The Xiaomi Redmi Note 13 Series smartphones have been shown off by the brand at a press event in Bangkok to provide consumers alike with a glimpse into what they can expect from the next-gen device range.

The smartphone range consists of five options in all including the Redmi Note 13 Pro+ 5G, Redmi Note 13 Pro 5G, Redmi Note 13 Pro, Redmi Note 13 5G, and Redmi Note 13, which each boast an updated body design. The smartphones are focused on flagship-quality photography capabilities with a 200MP camera lens and optimal image stabilization (OIS) on the higher end models.

The Xiaomi Redmi Note 13 Series smartphones also feature 2x/4x lossless zoom to achieve detailed closeups from further away.

Editing the sky in a landscape image is a critical skill for creating a compelling final product. However, many photographers, especially beginners, struggle with over-processing the sky, making it appear unnatural and detracting from the overall image. This helpful video tutorial will show you six common mistakes and how to improve your sky edits.

Coming to you from Andrea Livieri, this great video addresses six common mistakes made when editing skies and provides solutions for each. One major mistake is over-saturating the sky, which can make the colors look unrealistic and overwhelming. The solution lies in making subtle adjustments and using selection masks to target the sky specifically. Another mistake is incorrect white balance adjustment, which can lead to a loss of color depth and definition. The video also tackles the issue of poor mask transitions between the sky and other elements in the landscape. Using tools like AI sky selection in conjunction with gradient tools can create more natural transitions that aren’t glaringly obvious.

Contrast control is another area where many go wrong. Excessive clarity and contrast can make the sky appear over-processed and unnatural. The video recommends a more measured approach — hesitant almost. Additionally, noise in the sky is a common problem, often caused by default sharpening settings in editing software. Livieri suggests adjusting the masking value in the sharpening settings to exclude the sky and selectively applying noise reduction only to the sky area. Check out the video above for the full rundown from Livieri. 

The CUPOTY 5 judging panel included recent Wildlife Photographer of the Year Karine Aigner, Nigel Atherton, the editor of Amateur Photographer, as well as photographers Sue Bishop, Jaime Culebras, Matt Doogue, Guy Edwardes, Wim van Egmond, Angel Fitor, Steven Friedman, Viktoria Haack, Ross Hoddinott, Brendan ‘Cygnus’ James, David Maitland, Scott Portelli, Georgina Steytler, Rachael Talibart, and Robert Thompson. Also, the panel featured editors Tom Gilks from BBC Wildlife Magazine, Ailsa McWhinnie, Sadie Quarrier (Director of Photography at National Geographic), Bart Somers (Insectguru), Keith Wilson, and CUPOTY co-founder Tracy Calder.

In 2020, amid the lockdown of the pandemic, I was introduced to Maria Antelman through our friend Roger Buttles. At the time, Maria was living in Greece, and I was hiding out in Los Angeles. What began as a series of virtual studio visits became a friendship across several times zones and an unexpected salve in isolation. We discussed technology, religion, gender, sex, and ecology. Maria is one of those rare people who has an encyclopedic knowledge of various subjects but is also remarkably open and intuitive. She is as fascinated by science as she is by those things that can’t be known. It shows in her work, which marries and often animates images of her family and body, Greco-Roman sculpture, and the landscape of her native Greece in beautiful, enigmatic objects that exist at the intersection of sculpture, still, and moving image. The year I met her, Maria’s work was included in New Photography: Companion Pieces at the Museum of Modern Art. In the time since, our conversation has continued to evolve. Roger, who connected us in the first place, opened a gallery in Concord, New Hampshire, called Outer Space, where we currently have a two-person show.

—Mark Armijo McKnight

Mark Armijo McKnight Maria! Thank you for doing this.

Maria Antelman Thank you, Mark! I am very happy we are showing our works together. Your images impress me deeply. They bring up raw emotions of intimacy, tenderness, and violence. Our conversations have opened up new paths in my work.

MAM Whenever we get together, I’m struck by how intuitive you are; but I also think of you as a very cerebral artist. I think this is a rare combination of personality traits that clearly informs your work. Maybe you can talk about this paradox? Which parts of you is the work coming from?

MA I recently found out about a traditional Chinese medicine energy form called Jing. Jing is your essence, your vital force inherited from your parents at the moment of your conception. It stays with you until you pass away. Jing is a manifestation of the feeling your creators had the moment they mixed their reproductive juices.

MAM (laughter) Yes. This also sounds like classical Greek mythology, which is so central to your work. 

MA Growing up in Greece, something always pulled me to the ancient site of the Oracle of Delphi, the center of the ancient world. For years, I used to visit regularly and always stay in the same hotel, which overlooked the most beautiful, ancient olive grove. I always felt a special, regenerative, healing power there. One summer I brought my mother, who hadn’t been to Delphi in years. Upon our arrival, she exclaimed, “Maria, you were conceived here!”

MAM That is incredible!

MA Yes, in our show there is a piece titled Jing (2023), which is a photomontage self-portrait. The photograph was made in New York City. Inside my womb is the image of a prehistoric Mediterranean cave. My Jing perhaps carries this level of intuition that finds its own conception site. Biology is memory. To your question, Where does this work come from? I think it is a set of coordinates located somewhere between the gut and the brain, probably the hypothalamus, which is the body’s smart control center. First one feels, and then thinks. They are different processes.

Over the best part of the last 30 years, pixels have replaced grains and algorithms have usurped darkroom chemistry for almost every application of photography in the creative industries. You don’t need me to tell you why. If we remove our rose-tinted glasses for a moment, it’s clear that when full frame professional cameras became available to the mass consumer in the early 2000s, it made life so much easier. The price, availability, technology and general logistics of producing professional film photography now makes it almost inconceivable to think about it being a replacement for the digital world.

