Masters of Photography Online Courses Launches with Joel Meyerowitz, One of the Greatest Living Fine Art Photographers Working in Colour

I was checking some references for my latest article on colour photography great Joel Meyerowitz when I came across the image featured in this article’s header above. Yes it is true, Joel Meyerowitz is teaching an online course on photography for Masters of Photography and I am sure it will be worth every single cent of its US$170 course fee. 

Walk with Joel in all his 34 lessons as he takes you on this truly inspirational photographic journey and shows you how to stay alive to the meanings and possibilities of the world in front of you. With Joel as your guide, you will learn how to find your creative voice and identity and apply it to your own photographic subjects. Join in and share your course photographs with Joel’s student community and get them critiqued. You will also get your own course certificate from Joel too.

For over 55 years, universally acclaimed, award-winning photographer, Joel Meyerowitz, has been one of the world’s greatest image-makers. Although Meyerowitz is a street photographer in the tradition of Henri Cartier-Bresson and Robert Frank, he transformed the medium with his pioneering use of color. As an early advocate, he became instrumental in changing the attitude toward color photography from one of resistance to nearly universal acceptance. Meyerowitz’s work has appeared in over 350 exhibitions in museums and galleries around the world, and he has published more than 25 photography books. He was the only photographer to gain unrestricted access to Ground Zero after 9/11, which produced a body of work that led Meyerowitz to represent the United States at the Venice Biennale for Architecture in 2002.

Meyerowitz is a Guggenheim fellow, a recipient of both the NEA and NEH awards, an inductee to the Leica Hall of Fame, an Honorary Fellow of The Royal Photographic Society and a recipient of their prestigious Centenary Medal. He has taught at Princeton University in New Jersey and at The Cooper Union in New York.

It is also pleasing to see that Albert Watson is teaching one of two coming courses, with the third being taught by Steve McCurry. I hope some great female photographers will present future courses on the principle of “if she can see it, she can be it”.

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Lewis Bush: A Portrait to Flatter

https://witness.worldpressphoto.org/a-portrait-to-flatter-652a5f855dd2

“… As I waited, my eye was drawn to the rows of digital displays hanging throughout the departure lounge. Normally displaying advertisements and train departure times, instead these boards were illuminated with a series of photographic portraits.

This was part of Portrait of Britain, a collaboration between the British Journal of Photography and the digital billboard operator JCDeaux, who came together to display 100 portraits of contemporary Britons on digital signage across the country….”

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Reuters: Reuters launches grant program to develop the next generation of photojournalists

https://www.reuters.com/article/rpb-grants/reuters-launches-grant-program-to-develop-the-next-generation-of-photojournalists-idUSKCN1BF0YJ

“… Reuters is launching a grant program which seeks to recruit and develop a diverse new generation of photojournalists to tell original human stories from around the world.

Reuters is offering up to eight $5,000 USD grants to passionate photojournalists or photojournalism students who are interested in working on photo assignments and projects to advance their abilities and tell new stories….”

DPReview: New TSA procedure requires cameras to be placed in a separate bin

https://www.dpreview.com/news/3718283787/new-tsa-rules-require-separate-screening-for-cameras

“Photographers who fly frequently in the US may want to finally pay for TSA Pre-check status. New rules state that in standard security lines, cameras will need to be placed in a separate bin for screening. According to new procedures announced by the TSA today, any electronic device larger than a cell phone will need to be removed from its case or bag and placed in a bin with nothing above or below it.

Now, not only will your laptop need its own bin, but potentially every camera body, lens, flashgun and tablet in your carry-on bags will need to be placed in bins for X-ray screening. A photographer traveling with a full complement of gear for a shoot is going to need to budget a little extra time for all of the un-packing and packing at the airport.”

