20. April 2021
von TPetrik
Kommentare deaktiviert für Call for Sessions and Papers: Labour and Working Class Studies (ESSHC 2022)

Call for Sessions and Papers: Labour and Working Class Studies (ESSHC 2022)

Deadline: 15 May 2021 The fourteenth European Social Science History Conference (ESSHC) will take place from 20-23 April 2022 in Gothenburg (Sweden). The ESSHC brings together scholars interested in explaining historical phenomena using the methods of the social sciences. The conference is characterized by a lively exchange in many small groups, rather than by [...]

The post Call for Sessions and Papers: Labour and Working Class Studies (ESSHC 2022) appeared first on Worlds of Related Coercions in WorK.

20. April 2021
von Jaron Schneider
Kommentare deaktiviert für Photo Series Captures Abstract Geometric Landscapes Via Hot Air Balloon

Photo Series Captures Abstract Geometric Landscapes Via Hot Air Balloon

Photographer Zoe Wetherall has captured a series of images from the perspective of a hot air balloon, creating abstract landscape images with a top-down perspective. Called “Lines of Nature,” her series juxtaposes the lines of man, nature, and where they come together.

As noted in a description of the series, Wetherall’s arid abstract landscapes heavily feature the Yarra Valley in Victoria, Australia. Some of the images include barely discernible animals and vegetation while all of them are punctuated by drawing lines using geographic and topographic features.

All of Wetherall’s photos in this series were taken from the basket of a hot air balloon a few hundred feet in the air with a straight-down perspective, excluding the horizon, sky, or any visual reference point.

Wetherall became interested in photography from a young age before cultivating the skill in high school and college.

“My Dad taught me how to use his SLR camera when I was around 8 years old,” she tells PetaPixel. “I studied photography in high school, learned to use a darkroom and also Photoshop, then went to a small private photography college in Melbourne, Australia. I then assisted some commercial photographers before starting to do commercial work myself, alongside shooting personal work. I can’t remember a time when I wasn’t interested in photography.”

She says that while she shoots commercially, her real passion is her personal work.

“Before I moved to New York city, I visited the United States many times and traveled across the country,” Wetherall says. “On one of those trips about 10 years ago, I had the chance to do a hot air balloon ride. I had my camera and I started shooting with a long lens focusing in on specific areas of the landscape that interested me.”

Wetherall says that experience was the first of many hot air balloon flights.

“It was like it lighted a fire in me and I thought it was so much fun – and I still do,” she says. “Being in a balloon is a great way to photograph because they generally move pretty slowly and you don’t have to remove doors or windows to shoot. It’s also very quiet and peaceful compared to being in a helicopter.”

Not only is it more peaceful, quiet, and easier to capture photos from all directions, but Wetherall also likes another aspect of hot air balloons: the unpredictability.

“One thing I love is the unpredictable nature of hot air balloon flights. No two flights are ever the same, even if you launch from the same location,” she explains. “I can’t control where we go as we follow the wind so there’s only so much planning I can do before a flight. I love floating along with the wind not knowing what shots I’ll end up with by the end of the flight. Using a drone just isn’t the same because I like to be in the air myself seeing what catches my eye. It makes me feel alive.”

The inspiration behind this particular project lies in Wetherall’s interest in the relationship between man and nature. She says her favorite locations to shoot are always somewhat natural but at the same time show man’s influence such as farming or winery regions.

“Over the years of doing balloon flights I have developed a distinct style: looking straight down in a compressed view, eliminating the horizon, focusing on texture, pattern, and color,” she says. “Shooting this way allows me to highlight what I want without any distractions, and by creating almost abstract images from above I can more easily document the contrast between man-made and natural landscape.”

You can see Wetherall’s full Lines of Nature series as an online exhibition here, and prints are also available. For more of her aerial imagery, visit her website here.

Image credits: Photos by Zoe Wetherall and used with permission.

20. April 2021
von Jannis Hagmann
Kommentare deaktiviert für Krieg in Syrien: IS meldet sich zurück

Krieg in Syrien: IS meldet sich zurück

In Syrien und Irak verübt der „Islamische Staat“ wieder regelmäßig Anschläge. Das russische Militär will nun 200 Aufständische getötet haben. mehr...

20. April 2021
von Usman Dawood
Kommentare deaktiviert für Is Fujifilm’s Color Science Really as Good as They Say?

Is Fujifilm’s Color Science Really as Good as They Say?

One of the most common arguments that I hear in favor of Fujifilm cameras is about how great its color science is. I frequently hear about how Fujifilm camera produces the best colors and unfortunately this is not a sentiment I can co-sign. As much as I love Fujifilm cameras, I believe the colors they produce require some adjustment.

