HDRsoft Announces the Release of Photomatix Pro Version 7

Photomatix Pro 7 Batch Preview

Only Photomatix Pro gives users complete control when grouping HDR photos. Now we are automatically shown a preview of each merged set, one after the other, and choose unique settings (or presets) for each one.

HDRsoft, makers of Photomatix software that pioneered High Dynamic Range (HDR) photo editing, have released version 7 of their flagship software Photomatix Pro. The latest version adds a new way of batch processing and significant improvements to existing features, which will have a compelling impact on further improving users’ workflows, helping them get the desired results with greater consistency, and save time . Key benefits in the new version include:

  • More control during batch processing. ‘Journal with Preview’ is a new interactive feature that gives users more control when processing multiple sets of bracket photos. Users can preview each merged HDR image, and have the option to refine the results by adjusting the settings or applying a different preset for each. This helps streamline the workflow for people who take and process many photos of scenes with different lighting conditions, such as real estate, travel, architecture and landscape photographers.
  • Save and load selection for ghost removal. The selective deghosting feature adds an option to save the areas marked for deghosting. If there is a need to reprocess the image, or to refine the area marked for deghosting after exiting the degassing window, users can simply load the saved selection, avoiding the need to start all over again .
  • Customizable watermark tool. Users can add their own text watermark to images with the new watermark tool. They can choose the font, size, layout and place the watermark on any part of the photo.
  • More flexibility in post-processing. Version 7 adds the option to save HDR images in DNG format, including the 32-bit DNG for the merged HDR image before rendering. This file format option is fully compatible with Photoshop, Lightroom and other common photo editing applications, giving users more flexibility and additional options when doing post-processing.
  • Additional option to start batch processing. It is now possible to start batch processing by dragging or browsing files. This helps further speed up the workflow of users who like to view, sort and select photos in the Finder or Windows Explorer.

Photomatix Pro creates High Dynamic Range (HDR) images by merging multiple photos of the same scene taken at different exposures, and the merged images can then be adjusted with a range of precise controls and settings or with one-click presets. It is the most advanced among HDRsoft’s products and has an extensive range of tools and options such as automatic alignment of handheld photos, degassing function to remove ghosts or visual artifacts when moving objects are present in the scene, color sliders to refine colors, blending options , and essential post-processing tools.

An important feature that sets Photomatix Pro apart is the multiple HDR rendering styles available. It enables both professional photographers and hobbyists to achieve the unique look and feel they envision, from highly realistic to artistic HDR images. This flexibility opens up HDR techniques not only in landscape photography, but also in other areas such as real estate, architecture, panoramas, travel and astrophotography.

Other fields involving the use of Photomatix include medical imaging, forensics, product photography, time-lapse video and visual effects. Photomatix Pro includes a robust batch processing option, and the addition of the ‘batch with preview’ in version 7 further enhances this feature.

“Only Photomatix Pro gives users complete control when batch processing HDR photos,” said Ron Pepper, HDRsoft’s Business Development Manager. “Now we’re automatically shown a preview of each merged set, one after the other, and choose unique settings (or presets) for each one.” He also added: “Real estate, travel and landscape photographers are regularly faced with the task of processing multiple sets of photos under different lighting conditions. They are among those who will greatly benefit from this new innovation.”


Photomatix Pro 7 is available now for $99 USD for a one-time purchase, perpetual license. Customers who purchased Photomatix Pro 6 will receive a free upgrade. Earlier versions of Photomatix Pro can be upgraded for $29 USD. For more information please visit


HDRsoft develops photo editing software based on high dynamic range (HDR) imaging techniques. The company pioneered HDR photography with the launch of its Photomatix software in 2003. Today, the company continues to build easy-to-use software tools that help photographers create eye-catching images. The company is headquartered in the UK and has staff in the US and several other countries. Media Contact Information: Review copies, screenshots and demo images are available to members of the media. Please contact:

Ron Pepper

(415) 534-5039

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Bruno Barbey’s Italy, or Two Countries in One — Blind Magazine

Italy has always fascinated artists. Like so many other European photographers of the 1960s, French photographer Bruno Barbey got into his VW Beetle and headed for the Boat. He was in his early twenties, not yet the famous Magnum photographer. They dreamed of Italy in black and white, of Pasolini, of Visconti. Fellini was at the height of his art and his cinema La Dolce Vita had just won the Palme d’Or at Cannes in 1960.