But does that tell the whole truth? The fact is, being a photographer today is harder than ever. With superlative quality available on devices that are getting smaller and smaller (such as with the best camera phones), not to mention the ability of AI to leap ahead of a human’s ability to capture the essence of a glossy brochure image, it’s left us asking what comes next for an industry that’s heyday feels firmly rooted in the previous century.

As ever, the creative industry adapts, and it is currently doing what it does best and that’s innovate based on what it already knows. There is no doubt that analogue film photography is experiencing a noteworthy resurgence, particularly in the realm of commercial use by agencies. After a quick scroll through Instagram, you wouldn’t be blamed for thinking that this is a cynical attempt to create affinity with younger generations who have a nostalgic yearning for the past, but I think there’s more going on here. It’s clear that using film has become a deliberate choice rooted in the unique qualities that it brings to the creative process.

The world is oversaturated with pristine digitally manipulated images, and many would argue that so much ‘sheen’ has been applied to what we look at everyday that the story behind each picture struggles to come off the page or screen. Not only does using film offer a departure from clinical perfection aesthetically, but the recent success of films such as Mark Jenkins’ Bait and Enys Men, both shot on a hand-cranked 16mm film camera, show that there’s an audience for something different that goes beyond the echo chamber of our industry.

The American photographer Dorothea Lange, renowned for her images of the Great Depression, once said that ‘the camera is an instrument that teaches people how to see without a camera.’ There’s a general trend to say that the feeling in photography currently is that film does this more successfully than our iPhones, in the sense that our phones tell us what everyone is feeling, a film camera can offer focus and a direct connection to the image.

Film photography fosters a deliberate, strategic mindset. It’s necessary to adopt a methodical approach, leading to a more thoughtful narrative that allows for a deeper understanding of what’s being conveyed. Film creates a sense of craftsmanship and authenticity that aligns with the values of many brands – the tactile experience of handling film fosters a connection to the art form and film has the added benefit of not being tied to technological process. Many cameras and lenses used over the past century are still perfectly able to be used and in a world that is begging us to stop fetishising progress, this feels like a win for everyone in the sustainability stakes too.

Brands looking to do something different are increasingly turning to film to offer to consumers the ability to say they understand all of the above, and for agencies, many are waking up to the benefits of having this craft firmly rerooted as part of their offering.

On the flipside, see how AI is changing graphic design.

Rufous Hummingbird. Photo: Jace Stenersen/Audubon Photography Awards

The North American photography and video contest is accepting entries until February 28, 2024.

January 15, 2024 – NEW YORK – Audubon invites photographers and videographers to enter the 2024 Audubon Photography Awards, now open until February 28, 2024, at 12 p.m. (noon) ET. Judges will award nine prizes, including the new Birds in Landscapes Prize, which will go to the top image depicting the relationship between birds and the places they need.  

The contest’s new Birds in Landscapes Prize aims to highlight how birds connect with their broader surroundings. Birds do not need to be close up for the photograph to be successful. The setting can be wild, urban, or suburban, and the relationship can be symbiotic or can reflect a specific challenge birds face. Other prizes include the Grand Prize, Professional Prize, Amateur Prize, Youth Prize, Plants for Birds Prize, Fisher Prize, Female Bird Prize, and Video Prize. 

Winners and honorable mentions will be featured in the Summer 2024 issue of Audubon magazine. Select photos and videos will also be featured in digital galleries promoted on Audubon’s website and social channels throughout the year. For inspiration, check out the 2023 Audubon Photography Awards winners! 

Prizes include: 
Grand Prize: $5,000 USD 
Professional Prize: $2,500 USD 
Amateur Prize: $2,500 USD 
Plants for Birds Prize: $2,500 USD 
Video Prize: $2,500 USD 
Female Bird Prize: $1,000 USD 
Birds in Landscapes Prize: $1,000 USD 
Fisher Prize: $1,000 USD 
Youth Prize: Six days at Audubon’s Hog Island Audubon Camp for Teens during the 2025 season 

The judging panel for the 2024 contest includes: 

• Sabine Meyer, photography director, National Audubon Society 
• Lucas Bustamante, environmental photojournalist and biologist 
• Preeti Desai, senior director of social media & storytelling, National Audubon Society 
• Daniel Dietrich, wildlife photographer, filmmaker, and cinematographer 
• Morgan Heim, conservation photographer, filmmaker and adventurer 
• Noppadol Paothong, nature/conservation photographer 
• Marlene Pantin, Plants for Birds partnerships manager, National Audubon Society 
• Mike Fernandez, video producer, National Audubon Society 
• Rina Miele, wildlife photographer and videographer 
• Mick Thompson, wildlife photographer and videographer 
• Alyssa Bueno, wildlife photographer, Feminist Bird Club 
• Founders of the Galbatross Project: Brooke Bateman, Stephanie Beilke, Martha Harbison, Joanna Wu 

Additional Details & Rules: 
The contest is open to all legal residents of the 50 United States, the District of Columbia, and Canada (excluding Quebec), who are 13 years of age or older as of the date of the submission. Audubon encourages ethical bird photography and videography. Photos and videos that do not adhere to Audubon’s Guide to Ethical Bird Photography and Videography will be disqualified. 

Entry fees are $15 per image or video. No payment is required for submissions to the Youth division or to the Plants for Birds or Video divisions for entrants who are 13 to 17 years of age. 

Visit the website for official contest rules and frequently asked questions.  
Source: Audubon