The Fujifilm X-T2 was one of the most exciting mirrorless cameras to be released in its time. The higher resolution sensor, improved autofocus, and video features made it a brilliant option for many photographers. The grip system was a little controversial, although for most people it wasn’t a major problem.

The main issue I faced with this camera was the colors. The X-T2 would produce images that leaned far too much into the magentas. This was made even more noticeable once the Fujifilm X-T3 was released with its improved color science.

Test shots captured by the Fujifilm XT-3 (top) and Fujifilm X-T2 (bottom).

The above image was taken in a controlled scenario with the same lens and lighting. The X-T3 produced better-looking color in comparison to the older model which seems to indicate that Fujifilm recognized this as something to improve. However, as much as the X-T3 improved over its predecessor, it still produces colors that somewhat ugly and uninspiring.

Sony Versus Fujifilm

I cannot decide which camera manufacturer has worse color, Fujifilm or Sony. Both cameras produce great images, but colors from either camera are pretty poor. Sony tends to produce odd colors, especially in skin tones and Fujifilm images tend to look a little lacking and ugly.

Sony a7R III + Zeiss Batis 85mm f/1.8
Fujifilm X-T3 + 56mm f/1.2

The two images above were processed in Lightroom and the Fujifilm colors look rather ugly. The green tones that have seeped into the image just take away from the overall feel. The Sony image actually looks better, and Sony isn’t known for having great color.

Sony a7R III + Batis 85mm f/1.8
Fujifilm X-T3 + 56mm f/1.2

Capture One seems to a common defense for Fujifilm files. Unfortunately, even Capture One can’t fix all of the color issues that Fujifilm images have. The image comparison above once again shows how images from the Fujifilm are slightly bland and less interesting. This is especially the case in the red tones found in Danielle’s jumper. The Sony looks more vibrant and more interesting.

Fujifilm does have more color profiles available, but they seem to overdo it in the other direction. Velvia for instance is far too harsh with the color and contrast. It is as though the vibrance slider was pushed by someone just starting out in photography.

Fujifilm Versus Canon

This is where things start to get a little more interesting. Canon is generally known for being a company that produces cameras with great-looking color. In many instances this is true, Canon does a fantastic job at not only producing great-looking color but also relatively accurate color.

Fujifilm GFX 50 + 63mm f/2.8. Provia Capture One
Canon 5DS R + Sigma 50mm f/1.4

In the comparison above, both images were shot around the same time and with flash. Daylight white balance was selected for both cameras and raw files were processed in Capture One. The Fujifilm image looks odd with its magenta shift and colder overall tone. The sunlight on the home behind the subject looks dull and far too cold. Skin tones look unnatural and the image overall is somewhat ugly due to the color.

Canon on the other hand looks far better. Skin tones and colors look like what you’d expect around late afternoon.

Fortunately, there is a way to fix the color issues from Fujifilm cameras.

1. Create a custom ICC profile using the ColorChecker Digital SG in Capture One via Lumariver. software.

2. Convert the file you’re working on in Capture One to a DNG file.

3. Import the DNG back into Capture One.

4. Apply the custom ICC profile you created, and you have an expensive and cumbersome fix.

Fujifilm GFX 50 + 63mm f/2.8. ICC colour profile applied

Once you apply a custom profile to the GFX file, it looks noticeably better than Canon. It also moves into the direction that Canon originally took with its straight out of camera color.

Fujifilm vs Fujifilm

Up until now, all of the points I’ve made about Fujifilm colors could be described as personal preference and subjective. To challenge this, we have another comparison below. The images we’re looking at were taken on the Fujifilm GFX 100 with the 120mm f/4.0 Macro. Both images were taken with the same lighting and camera settings. Both images were processed in exactly the same way in Capture One and both files have noticeably different colors.

GFX100 + 120mm Macro. Single shot image.
GFX100 + 120mm Macro. Pixel shift image.

The difference between both images is that one was a single shot from the GFX 100 and the other a pixel shift image. The colors in the single-shot image are predominantly interpolated and through that guesswork, Fujifilm has produced a magenta-shifted image that is not accurate. Once you take that interpolation out of the equation via pixel shift features, you can see the difference. We now have an objective point about the colors that Fujifilm cameras produce.

Essentially, Fujifilm is saying that the original colors in the single-shot image are incorrect and it should actually look like ‘this’. Of course, some could argue that is the benefit of pixel shift. However, when you shoot with cameras like the Hasselblad H6D 400c, the difference in color isn’t anywhere as significant. This is because the Hasselblad starts off with much better colors even in its single-shot files. This is similar across the board with all of its cameras.

