Great Reads in Photography: September 26, 2021

Every Sunday, we bring together a collection of easy-reading articles from analytical to how-to to photo features in no particular order that did not make our regular daily coverage. Enjoy! How Dorothea Lange Reimagined Protest Photography by Quietly Documenting Life Inside Japanese Internment Camps – Forbes Pledge of Allegiance, Raphael Weill Elementary School, San Francisco, […]

Great Reads in Photography: September 26, 2021

Every Sunday, we bring together a collection of easy-reading articles from analytical to how-to to photo features in no particular order that did not make our regular daily coverage. Enjoy!


– Forbes

Pledge of Allegiance, Raphael Weill Elementary School, San Francisco; Dorothea Lange (American, 1895 - 1965); San Francisco, California, United States; negative April 20, 1942; print about 1960s; Gelatin silver print; 34 × 25.6 cm (13 3/8 × 10 1/16 in.); 2000.50.16; No Copyright - United States (https://rightsstatements.org/vocab/NoC-US/1.0/)
Pledge of Allegiance, Raphael Weill Elementary School, San Francisco, negative April 20, 1942; print about 1960s Dorothea Lange (American, 1895-1965) Gelatin silver print 34 × 25.6 cm (13 3/8 × 10 1/16 in.) The J. Paul Getty Museum, Los Angeles.

In April 1942, photographer Dorothea Lange was commissioned by the US Government to photograph a Japanese American girl reciting the pledge of allegiance at a school in San Francisco.

Fight Like a Girl, Los Angeles, negative 2019; print 2020 John Simmons (American, born 1950) Pigment print 24.1 × 38.1 cm (9 1/2 × 15 in.) The J. Paul Getty Museum, Los Angeles © John Simmons.

Americans of Japanese ancestry had already been moved to concentration camps as President Roosevelt doubted that he could trust them during World War II.

American Flag; Robert Mapplethorpe (American, 1946 - 1989); New York, New York, United States; 1977; Gelatin silver print; 35.3 × 35.3 cm (13 7/8 × 13 7/8 in.); 2011.7.6; In Copyright (https://rightsstatements.org/vocab/InC/1.0/)
American Flag, 1977 Robert Mapplethorpe (American, 1946-1989) Gelatin silver print 35.3 × 35.3 cm (13 7/8 × 13 7/8 in.) Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art, with funds provided by the J. Paul Getty Trust and the David Geffen Foundation © Robert Mapplethorpe Foundation.

“The majority of photographs are politically impactful but conceptually conventional,” writes Forbes. “For instance, Bruce Davidson captured the brave faces of the young black men who were willing to risk bodily injury to demonstrate their support for civil rights in the deep south.

“The conceptual basis and visual language of Dorothea Lange’s photograph are more ambiguous because she was working for a president she admired, who’d enacted a system she deplored.

“Lange’s photographs – which also documented the harshness of life inside the internment camps – were disturbing enough for the military to censor them and for the government to stash them in the National Archives, where they remained unseen until the 1970s.

“Her work became protest photography only retrospectively, years after her death.”

In Focus: Protest is on at the Getty Center, Los Angeles, till Oct 10.


NBC News

Murder suspect is arrested as his family watches.
A murder suspect is arrested at the Mar Vista Gardens housing project as his family watches © Joseph Rodriguez

As part of these efforts, the LAPD gave Brooklyn-born documentary photographer Joseph Rodriguez unprecedented access to document the officers in the field for The New York Times, hoping to give the public an image of a “kinder, gentler cop,” as the headline put it.

Officers at the Rampart Station restrain a man resisting arrest © Joseph Rodriguez

In the photo above, an arresting officer casually kneels on the neck of a suspect who has already been handcuffed while he watches his partner restrain his legs. Before Minneapolis police officer Derek Chauvin kneeled on George Floyd’s neck resulting in his death, most people had no idea that such a tactic was even used. Looking at the photo from 20 years ago, it seems to have been a common practice.

Rampart Division Officers detaining an arrested woman.
A handcuffed woman is detained and booked at Rampart Station © Joseph Rodriguez

The Kodachrome photos in LAPD 1994 display the subjectivity of Rodriguez as much as that of the cops and the civilians, who are the victims and sometimes perpetrators of violence – he is not afraid to humanize the cops, but the images also show the darker side of both the officers and the people they are sworn to protect.


– The Art Newspaper

A district court will now consider whether state officials unjustly took Rick Allen’s footage of a pirate ship salvage operation.

