With a stunning 300 lumens of brightness, the WUBEN E1 is 6 times more powerful than your smartphone flashlight, making it perfect for selfies, vlogging, outdoor trips, emergencies, and even reading. The best part, it snaps right onto the back of your phone, giving you a compact ring-light on demand, so you don’t have to use your phone’s crummy excuse for a flashlight. And when you’re not using the light, you can use it as a stand to prop your phone up at any angle.

The WUBEN E1 is proof that MagSafe was an incredible idea. While Apple merely designed the feature to support chargers and attach wallets, MagSafe has spawned a whole host of third-party accessories, from finger grips to tripods, power banks, EDC, and now the E1 flashlight. A perfect example of an accessory that nobody knows they want but everyone definitely needs, the WUBEN E1 straps a powerful lighting device to the back of your phone. Much more effective than your smartphone’s native flashlight, the WUBEN E1 sports a ring of 28 LEDs that create a bright ring light that’s perfect for selfies or for exploring the outdoors. The light sits on a hinge that serves as a stand for your phone, while also letting you face the light forwards or backward, giving you the option of even using it for selfies. Plus, multiple brightness levels and three color temperature settings (warm, neutral, cool) give you way more freedom than your smartphone flashlight could even dream of.

Designer: WUBEN

Click Here to Buy Now: $39 $49 (20% off) Hurry, limited units at discounted price. Raised over $133,000.

For context, the iPhone 15’s flashlight maxes out at 50 lumens – ask any photographer and they’ll tell you that is far too little for effective flash photography. The WUBEN E1, however, overshoots the smartphone flashlight’s brightness by about 6x, giving you a light that’s much more effective in a variety of scenarios, whether it’s finding your keys in the dark or taking beautiful low-light selfies.

Slightly smaller than a hockey puck, the WUBEN E1 packs a series of 28 LEDs in its compact design, and can be used either independently or while securely snapped to the back of your MagSafe-compatible smartphone. On its own, the WUBEN E1 is a pretty handy little flashlight that can be held in your hand, attached to the hood of your car (or any metal surface), or even propped up on any flat-ish plane for instant lighting. Snap it onto the back of your smartphone, however, and you’ve got yourself a powerful tool for selfies, vlogging, or even outdoor adventures.

The WUBEN E1 operates entirely thanks to a crown located on the rim beside the LEDs. Similar to the ones found on a watch, the crown can be pushed to activate the light or cycle through temperature settings, and can be rotated to adjust the brightness. Keeping things gloriously simple, the E1 doesn’t come with an app or any settings that would complicate its use. It’s simply a great, intuitive, sleek EDC light that just so happens to attach to the back of your phone.

Attaching the WUBEN E1 to your phone gives you two distinct benefits. The light’s hinged arm lets you use the E1 as a stand for your phone, propping it up in pretty much any angle you choose. The second, more obvious benefit, is the fact that it replaces your phone’s flashlight with something far more versatile and powerful. The LED ring is 6x more powerful than your phone’s native flashlight, and the hinged arm lets you face the lights anywhere, creating a great makeshift camera light that’s just wonderful for low-light shots, vlogs, or even vanity selfies. Weirdly enough, the LED ring also makes your iPhone look somewhat like a Nothing Phone (1), which feels ironic and slightly hilarious. iPhone users get the last laugh, however, because the E1 is so much more capable than the Nothing Phone’s notification LEDs.

Each E1 comes made from lightweight Magnesium alloy, giving the EDC flashlight a weight of just 36 grams or 1.26 ounces. At just 6mm thin, the WUBEN E1 fits comfortably onto the back of your phone without really jutting out or obstructing regular phone usage. It’s also slim enough to slide directly into your pocket with or without your phone, reinforcing its portability. A 320mAh battery gives the flashlight anywhere between 30 minutes of usage (on its brightest setting) or 50 hours of on-time (on its lowest setting), while a USB-C port on the base of the light lets you charge your device.

The WUBEN E1 starts at $39, and for $69 you’ll get the E1 along with a metal tripod stand/selfie stick that sits between the flashlight and your phone, turning your cutting-edge phone into a comprehensive photo and videography device. The Wuben E1 ships globally starting July 2024.

Click Here to Buy Now: $39 $49 (20% off) Hurry, limited units at discounted price. Raised over $133,000.

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Mostly clear. Low around 80F. Winds WNW at 5 to 10 mph.

Updated: May 16, 2024 @ 9:29 pm

Britain’s biggest photography fair returned to the Thames riverbank this week, welcoming over 120 exhibitors from around the world to London’s historic Somerset House.

