Photography

Question of the Week: Are you interested in joining photography contests this year?

Question of the Week: Are you interested in joining photography contests this year?

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See “Artographer” Kali at Palm Springs Art Museum

See “Artographer” Kali at Palm Springs Art Museum

“Paul, Light My Fire, Palm Springs, CA” (1968), by Kali. 

“Paul, Light My Fire, Palm Springs, CA” (1968), by Kali. 
PHOTO BY ESTATE OF THE ARTISTS, COURTESY PALM SPRINGS ART MUSEUM

Credit to the folks at Palm Springs Art Museum for seizing on the discovery of a trove of stunning experimental photography and organizing this trippy exhibition. As the story goes, Long Island housewife Joan Archibald upended her life in 1962, fleeing to sunny Southern California, taking the Hindu-goddess name “Kali,” and reinventing herself as a photographer. She moved to Palm Springs and became more withdrawn and eccentric while exploring the possibilities of the medium. It wasn’t until 2019 that her daughter, Susan, discovered the bounty of work that would elevate Kali’s renown. Indeed, Kali pioneered approaches in which she used the classic tools of analog photography but manipulated the images in innovative ways that often resulted in a psychedelic effect aligning with the aesthetics of the time. She shot on black-and-white film and placed the prints in her swimming pool, physically agitating them as she applied dyes, paints, spray developer, and even organic material, accord- ing to the museum. After achieving the final mix of colors and textures, she left the prints to dry in the sun — creating truly one-of-a-kind images. The exhibition continues through April 8, 2024. 

Mighty Hope Photography, 7am

Mighty Hope Photography, 7am

Mighty Hope Photography, 7am – Good Day Sacramento


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Kristina Geddert works closely with the Sutter Sacramento NICU and PICU Child Life program who refer qualifying families to her photography services upon discharge. Kristina calls this her “Mighty Hope Photography” and takes these photos for FREE!

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Minneapolis Institute of Art showcases Native Photography in new exhibit

Minneapolis Institute of Art showcases Native Photography in new exhibit

Minneapolis Institute of Art showcases Native Photography in new exhibit – CBS MinnesotaClick here for more.”>Click here for more.”>


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Casey Riley describes “In Our Hands,” a comprehensive photography exhibition that showcases a wide range of Native photography. Click here for more.

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Get Ready for the Camera Revolution: Samsung Galaxy S24 Ultra’s Impressive Upgrades

Get Ready for the Camera Revolution: Samsung Galaxy S24 Ultra’s Impressive Upgrades

Samsung Galaxy S24 Ultra: A Game Changer for Mobile Photography

Mark your calendars for the Galaxy Unpacked event on January 17, as Samsung is set to unveil the highly anticipated Galaxy S24 Ultra. Rumors and leaked details suggest that this latest model will feature groundbreaking camera improvements that could revolutionize mobile photography. The key focus lies in a shift from a 10x telephoto camera to a higher-resolution 5x version, promising exceptional zoom quality at various ranges and optical quality zoom at 2x, 3x, 5x, and 10x magnification. This innovative approach to mobile camera tech is set to redefine what users can capture on their smartphones.

The Power of High-Resolution Sensors and Advanced Image Processing

Despite the switch to a 5x optical zoom, the Galaxy S24 Ultra assures that there will be no compromise on image quality. Thanks to a higher resolution sensor and improved image processing techniques, users can expect crystal clear images at all zoom levels. The device also plans to activate multi-frame processing at every zoom level, reducing noise and enhancing detail. This, coupled with the introduction of new AI-powered super-resolution algorithms, signifies Samsung’s commitment to pushing the boundaries of mobile photography.

Unprecedented Camera Upgrades

Leaked information hints at significant camera upgrades for the Galaxy S24 Ultra. These may include a 200MP main sensor, an 800MP sensor, and improved zoom capabilities. These upgrades aim to deliver higher resolution and better low-light performance, making the Galaxy S24 Ultra a powerhouse in the realm of smartphone cameras. The new camera setup is also expected to feature advanced video recording capabilities with improved stabilization and high frame rates, opening up a new world of possibilities for videography enthusiasts.

Smart Technology for Smarter Photography

The Galaxy S24 Ultra aims to integrate smart technology with enhanced camera features. The upcoming model is expected to include new AI-powered camera features under the name ‘Eureka,’ including Nightography Zoom and Generative Edit functions. The Generative AI, tagged as ‘Galaxy AI,’ will require a Samsung account and internet connection for cloud-based processing. Samsung’s AI enhancements promise to deliver a unique user experience by combining advanced technology with intuitive design.