Also:
State Copyright Plunder is Bad and Getting Worse – Real Clear


The Guardian

Depositphotos

The effects of staring at ourselves for hours during video conference calls have resulted in a breakdown of how we perceive our own self-image.

The phenomenon has been nicknamed “Zoom dysmorphia” by Harvard Medical School Professor Dr. Shadi Kourosh, who has noticed an increase in appointment requests for appearance-related issues during the pandemic.

“I was concerned that the time spent on these cameras was negatively affecting people’s perceptions of their appearance,” she tells The Guardian.

Kourosh feels that video conference via phone camera is like a “funhouse mirror” rather than a true reflection of themselves. Participants do not realize that their faces are being distorted by wide angle lenses and how close they are to the camera.


– Criterion

From Criterion:
When the photographer Mary Ellen Mark died in 2015 at age seventy-five, she left behind a vast and varied five-decade trail of portraits and documentary pictures, collected in twenty books and dozens of exhibitions… Most of her work was shot in black and white and originated from magazine assignments …

This was true whether Mark was embedded with Mother Teresa working in her missions in Calcutta, a troubled family living out of their car in Los Angeles, residents of an Oregon psychiatric ward, underage sex workers in India, animals and circus performers, child beauty pageant contestants, or the young runaways in Seattle whom she would continue to work with in what became one of her best-known projects, the books Streetwise (1988) and Tiny: Streetwise Revisited (2015)…

For those whose introduction to Mark’s work came via the Streetwise books, it’s perhaps a discovery to learn that her favorite director was Federico Fellini, or that a significant body of her work was made on film sets … of at least 140 films, from Fellini Satyricon to the Coen brothers’ remake of True Grit.


What Is the Resolution of The Eye?


– LensRentals 

This is the story of that time Mathew Saville, an obsessed pixel-peeper, decided to leave all his exotic full-frame cameras and lenses at home and instead bring a Sony RX100 VI on a week-long backpacking trip in the High Sierra of California.


Flaunt

Andy Warhol taking a photo with a Polaroid camera © Oliviero Toscani. Photo courtesy Chronicle Books.

“Polaroid is one of the few companies in the world that can truly say it invented magic,” says Polaroid CEO Oskar Smolokowski in the foreword to Polaroid Now: The History and Future of Polaroid Photography published by Chronicle Books.

#41 on PDF David Lekach, 300 Polaroids
© David Lekach, 300 Polaroids. Photo courtesy Chronicle Books.

And that magic still exists 74 years after Edwin Land first presented his new camera and film to an amazed audience.

© Harriet Browse, Untitled (left), Harriet Browse, Untitled (right). Photo courtesy Chronicle Books.

The curated selection of 200 Polaroid images features renowned luminaries such as Andy Warhol, David Hockney, and Chuck Close, as well as a section on the 20×24 Polaroid camera. The book cover design mimics a vintage Polaroid Colorpack Film box.


– Hypebeast

Daido Moriyama (b. 1938) has captured street photography of his native Japan for over 50 years. He has used a compact film camera and created contrasty and grainy images as his signature style with little regard for the technical aspects of photography.

Yoshirotten is one of Tokyo’s most active graphic artists and an interdisciplinary artist known for his retro-futuristic pieces.

Yoshirotten has injected his signature distorted elements across a handful of Daido’s grainy images of Shinjuku, Tokyo, which will be released as prints.


– Museum Crush

http://www.metmuseum.org/art/collection/search/282007
The Tomb of Sir Walter Scott, in Dryburgh Abbey, 1844 William Henry Fox Talbot, salted paper print from a paper negative, Public Domain

Henry Fox Talbot’s photographs of some of Britain’s most famous monuments remain the earliest photographs ever taken of London and Edinburgh.

Talbot, an important player in the invention of modern photography, made a two-week photographic trip to Scotland in October 1844. Many of these studies appeared in what has often been referred to as the first illustrated monograph, Sun Pictures of Scotland, which he issued in 1845.

Talbot made 100 copies, which were available by subscription, with Queen Victoria among the subscribers. Today about 20 copies still survive, but most of them are badly faded from their original rich brown tones to a ghostly hue owing to lack of fixing and washing.

Look at this copy in the Met Museum collection (above) to see it in its original form.


– CNET

One small camera feature on your iPhone may make the biggest difference for your selfie needs: a setting called Mirror Front Camera.

Mirror Front Camera comes after the iPhone 11‘s “slofie” slow-motion selfie feature to bring us a subtler — and more useful — selfie tool.


– The Art Newspaper

Fuji, Canon and Kodak have each pledged to support more diverse photographers after receiving a barrage of criticism from activists over their allegedly male-centric and whitewashed ambassador programs and Instagram accounts.


