We send Australia’s most experienced photographers far and wide across our vast nation. These assignments involve months of planning, making contacts and following up leads, regrouping from dead-ends, sorting out permits, often through multiple state departments, and where possible, consultations with First Nations.
Our visual storytellers need to have the survival skills to safely navigate remote locations on their own, to be able to work and file on the hoof, to have the social and emotional intelligence to flesh out the different strands of the story, and make meaningful connections in the field in order to produce work with depth and uncover new angles.
Our photographers can pivot between documenting aerial, video, stills and audio to provide the comprehensive, often sensory, detail that our stories are renowned for. Dean Sewell spent weeks in his swag for us, working on one story that he began more a decade ago. Adam Ferguson travelled thousands of kilometres up the Dingo Fence to Cameron Corner, in the extreme far west corner of NSW, making friends with the people who live their lives along the legendary fence. Annette Ruzicka’s year flew by largely in the field, criss-crossing the country for AG, from WA’s Kimberley to the alpine ranges of Victoria and Southern NSW before heading back to the tropical Top End to observe crocs. James Bugg was given some loose map coordinates to hunt down the most pristine of alpine bogs and Matthew Newton was set loose on one of the toughest and most remote hikes in the country, Southwest NP, Tasmania.
We try to commission experts in their topic areas. Photojournalist Justin Gilligan has documented the ocean’s plastic pollution for years from his home on Lord Howe Island and already knew the key characters in our complex shearwater story. We regularly work with conservation-led photographer Doug Gimesy. A leading voice in the field of environmental photography, he offers an especially clear understanding of how imagery can shift mindsets. Other photographers, such as veteran photojournalist Melanie Faith Dove, were scrambled at a moment’s notice to cover this year’s huge weather events. Randy Larcombe and Emma Phillips were asked to document innovators who have made positive contributions to preserving our natural world.
To all these photographers and the many more we have sent into mines, storms, jungles and on epic treks, or have come to us with their research or passion projects, we thank you for your commitment to telling stories that make us care more for our world.
Tajette O’Halloran travelled to Moonie on the Darling Downs, QLD, to spend a weekend with 19-year-old Meg Rees who left Brisbane’s suburbs for a life in the bush during the pandemic. Armed with some coordinates photographer James Bugg‘s task was to locate the pristine bogs at Mt Baw Baw, VIC. These were hidden in deep bush and accessed far from trails through walls of spiky candle heath bush. James endured hours of tracing and retracing steps through the maze, soggy from condensation, before he was able to record the micro biology of the bogs in such a beautiful way. On assignment for another story Thomas Wielecki, together with writer Tim the Yowie Man, spotted three little pups in the centre of Gundagai, NSW. The town is known for its iconic Dog on the Tuckerbox statue – located just outside the town on the freeway – but the new litter of puppies scattered across Gundagai was a surprise. According to some business owners, the dog was a little too popular with travellers on the Hume Highway with many stopping for an obligatory photo with the dog and not venturing into town. To solve the problem sculptor Darien Pullen was commissioned in 2021 to create three puppy statues to be placed outside businesses in the main street. Photographer Randy Larcombe spent a day with AG Society’s Lifetime of Conservation Awardee, ecologist Dr John Wamsley, at his home in the Adelaide Hills. Here John is seen wielding a tool he uses to remove weeds and wears the cat-skin hat he controversially wore to the South Australian Tourism Awards in 1991. John has campaigned for half a century on behalf of the nation’s endangered species. Many of his ideas were vilified by those in government supposedly responsible for conservation but who failed to recognise the urgency of biodiversity decline. Photographer Annette Ruzicka trekked with the ridge lines and valleys of the Kosciuszko region with a group of volunteers committed to restoring Australia’s alpine huts. Photographer Jarred Walker (top and above far left) and Melanie Faith Dove (above centre and right) visited wombat sanctuaries for our story on the different problems wombat’s face in different areas across Australia. On