“…In partnership with NITV, the Australian Centre for Photography presents the work of photojournalist Barbara McGrady as a free educational resource for schools across the country. Through her pioneering work, students and teachers are invited to experience the important social, political and historical events witnessed by McGrady.
Spanning 30-years, McGrady’s works are important visual and historical records that inform our understanding of Aboriginal and Torres Strait Islander peoples in urban areas, and offer a powerful alternative visual representation of what it means to be Kooris today….”
“In Collaboration with Canon Master Daniel Linnet, Lisa Wilkson presents her photographic exhibition “Women of Influence” comprising powerful portraits of ten Australian women who have inspired her and influenced modern Australia. In her own words, Lisa reveals why she is captivated by storytelling through photography and why she chose to photograph Asher Keddie, Deborra-Lee Furness, Dame Marie Bashir, Peta Credlin, Turia Pitt, Evonne Goolagong Cawley, Cate McGregor, Gretel Packer, Mia Freedman and Dr. Susan Carland for this powerful and personal exhibition. As creative director of the shoot, Daniel will be able to your questions around the many different elements that need to come together to pull off a shoot of this level.”
“There’s Jayne Mansfield, striding through New York in a tight dress. There’s fashion designer Diane von Fürstenberg, reclining on a flight with a notepad on her lap. There’s lifestyle icon Martha Stewart, leading ducks round her property dressed in a denim romper suit. They’re all here, along with Susan Sontag, Nora Ephron and countless other celebrities, intellectuals and icons of the 20th century – and all of them women.
Susan Wood, the celebrated photographer who took these shots, found that her subjects all shared certain characteristics. “The first thing is intelligence,” she says. “The second is responsiveness. And they all had tremendous energy, joie de vivre, openness. They could understand things that weren’t quite said.”…”
“… It isn’t like Panasonic to have Mk II versions of its cameras in Europe but it is easy to see why this particular model is being presented as a ‘version’ rather than as a LX200 might have been. The LX100 II is clearly an update of the LX100, bringing the feature-set of the four-year-old compact into line with that of the company’s current G series cameras. At first, second and third glance, the new model is very much like the original in look and feel as almost all the changes have happened inside not outside the body….“
Although Panasonic classes its Lumix DC-LX100 II as a camera for enthusiasts, this stratification of camera models into professional, enthusiast and beginner is just a little off the mark especially given the varying needs of independent documentary moviemakers and photographers.
Few professionals rely on just the top-end flagship cameras and lenses in any product range.
When I felt the need to supplement the revolutionary Fujifilm X100 “enthusiasts” camera with something similar I chose Fujifilm’s X10 and relied on both for professional-level photography assignments for my voluntary work for a health and human rights charity.
I could have used my Canon EOS 5D Mark II for the job but it would have been the most inappropriate choice given the circumstances and sensitivities of my subjects and the places and events where they were to be found.
My X100 has been honourably retired though it sometimes comes out for documentary projects where discretion is demanded, and my X10 has found a home with a friend needing a great little travel camera.
The only downside to both cameras was Fujifilm’s then lack of commitment to top quality video, so I switched over to Panasonic’s groundbreaking Lumix DMC-GH4 as my prime stills and video camera with a Lumix DMC-GX8 as a backup which rived so capable in its own right that I often carry it every day equipped with the sadly underestimated Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS zoom that I bought secondhand via eBay.
The only downside to both cameras is that neither is as compact as Fujifilm’s two offerings and had I known about the Lumix DMC-LX100 chances are that I would have added one of those to my kit.
I still miss the ability to carry a small, lightweight camera with me each and every day either stowed in a larger bag or in its own dedicated detachable belt pouch such as Think Tank Photo’s Stuff It! or better yet Little Stuff It!
Panasonic’s Lumix LX100 was unique in its day for mating a top-quality wide aperture Leica, no less, zoom lens with a variable Micro Four Thirds sensor and still has no equivalent in other brands other than Leica’s D-LUX (Typ 109), an outcome of the Panasonic-Leica camera and lens joint production exercise.
The announcement of the Lumix LX100’s successor as a newer version rather than a complete new replacement in the form of the long-expected Lumix LX200 has come as a surprise and casts doubt on whether and when the hoped-for vamped-up LX200 may ever appear.