Venice, Veneto, 1962 © Bruno Barbey / Magnum Photos

His Leica M2 in hand, Barbey arrived in a country divided in half. Some even said there were two countries in one: in the North, a rebuilt, bourgeois Italy, where “people went to the movies, to concerts, to bars, and well-dressed young people politely stood in line. Even at the stadium, supporters celebrated a goal in a pack and a draw,” writes Giosuè Calaciura in his introduction to Italian lessons by Bruno Barbey, published by Delpire & Co.

“In the South, even though the war ended two years earlier, reconstruction was slow. It still lags behind. Children raced around the jeeps left behind by the Americans and played hopscotch by tracing the numbers with a stone in residential courtyards.”

Palermo, Sicily, 1964 © Bruno Barbey / Magnum Photos
Palermo, Sicily, 1964 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos

Bruno Barbey knew how to capture the initial contrast between the two Italys. His black and white images reveal the gaze, the attitudes and the emotions of Italians. “The ability to portray the Italians in their reality of the condition is rare. Hypocrisy—a mania and a national vice—has always ruled the day: Italians prefer to show themselves to be different from what they are,” Giosuè Calaciura notes, assuring that Barbey’s photographs are “a document of truth.”

The photographer fully immersed himself in the country. In the North he was a Northerner; in the South, a Southerner.

From Rome, Lazio, 1964 © Bruno Barbey / Magnum Photos
From Rome, Lazio, 1964 © Bruno Barbey / Magnum Photos

Portraits of well-dressed men and women in Milan and Rome, posing for the photographer, sometimes leaning against beautiful cars, follow more rural images of children making faces in the streets of Sicily or Naples. Then there is Genoa, a city apart, with its red light district.

People’s gaze is often aloof in the South, mischievous in the North, but Bruno Barbey also knows how to capture the nuances, as in this photo taken on a madhouse in Sicily where we see a couple who are generous to the photographer smile. But maybe it’s the wonder of love, like Bruno Barbey’s love affair with Italy.

Genoa, Liguria, 1966 © Bruno Barbey / Magnum Photos
Genoa, Liguria, 1966 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos
Naples, Campania, 1966 © Bruno Barbey / Magnum Photos

Bruno Barbey, Italian lessonsDelpire and co., €42, 184 pp.

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Annual Carolina Global Photography Exhibition returns to FedEx Global Education Center

An exhibit showcasing finalists of the 2022-23 Carolina Global Photography Competition is now on display in the FedEx Global Education Center for the spring semester.

With images representing 30 countries, the exhibit reflects the Carolina community’s deep engagement with partners and communities around the world. The exhibition consists of photographs by undergraduate students, who make up three-quarters of the exhibition, as well as postgraduate students, staff and alumni. Carolina’s global photography competition has been an annual tradition for more than two decades, but this is the first exhibition since the start of the pandemic to feature new submissions.

A panel of Carolina students, faculty, staff and alumni judged nearly 300 submissions to select winning photos for first, second and third prizes. First-year student Zihan Liu won first place for “Old Man in Beijing.” The photo, taken in Beijing, China, shows a man in deep concentration leaning over a workbench with woodworking tools.

“It is not common to see a Beijinger still devoted to these traditional woodworks,” Liu wrote in his submission. “In such a fast-paced international city, I was grateful to discover a sense of peace.”

Senior Zheyu Huang won second place for “Under the Waterfall” and junior Julian Goldner won third place for “Dancer at Oruro Carnival”.

Carolina’s six area study centers selected spotlight photos for their respective regions.

  • African Studies Center: “Rugs” by Emilie Hofele ’24
  • Carolina Asia Center: “Vietnam, 2018” (rice field) by Phong Dinh ’18, ’22, (MHA)
  • Center for Slavic, Eurasian and East European Studies: “Panjshanbe Market” by Matthew Pierro ’23
  • Center for European Studies: “A ‘Street’ View of Venezia” by Cora Lubsen ’24
  • Center for Middle East and Islamic Studies: “The Skies of Mohammad Al-Amin” by Shelby Koelz ’23
  • Institute for the Study of the Americas: “Ixil Maya Ceremony of Blessing Their Native Corn Seeds” by Elva Bishop ’84 (MA)

Barbara Stephenson, vice provost for global affairs, selected “Heat Wave” by Laura Pratt, fellowship program coordinator of The Graduate School, as a spotlight for the office of the vice provost for global affairs.