Seercam Previews XLR Audio Extension Kit for Its Innovative Cube GH5 Camera Cage for the Panasonic Lumix GH5

Camera cage and accessories maker Seercam is about to release its extension kit for the company’s Cube GH5 camera cage and has kindly shared a set of photographs of the kit in situ on the cage and as part of a big Cube GH5-based rig. To all those moviemakers asking which accessories makers are building cages that can be safely stacked high with monitors, recorders, microphones, handles and more, Seercam’s Extension Kit for Cube GH5 is the answer to your prayers. 

Seercam’s Cube GH5 camera cage for the Panasonic Lumix DC-GH5 Super 16/Micro Four Thirds camera with Extension Kit for Cube GH5 attached.

Seercam’s Extension Kit for Cube GH5

The extension kit is primarily for use with Panasonic’s DMW-XLR1 XLR Professional Microphone Adaptor with 2 XLR Terminals, raising the Cube GH5’s Classic Plus Handle high enough and forward enough to accommodate the audio adapter.

The extension kit contains a rod holder to accomodate rods of various lengths for mounting extra gear and even a camera left side handle.

The folks at Seercam tell me that they are currently working on their own custom external battery pack, similar to the one depicted in some of these product shots. Unlike Motion9’s CubePower battery pack that “could not be sold overseas”, the new Seercam battery pack will be designed and manufactured to enable it to be sold overseas. More details will be forthcoming as development proceeds.

This is great news for those of us shooting long takes or through long days with the GH5, which apparently eats up battery power faster than its younger sibling, the GH4. Although I am partial to camera-mounted battery grips like Panasonic’s DMW-BGGH5, Seercam’s custom battery solution looks like a smarter and more versatile alternative.

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Image Credits:

Header image created in Affinity Photo then finished in Macphun Luminar.

Duclos Lenses Announces Premium Fujifilm X-Mount Adapter for Veydra Lenses on Fujifilm Super 35/APS-C Cameras

Hollywood moviemaking optics expert par excellence Matthew Duclos of Duclos Lenses has announced the development of a professional-class Fujifilm X-mount lens mount adapter for a subset of Ryan Avery’s Veydra Mini Prime lenses via Mr Duclos’ The Cine Lens website. Welcome news indeed. 

For Super 16/Micro Four Thirds format: Veydra Mini Prime 6 Lens Master Kit, 12mm, 16mm, 25mm, 35mm, 50mm, 85mm M4/3 with 6 Lens Case (Metric Focus Scale). Veydra lenses suitable for Super 35/APS-C format are 19mm, 25mm, 35mm, 50mm and 85mm.

For what felt like the longest time, Fujifilm staff members acknowledged privately then publicly that the company needed to do better on video, first with the groundbreaking Fujifilm Finepix X100 – which I use for shooting documentary stills to this very day – then through the X-E1, X-Pro1 and X-T1 and their smaller, more affordable companion cameras.

The offical Fujifilm product shot that signalled Fujifilm’s serious intentions for shooting professional video on the X-T2.

Fujifilm’s current flagship cameras, the X-Pro2 and X-T2 are the ones where they have finally begun to get it right for video, but there is some way to go yet, as indicated by Paul Leeming’s letter to Fujifilm citing the GH4 and GH5 as exemplars.

Panasonic was the first mirrorless interchangeable lens camera (ILC) maker to start to get it right so far as video goes, with Panasonic’s Lumix GH4 cementing that company’s position as masters of the Super 16/Micro Four Thirds sensored, eminently portable, day-long usable ergonomically-advanced documentary video and stills camera.

Hybrid stills/video cameras for use in serious moviemaking need to be solid, reliable, ergonomically-designed, able to be rigged up for handheld usability and equipped with a full set of videocentric features via firmware. Paul Leeming swapped from Red Super 35 cameras over to the Super 16 Panasonic Lumix GH4 for shooting short and full-length feature films. This is Mr Leeming’s most minimal rig for feature filmmaking.