Peter Bunnell, Eminent Scholar of Photography and an ‘Essential’ Figure in the University Art Museum, Dies at 83 – Princeton University

How Peter C. Bunnell, Shaped the Photography World — Aperture


– ShotKit

Mark Condon’s work shed from where he produces Shotkit

The life of a photographer has many glamorous moments… but it must be said – the hours spent editing behind a desk are not among them!

That’s why having a good workspace is so important. If you’re looking for inspiration on how to set up or improve your own photography workspace, look no further: below are the workspaces of 39 professional photographers from around the world.


dia – CNN Travel

A woman in a red “flying dress” poses in Santorini, Greece Depositphotos

These Instagram-worthy images, known as “flying dress” photos, started out on the picturesque Greek island of Santorini and have since become popular in other tourist spots like Dubai and Italy.

While the pictures look like they could have been taken for a high fashion magazine, the photoshoots are relatively affordable. They have become a more common offering on travel experience booking websites like Viator and Klook.


— MUO

Depositphotos

While not exactly the way to go if your aim is to paint a picture of the world as we know it, infrared pictures offer a glimpse into what feels like an alternate version of reality. To some, this may be a welcome and refreshing deviation from the ordinary.


Photo Basel, Switzerland’s First and Only Photo Show is Back – The Guardian

Camo 5 Kopie, Thandiwe Muriu, Image courtesy of the artist and 193 Gallery, Paris and Photo Basel.

Switzerland’s first and only art fair dedicated to photography is back with vivid images of fairytales, fabrics and firepower.

Mozambique 1975-1985, Moira Forjaz (Zimbabwe-born 1942), Image courtesy of the artist and AKKA Project, Venice (Italy) & Dubai (UAE) and Photo Basel.
Nikita Teryoshin – „Nothing Personal –the back office of war“ (2016 - ongoing) Zwischen 2016 und 2019 steigen die globalen Rüstungsausgaben kontinuierlich an, brechen neue Rekorde, während Bomben in zahlreichen Konflikten fallen. Durch den globalen Rechtsruck in der Politik bekommt Militarismus zudem starken Rückenwind. In dieser Zeit werfe ich einen Blick hinter die Kulissen des globalen Waffenhandels, auf exklusive Rüstungsmessen, nur für Fachpublikum zugänglich, wo sich das Who is Who der Industrie und Politik trifft und milliardenschwere Deals abgeschlossen werden. Im schlimmsten Fall landen die Waffen am Ende über Umwege bei Diktatoren und werden zum Beispiel gegen das eigene Volk eingesetzt. Das Langzeitprojekt „Nothing Personal“ zeigt das „Backoffice of War“, welches das totale Gegenteil eines Schlachtfeldes darstellt. Ein überdimensioniertes Spielfeld für Ewachsene mit Bier, Wein, Häppchen und frisch polierten Waffen. Tote Körper hier sind Mannequins oder Pixel auf Bildschirmen einer Vielzahl von lebensechten Kriegssimulatoren. Schlachten werden inmitten künstlicher Kulissen inszeniert und von vollen Rängen mit Generälen, PolitikerInnen, Staatsoberhäuptern und Geschäftsleuten beklatscht. „NextGen Lethality“ und „70 Years Defending Peace“, so lauten die Slogans von den Global Playern Rheinmetall und Kalashnikow. In meiner Arbeit werden bewusst keine Gesichter gezeigt. Es soll um das System an sich gehen und nicht um einzelne Protagonisten. Bei den anonymisierten Händlern mit Gewehren, Kanonen oder Bomben vor ihren Gesichtern lasse ich mich von John Heartfields Zeichnungen inspirieren, welche er vor dem Zweiten Weltkrieg als Warnung an die Welt anfertigte. Es soll auch als Metapher für die Verschwiegenheit der Rüstungsindustrie stehen. Die Bilder entstanden zwischen September 2016 und Oktober 2019 auf fünf Kontinenten in Polen, Weißrussland, Südkorea, Deutschland, Frankreich, Südafrika, China, Abu Dhabi, Per
IDEX Abu Dhabi from the series Nothing Personal 2019, Nikita Teryoshin (Russia-born 1986), Image courtesy of the artist and Galerie Koschmieder, Berlin, Germany and Photo Basel.

Quiz of the Week

1.) How many photos will be taken around the world in 2021?

2.) Did Canon ever make a 400mm f/2 lens?

3.) Are CFexpress Type A cards as fast as Type B cards?