arrival at SA’s Wombat Awareness Organisation Jarred found, to his horror, that he had arrived at a crime scene – wombats had been deliberately mutilated nearby. In SA the penalty for killing a wombat without a permit is a $2500 fine or six months in prison. But they’re also considered an agricultural pest as their diggings wreck fences, damage machinery and compete for resources. Melanie works as a wildlife rescuer as well as teaching photography and already knew the ACT’s leading wombat carer, Yolandi Vermaak. Melanie visited Yolandi at home where she found these juvenile orphan wombats in her suburban yard, which has armoured fences with concrete and metal poles to stop wombats digging under them.In February, photographer Dean Sewell checked in on the ugly fish that broke the internet. The blob fish was photographed first by Australian Research Institute Researcher Dr Kerryn Parkinson in 2003 when she was aboard a research expedition between Australia and New Zealand. Her snap went viral and ended up being voted the world’s ugliest animal in 2013. Dean found Mr Blobby elegantly preserved in a jar in the dry lab of the Australian Museum’s Ichthyology department. His pinkish flesh had receded and turned pale and wrinkled, an entirely different vision to that which Kerryn first photographed – the flesh of his forehead slid down into a ‘nose’ and the corners of his mouth sagged into that iconic frown.Photographer Steven Siewert spent the day in a fluorescent lab shadowing neuroscientist Professor Geoge Paxinos, famed for his hand drawn maps based off slides of the human brain. After the shoot he repaired to George’s home, only to find more brains featuring in artworks across his living room walls. Photographer Melanie Faith Dove became a volunteer for Vets For Compassionwhen confronted by a large eastern grey male in her suburban front yard. Melanie teamed up with photojournalist Sandra Sanders to document kangaroos in crisis, an investigation into how urban sprawl is pushing macropods more and more into harm’s way. Photographer Matthew Newton undertook the notoriously difficult South Coast Track in Tasmania with writer Elspeth Callendar (pictured) for a story on the privatisation of our wilderness areas. The 84km bush walk between Melaleuca and Cockle Creek is regarded as one of the world’s great ‘wilderness’ walks and requires everyone to carry a full pack of gear, including tent, food and cooking equipment for the duration. Inclement weather means some sections of the track are perpetually wet and muddy with challenging waterway crossings and arduous ascents par for the course. This might change soon now that the area has been earmarked for a string of luxury huts. Photographer Annette Ruzicka visited the stunning wetlands of the south-western NSW conservation property Gayini, owned by the Nari Nari Tribal Council.In February and then in March this year Lismore, northern NSW, experienced catastrophic flood events. Four people died and hundreds remain homeless. As a volunteer for Vets with Compassion Melanie Faith Dove was given access to relief centres and shelter to document and assist people with pets who had lost their homes. Ngiyampaa/Murrawrri and Kooma photographer Melinda Hooper photographed her family for our Deadly Science book series. Photographer Elise Derwin generated all the imagery for our book How to Raise Outdoor Kids. She sourced the many locations sited across NSW, and the models, filing almost a thousand frames for the mammoth assignment. A few weeks after she finished shooting for our book some of these locations and the town in which she lives, Lismore, NSW, were partially destroyed in a catastrophic flood event.
The long-awaited Nikon Z9 full-frame mirrorless camera is now in stock at major retailers in the United States and Europe.
After more than a year of delays, retailers such as B&H Photo, Adorama and Wex Photo Video have announced that the flagship Nikon Z9 is now in stock and orders will resume.
The Nikon Z9 was originally announced back in October 2021, but extremely high demand for the camera coupled with the worldwide chip shortage have contributed to lengthly delays, with many back orders yet to be fulfilled.
Aimed at professionals, the Nikon Z9 is widely seen as one of the best cameras on the market, thanks to its 45.7MP sensor, 8K video capability, 20fps full-resolution shooting for raw files, 30fps for Jpegs and 120fps shooting at 11Mp, paired with an excellent AF system.
Éric Pfrunder, one of Karl Lagerfeld’s closest creative associates with his varied photography projects, died Monday in a Paris hospital at age 74 after a long illness, his son Jasper confirmed to WWD.
Services are being scheduled for Friday.