More Than Just a Camera

Beyond the camera, the Galaxy S24 Ultra is set to offer a series of other upgrades. It will reportedly support Super Fast Charging 2.0 and deliver a brighter display for an improved user experience. The device is also expected to offer cutting-edge features such as real-time translation of calls and a new feature that allows users to circle objects in an image to search for them. With a promise of seven years of update support, Samsung is clearly looking to offer a long-term, quality experience to its users.

Conclusion

The Samsung Galaxy S24 Ultra, with its impressive camera upgrades and advanced features, is poised to make a significant impact on the mobile industry. These enhancements promise to deliver a superior photography experience and establish new standards for other smartphone manufacturers. As the Galaxy Unpacked event draws near, tech enthusiasts worldwide are eagerly looking forward to the official unveiling of the S24 Ultra.

Review: Vivo X100 Pro: Elevating Smartphone Photography to the Next level

Review: Vivo X100 Pro: Elevating Smartphone Photography to the Next level

Building on the success of the X90 Pro, launched in the first half of 2023, Vivo continues to impress with the all-new X100 Pro. This sleekly designed smartphone not only boasts a refined profile but also houses a formidable camera setup, showcasing the company’s commitment to pushing technological boundaries. Furthermore, the comprehensive suite of ZEISS offerings goes beyond the ordinary, empowering users to capture images with unparalleled depth and artistic flair.

Sleek Profile

Building on its success with the X90 Pro, Vivo maintains a consistent design ethos in its latest iteration. Departing from the conventional, bulky forms of contemporary smartphones, the X100 Pro boasts a sleek and curvaceous design that evokes memories of the Samsung Galaxy 7 Edge and 9 Edge, exemplars of ergonomic design from yesteryears. The front features a 6.78-inch curved display, with the power button and volume controls on the right, and the charging port at the bottom. The rear showcases a prominent, raised circular camera module proudly adorned with ZEISS branding, a company with a century-long legacy in lens manufacturing for photographers.

Upon initial handling, I experienced a slight apprehension about dropping the device, but I gradually acclimated to its feel. Despite its slender profile, the phone’s slightly taller stature posed a challenge in reaching the top of the display with one hand, prompting a preference for dual-handed use. While not marketed as a rugged phone, Vivo adds a practical touch with an IP68 certification, ensuring the device can withstand submersion in fresh water for up to 30 minutes at a maximum depth of 1.5 meters.

Stunning Display

Complementing the overall design is a striking 6.78-inch AMOLED display that seamlessly extends to the edges, delivering a truly immersive content consumption experience. The default selection of 2800×1260 (super definition) resolution ensures crystal-clear content visibility. Users also have the flexibility to switch to 2400x1080p (high definition) resolution, a practical choice for conserving battery life. In line with premium smartphone standards, the Vivo X100 Pro boasts a 120Hz refresh rate, and the Smart Switch feature dynamically adjusts the screen refresh rate based on the specific app or content, contributing to efficient battery management.

Sunlight legibility is commendable, offering a satisfactory viewing experience in varying lighting conditions. The display itself is vibrant, presenting bright and vivid colors, coupled with a responsive touch interface that elevates gaming and binge-watching into delightful experiences. There are no complaints regarding the display, as it delivers exceptional brightness, vibrant colors, and responsive touch functionality.

Top-notch photography

A detailed examination of the Vivo X100 Pro unveils the proclamation of ‘Professional Photography’ prominently displayed on the top panel, while ‘Xtreme Imagination’ graces the area just below the camera module on the rear. Far from mere ornate expressions, these declarations accurately reflect Vivo’s commendable achievement in elevating mobile photography with this device.

The rear camera setup comprises a 50MP ZEISS primary camera with an impressive f1.75 aperture, a 50MP ultrawide camera boasting an f/2.0 aperture, and a 50MP Zeiss APO Floating telephoto camera featuring an F/2.5 aperture. The innovative ZEISS APO Floating camera mechanism allows the lens to dynamically shift forward and backward, facilitating precise focusing on subjects at varying distances. Additionally, the inclusion of ZEISS T* coating significantly reduces lens reflectance, enhancing overall image quality.

But what do all these numbers and fancy terms translate to? Well, a stunning smartphone camera that one is likely to experiment with and frame unique shots.

Most importantly, users need not worry about the specific function of each lens or where to access it, as the intuitive user interface offers a plethora of modes and settings to explore. The default photo mode captures stunning images, and even wide-angle shots impress with no distortion at the edges. Transitioning from the photo mode to the ultra-wide mode is seamless, and the optical zoom extends up to 4.3x, with digital zoom reaching up to 100x. Surprisingly, even at higher digital zoom levels, the captured shots remain sharp and crisp.