Answers

1.) Last year, in 2020, it was 1,436,300,000,000 photos, and this year in 2021, it is expected to increase by 0.2%. In 2020 the capture devices were:
Tablets                        1.8%
Digital Camera            7.3%
Phones                        90.9%

2.) Yes, but it was only a one-of-a-kind and probably a prototype. Nobody has been able to exactly identify this lens so far.

3.) No. CFexpress Type A cards currently READ at approx. 800 MB/sec, whereas Type B promise a rated READ speed of approx. 1,700 MB/sec. These speeds are from Sony, which manufactures both types of cards.


Why I like This Photo — Jon SooHoo

Los Angeles Dodgers during game against the New York Yankees Sunday, June 27, 2010 at Dodger Stadium in Los Angeles, California.© Jon SooHoo/Los Angeles Dodgers 2010
Derek Jeter, Dodger Stadium, New York Yankees vs. Los Angeles Dodgers, June 27, 2010 © Jon SooHoo

I like this photo because of the timeliness of all of my worlds colliding at this moment. Standing next to Sports Illustrated Photographer Robert Beck in the fourth inning, he offered me a chance to use his Nikon 8-15mm f/3.5-4.5E EDIF AF-S fisheye lens while we were standing in the inside first photo well at Dodger Stadium next to the visiting Yankees dugout and on deck circle.

I had just clicked the lens onto my Nikon D3 when future Yankee Hall of Famer Derek Jeter climbed up the dugout steps towards the on-deck circle. Suddenly, he looked back into the dugout and, I was able to see both eyes, and I fired away.

The American League Yankees rarely visit the National League Dodgers unless in the World Series, so shooting this future Hall of Famer in this situation outside the lines back in 2010 made for a fun weekend series of extremely historical teams.

As sports photography goes and shooting endless amounts of games per season as the team photographer of the Dodgers, I can’t say I honestly look at my images as closely as those who look at framed photos on walls in galleries. Usually, the edit is quick, and the captions need to be specific and accurate as to who is in it and all of the game details. I definitely appreciate it now more than when I took it. I love the round look of this image, especially since it was my first time trying on a circular fisheye lens.

Jon SooHoo is a fifth-generation Chinese American photographer born and raised in Los Angeles and has been covering sports in Los Angeles for over 40 years. He is the long-time team photographer for the Los Angeles Dodgers and has been photographing them since 1985. He has continued to freelance for United Press International since the early ’90s covering the NBA, NFL, and all other major domestic sporting events in the US. He currently lives in Manhattan Beach, California.


Quote of the Week – Bruce Davidson

March from Selma, Selma, Alabama; Bruce Davidson (American, born 1933); Selma, Alabama, United States; negative 1965; print 1980–2010; Gelatin silver print; 21.7 × 32.8 cm (8 9/16 × 12 15/16 in.); 2018.40.9; In Copyright (https://rightsstatements.org/vocab/InC/1.0/)
March from Selma, Alabama, negative 1965; printed later Bruce Davidson (American, born 1933) Gelatin silver print 21.7 × 32.8 cm (8 9/16 × 12 15/16 in.) The J. Paul Getty Museum, Los Angeles © Bruce Davidson/Magnum Photos. Photo courtesy In Focus: Protest at the Getty Center, Los Angeles, till Oct 10.

Most of my pictures are compassionate, gentle and personal. They tend to let the viewer see for himself. They tend not to preach. And they tend not to pose as art. – Bruce Davidson


To see an archive of past issues of Great Reads in Photography, click


We welcome comments as well as suggestions. As we cannot possibly cover each and every source, if you see something interesting in your reading or local newspaper anywhere in the world, kindly forward the link to us . ALL messages will be personally acknowledged.


About the author: Phil Mistry is a photographer and teacher based in Atlanta, GA. He started one of the first digital camera classes in New York City at  in the 90s. He was the director and teacher for Sony/Popular Photography magazine’s Digital Days Workshops. You can reach him via email .


Image credits: All photographs as credited and used with permission from the photographers or agencies. Portions of header photo via Depositphotos.

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Comparing the Max Power of Godox Strobes, Speedlites, and LEDs

Why is it so difficult to compare one light to another? It would be bad enough to say that watts, LUX, watt-seconds, and guide numbers aren’t directly comparable. And unless you’ve been around lights for a long time, these measurements won’t even make intuitive sense. Born from this frustration, I give you the Strobepro Power […]

Comparing the Max Power of Godox Strobes, Speedlites, and LEDs

Why is it so difficult to compare one light to another? It would be bad enough to say that watts, LUX, watt-seconds, and guide numbers aren’t directly comparable. And unless you’ve been around lights for a long time, these measurements won’t even make intuitive sense.