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Pfrunder was Chanel’s director of image for three decades, and remained as artistic director of fashion image for a brief period following Lagerfeld’s death in February 2019.
“A man of conviction and loyalty, a passionate worker, ‘vorarbeiter’ as Karl Lagerfeld affectionately called him, Eric tirelessly devoted his exceptional eye and vision to the excellence of Chanel, generously sharing his knowledge and insights with the image team and more broadly, the fashion division,” Bruno Pavlovsky, president of Chanel fashion, said in a statement shared with WWD. “His contribution to Chanel is immense. We offer our most sincere condolences to his family and friends.”
Lagerfeld frequently said he had three key accomplices at the Chanel fashion house: Pfrunder, Pavlovsky and Virginie Viard, his longtime studio director, who would succeed the designer as creative director.
Indeed, it was Pfrunder who first suggested that Lagerfeld try his hand at photography.
Back in 1987, Lagerfeld expressed frustration with the images done for press kits at Chanel and so Pfrunder, flummoxed, suggested that Lagerfeld do them himself. It wasn’t long before Lagerfeld was shooting fashion spreads for French Vogue, and later campaigns for all the brands he touched, including Chanel, Fendi and the Karl Lagerfeld brands.
Pfrunder worked at Chanel’s fashion division from 1983 until 2019 on image creation. On Tuesday, Pavlovsky described him as “an essential and active part of the creative trio” he formed with Lagerfeld and Viard, thereby “establishing Chanel as the ultimate luxury fashion house.”
Karl Lagerfeld; Princess Caroline of Hanover and Éric Pfrunder.
Indeed, Pfrunder was forever at Lagerfeld’s elbow as the indefatigable German designer produced countless books, catalogues and advertising campaigns, in addition to couture and ready-to-wear collections.
Outside advertising clients included Dior Homme, Dom Pérignon, Adidas, Coca-Cola and Pirelli, while the duo produced editorial shoots for scores of fashion magazines, including English and American Vogues, Harper’s Bazaar, Paris Match, V Magazine and Numéro.
The studio welcomed a host of models, Hollywood stars and European royalty, and Lagerfeld and Pfrunder would often set up impromptu photo studios at Chanel’s roving fashion events.
Born in Algeria, Pfrunder moved to France at age 13. Like Lagerfeld, he was a self-taught photographer and also ran a communications agency.
A tall, elegant man who shared Lagerfeld’s penchant for sharply tailored jackets, heeled boots and high-collared shirts, which he wore unbuttoned, Pfrunder largely flew under the media radar, and was in his element at the designer’s photo studio behind the 7L bookstore on the Rue de Lille.
Among his projects after leaving Chanel, delayed by illness, were to digitize Lagerfeld’s vast photo archive, and publish a book, his son Jasper said.
Pfrunder is also survived by his wife, Karen, and daughters Tess and Candice.
The 2023 World Press Photo Contest has opened for entries.
Entering the 2023 World Press Photo Contest is free and is open to professional photojournalists and/or documentary photographers anywhere in the world, with the contest recognising and celebrating the world’s best photojournalism and documentary photography produced over the past year.
Image: World Press Photo/Supplied
As in 2022, the competition will continue the regional model that includes six regions, with a selection of entries per category chosen by a regional jury, before a global jury decides on the regional winners and from those, the global winners.
According to WPP, the introduction of this model last year gave a much more geographically balanced view of the world, with more nuanced perspectives on local issues.
The judging process of the 2023WorldPressPhotoContest takes place in several rounds, over a six-week period, in January and February 2023. It involves regional juries and a global jury, and takes place both online and offline. Representing Southeast Asia and Oceania is jury chairMaika Elan of Vietnam, a photographer andphoto editor.
In 2023, prizes include €5,000 for global winners, in addition to €1,000 for regional winners, with work also featured in the World Press Photo annual travelling exhibition, shown around the world and the World Press Photo yearbook.
Entries close on 10 January 2023. You can enter here.