Final Thoughts

The reason for this article is not to critique Fujifilm without any purpose. The reason is to highlight some of the problems with the hopes that Fujifilm provides better color profiles in the future. As a company, Fujifilm listens to its customers. It is for this reason I feel comfortable pointing out any potential issues because the company has a great relationship with its customer base.

Fujifilm has produced some of the most incredible cameras currently on the market. The GFX 100S is a perfect example of this. I believe that with a few adjustments to its color algorithms, Fujifilm could become the best high-end camera system on the market.

About the author: Usman Dawood is the lead photographer of Sonder Creative, an architectural and interior photography company. The opinions expressed in this article are solely those of the author. You can find more of Dawood’s work on his website, Instagram, and YouTube.

20. April 2021
von Anete Lusina
Kommentare deaktiviert für Short Film of Iceland’s Eruption Views it as a Collective Human Experience

Short Film of Iceland’s Eruption Views it as a Collective Human Experience

Two filmmakers created a short film, “Volcano for the People,” that explores the recent Iceland volcano eruption less as a natural phenomenon, but more as a collective experience that brings humanity together.

When Iceland’s Fagradalsfjall volcano began erupting in March, many photographers, filmmakers, and nature enthusiasts eagerly traveled to the country not only to document it but also to witness the natural wonder in person. For everyone else who has not been able to travel to see this phenomenon, captivating photographs and videos have already been shared by several photographers and filmmakers, such as this documentary of its formation, or the sounds of the eruption, or the experience of getting up close.

Two photographers and filmmakers, Donal Boyd and Frank Nieuwenhuis, decided to change the narrative and explore this volcanic eruption as a collective and also personal experience shared by thousands of people by creating a short film that focuses primarily on the spectators being at one with nature, more so than the actual eruption itself. The intention of creating this project was to illustrate how this volcano eruption impacted the lives of the people who visited.

Generally, enjoying nature is seen as a solitary venture, especially for photographers who are exploring new and untouched areas to capture. However, this time the Fagradalsfjall volcano brought thousands of people together making it impossible to enjoy the natural event alone.

This is the moment that Boyd refers to as the realization that perhaps this is something that shouldn’t be enjoyed alone but should instead be shared with others, with one of the interviewees from the short film comparing it to enjoying a public performance, while others compared the experience to being at a festival or at a camp.

One of the common feelings that visitors shared was the appreciation for experiencing something that is unique and could vanish at any time to not be seen again for decades or longer.

As opposed to volcanoes in Iceland in the past, this time the eruption was more easily accessible via hiking as opposed to only reachable by helicopter or other modes of transportation that may not be easily available to the general public. This allowed everyone who was willing, even families with children, to participate in this once-in-a-lifetime spectacle. The two filmmakers point out that this time it’s clearly visible that the people are not fearful of this force of nature and are embracing it instead.

The duo also partnered with Adorama TV to create a behind-the-scenes video showcasing how they planned, shot, and edited this short film. Even though most of the footage and photographs shared by photographers and filmmakers show picturesque landscapes and people enjoying the scene in close proximity, secure access and safety should not be underestimated.

Boyd and Nieuwenhuis were familiar with the security protocols in place, including the advisory system set up by the Icelandic Meteorological Office, which released daily updates of the viewing conditions at the eruption site, which helped the team plan their shoots every day. Meanwhile, trained volunteers helped set up hiking trails, parking lots, and more, while ensuring the safety of the visitors.

Their behind-the-scenes video is accompanied by a detailed description of the equipment they used and practical advice to fellow photographers and filmmakers who may encounter similar scenarios. Boyd points out that you can never be too cautious when dealing with a natural phenomenon that produces hot lava. Not only is it dangerous for people, it also has can very easily damage equipment as some have melted their drones by flying too close. Although drone footage can be incredible, personal and equipment safety should be the top priority.

Boyd mostly relied on his Sony a7R IV as his main camera combined with Sony FE 135mm f/1.8 GM lens. The field of view produced by the lens gave Boyd the optimal distance to allow him to photograph the lava spitting out of the main craters, compared to longer lenses which produced a view that was too narrow for his preference. A full list of Boyd’s advice and gear for photographing a volcano can be found on Adorama blog.

Image credits: Photos by Donal Boyd and used with permission.