Meanwhile I will be keeping an eye out for hands-on reviews of the Lumix LX100 II, adding them to this page, and am hoping that the camera will provide a worthy supplement to its predecessor which clearly still has some life left in it yet albeit with a slightly reduced feature set compared to the Lumix LX100 II.
“… The ‘Be Alpha’ campaign will also feature programs that are designed to foster growth in both the current and next generations of imaging professionals, the most notable of which being the flagship ‘Alpha Female’ program. This multi-tiered, female exclusive program is Sony’s thoughtful response to the imaging industry’s well-documented diversity challenges. It will include a variety of grants and mentorship opportunities for female photographers and videographers, as well as the production of several large-scale industry events. Additional details to be released soon….”
Details about Sony’s coming ‘Alpha Female’ program thread of the ‘Be Alpha’ campaign have yet to appear online but this is the very first time to my knowledge that any camera maker has done anything to address the huge imbalance in opportunities for and representation of female photographers and moviemakers.
It is likely that concrete information about the ‘Alpha Female’ program and the ‘Alpha Female’ photographers and moviemakers involved in it will begin appearing during the ‘Be Alpha’ campaign launch event on August 19th, World Photography Day, in New York City.
I hope that the ‘Alpha Female’ program will be a beacon to all aspiring and established female photographers and moviemakers everywhere, not just limited to the USA, and inspire all camera and other hardware manufacturing companies to make a real change for the better.
Coverage of Sony products, as well as those by Canon and Nikon, has been sporadic here at ‘Untitled’ but Sony’s ‘Alpha Female’ program as well as the other two camera makers’ coming high-end mirrorless cameras are incentive to try to persuade all three brands to assist us in writing about their products with firsthand experience.
Another such incentive is Australian cinematographer/director Paul Leeming’s creation of Sony and Canon inclusive Leeming LUT Pro, “the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading”.
“Multi-camera shoots are now much easier, because you are starting with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading. Once all your cameras have been corrected, you can optionally use the specially matched Leeming LUT Quickies™ for a one-touch creative grade designed to work seamlessly with the common baseline of Leeming LUT Pro™ corrected footage.”
Alpha Universe – Artisans of Imagery – 7 female artisans out of a total of 39 as at Thursday August 16, 2018.
World Photo Day – “Founded in 2009 by Australian photographer, Korske Ara, World Photo Day has taken over 7 years to grow into the global photography celebration it is today…. In 2016, World Photo Day reached a global social audience of 500 million people around the world, inspiring photographers around the world to share their stories.”
Help support ‘Untitled’
Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.
“The sinew and texture of history are to be found in this grippingly detailed documentary by Peter Stephan Jungk, based on his 2015 book The Darkrooms of Edith Tudor-Hart. She was Jungk’s aunt: an Austrian-born documentary photographer and socialist, domiciled in Britain during and after the second world war, whose work brilliantly recorded the lives of the urban working classes in Vienna, London and the Rhondda valley….”
This documentary on the life and work of Edith Tudor-Hart is currently doing the rounds of cinemas and film festivals, and I hope that it will eventually become available for viewing or purchasing online.
Far too many historically important female photographers and especially female documentary photographers have been forgotten about and left out of the historical record, gallery shows and museums, and time is well overdue for Edith Tudor-Hart and so many others of her ilk to be recognized, racy political background or not.
Comments in the media about Edith Tudor-Hart’s reliance on a Rolleiflex Twin Lens Reflex aka TLR camera are interesting.
I used several Rolleiflex TLR cameras during the analog era and would have loved to have been able to buy one each of the most recent standard lens, telephoto and wide-angle lens versions of the camera, but Rolleiflexes were always hard to find and costly new or secondhand.
Their waist-level viewfinders and other viewing options made it possible to melt into the crowd when photographing in public or next-to-invisible when making portrait photographs in public or in the studio, aided by their relatively quiet leaf shutters.
There was no mirror slap as their twin lens reflex design meant they had a lower lens for making the photograph and the upper lens for viewing, with the viewing compartment mirror fixed.
Rolleflex and other brand TLRs such as those made by Mamiya and Yashica continue to be popular amongst certain documentary photographers who are blessed with access to good secondhand camera suppliers, but there are digital alternatives such as Fujifilm’s medium format GFX 50S with optional tilting EVF adapter and more affordably Panasonic’s Lumix DMC-GX8 and DC-GX9 Micro Four Thirds camera, both of which have built-in tilting EVFs.