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Opening its doors to the public on Thursday, Photo London sees galleries from as far and wide as Tokyo, Ljubljana and Brooklyn showcase their hottest talents, while works by photography superstars such as famed fashion photographer David Bailey are also on show.

The annual showcase – which this year presents over 400 photographers – is accompanied by a programme of talks and events, including discussions on self-portraiture; the climate emergency; and African photography in relation to identity, power and self-determination.

The next generation of photographers is also well represented, with two prizes honouring and championing emerging leaders in the field: the Photo London x Nikon Emerging Photographer Award, and the Photo London x Hahnemühle Student Award.

Yorkshire-born photographer Charlie Tallott, who is represented by New Dimension and whose work centres on deindustrialisation, won the prestigious 2024 Photo London x Nikon Emerging Photographer Award. The winner of the Photo London x Hahnemühle Student Award is slated to be announced on Saturday.

The Photo London Master of Photography is presented each year to a living artist who has made an exceptional contribution to photography. Photo London’s Master of Photography for 2024 is acclaimed French photographer Valérie Belin, particularly known for her work exploring the body and identity.

Photo London is at Somerset House until Sunday May 19. Details and tickets here.

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On Sept. 27, 1981, at Rich Stadium in Buffalo, N.Y., rock photographer Dee Lippingwell took a blow to get her shot. She had been assigned to photograph the Rolling Stones, but all press photo opportunities were revoked because of bad weather. Without that media-only access, Ms. Lippingwell was just one of the reported 75,000 people packed sardine-tight in the crowd, albeit with Nikon in hand.

The diminutive mother of two pressed her way through the rowdy throng but found herself at a poor vantage. “The stage was too high and I wasn’t back far enough, so each time Mick Jagger came to our side of the stage – always running! – the fanatics in front of me would go into a frenzy, waving to grab Mick’s attention but blocking my shot,” Ms. Lippingwell said in 2006.

Good luck came in the form of a burly biker who hoisted her on his shoulders for an unobstructed and unchallenged view. When she returned to her seat, though, she was hurting. Earlier, when she had raised her camera as the crowd surged, no one would have heard the snapping. “Fighting the thousands of screaming fans gave me two cracked ribs,” she reminisced, “but the pain was well worth the shot.”

Ms. Lippingwell, who would recover to shoot the Stones a half dozen more times over a long, storied career, died of cancer on May 9, at Laurel Place Care Centre, in Surrey, B.C. She was 78.

She was a self-taught shooter who began her career in Vancouver in the 1970s, a classic-rock golden age full of photogenic musicians and music magazines with pages to fill. Her portfolio bulges with concert shots of music gods and goddesses such as Bruce Springsteen, Heart, Prince, Rush, Sting, the Who, Fleetwood Mac, Led Zeppelin, Celine Dion, David Bowie, Cher, Iggy Pop, Aerosmith and, in the early 1980s, a breakout Canadian artist.

“I loved Dee, and always enjoyed meeting her,” singer-songwriter and fellow photographer Bryan Adams told The Globe and Mail. “She was such a big part of the Vancouver music scene.”

For her part, Ms. Lippingwell said the Cuts Like a Knife singer was problematic to shoot on stage: “He doesn’t like having his picture taken, I guess.”

That much is true, according to Mr. Adams. “I never enjoyed being photographed in the early years. I thought I looked like a toad.”

Working often for The Georgia Straight and The Music Express, Ms. Lippingwell shot Queen from the rafters of the Pacific Coliseum, shared snacks and Champagne with Long John Baldry in Bette Midler’s dressing room and helped break the fall of Alice Cooper when the shock rocker infamously toppled off the stage in Vancouver in 1975.

“Dee just had this ability to push herself into extraordinary situations,” said Kaeli Yarwood,, owner of Steffich Fine Art, on Salt Spring Island, B.C. “She was a magnetic person who had the personality to withstand an often difficult environment.”

Ms. Lippingwell tended to work in black and white, mostly among men in the photographer pit in front of the stages. Misogyny and territorialism were rampant, especially in the heady, hedonistic Seventies.

“When I started, it was really difficult for me to get in because everybody thought I was a groupie,” she told the Surrey Now-Leader in 2012. “I kept saying, ‘No, I’m a mom and I want to do this for my career.’”