Pratt took the photo while at the University of Tübingen in Germany as an organizer of the 2022 Royster Global Conference “Disruption, Digitization and Disinformation.” Tübingen is one of Carolina’s four strategic global partners.

In the photo, windows are open to create a cross breeze on a hot summer day, which inspired Pratt to reflect on the timing of the conference and its theme. “The irony of discussing misinformation and disinformation during a heat wave fueled by climate change (which some still consider “fake news”) was not lost on attendees,” Pratt wrote in the caption.

“This photo – of our German partners dealing with a heat wave, not by turning on the AC, but by opening every window – reminds me of the rich (and very open) conversations we had in Tübingen, where the coming winter without Russian oil and gas supplies was on everyone’s mind,” Stephenson said.

The competition received more submissions from the Curriculum in Global Studies than any other academic program, followed by the Hussman School of Media and Journalism and the political science department. The social sciences had the highest representation among academic disciplines, but STEM fields followed closely.

Some of this year’s submissions remind us of the impact of the pandemic.

Senior Preston Fore captured “Loving They We’ve Lost,” a shot of the National COVID Memorial Wall in London, which stretches more than 500 meters along the south bank of the River Thames. The wall is made up of more than 200,000 hand-painted hearts, one for every person who has died from COVID-19 in the UK.

Although the contest usually sees many photos from Australia, only two submissions were taken there, indicating pandemic-induced travel restrictions. Most of the photos submitted were taken in Europe, followed by Asia and Latin America.

Many of the photographs on display convey a sense of reflection or perspective, from window views to literal reflections in water, such as “Hygge Harbor” by John Ratkowiak, which depicts a peaceful reflection of buildings along a street in Copenhagen, Denmark , capture. “Chinatown Machine Shop” in Bangkok, Thailand by junior Andrew Lewis captures a juxtaposition between modernism and religious tradition.

The exhibition and competition is organized by the Office of the Vice Provost for Global Affairs. It is free, open to the public, and on display during the spring 2023 semester.

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Photo shootout between Clifford Oto, Tim Ulmer spreads in California

Over the past 15 years or so, Tim Ulmer and I have had something of a friendly photographic competition, which has heated up in recent years.

For those of you who may not know Ulmer, he is the owner of UlmerPhoto camera/photo refinishing shop on the Miracle Mile in Stockton. He is a fixture in the Stockton photographic world. He started at the old Meadows Camera in 1983, and after it closed, he opened his own shop. He also lends his photographic skill and expertise by photographing events for nonprofits and other organizations for free. In 2014, he was named the 62nd Stocktonian of the Year by the Greater Stockton Chamber of Commerce for all his good work in the community.

Tim Ulmer clowns around before the start of the Mid-Autumn Festival to be held on Saturday, September 17, 2022 at Chung Wah Lane in downtown Stockton.

We often shot the same events. As we entered the digital and social media age, Ulmer started doing something I didn’t expect. At these events, there’s often not much to do except stand around before things start. He started taking pictures of me when I arrived at said events. After a while I responded in kind. And then we posted the photos on Facebook. Our little shootouts soon turned into who could photograph the other first and became sort of a photographic version of an old western gunfight. There was no prize for doing this, but bragging rights about who had the fastest trigger finger. We are about equal on wins, losses and draws.

Record photographer Clifford Oto is photographed by Tim Ulmer at the Children's Museum of Stockton in downtown Stockton on January 17, 2023.

Over the years, things have only gotten more involved. I now try to keep a wary eye on Ulmer whenever I cover an event. I take detours to try to avoid him and try to sneak up on him to get my shot. And he did the same. Recently, at the Children’s Museum of Stockton, before the Cleveland School Remembers event, Ulmer hid between two parked cars and ambushed me as I walked up.