The onboard zoom lens excels in delivering noise-free and sharp images, particularly in low-light conditions, where many camera-centric smartphones struggle. Whether indoors with minimal lighting or outdoors under streetlights, the colours appear accurate with no discernible noise, contributing to a consistently impressive photographic experience.

Unlike most phones, where you have to physically get closer to the subject to capture a macro shot, with this device, I could simply zoom in to capture some stunning macro shots. Activating this mode was straightforward; a flower icon appeared at the top, allowing me to toggle into the macro mode seamlessly.

Colour preferences vary among individuals; some prefer the natural results of an iPhone, while others lean towards the vibrant tones of a Samsung. Vivo recognizes this diversity and provides users with the option to choose between Vivid, Textured, and Natural colour profiles, catering to individual colour preferences and enhancing the customization experience.

Diverging from the norm observed in most phones, which typically allow adjustments to background depth, this particular device comes equipped with an array of ZEISS features, offering a rich assortment of focal lengths and styles. The portrait mode supports professional focal lengths, including 24mm (1x), 35mm (1.5x), 50mm (2.2x), 85mm (3.7x), and 100mm (4.3x), each tailored for specific types of shots. For instance, the 24mm is ideal for travel themes and landscapes, the 35mm for portraits and environmental photography, the 50mm for a combination of half-body portraits, the 80mm for portrait photography, and the 100mm for capturing intricate facial features.

Beyond the focal lengths, the device introduces ZEISS Style portraits, including Distagon, B-Speed, Biotar, Planar, and Sonnar, each contributing to distinctive background blur effects. Additionally, there are ZEISS Cine-flare and Cinematic options, providing users with an extensive range of creative choices, all complemented by standard styles and beautification features.

While many flagship smartphones are primarily focused on capturing impressive moon shots, the Vivo X100 Pro distinguishes itself by excelling not only in lunar photography but also in capturing breathtaking sunrises and sunsets. Unfortunately, my testing was limited by Delhi’s chilly winter and pollution, preventing me from fully exploring its potential in this regard.

Adding to its versatility, the device introduces some noteworthy features, such as the Food mode, catering to food influencers or bloggers seeking to enhance their culinary captures. Another standout addition is the Astro Mode, featuring an AR Planetarium and Handheld Astro mode, catering to enthusiasts fascinated by celestial bodies. In the AR Planetarium, when the camera is aimed at the sky, it overlays stars and constellations, easily captured with a press of the shutter button. Moreover, mounting the phone on a tripod and directing it toward a clear sky with minimal light pollution allows for the captivating capture of the beautiful night sky in Handheld Astro mode.

On the videography front, the Vivo X100 Pro stands out by capturing videos in impressive 8k resolution at 30fps. The voice enhancer setting proves valuable, particularly when a Bluetooth mic is not available. This feature performs exceptionally well in outdoor settings, such as amidst nature, where it effectively captures ambient sounds, even picking up the chirping of birds while recording a video. Additionally, the phone boasts a cinematic mode designed for professional-grade videography.

The 32MP front camera delivers clear and vibrant shots, although it naturally falls short when compared to the quality of shots captured by the rear camera.

Reflecting on the overall stunning camera performance of this phone, I find myself wishing I had it during my recent holiday to Japan, where the clear skies and beautiful skyline would have provided an ideal canvas for this device to showcase its photographic prowess.

Power Packed

Vivo opted for the MediaTek Dimensity 9300 chipset instead of the latest Qualcomm flagship Snapdragon processor for the X100 Pro. Our review unit was equipped with 16GB of RAM and boasted a spacious 512GB of internal storage. Running on FunTouch OS 14 based on Android 14, the user interface appeared clean, with apps neatly organized in the app tray. Whether engaged in extended periods of photography, videography, gaming, or other tasks, the device handled everything smoothly, exhibiting no signs of lag. To effectively manage heat, Vivo incorporated a vapour chamber cooling system into the design.

Supporting all this high-performance capability is a robust 5,400 mAh battery. In my experience with heavy usage involving extensive camera usage, social media engagement, web browsing, gaming, emails, video calls, and more, the battery just managed to last through a full day. By dinner time, a full charge had dwindled to 15 percent. For those with longer days, carrying the bundled charger is advisable. The included fast charger ensures that the phone can be fully charged in just a little over 30 minutes, providing a quick and convenient solution for maintaining optimal battery levels.