A medical receptionist by trade, Ms. Lippingwell made her first foray into music photography at a Pink Floyd show at Vancouver’s PNE Garden Auditorium on Sept. 30, 1972. She was just a concertgoer with her first 35mm camera and a borrowed long-range lens. “I knew nothing about stage lighting or the correct film speed or shutter speed to use,” she recalled in 2012′s First Three Songs…No Flash!, one of her three books of photos. “I was flying by the seat of my pants.” (The book title, First Three Songs…No Flash!, refers to the restrictions typically imposed upon accredited concert photographers who are allowed to shoot during the first three songs only, with no extra lighting employed.)

Picking up the pictures days later at a Shoppers Drug Mart photo lob, she noticed gold stars on the envelope. The sales clerk at the counter explained the glittery designation was a compliment. Later, Ms. Lippingwell walked into a local record store that had a photo display of the Pink Floyd concert in its front window. Ms. Lippingwell showed her superior shots to the store owner, who immediately put the novice photographer’s work on display instead.

“From that day onward I took my camera to every concert that I attended,” she said. “At first using colour film, but I quickly discovered that I couldn’t afford to take colour.”

Ms. Lippingwell appeared to catch her first major break in the business in 1975 when the editor of the Vancouver weekly newspaper The Georgia Straight took an interest in her work. Before he could hire her, however, the editor rushed to his native Ireland because of work visa issues. He was Bob Geldof, who would form the Boomtown Rats and score a career-making hit with I Don’t Like Mondays in 1979.

That year, Mr. Geldof toured North America with his band and returned to Vancouver to play the city’s Commodore Ballroom, where he noticed a familiar female photographer. “He saw me in the crowd and mouthed, ‘Ah, you got the job.’”

Initially, she kept her hospital job while moonlighting in concert halls for The Georgia Straight and other publications, and also taking commercial work. “I know that shooting a picture of a running shoe isn’t as exciting as a rock star, but nine times out of 10 the running-shoe picture pays the rent,” she said in a Globe and Mail article.

A full-time photographer beginning in 1980, Ms. Lippingwell was respected for her trailblazing work in a male-dominated profession.

“I guess I wanted to prove these guys wrong, and I did. I’ve heard from several other female photographers that I was the one that paved the way for them to get into the business, and it makes me feel really good inside. The first time I heard that I almost cried.”

Ms. Lippingwell was born Doreen Grace Baerg on Oct. 12, 1945, in Vancouver. Her parents were Hazel Baerg (née Goodall) from Wales and Cornelius Baerg from Russia. She spent much of her childhood in Trail, B.C. Her first camera was a Kodak Brownie she won when her earliest work was entered in a photo contest by her grandfather.

According to First Three Songs…No Flash!, she lived with her parents and three siblings in a one-room open-concept space behind her mother’s flower shop. Later they graduated to a one-bedroom apartment with a bathroom shared with a “fat guy next door who always used all the hot water, so we had to bathe in cold water.” While in her teens, she married David Lippingwell and they started a family.

Her first pop music experience happened on Aug. 22, 1964, when the Beatles played Vancouver’s Empire Stadium. Escorted by police motorcycles into the city from the airport, the Beatles encountered a crowd of fans on Oak Street. A black limousine stopped right in front of Ms. Lippingwell and her stroller-bound nine-month-old child, Chris. The window rolled down.

“Chris leaned forward with his little hands outstretched and all these hands from within the limo start shaking his,” Ms. Lippingwell recalled. “I caught the glimpse of Paul McCartney’s grin, Ringo’s hair and John’s teeth with shouts of “Hello, hello” and then, as quickly as it had stopped, the entourage started moving once again up Oak Street. I was stunned – the Beatles had touched my son!”

For a self-described “rock chick,” Ms. Lippingwell’s interest in popular music was late to bloom: She purchased her first stereo – a smoky plastic and metal model costing $159 – in her early 20s. The salesman threw in Frank Sinatra’s 1969 LP, My Way. Later, her brother’s copy of the 1970 Pink Floyd album Atom Heart Mother was a revelation.

“Saving for and buying that stereo was life-changing,” she recalled.

Ms. Lippingwell had no formal training in photography whatsoever. She was initially a hobbyist with a good eye and the instructional Time-Life collection of books, Life Library of Photography. “They were a godsend,” she said in 2021. “Each volume dealt with different aspects of film, processing and black-and-white printing.”

In the early 1990s, she began shooting country artists. In 2011, she was inducted into the BC Country Music Association’s Hall of Fame for her work in preserving the province’s country music history. For 17 years she shot such stars as Johnny Cash, Reba McEntire and Keith Urban as the staff photographer for the Merritt Mountain Music Festival. Her time with the festival is represented in her 2021 book, Memories from the Mountain.