Tim Ulmer prepares to photograph the Greater Stockton Chamber of Commerce's State of the City event at the Port of Stockton's Rough and Ready Island in Stockton on May 19, 2022.

As we posted our photos on social media, people started to notice. He and I now get a lot of comments online and in person from people we know and also total strangers about how they get a kick out of our little competition. Some people even helped us on occasion. If only one of us is at an event, people have to take pictures of the other. I’ve seen people look around and then point out where Ulmer is in the crowd.

Tim Ulmer at the swearing-in ceremony for new Stockton City Council members at the Stockton Arena in downtown Stockton on January 10, 2023.

Last December, at the Turkey Brigade event where firefighters and police officers donated 600 frozen turkeys to the Emergency Food Bank, Ulmer got there before me. Several cops and firefighters teased him by falsely claiming that I was right behind him. When I finally got there, I was actually able to sneak up behind him and get the first shot.

Tim Ulmer and photographer of record Clifford Oto clown before the start of the 125th anniversary ceremony for Preston Castle in Ione.

Ulmer has heard that other photographers have now started their own contests as far away as Sacramento and Fresno. As long as he and I are at the same event, our fun and friendly shootouts will continue. If you see me first, let me know where he is.

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Influential photographers featured in new GRAM exhibit

GRAND RAPIDS, MI – A new exhibit at the Grand Rapids Art Museum will feature the work of 70 influential photographers.

The exhibit, titled “Presence: The Photography Collection of Judy Glickman Lauder,” opens February 11 and runs through April 29. The exhibition features 145 works of photography from the collection of humanitarian and photographer Judy Glickman Lauder.

Among the photographers included in the collection are Berenice Abbott, Diane Arbus, Richard Avedon, Danny Lyon, Sally Mann, Gordon Parks and James Van Der Zee. There are also photographs of photographers important to the history of the art form, such as Irving Bennett Ellis, Lotte Jacobi and Alma Lavenson.

“The Grand Rapids Art Museum’s presentation of ‘Presence’ offers a thoughtful and nuanced perspective of the world through the eyes of some of the most famous and influential photographers of the past century,” GRAM Associate Curator Jennifer Wcisel said in a prepared statement. said . “The exhibition builds on GRAM’s history of important photographic exhibitions and collection acquisitions and offers a unique perspective that will excite and challenge our audiences to see and think about the world differently.”

The photographs highlighted in the exhibition document life during everyday life, but also during the Great Depression, the Holocaust and the Civil Rights Movement.

Along with the collection of nearly 150 photographs, the GRAM highlights Michigan photographers. The Michigan artists’ work is on display concurrently with Glickman Lauder’s collection, in an exhibit called “Make a Picture: A Selection of Michigan Photographers from GRAM’s Collection.”

The Michigan artists’ photographs feature portraits, landscapes and documentary photography, including capturing wartime images. New additions to the GRAM’s Michigan photography collection include works by Grand Rapids photographers Hwa-Jeen Na and Claudia Liberatore.

“From iconic portraits to historical events, vibrant cityscapes to contemplative landscapes, the subjects and artists in “Presence” tell an honest and compassionate story of humanity,” said Dana Friis-Hansen, guest curator of the exhibition. “The exhibition covers a wide area of ​​photography that expands our expectations of the medium. While many of these artists and subjects have been shown at GRAM, many of them will be fresh and inspiring.”

To kick off the exhibition at GRAM, Glickman Lauder will be at GRAM’s auditorium on Thursday, February 9 at 6:30 pm to discuss her collection. The free event will explore Glickman Lauder’s photography experience and her role as an art collector.

The following day, GRAM visitors can join Glickman Lauder for a luncheon to discuss the presence of women in photography. The lunch is $25 and includes a box lunch from Nonna’s Pantry. Wcisel will moderate the panel discussion.

Glickman Lauder’s own photographic works have been displayed in the J. Paul Getty Museum, the Metropolitan Museum of Art and the United States Holocaust Museum.

For a complete calendar of exhibition-related programming and events, visit

More from MLive:

Dad likely opened back door to free daughters when car sank in Lake Macatawa, police say

Group proposes demolishing 84-year-old home on park property in West Michigan

Holistic pet supply store set to open in Grand Rapids area

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‘More than just a hero or heretic’: the story of photographer and FBI informant Ernest Withers | Documentary

When Ernest Withers died in 2007, he took a secret to the grave that would ruin his legacy as the famous photographer of Dr. Martin Luther King Jr.