20. April 2021
von Jaron Schneider
Kommentare deaktiviert für Polaroid Launches Polaroid Go, The Smallest Analog Camera in the World

Polaroid Launches Polaroid Go, The Smallest Analog Camera in the World

Polaroid has launched what it is calling the tiniest member to join the Polaroid family of cameras and also the smallest analog instant camera in the world: the Polaroid Go. Everything about it is smaller, including a miniaturized version of its classic, square format film.

The Polaroid Go is 4.1 inches long, 3.3 inches wide, and 2.4 inches tall, and weighs 0.53 pounds (242 grams) without a film pack. The company says it was designed as a “wearable creative companion” camera that can easily be taken on the go to allow for “playful” image capture without any of the hassle that tends to come with larger cameras.

The tiny camera has a newly developed selfie mirror, self-timer, what Polaroid says is a long-lasting battery (up to 15 packs of film per charge), a “dynamic flash,” double exposure capability, and travel-friendly accessories. Polaroid says that the inclusion of all these features makes it easier for anyone to capture memories “wherever creativity takes them.” The camera’s shutter speed is variable between 1/125 and 30 seconds and the aperture behind the polycarbonate resin lens is variable between f/12 and f/52.

The size of the Polaroid Go appears to be a direct response to the ease that smartphone cameras have instilled in the average consumer. It’s easy to convince people to use a smartphone as a camera when it’s intrinsically connected to a device that most people can no longer live without. Polaroid seems to be saying that they hope the small size of this camera can help make it easier to bring the instant camera on the go.

“Bringing innovation, product design, creativity, and a little bit of attitude back to Polaroid has been our focus ever since we took over as the new team three years ago. The Polaroid Go is our biggest contribution to this yet. It is just really playful yet incredibly well-designed, and it’s going to make it so easy for you to bring a totally different camera than your phone with you wherever you go,” Oskar Smolokowski, Polaroid’s CEO, says.

Accompanying the launch of the Polaroid Go camera is the Go film, which is a reimagining of Polaroid’s classic square format in the smallest analog film the brand has ever produced. The Polaroid Go is only compatible with Go film.

Below are a few sample images that were shot with the new camera:

The Polaroid Go ships with one Color Film Double Pack (16 photos per double pack, ASA 640) as well as a USB charging cable for the battery and a neck strap.

The Polaroid Go is available for pre-order until April 27 when it officially launches. The camera retails for $100 and additional Go film double packs will cost $20. You can order the camera and film on Polaroid’s website here.

20. April 2021
von Illya Ovchar
Kommentare deaktiviert für The DSLR I Am Not Retiring: A Long-Term Review of Canon 5D Mark IV

The DSLR I Am Not Retiring: A Long-Term Review of Canon 5D Mark IV

Released in 2016, the Canon 5D Mark IV got a range of reviews, with most being quite negative. 5 years down the road, how does this camera hold up in professional jobs, and will I be upgrading from it?

Last year, just before things got slightly out of hand, I upgraded from a 5D Mark II to a 5D Mark IV. As a fashion photographer who still shot events for a living, I was seeking an upgrade for two reasons: more resolution, higher ISO, dual card slots.

In the Canon ecosystem, the 5D Mark IV was the most reasonable camera. Come pandemic, I lost all my event work and decided to sack off that branch completely, as I had been meaning to for some time. Having shot all sorts of work on the 5D Mark IV and having seen how it performed for me, I am prepared to share my thoughts on this camera. (Spoiler: it’s a great camera.)

I must point out that I’m not a technical photographer, and I probably won’t be pixel-peeping and discussing niche details. So far, I bought gear that I needed to get my job done, and not because I might need it to get a job done.

The first item on my list was decent zoom lenses that could do f/2.8. While it took me several years to get to, I first invested in glass, only then came the good bodies. At the moment, I own three lenses: a 16-35mm f/2.8 II, a 24-70mm f/2.8 I, and a 70-200mm f/2.8 IS I. As you can see, I don’t chase the latest and the greatest — I chase only the bare minimum I need to confidently do my work.


I saw the upgrade to a 5D Mark IV as a leap to new horizons. It was better in every way than a 5D Mark II, and this was truly an upgrade I wanted for quite some time. The camera had plenty of new features and improvements that made it incredibly well suited for shooting events, especially in low-light. The improved resolution was great for cropping, ergonomics made it well suited for my large hands, and the viewfinder never failed to warn me that I’m doing something wrong.

The camera is also built very well, and despite me using it in the nastiest conditions, it’s holding up. I had it dropped, soaked, and abused. So far, it’s fine and I hope it stays that way. The shutter count is approaching a milestone of 100,000. Soon, I will be adding a 5DS to my arsenal, as beauty work requires extra resolution.