According to the owner of the gallery which represents her, Ms. Lippingwell’s top-selling prints are of Tina Turner. “There’s one, a cropped sideview, that gives me chills just looking at it,” Ms. Yarwood said. “Dee just got these moments of pure talent in her own way. These are pieces of history and extraordinary views of a time that many of us look back on fondly.”

Ms. Lippingwell recently donated tens of thousands of black-and-white negatives to the National Music Centre in Calgary, where her images are currently on display in the Canadian Music Hall of Fame gallery.

One of her favourite subjects was Rod Stewart. When she published a rock ‘n’ roll calendar in 1978 that featured a poignant shot of the Hot Legs star from a year earlier, she ran into possible copyright issues. According to Ms. Lippingwell, Mr. Stewart intervened. “He said he loved the photo and ordered a box of 100 calendars for friends, family and crew.”

Ms. Lippingwell recently said that another photo of Mr. Stewart, from the Pacific Coliseum in 1989, was her all-time favourite. The rocker is captured on stage with his arms outstretched in a pose of generous, wide-open presentation which the photographer identified with.

“‘Here I am,’ he’s saying. And that’s what I say.”

She leaves her husband, Paul Shaw; sons, Marc Lippingwell and Chris Lippingwell; brother, David Baerg; and grandchildren, Shauna Lippingwell and Tyler Lippingwell.

You can find more obituaries from The Globe and Mail here.

To submit a memory about someone we have recently profiled on the Obituaries page, e-mail us at obit@globeandmail.com.

Please ensure Javascript is enabled for purposes ofwebsite accessibilityRCSD students show off their photography talents

Fri, 17 May 2024 02:23:43 GMT (1715912623958)

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The South African artist Lebohang Kganye has won the prestigious Deutsche Börse Photography Foundation prize for her work that uses large-scale cutouts and elements of set design to trace and depict her family history during the apartheid era.

The Johannesburg-based artist took home the £30,000 prize for her winning exhibition, which is on display at the Photographers’ Gallery in central London and is called Haufi nyana? I’ve come to take you home.

In it Kganye – who was born in 1990, in the dying days of apartheid, uses cutout figures and objects that depict scenes from stories she was told by her family. The artist sometimes appears in the scenes, acting them out dressed as her relatives.

Combining oral history, family photo albums and theatrical stages, the result is work that the judges said “reflects on the realities and consequences of apartheid and colonialism”.

Anne-Marie Beckmann, the director of the Deutsche Börse Photography Foundation, said: “It was a strong shortlist full of powerful images and long-term projects but we thought that Lebohang’s work experimented with the medium by combining photography and archival material from her family in a new and fresh way.”

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Claire Grafik, the chair of the judging panel and acting director of the Photographers’ Gallery, said: “Her work implicated the audience through the installation and the use of these freestanding collages where audiences become part of the experience. There’s no distance between the work and the audience – her use of theatre to bring the audience into conversation with the artwork was something that we really loved.”

The themes of family and story have been central to Kganye’s work since she emerged in the early 2010s. A breakout early work was Her-Story, in 2013, where she recreated images of her late mother, dressing up as her and overlaying images of herself depicting the same scene.

Kganye briefly worked in TV production and her cutout work was inspired by set designers, while she also used elements of theatre, literature and sculpture.

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Haufi nyana?, which means “too close” in the Sesotho language, recalls stories about her family’s migration, caused by land acts and apartheid law, while she also explores the alternation of her family’s surname, which means “light” in Sesotho.

This year’s other nominated artists, who will each receive £5,000, all created work that touched on the themes of trauma or displacement.

Valie Export, the Austrian artist whose work has long focused on the female body, was also nominated alongside the Indian artists Gauri Gill and Rajesh Vangad – shortlisted for their book Fields of Sight, which combined photography and intricate Warli painting.

Hrair Sarkissian, the grandson of Armenia genocide refugees, who was born and raised in Damascus, was shortlisted for his work about loss, trauma and untold stories rediscovered after conflict.

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Sarkissian, who has previously created work about the mass killings in Spain during the Franco era, was nominated for Last Seen, an exhibition that focuses on “disappeared” people who went missing during conflicts and is a series of images taken in their last known location.

Beckmann said the 2024 shortlisted work all played with questions of “displacement”, “heritage” and “giving voices to unheard communities”.

“If you look at Sarkissian’s work, he’s been going to different countries whether in Kosovo or Argentina or other regions. It’s putting a light on work that is perhaps hidden. The same goes for Gauri Gill and Rajesh Vangad’s work and Valie Export, who was creating very provocative work about feminism in the 1970s – which is definitely still needed.”