with him in Los Angeles. In 2023, he photographed creative movement director Stephen Galloway for the Wallpaper* USA 300 (a guide to creative America in which they both featured).

Paul Mpagi Sepuya, ‘Exposures’, Nottingham Contemporary

‘There are friends and there are some friends that I’ve photographed for 15 or 20 years at this point,’ Sepuya explains over video chat. ‘There are some friends too, I’ve known for a long time, but have only recently started to photograph. Maybe there’s some people that I’m just getting to know, but I don’t photograph strangers or models.’

The viewer is simultaneously played with and drawn in, whether we are looking at a full nude silhouette of the male body, on the diagonal, or two nude male figures, one sitting on the other’s lap, with the contrasting colour of their skin, the face of the photographer obscured by the camera.

Reflecting on the organic nature of what he does, Sepuya explains that the work he produces can vary depending even on the time of year: ‘[There’s] an ongoing cycle of things I’m thinking about in the studio. Maybe it’s just about the seasons. Right now it’s freezing-cold in the studio, and it’s the time of year when one kind of picture is getting made. I was making a portrait with a friend who is also a photographer yesterday, and some still-lifes and it’s very different from, let’s say, in the spring or summer, when it’s just incredibly hot in the space and then it is a much more comfortable time to make nudes or something like that.’

Over the last few years, the objects brought into his images have evolved to include not only the items of the studio – such as velvet backdrops, tripods, mirrors and cameras – but also plants and antiques, referencing the colonial legacy of portraiture. With the presence of people, he introduces questions about queerness, race and history, creating complex, compelling images. 

Of the objects, he says, ‘There are some things that are from the 19th century, there’s an object from the 18th century, there are things I have found that date from the 1980s. [My approach is a] postmodern take on [the appearance of] 13th-century objects in 19th-century photographs. So, they are contemporary objects really,’ he explains. ‘I was just interested in seeing what it was like to be in a space with these things, because [after] taking initial photo history classes and thinking about that stuff when I was an undergrad, I never felt any sort of interest or connection to 19th-century photographs.’

‘Exposures’ looks at Sepuya’s work from 2017 to 2022, and while there are changes in the composition, the staging of the subjects remains at the heart of the works in a play on the idea of the capturer and the captured, the watcher and the watched.

‘Portraiture is the constant,’ Sepuya says of the body of work, which has a liberating, relaxed sexuality that has led to comparisons to Robert Mapplethorpe. A curve of the arm here, the line of a back there, the elegance of the naked body, and so much more for the viewer to unpack or simply to enjoy. 

‘Exposures’ is on at Nottingham Contemporary from 27 January – 5 May 2024

nottinghamcontemporary.org