“At the beginning of the 21st century, author and academic Richard Florida predicted that the “creative classes” would become the driving force of economic growth in cities.
The wealth they generated would spread as the creative economy produced increasingly attractive, vibrant and productive urban centres.
Cities would become not only the beating heart of social and cultural life, but the engines of prosperity itself….”
“The Moderns: European Designers in Sydney, coming soon to Museum of Sydney, explores a forgotten aspect of Australian modernism, highlighting the direct connections between Sydney and the European design centres of Vienna, Berlin and Budapest….
While Austrian-born Harry Seidler AC, OBE became justifiably one of Australia’s most famous architects, the large, robust and interconnected community of European designers who were his contemporaries was all but forgotten….”
One of the most exciting outcomes of the arrival of Fujifilm’s GFX 50S medium format camera is its support by view camera makers like Cambo, effectively turning the GFX into a digital back for use with adapted lenses and shutterless lenses like Combo’s manual aperture Actar range.
I no longer have my medium format Mamiya RZ lenses, having been purloined from a shared studio in London, so Cambo’s Actar prime lens range is of particular interest as part of a view camera solution for architecture and portrait photography, as well as product photography of the sort Mr Witteveen demonstrates in his video.
The Actar range currently comprises five lenses from wide to telephoto:
I am unfamiliar with Cambo’s current technical view camera and lens product range but have fond memories of using Cambo studio view cameras in my magazine editorial portraiture days.
I put DxO ViewPoint 3’s new automatic correction functions to the test and give it a thumbs-up, with the hope that full EXIF support for Fujifilm X-Sensor raw files and files derived from them will be forthcoming.
“Save our Sirius,” said the man sitting on the pavement not more than three metres away from Sirius, the social housing icon of Brutalist architecture in Sydney’s historic The Rocks. “Why do they want to save a pub?”
More than a thousand citizens of all ages, who clearly do know what Sirius is and stands for, took part in a rally on September 17 to protest the imminent eviction of the last remaining longterm residents of Sirius and the planned sale and destruction of their homes.
People from all walks of life took part, including present and past residents of Sirius, Dawes Point and Millers Point, architect Tao Gofers who designed Sirius in the 1970s, local and state politicians, as well as architecture enthusiast and radio personality Tim Ross….
It is a rare, iconic example of the Brutalist movement in architecture, extant from the 1950s to the 1970s.