Verdict

The Vivo X100 Pro impresses with its emphasis on camera excellence, robust performance, and innovative features. It emerges as a compelling contender in the smartphone arena, and caters to photography enthusiasts and multimedia creators, offering a comprehensive package that stands out in the competitive smartphone landscape.

Also Read: Interim Budget 2024: What can the govt do to help the EV sector expand further? Here’s what experts say

‘Such rare and magnificent beauty in city life’: Himanshu Roy’s best phone picture

‘Such rare and magnificent beauty in city life’: Himanshu Roy’s best phone picture
image

Himanshu Roy was walking his dog, Rio, through his home area of Vesu, part of the Indian city of Surat, when he saw the man and the elephant.

“We don’t often see elephants here; Vesu is a very developed and residential area,” Roy says. “She and her owner had just arrived for a diksha ceremony, when a person renounces their wealthy life and donates everything they have to follow a spiritual path.”

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After rushing home to drop off Rio, Roy returned. “The foggy morning weather and the dust from the ground couldn’t have been more perfect for creating a striking image; I emphasised both in the edit, as well as converting it to black and white.”

Roy credits his iPhone with enabling such spontaneity. “Of course, phones and digital cameras each have their pros and cons – both can help you create amazing photos if you use them well,” he adds.

Reflecting on the image now, Roy says it evokes in him a range of emotions. “Such rare and magnificent beauty in city life makes me feel happy, hopeful, joyful. It inspires me to show the world that beauty can be found in even the most unexpected places.”

“Then an almighty great shouting match took place” — Have photographers become selfish and unimaginative?

“Then an almighty great shouting match took place” — Have photographers become selfish and unimaginative?

A year or two ago I was shooting long exposures on the beach at Swanage in Dorset, England. Rolling waves, wooden groynes and sparkling, pristine sand in my foreground. I had about ten feet of billiard table smooth, unspoilt sand in front of the camera and about thirty feet of empty beach behind me. 

A gentleman walking along the beach looked at me, looked at the camera and then proceeded to walk in front of me and through my shot, ruining the sand as he went. He knew full well what he was doing, the self-satisfied smug look on his face said it all.

I know as a photographer on a public beach I do not have any right to stop people walking where they want to walk, but do good manners, common sense and decency not have a part to play in this?

When I started out in photography, if you saw a person with a camera, you walked behind them. You just did. If there was no alternative you would pause, catch their eye and proceed when indicated to do so. Things have changed, it seems, especially post-Covid.

There now seems to be an attitude of “Me first, I have a right, no one else matters and if I ruin another photographer’s shot, all the better because I have the shot, they don’t.”

I was witness to an extraordinary scene on the coast last summer when a group of about five photographers set up to shoot a sunset view. Another photographer set up about fifty yards away, just minutes later. He then demanded that they move so he could get his shot because he was there first. He wasn’t. He stood hands on hips, like a demented tea-pot, for about twenty minutes. The light was poor and the tide indifferent, I’m not sure the shot was worth ranting and raving for. 

What is it about beaches? I have been shooting in Iceland, again, pristine sand with icebergs in front of me, fifty yards of empty beach behind and yet a group of photographers marched through the shot in search of their own location. I can’t believe they did not know what they were doing, unless of course they were completely ignorant of what someone with a tripod and camera was trying to achieve. 

(Image credit: Jeremy Walker)

Surely, at any given location there is enough room for a number of photographers to work without falling over each other. I have been in Venice and seen a workshop group set up in a row in St Marks Square to shoot the dawn. Not five minutes later another workshop group set up about twenty yards in front of them and then an almighty great shouting match took place as to who was in the right. St Mark’s Square and the canal side isn’t exactly a small area, and I’m sure with a bit of imagination there was enough room and viewpoints for everyone. If someone is there first, work around them.

(Image credit: Jeremy Walker)

The ultimate confrontation I have witnessed happened at The Green River Overlook in Utah, USA. It is a spectacular and very popular spot and arriving early is always advisable. A beautiful dawn glowed on the horizon and the crowds slowly gathered. Just as the sun was about to break the horizon, a latecomer to the party announced his presence with a loud ‘morning all’ and proceeded to set up not only next to another photographer who had been waiting patiently but overlapped his tripod so that the cameras were virtually touching.

A viewpoint a few yards away would allow for the same shot, there was no foreground, they were stood on the edge of an eight-hundred-foot drop. An argument ensued, with a lot of pathetic pushing and shoving, just feet away from the edge. Is it really worth it?

I try and work on the basis that if someone else is at a location before me, I will work around them and give priority to them. It often happens that it forces you to look for a different or alternative viewpoint.