The GH4 and now GH5 have not been adopted only by documentary moviemakers. Paul Leeming shoots feature films with his GH4 and now his similarly-rigged GH5 camera after moving away from the RED Super 35 cameras he owned and rented out for some years.

Veydra’s Mini Prime lenses filled a yawning gap in matched set lens options for Super 16 moviemakers relying on the GH4 and now GH5, and, with Duclos Lenses’ announcement of their X-Mount adapter, a subset of Veydra’s lenses is poised to do the same for Fujifilm’s X-T2 and rumoured “ultimate APS-C camera” for stills and video.

Fujifilm’s X-Mount lenses have been eyed-off by video professionals familiar with their Fujinon broadcast and movie production zoom lenses, for some time and for good reason, as Matthew Duclos shares in his post about the X-Mount adapter:

Any Fujifilm fan (including myself) knows that Fujinon makes some amazing lenses for their X line of cameras. They’re fast, lightweight, sharp, and relatively affordable. I firmly believe lens quality and selection is what sets Fujifilm apart from the rest of the mirrorless pack. But for motion picture work, the current lineup of Fuji X lenses simply isn’t going to produce good results. Will they get the job done? Sure… They’ll be good enough.

There is a difference between the needs of higher-end motion picture cinematographers and other moviemakers for whom stills lenses can be good enough for shooting video. Fujifilm seems to have recognized that with their recently released Fujinon MK 18-55mm T2.9 and MK 50-135mm T2.9 zoom lenses but there is no sign they will be coming up with videocentric prime lenses any time soon.

Veydra Mini Prime lenses for Super 16/Micro Four Thirds and Super 35/APS-C

That is where five out of seven of Veydra’s Mini Primes come in. All seven of them provide a well-spaced set of focal lengths from 12mm through to 85mm, in 35mm equivalent terms from 24mm to 170mm for Super 16 cameras. The Veydra subset suitable for Super 35 cameras like the X-T2 and its successors covers 19mm through to the 85mm focal lengths.

Veydra primes for Super 16/Micro Four Thirds cameras

  • 12mm – 24mm, in 35mm equivalence
  • 16mm – 32mm, in 35mm equivalence
  • 19mm – 38mm, in 35mm equivalence
  • 25mm – 50mm, in 35mm equivalence
  • 35mm – 70mm, in 35mm equivalence
  • 50mm – 100mm, in 35mm equivalence
  • 85mm – 170mm, in 35mm equivalence

The Veydra team was working on a wider lens than 12mm but had to abandon the idea as it would have been prohibitively expensive and oversized. Pity, as a 21mm equivalent or wider makes for excellent scene-setting and interiors shots.

Veydra primes for Super 35/APS-C cameras

  • 19mm – 28.5mm, in 35mm equivalence
  • 25mm – 37.5mm, in 35mm equivalence
  • 35mm – 52.5mm, in 35mm equivalence
  • 50mm – 75mm, in 35mm equivalence
  • 85mm – 127.5mm, in 35mm equivalence

The 12mm and 16mm lenses vignette on Super 35 cameras. Wider focal lengths than 19mm would come in handy, so may have to be sought from amongst Fujifilm’s prime lenses such as the Fujinon XF 14mm f/2.8 R or XF 16mm f/1.4 R WR with their clutch manual focus option.

The Fujinon XF 10-24mm f/4.0 R OIS or XF 16-55mm f/2.8 R LM WR zoom lenses offer wider options than 19mm too. Many Fujifilm users wish to see the latter lens upgraded with OIS as it would make an excellent stabilized companion to the 10-24mm and XF 50-140mm f/2.8 R LM OIS WR zooms.

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Image Credits:

Header image composite made in Affinity Photo and Alien Skin Exposure X2 using Summer Blockbuster (glow) Cinema preset.