Norway’s Aleksander Aamodt Kilde, at left, celebrates on the podium with Anne Price of the Raptor Education Foundation after Kilde’s first place win in a men’s World Cup downhill skiing race last Saturday in Beaver Creek. Robert F. Bukaty/AP Photo
In addition to earning the fastest time on the hill, some ski racers on the FIS Alpine World Cup circuit get some pretty interesting prizes from different countries. In Levi, Finland, it appears that winners get a reindeer, in Val d’Isere, France, you either get a huge wheel of Beaufort cheese or a cow and in Beaver Creek, a bird of prey.
These prizes aren’t exactly literal, there are more so tokens from each race venue, mere symbols of the area, although, Lindsey Vonn opted for the cow versus the $5,000 she was offered by the farmer in 2005 after she won the downhill race in Val D’Isere.
Many times, the public sees pictures of a beautiful bird of prey on stage with the top three finishers of that day’s race at Beaver Creek. The bird goes back to the Raptor Education Foundation but the athletes do get to take home a beautiful photograph that beholds the image of the event’s namesake.
Former U.S. Ski Team members,Bode Miller, left, and Ted Ligety, right pose with Anne Price of the Raptor Education Center at an awards ceremony at the Birds of Prey ski races. Westrich Photography/Courtesy photo
The Talons area of Beaver Creek Mountain is home to several runs named after birds of prey. The Golden Eagle run hosts the men’s racecourse and the Kestrel run hosts the women’s racecourse. Screech Owl, Ruffed Grouse, Peregrine, Ptarmigan, Osprey and more fill the trail map. The majestic birds are represented in the photography of Rob Westrich of St. Louis, Missouri. The framed photos are what grace racers’ homes all over the world after reaching the podium at Beaver Creek and this art became a part of the race package in 2009.
Westrich had just started photographing the amazing birds the year before, after attending a Cub Scouts meeting with his son. The World Bird Sanctuary brought in raptors to share with the scouts and it didn’t take long for Westrich to become inspired. Westrich, whose company, Westrich Photography, has covered the photography needs of the public in the St. Louis area for 75 years, soon found himself taking photos not of people, but of birds. The World Bird Sanctuary brought birds to his studio to capture what would become his fine art series, The Raptor Series.
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Rob Westrich’s photography became a part of the Birds of Prey awards package in Beaver Creek in 2009. Westrich Photography/Courtesy photo
The buzzworthy art gained the attention of those in the St. Louis area and eventually, it was deemed a perfect fit for the Birds of Prey awards package and Westrich has been involved with this for the past 13 years.
“I never thought it would turn into something this big,” Westrich said. “To know the print is hanging in the homes of some of the greatest athletes in the world is incomprehensible. Bode Miller. Lindsey Vonn. Mikaela Shiffrin. The list goes on. It’s an incredible honor.”
Little did Rob Westrich know that a Cub Scout’s excursion would lead to his raptor photography being on the walls of the biggest names in alpine ski racing, like Mikaela Shiffrin. Westrich Photography/Courtesy photo
Lindsey Vonn addresses the crowd while holding on to the framed birds of prey photography of Rob Westrich. Westrich Photography/Courtesy photo
… a once in a lifetime chance to be shooting the fasted living creature on earth at eye level in the wild … that was the closing treat on the excursion down to Lake Pleasant last Friday and I did manage to get some absolutely beautiful shots of her before my gear malfunctioned. We decided to take one more run up Castle Hot Springs bay before packing it in for the day. We had already captured hundreds of wonderful shots of Ospreys and other birds.
Eric spotted a bird with its back to us about 50 feet away in shallow water off a small island. Kinda looked like a small heron with its back (blue-grey) pointed at us, but then it turned to look at us and wow, it was a Peregrine Falcon standing in a few inches of water. Her crop was bulging, but no sign of feathers (they feed primarily on birds) so maybe a fish? or just stopped for a drink after her meal? Dunno, and then she took off and circled back towards us before departing the area. What an amazing treat and an opportunity for shots of a lifetime.