If you ask or make a polite inquiry as to where you can work without interfering with another photographer’s shot there is usually no problem at all. It does seem, however, that on the whole, non-photographers are much more sympathetic to our plight and are happy to wait for a minute or two or do a slight detour. That is, unless, you are shooting on a beach in Swanage, Dorset.

Former miners in Easington Last Man Standing exhibition

Former miners in Easington Last Man Standing exhibition
imageSimonHill HonFRPS Former miner runningSimonHill HonFRPS
Photographer Simon Hill wanted to take more than a standard likeness

A photography exhibition has recorded some of the last surviving former miners at three coalfields.

Last Man Standing is on show at Easington Social Welfare Centre in County Durham.

North East photographer and gallery owner Russell Smith said the project was born from a chance conversation about the many miners who had died young.

“When you’ve got guys passing away at 50, 35, or 60, we’ve got an ever diminishing pool of experience and stories,” he said.

Mr Smith said woman who visited one of his galleries sent him an old NCB (National Coal Board) donkey jacket and a letter detailing her miner father’s death at 50.

This inspired him to create a community project, as part of an MA at the Northern School of Art, looking at the remaining miners from the Blackhall, Horden and Easington collieries in East Durham, which closed in the 80s and early 90s.

imageSimon Hill HonFRPS Former miner standing against a brick wallSimon Hill HonFRPS
Mining villages expanded rapidly to house communities around coal

Mr Smith planned to enlist ten men from each village, film them, take their portrait, and make a documentary.

But many former miners had already died and he faced huge reticence from those remaining, he said.

Some replied to say it had been the “worst time I ever had, I don’t want to talk about it, the strike cost me my marriage, not interested”, he said.

He eventually found five men from each village.

“I’ve learnt so much in the last six months about how parochial these places still are,” he said.

“So, even though there’s a mile from Easington to Horden, they don’t talk.

“They’ll have relatives there, but it might as well be from Germany to France.”

imageSimon Hill HonFRPS Former miner Steve Ferguse standing by chairs in a social clubSimon Hill HonFRPS
Easington Social Welfare Centre manager Steve Fergus is determined to keep it going

There followed another chance encounter, with professional editorial photographer and president of the Royal Photographic Society, Simon Hill.

Coming from a former mining community himself, he said he was “passionate about recording people and people’s lives” and agreed to take portraits of the men – for free.

“Russell was very open to me doing the portraits in a very contemporary style rather than formal portraits,” he said.

“Which is right up my street really- so I just couldn’t resist the job.”

imageSimon Hill HonFRPS Former miner Steven YoungSimon Hill HonFRPS
Steven Young spent five years in the Army between two stints down the mines

Wanting to spend time “breaking the ice” and putting his subjects at ease to get the best pictures, Mr Hill planned to take three portraits a day.

“Some of them were very, very cagey about having their photograph taken or even talking about their life in mining – they took a little bit longer,” he said.

“I’d much rather spend the time and get the shot than rush it through and just grab a likeness of somebody.

“I needed more character in the photograph.”

Mr Hill had recently been commissioned by Warner Bros to take portraits of Kindertransport survivors in their 80s and 90s reflected in the film One Life, to be shown at the National Portrait Gallery.

He had three-and-a-half minutes with each, so the miners’ project “was like a walk in the park by comparison”, he said.

imageSimon Hill HonFRPS Former miner Walter Sherriff standing in front of a row of housesSimon Hill HonFRPS
Former miner Walter Sherriff has also been a bus driver, a prison officer and a special constable

Many miners followed their fathers, uncles, brothers and friends down the mines, despite the many pit disasters, Mr Smith explained.

One man included in the exhibition was begged by his mother not to, he said.

“All his friends are mining in Blackhall, his mother’s adamant that she doesn’t want him to go to the pit because she’s lost her husband aged 33 down that mine, and he still went,” he said.

“Every pit has some kind of tragedy, they’ve all got one, and Easington’s was terrible, still remembered, yet they all went down.”

imageSimon Hill HonFRPS  Former miner standing with walking stickSimon Hill HonFRPS
Alan Stephenson is the longest serving of the 15 miners, having worked at Horden Colliery for 35 years

The exhibition also reflects what happened to the pit villages after the mines closed.

“There was no Plan B,” Mr Smith said.

“The government shut a major employer where you could have 2,000 people working in a village and there’s nothing there to replace it.”

The resulting decline as shops and services closed left “a ghost town where nobody does go out because there’s nowhere to go”, he said.

Mr Smith has assigned copyright of the photographs to the social club so any profits can help it stay open.

He then hopes to set up an annual arts festival for the three villages, to which local people can submit photographs and art works.

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