Seercam’s Brilliant New Cage for the Panasonic Lumix GH5 Available Soon, Extension Kit to Follow

My favourite cage for my Panasonic Lumix GH4 camera was made by Motion9, now trading internationally under the Seercam brand name. The only GH4 cage I had ever seen in real life was Motion9’s CubeMix GH4/3 and if the company’s other GH4 cage, the CubeMix GH4/3 Pro had been available at the time, then I would most definitely have bought that model instead, for its NATO sliding handle and one-touch cable clamp.

Now, Seercam has revealed its cage for the Panasonic Lumix GH5 and it looks like it will be the cage I buy for my GH5, when one finally finds its way into the country and into my hands.

Seercam’s newly-revealed Cube GH5 cage and NATO handle. Extension kit to accommodate the GH5’s DMW XLR1 audio adapter is coming soon.

I took a well-researched gamble on Motion9’s CubeMix GH4/3 and it paid off handsomely. I will be keeping my GH4 as second camera to my GH5 when it eventually arrives and it will be wearing its cage even more then than it does now.

My GH4 will continue to be equipped with its Cube Cage Round Handle, in my experience the most secure design of the two Motion9 top handles, though it does not have the convenience of fast-on, fast-on via NATO rail or the ability to balance the camera’s weight via sliding to and fro.

I would love an updated round handle in the style of the one on Canon’s Cinema EOS cameras, but Seercam’s NATO rail-mounted CubeCage Classic Plus Handle looks tempting as does its quick-release Rod Riser 1565.

I would consider replacing Seercam’s NATO rail with SmallRig’s Quick Release Safety Rail 7cm 1195 though, for its spring-loaded pins to prevent accidental removal. It is the little things that count.

Pity both items are out of stock. Quick-release mechanisms, so long as they mount tightly and securely, are key to working fast and efficiently as an independent, self-funded documentary moviemaker who cannot afford crews and wasting time screwing and unscrewing camera rigging when needing to move fast.

8Sinn’s GH5 cage and handles, especially its Scorpio top handle that can double as a side handle, was the first custom cage for the GH5 to appear online and it has several attractions including its elegance, small size and camera-right hand grip-hugging design.

I have another camera cage now, SmallRig’s 1844 cage for the Panasonic GX8, and through it have come to appreciate the small size and light weight of minimalist camera cages, but for regular through heavy-duty moviemaking when I need to attach a range of accessories to the rig, Motion9/Seercam’s beautifully conceived, brilliantly designed and expertly manufactured cages are my go-to standard.

You can see why in the photographs below. For your product comparison convenience, links to other current GH5 cages are listed at the base of this article.

Seercam’s Cube GH5 body and handle

Coming soon: extension kit for placing handle over DMW XLR1 audio adapter

Of all the GH5 cages listed below, those by 8Sinn and Seercam remain at the top of my wishlist.

If I were shooting features as part of a small crew alongside a camera assistant and audio recordist then I would choose 8Sinn’s cage along with Veydra or Duclos’ Voigtlaender ciné-modded native M43 prime lenses and follow focus device.

While Veydra cinema primes deliver a more standardized look that gets out of the way of the story, Voigtlaender’s faster optics produce quirkier looks that can enhance certain types of stories.

If shooting documentaries as a doing-it-all-myself one-person crew then hands-down I would chose Seercam’s GH5 cage along with Olympus M.Zuiko Pro zoom and prime lenses though I may add one or two Panasonic lenses for the benefits of extra stabilization and DFD – Depth from Defocus.

I really like M.Zuiko Pro lenses’ repeatable hard-stop manual clutch focus mechanism, build quality, durability and colour consistency across the range, and can sacrifice some stabilization for the sake of all that. They are terrific for video as well as stills photography.

There was some consternation about the Olympus M.Zuiko 7-14mm f/2.8’s inability to accept screw-on filters when it first appeared, as there was about Panasonic’s Lumix 7.14mm f/4.0 lens, but some third-party filter adapter solutions for square or rectangular filters have appeared:

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