Born from this frustration, I give you the Strobepro Power Scale we developed over at Strobepro! Before we get into it, here are a few disclaimers:

1. Practicality was the goal

If I set out to do an apples-to-apples comparison in every respect, I believe the usefulness of the data would have suffered. Different lights are meant to be used in different ways. For example, a studio strobe will usually be modified in some way, while portable LED panels are best suited as hard, unmodified lights.

For this reason, all studio strobes, speedlights, and COB LED lights were tested with a 24×36″ softbox attached. Most other lights were unmodified unless otherwise stated (see the legend below).

2. Comparing continuous lights to strobes is assumptive

When a strobe flashes, it releases its energy over a very short period of time. That energy is released over the same period of time regardless of your shutter speed. Therefore, we must think of the time value for a flash exposure as fixed. That’s why shutter speed (up to your maximum sync speed) has no effect on flash exposure.

On the other hand, a continuous light will light your scene for the entire duration that your shutter allows. The time value for an exposure with a continuous light is variable.

Therefore, in order to compare continuous lights and strobes, we must set a benchmark shutter speed. Because we want this to be a good comparison, I chose 1/125 of a second (a decent shutter speed for a typical portrait subject). If you can get sharp results with slower shutter speeds, then power to you!

1/50 to 1/60 of a second would be more typical for video production (assuming you’re shooting at 24-30p), but we can’t exactly do a video-based comparison with strobes on the same list! Nonetheless, you can typically expect to gain a stop of light when you’re shooting video.

3. Distance is always a factor

If some of the exposure results I recorded seem underwhelming, please note that my test target with my light meter was 6 feet away from the source (measured from the front of the light surface or the front diffuser). If you want your light to punch above its weight class, the best thing you can do is to move it closer! If you reduce the distance from 6 feet to 3 feet, your light becomes an effective two stops (4x) brighter.

It is exactly because of this behavior (the inverse square law of light) that I chose to position my lights a little further back than I might in a typical portrait session. From 6 feet away, I would gain a few inches’ margin for error with my measuring tape.

Setup and Method

I used a Sekonic L478-D light meter positioned (as mentioned) 6 feet from the front surface of the light. A target grey was also used so that I could cross-reference image data to the data I collected from my meter. All lights were compared at their maximum power. In the case of bi-color LEDs, the color temperature that produced the brightest result was used.

Once the data was collected, I rounded each result to the nearest third of a stop and charted it on the scale below.

The Scale

Note: Products were modified for the test as indicated:

Strobepro 24×36” Rapid Pro Softbox: Studio Strobes, Speedlites, COB LED Lights

Product-specific Softbox: Flex LED Panels, Strobepro Quadstar

Unmodified: LED Panels, LED Tube Lights, LED Ring Lights

How to Read the Data

The Strobepro Power Rating compares maximum power.

All of these lights can be adjusted down from their maximums to varying degrees.

To read this data, you’ll need to understand what a stop of light is. If you are new to photography, you should familiarize yourself with this term. ‘Stop’ is shorthand for f-stop, but we can apply it to any form of light and not just to the light being let in through your aperture. Each time you add a stop, you are doubling your light.

Each whole number in either column represents a stop of light.

For example, the Godox TL60 (power rating 3.0) is two stops (4x) brighter than the Godox R1 (power rating 1.0).

The 2nd column shows the data I collected based on the target exposure. For the target exposure, I used 1/125 of a second, f/4, and ISO 100 at a 6-foot distance from my light meter (measured from the front of the light surface or the front diffuser). A positive number indicates overexposure at the target settings, and a negative number indicates underexposure. For example, the full power flash from our QS600II was a whole 3.7 stops overexposed at those settings.

The 3rd column simply provides distilled data using our weakest light (the R1) as the baseline.

To determine how much brighter one light is than another, take the Strobepro Power Rating of the stronger light and subtract the rating of the weaker light. The result is the brightness difference in stops.

Suggested Uses by Power Rating

Beyond comparing one light to another, there are other useful things we can do with this data. We’ve prepared some general recommendations in the chart below to help you decide which lights might meet your minimum power requirements.

Conclusion

I hope you found this information useful. I sought to declutter the process of comparing various types of lights. Without seeing the lights in real space, it was always a particular challenge to explain how continuous lights might balance with strobes. No longer!


About the author: Kevin Greenhough is a portrait and travel photographer, and the media coordinator for Strobepro Studio Lighting. You can find his work on his personal website. This article was also published here.

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