It is also possible to make waist-level-style photographs with cameras having tilting LCD monitors, though I much prefer fully-articulated LCD monitors for the purpose and some Panasonic cameras have these too, on cameras including the DSLR-style Lumix DMC-GH4, GH5, GH5S and G9.
Given the choice between tilting EVFs, tilting LCDs and fully articulated LCDs, my preference by far is for cameras combining tilting EVFs with fully-articulated LCDs as they present the most versatile viewing options and thus the most ways of seeing and shooting stills and video.
Waist-level and tilting viewfinder cameras and users
Photojournalist Ian Berry of Magnum Photos using Panasonic Lumix DMC-GX7.
Photojournalist Thomas Dworzak of Magnum Photos using Panasonic Lumix DMC-GX7.
Australian photojournalist Daniel Berehulak using his Panasonic Lumix DMC-GX8 with fully-articulated LCD monitor.
Small tilting electronic viewfinder (EVF) on the Panasonic Lumix DC-GX9 rangefinder-style camera.
Fujifilm GFX 50S medium format digital camera with Fujifilm VG-GFX1 Vertical Battery Grip and tilting LCD monitor.
Fujifilm GFX 50S medium format digital camera with Fujifilm EVF-TL1 EVF Tilt Adapter.
Fujifilm GX680 II 6cm x 8cm format 120 roll-film camera, like a cross between a view camera with camera movements and a waist-level twin lens reflex camera, lovely for portraits and product shots. Photograph courtesy of Cambo.
Hasselblad 203FE with waist level finder. Photograph courtesy of Japan Camera Hunter.
Phase One XF 100MP cameras. Photograph courtesy of Phase One,
Rollei Rolleiflex 2.8 FX Medium Format Twin Lens Reflex Camera with 80 mm Planar f/2.8 HFT lens, now no longer in production.
Rolleiflex 4.0 FW Medium Format Twin Lens Reflex Camera with Built-in Schneider Kreuznach Super-Angulon 50mm f/4 HFT lens, now no longer in production.
Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.
Fujifilm GFX 50S Medium Format Mirrorless Camera – B&H – soon to be joined by the release of its larger GFX 100S and smaller GFX 50R siblings.
Fujifilm EVF-TL1 EVF Tilt Adapter – B&H – with the addition of this tilt adapter the Fujifilm GFX 50S in effect becomes a waist-level viewfinder camera.
Fujifilm VG-GFX1 Vertical Battery Grip – B&H – adding this battery grip helps turn the Fujifilm GFX 50S into a viable vertical/portrait format camera for handheld or tripod use for portraiture and documentary photography.
Fujifilm 64GB Elite II Performance UHS-II SDXC Memory Card – B&H – until this fast SDXC card appeared at B&H, I was unaware that Fujifilm also makes memory cards. Worth buying and trying.
Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DMC-GH4 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital Camera (Body Only, Black) – B&H
Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm Lens – B&H
Panasonic DMW-EC5 Eyecup – B&H – essential for getting the best out of the GX9’s small field sequential viewfinder.
Panasonic Hand Grip for Lumix DC-GX9 Mirrorless Camera – B&H – essential for safe, secure grip of the GX9 when using medium-sized to large lenses.
The arts often cross-fertilize each other and inspiration is to be gained from anywhere and everywhere in the same way as fertile subjects for photography and moviemaking are often to be found just around the corner.
The colour and monochrome photographs of Joel Meyerowitz have been major influences on my own photography and moviemaking since seeing some of his colour photographs in a tiny little book decades ago, so it is wonderful to learn that Where I Find Myself, Joel Meyerowitz’s first major retrospective in book form, is due out soon to accompany a major retrospective exhibition in Berlin.
“There are so many books for photographers, but I’ve boiled my long reading list down to a few books that have had the greatest influence on my journey in photography. The following is a list of the top 5 books that I believe every photographer should read….”
This top 5 list of photobooks shared by Kirk Mastin of Mastin Labs contains five of the best and most inspiring ever published, with four of them featuring the work of some of the most inspirational photographers of the century, Alex Webb, Richard Avedon, Martin Parr and Win Wenders, all highly recommended.
“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.”