For years, while capturing critical moments in Black American history, Withers worked as an informant for the FBI, often providing the photographs he took of the civil rights movement to the very organization that aimed to suppress it. break.

No one but Withers himself can say for sure what his motivations were for working with the FBI—why, as a Black man who has dedicated his career to documenting and celebrating Black life, he provided information that might have those same endangering lives. But in The Picture Taker, a documentary premiering ahead of Black History Month, director Phil Bertelsen and producer Lise Yasui attempt to explore that question through what can only be described as Withers’ best defense: his body of work.

Bertelsen inherited the project from his mentor, St Clair Bourne, who died before Withers’ FBI connections came to light. The film opens and draws on a number of archival interviews with Withers himself, who describes his life growing up in Memphis, Tennessee and learning photography while serving in a segregated army during World War II.

The interviews with Withers not only provide a biographical background – they show the respect and reverence Withers was held as a chronicler of Black history, prior to the FBI revelations. In his 60-year photography career, Withers left behind an estimated 1.8 million images, documenting everything from First Communion, Beale Street, the Emmett Till trial, the Montgomery bus boycott, participants and BB King.

“He walked so many different paths and was presented to the public as either this hero on the front lines of the civil rights movement who put himself in very dangerous situations – an African-American man in the South with a camera was a very dangerous position to be in during the 50s and 60s,” Yasui said in an interview with the Guardian. “And when the FBI revelations came out, he was vilified. We really wanted to unpack that because we felt that understanding that period and era that Ernest was raised in, that context is everything. And you can’t really reduce someone’s decisions to this either/or.”

And Yasui and Bertelsen went hard with context, not only to inform, but also to raise possible reasons behind Withers’ involvement with the FBI. The film touches on Withers becoming one of the first Black police officers hired by the Memphis Police Department and later Kathleen Cleaver, a Black Panther activist, questioned whether the FBI might have had a hold on him from his time as a police officer. A former FBI agent during that period spoke about the fear of communism leading others to wonder if Withers joined the FBI because he wanted the civil rights movement to flourish and sought to weed out any alleged communists who might hinder their mission. weaken. Marc Perrusquia, the journalist formerly of the Commercial Appeal who broke the story about Withers’ FBI connections, talked about how Withers received about $20,000 from the FBI, the equivalent of about $170,000 today, while Rosetta Miller-Perry, a former representative of the US Civil Rights Commission, noted that someone also had to foot the bill for a poor photographer like Withers to travel across the country to document the movement.

“You always have to remember the background of segregation and how it worked. You didn’t say no to white people. You did things that you felt would increase your ability to survive because you wanted white connections,” activist John B Smith said in the documentary, adding another possibility to the mix.

The filmmakers never sugarcoated Withers’ work with the FBI, suggesting at one point that all the FBI informants at the time bore some responsibility for King’s assassination. While James Earl Ray was arrested and convicted as the gunman in King’s murder, King’s family and others within the civil rights movement maintain that there were other forces at work in a conspiracy to remove King from the public sphere. “You take it as part of the collective intelligence gathering that was going on – was he aware of that? Did he intend any of that information to be used against Dr. King? I doubt it very seriously,” Bertelsen said in an interview. “But I think it’s safe to say that his information probably had a negative impact.”

Ernest Withers. Photo: Thomas S England / Getty Images

But throughout the documentary, the photos taken by Withers himself, between 300 and 500 of Withers’ photos in total, are a mere fraction of his entire body of work, Bertelsen said.

In the 15 years since work began on the documentary, two books and a podcast have appeared about Withers’ life and involvement with the FBI. But what Bertelsen realized a documentary could do that those other mediums couldn’t was allow Withers to mount his own defense from beyond the grave through the images he took throughout his life.

Because even with his involvement with the FBI, no one can take away the sheer volume of Black history and life he captured on film. “And you can’t take that away from the community in which he lived and served, during a period where there were a few people like him who took images of our lives,” Bertelsen said. “It’s an archive, it’s a legacy, which is really remarkable and unparalleled.”