The Good

The 5D series is quite special to me in general. My first big milestone job was shot on a 5D camera. The 5D Mark II, which gave me fond memories showed me that it was built to be a workhorse. The 5D Mark IV builds on that incredible legacy. It offers great build quality, with the body feeling solid. The magnesium alloy that it’s made out of survived many dings, and large crashes. So far, the only part I had to replace was the hot-shoe. If you have a screwdriver, it’s a 10-minute repair.


Color reproduction is quite important for my work. While I pay close attention to skin tones, I like all other colors also being true to what they are. Having done extensive beauty work on it, it does a pretty good job with keeping tones, as well as offering color depth (24.8 bit). The 13.6 EVF dynamic range means I can have plenty of detail even in the most unusual conditions. That deteriorates with higher ISO, but I found that anything shot up to ISO 6400 is very solid and can go on medium-sized print, and most digital.

I’ve had to take portraits at ISO 6400, and they were fine. Anything beyond ISO 6400 is not usable in my eyes. There are inconsistencies. The only use I’d see for this camera at high ISO is at press work that will be in black and white. A general tip would be to go for B&W when you’re at a high ISO.


As I work with a team most of the time, tethering is huge for me. Luckily the USB 3.0 port has no problem delivering images to Capture One at great speed. This is huge for me, as I had some speed issues with the Mark II.

Other connectivity features are somewhat irrelevant to me. I only used the WiFi function when I wanted to post something to an Instagram story quickly. I never had to use NFC and found the GPS a bit redundant too. The HDMI port was handy with external monitors, and the microphone jack also helped me get cleaner audio. The PC sync port is a bit dated, but I used it once with a gnarly flash setup where I mixed a number of brands.


The autofocus on this camera is second to none. The same module is used on the flagship 1D X series built for action sports photography. The autofocus system has plenty of points, which get it tack-sharp 99% of the time. If you know what you’re doing, 100%. The continuous autofocus in the video was also a nice addition. I am awful when it comes to focus-pulling, much of the videos I shot on it relied on that continuous video autofocus.


Speaking of video: I wish I shot more of it. So far, the only times I did video work on the 5D Mark IV was on rescheduled events. Even then, the camera was used for both: stills and video. The custom mode on the main dial made that process incredibly easy to do, and the low-light performance ensured I got decent results no matter the venue.

Ease of Use

When it first arrived, I didn’t have any trouble with getting to know it. The leap from the 5D Mark II was very easy. Luckily, most buttons stayed where they were. The of/off switch right by the mode dial was very welcomed.

The feature I was most excited about was the ability to customize it to my liking. The AF-on button will toggle AI-Servo mode for me, while the m-fn (conveniently near the shutter) will change the ISO.

The touchscreen seemed useless, but I love it. This helped me be more efficient, and adapt to sceneries a lot faster. For me, a sign of good gear is not having to open the manual ever. With the 5D Mark IV, that is the case.

The Bad

This camera has been incredibly good to me, but it has its flaws. I must say that none of them are critical when it comes to most work. They are nice additions.

Articulating Screen

The biggest one for me is the lack of it. This is nothing compared to not having live-view at all (like in my first DSLR) but still, an articulating screen would be a nice touch.

Lacking Video Features

Another turnoff is the lack of video features. I remember having focus peaking on the 5D Mark II and being able to pull off okay focus. Probably with focus peaking, I would be doing more video work as it makes life a lot easier. I am looking forward to seeing a Magic Lantern release for the 5D Mark IV — it’s been in the works for some time now.

Selective Spot-Metering

A nice feature to have would be spot-metering for a selected autofocus point. This is mostly applicable to concert photography where everything bar the subject is dark.

What’s Next?

I am not retiring my 5D Mark IV until it breaks. And even then, I might just get another used one and stick to it. The Mark IV is a great camera that can be used for pretty much any genre of photography. I am going to purchase a 5DS soon, as I need more resolution, and don’t really care about ISO.

Why not the Canon R5? Because I have to buy two of them if I decide to invest in the R5. That amounts to $8,000, which my business is not ready to take on. But that’s already a whole other topic.

About the author: Illya Ovchar is a commercial and editorial fashion photographer based in Budapest. The opinions expressed in this article are solely those of the author. You can find more of Ovchar’s work on his website and Instagram.

20. April 2021
von Dominic Johnson
Kommentare deaktiviert für Krieg in Tschad: Präsident Déby ist tot

Krieg in Tschad: Präsident Déby ist tot

Nach über 30 Jahren an der Macht fällt Tschads Staatschef Idriss Déby im Kampf gegen Rebellen. Das Militär übernimmt, geführt von seinem Sohn. mehr...
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