Few in the documentary take a strong stand against Withers. “Most people in and around Memphis knew about these revelations, and weren’t really willing to throw him under the bus,” Bertelsen said. “It was a surprise to us, and it showed that they themselves had a very nuanced understanding of that history and that period and that man.”

Both Bertelsen and Yasui hope that viewers will take that same nuance away from the documentary to continue in a complicated world where too many see only in black or white.

“Over the years, I woke up some mornings loving Ernest and in love with the images he took, knowing that no one else took them with the same compassion and insight that he did,” Bertelsen said. “And then other mornings I woke up and just despised the man for undermining the movement and putting people’s lives at risk. So it was never an either/or proposition for me. It was always both. In that light, I hoped to tell a story that reflected something more than just a hero or heretic question. At different times, Ernest was both of those things.”

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Photos of war in Libys, Syria and Iraq
Qayyarah, Iraq. November 2016. Islamic State fighters set fire to oil wells near Qayyarah to use the smoke as cover from Iraqi air force and US-led coalition airstrikes. (Lorenzo Meloni)

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A quote on page 17 of photographer Lorenzo Meloni’s book, “We Don’t Say Goodbye” (GOST, 2022), really sums up any and all war coverage, past and present. In bold, black letters on an orange background, these are the words: “History repeats itself and logic does not change through the ages.”

From the early days of photographic coverage of war to now, we’ve been shown the same things over and over again, although much of our media coverage has become more sanitized and controlled over the past few decades after the very graphic coverage of the Vietnam War. One might ask, given the cyclical, insane nature of history that repeats itself over and over again, “Why even bother?”

I’ll be the first to admit that a lot of war coverage these days leaves me numb. In my job I see pictures of unspeakable inhumanity more or less daily, so it would make sense that I would feel this way. Even so, I believe that war coverage has not become less essential to society at large. Our inhumanity, however cyclical, must be exposed through reporting like Meloni’s.

In “We Don’t Say Goodbye,” Meloni invites us to accompany him on a 10-year journey he took through Iraq, Syria and Libya that paralleled the rise and fall of the Islamic State as a territorial entity .

Meloni’s view, like that of the best war photographers before him, is tinged with an artistic sensibility. Through 162 pages and 91 images, Meloni presents us with beautifully and masterfully crafted images that belie the horrific situations they depict. In image after image and country after country we are constantly reminded that – as another group of bold, black words in the book tells us – “People change, actors change, tools evolve, but the stage of events is constant and the story of the conflict is the same.”

Over the course of the 10 years that Meloni worked on this project, he traveled extensively throughout Syria, Iraq, and Libya, collecting thousands of images in which, when he began to look at them while making this book, he found a common thread of could see fragmentation. As he says at the end of the book:

“The word that kept coming back to my mind was ‘fragmentation’ because the countries where I worked were all deeply divided by ethnicities, religions, tribal factions, territories and political affiliations. ‘Fragments’ also seemed to evoke the violence of war, where people are often killed by shrapnel from explosions. ‘Fragmented’ also seemed to sum up my own view, and visual representations, of the events I witnessed.”

“This inspired me to create a series where conflict photographs are interrupted by images of items found among the debris of war and excerpts of writing by members of the Islamic State from letters, graffiti and publications. … The images form a loop – a constant repetition – throughout the book, reflecting my experiences in the field. Despite being seen as action packed and adrenaline fueled, war is actually very repetitive and although I have worked in different countries I often found myself photographing similar scenarios.”

One image that comes to mind when we think of Meloni’s work and other coverage of war is the ouroboros – an ancient symbol of a snake eating its own tail. As Meloni noted, in the images and in the words scattered among them, what he saw was not new. And frankly, the idea that war is perpetual is insane. Why in the world do we keep subjecting ourselves to it? Why can’t we stop? Why can’t we learn from the past? The question itself is eternal. Perhaps there is no adequate answer. Then again, there’s the saying that goes something like, “Insanity is doing the same thing over and over and expecting different results.” Maybe we are just insane?

You can find out more about the book, and buy it, here.

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A Legendary Japanese Street Photographer Shot Y-3 SS23

Shoichi Aoki has been around the block, to say the least. However, even at nearly 70 years old, the popular photographer has an unceasing hunger to create, which eventually brought him together with Y-3.

I say finally because, while Aoki is a longtime fan of Y-3 co-founder Yohji Yamamoto’s work, he’s never actually worked with the legendary Japanese designer.

“In the 1980s, Yohji Yamamoto sent Japan into a fashion frenzy,” Aoki recalled to Highsnobiety. “I was part of that madness as a fan. I still remember it to this day as a magical period.

“Decades later, Y-3 is a brand that perfectly captures the magic of this moment – ​​an evocative blend of fashion and sportswear. Especially this season, the look allows the wearer to experiment with their own personal style. In the context of the current fashion landscape, I really feel like Y-3 represents something new and progressive.”

Aoki is best known to international audiences for creating the candid images seen in now-legendary photo magazines such as VOICE and Fruitthe latter of which was compiled for a few Phaidon compilations in the early 2000s.

His photographs of mid-’90s Harajuku kids wearing explosively personal, dramatically styled ensembles continue to grip the minds of fashion-obsessed kids around the world as representations of a bygone pre-internet era where all that mattered was to go to the hangout in the craziest clothes you could find.

“There is an inherent dynamism to this collection and so we wanted to work with a rather ‘analogue’ photographer who could bring an effortless feel,” explained Y-3’s senior design director Stefano Pierre Beruschi.

“Y-3 is all about the contradictions found in dynamic juxtapositions and Shoichi’s approach was a natural counterpoint to the collection. His vision was the perfect way to capture the inherent oppositions within the garments, shoes and accessories, and their attitude and atmosphere in the perfect way.”

The new designs are worn by models posing all over Tokyo, straying from Aoki’s preferred street style hunting ground.

“I usually shoot in Harajuku, but this time it was exciting to shoot in the chaotic streets of Tokyo,” said Aoki. “We had a few interruptions that forced us to move around – but that’s the nature of shooting, and overcoming challenges is part of the fun. The location had a strong aura and the natural tension that it created with the Y-3 clothes was perfect.”

That tension in the photos reflects the physics that inspired Y-3’s Spring/Summer 2023 collection, which launches in-store and online on January 27.

“To bring this collection to life, we experimented with the contrast between high-speed velocity and its antithesis – reverse aerodynamics, resistance and deceleration,” said Pierre Beruschi.

“The look of speed is undeniably elegant and the direction of this collection is its disruption. We explored the polarities between these two identities and brought them together in harmony as an image on the body.”

That means fuzzy logos, flowing layers and reinterpretations of staple sportswear. Varsity jackets realized in bright colors collide with muted overcoats and coach jackets, anchored by billowing reinterpretations of the adidas Y-3 sweatpants.

The sneakers should be just as familiar to Y-3 fans, reviving classic adidas silhouettes with textural details from the Yohji Yamamoto archives.

In place of the more futuristic Y-3 shoes that informed the 20th anniversary Fall/Winter 2022 collection, there’s more emphasis on heritage; more Gazelles and less Qasas.

Aoki, the epitome of this old-school ethos, is the perfect person to capture the action.

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‘Lost’ photos by Paul McCartney to go on show at National Portrait Gallery | Paul McCartney

Unseen portraits taken by Paul McCartney in the early 1960s when the Beatles were catapulted to international stardom will go on display at the refurbished National Portrait Gallery in the summer.

McCartney thought the photos, taken between December 1963 and February 1964, were lost, but he recently rediscovered them.

The exhibition, Paul McCartney Photographs 1963-64: Eyes of the Storm, “will provide a unique personal perspective on what it was like to be a Beatle at the start of Beatlemania,” said Nicholas Cullinan, the NPG’s director. .

“The photographs taken during this period captured the moment when John Lennon, Paul McCartney, George Harrison and Ringo Starr were propelled from the most popular group in Britain to an international cultural phenomenon, from performances in Liverpool and London to performances on The Ed Sullivan Show in New York to a television audience of 73 million people.

“At a time when so many camera lenses were on tape, these photographs will share fresh insight into their experiences, all through the eyes of Sir Paul McCartney.”

‘Self Portraits in a Mirror’ by Paul McCartney. Photo: Paul McCartney/The National Portrait Gallery/PA

The Beatles star approached the NPG in 2020, Cullinan said. “He said he found these photos that he remembered taking but thought were lost. We sat down with him and started going through them. [It was] extraordinary to see these images – unseen – of such a well-documented, famous and important cultural moment.

“They are taken by someone who really, as the exhibition title alludes, looked out into the eye of the storm at what was happening.”

McCartney plans to publish a book of the photos to coincide with his 81st birthday in June. The 275 photographs in the collection were taken on a 35mm camera in New York, Washington, London, Liverpool, Miami and Paris.

McCartney’s family includes three celebrated photographers. His first wife, Linda McCartney, was the first woman to shoot a Rolling Stone cover. The couple’s daughter Mary McCartney is an award-winning photographer and filmmaker and his brother Mike has published books of images of the Beatles.

Detail from 'Vivien Leigh' by Yevonde (1936, printed 2022-3)
Detail from ‘Vivien Leigh’ by Yevonde (1936, printed 2022-3). Photo: Yevonde/The National Portrait Gallery/PA

Last year, McCartney published The Lyrics, in which he traced his life story through the lyrics of his songs. The book became a bestseller.

The NPG, a Grade I listed building in central London which houses the world’s largest collection of portraits, has been closed since March 2020 for a major refurbishment. During its closure, it loaned works to galleries and museums around the world.

The gallery will reopen to the public on June 22 with an exhibition exploring the life and career of Yevonde, the 20th-century photographer who pioneered the use of color photography in the 1930s. It will include portraits and still-life works that the artist produced throughout her 60-year career and will reflect the growing independence of women during that time, while focusing on the freedom that photography offered to Yevonde.

In the autumn, the NPG will re-establish an exhibition, David Hockney: Drawing from Life, which opened just 20 days before the gallery was forced to close due to Covid in March 2020. The exhibition explores Hockney’s work over the past six decades through his intimate portraits of five sitters – his mother, Laura Hockney, Celia Birtwell, Gregory Evans, Maurice Payne and the artist himself – in a range of mediums and styles, from pencil, pen and ink and chalk to photographic collage and iPad.

Detail of David Hockney self-portrait
Detail of David Hockney self-portrait. Photo: Jonathan Wilkinson/The National Portrait Gallery/PA

The 2023 show will also show for the first time new portraits of friends and visitors to the artist’s Normandy studio between 2020 and 2022.

In February 2024, the gallery will mount an exhibition of contemporary African diasporic artists working in the UK and USA, curated by the former director of the Institute of Contemporary Art Ekow Eshun.

The Time is Always Now: Artists Reframe the Black Figure will include works by Hurvin Anderson, Michael Armitage, Jordan Casteel, Njideka Akunyili Crosby, Noah Davis, Lubaina Himid, Claudette Johnson, Titus Kaphar, Kerry James Marshall, Toyin Ojih Odutola, Nathaniel Mary Quinn, Amy Sherald, Henry Taylor, and Barbara Walker.

In addition to examining how artists portray the Black form, it will address the absence of Black presence within Western art history.

The NPG has unveiled a new logo intended to “better reflect its role as a gallery made by the people, for the people, telling the story of Britain’s past, present and future through portraits”, and ‘ a redesigned website before its re-opening.

Cullinan said: “Our program of exhibitions for our first year [after reopening] presents some of the world’s most famous artists in a fresh light, contains extraordinary and never-before-seen images, uncovers the work of remarkable innovators, maps important cultural terrain and showcases the greatest contemporary portraits.”

  • Paul McCartney Photographs 1963-64: Eyes of the Storm will run from 28 June to 1 October 2023.
    Yevonde: Life and Color will run from 22 June to 15 October 2023.
    David Hockney: Drawing from Life will run from 2 November 2023 to 21 January 2024.
    The Time is Always Now: Artists Reframe the Black Figure will run from February 22 to May 19, 2024.

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6 years on, the Nikon D850 gets a firmware update

It’s been 6 years since the release of the Nikon D850, and Nikon is still update its firmware. In its most recent release, version 1.30, Nikon has added several features that bring this much-loved DSLR a little more up to date.

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