Our speed machine is the fastest living creature on planet earth … they can fly at more than 100 mph in level flight and have been clocked at 240 mph in a dive. They gain altitude, spot their prey below and then stoop (dive) accelerating and hit the prey from above with their talons; some sources say they hit the prey with talons closed like a fist and others with the talons extended and rip them as they hit them. They then collect their prey in flight and are off for some fine dining.
The shot below is of her takeoff, water droplets trailing her talons as she rapidly rises into the air.Back to the lake in the morning so this is going out very early … spent the day re-calibrating and setting options in my cameras … a good thing to do every once in a while.
Have a beautiful day and make it a wonderful day for yourself and those you meet and greet! Like why not?
Cheers,
Ted
So each one to his wish, and as for me, I sit tonight and wait To find the answers to my soul in me, And in the beauty of the sky and sea.
excerpt from I Sit and Wait by Max Ehrmann
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The easiest way to reach Mr. Grussing is by email: [email protected]
In addition to sales of photographs already taken Ted does special shoots for patrons on request and also does air-to-air photography for those who want photographs of their airplanes in flight. All special photographic sessions are billed on an hourly basis.
Ted also does one-on-one workshops for those interested in learning the techniques he uses. By special arrangement Ted will do one-on-one aerial photography workshops which will include actual photo sessions in the air.
Apple is reportedly planning to widen the gap between its Pro and non-Pro iPhone models. Now, it looks like Samsung will be following in the footsteps of the Cupertino-based tech giant.
Samsung is prepping to unveil the Galaxy S23 series smartphones. While nothing is set in stone yet, some reports claim the Korean smartphone behemoth will launch the S22 series successors early next year.
In line with this, the highest-end Galaxy S23 Ultra model will be able to capture photos even in a low-lit environment. This unique ability will separate the Ultra model from the rest of the Galaxy S23 series phones, as well as its predecessor.
This piece of information comes from the noted leaker Ice Universe. As expected, Samsung fans took to the comments section to express their dismay.
However, IC begs to differ. He suggests this is the “most evident step forward” by the company’s flagships in the past five years.
So, it is safe to assume that the Galaxy S23 Ultra will take relatively better photos at night than the Galaxy S22 Ultra. Moreover, Samsung has reportedly improved the configuration of the cameras. These improvements include:
A 200MP camera that captures “natural details and less noise.”
Enhanced night mode photos.
The 12MP photos in daily mode will be enhanced.
The 10x telephoto lens will provide better sharpness.
There are some minor changes to 20x, 30x, and 100x zoom.
AI will be used more efficiently to improve telephoto shots.
The 200MP main camera will have superior analytical power. Moreover, the Galaxy S23 Ultra will adopt pixel-binning technology to minimize the negative effects created by the smaller pixels of the sensor.
Meanwhile, a report by SamMobile suggests Samsung might ditch the iconic Galaxy S series following the launch of the next foldable phones.
According to some reports, Samsung is prepping to launch the Galaxy Z Fold 5 and Galaxy Z Flip 5 by the end of 2023. With the company’s focus on foldable devices, it is likely to stop launching phones under the Galaxy S lineup.
Home News Vital Impacts: stunning photography inspires wonder and curiosity for our natural world
By AG STAFF • December 5, 2022
Penguins Diving Image credit: Tim Flach/Courtesy Vital Impacts
Photography has the unique ability to transcend all languages and help us understand our deep connections to life.
The brainchild of legendary wildlife and endangered species photographer Ami Vitale, and supported by conservation hero Jane Goodall, Vital Impacts sells prints by the world’s most lauded nature photographers to raise money for grassroots conservation and humanitarian projects. The photographs from all the artists are diverse but have in common a shared commitment to the environment.
This year’s collection features six Australian photographers who use their visual storytelling talents to shine a light on the fragility of our region:
‘Loss of Sea Ice’ by Michaela Skovranova
This work has been chosen from Michaela’s ongoing documentary project ‘End of the World’ investigating the impacts of climate change in Antaractica. “I see climate change in a similar way to an illness that takes hold of your body. It starts silently, unnoticed. By the time it’s deeply visible the entire ecosystem is in a cytokine storm almost impossible to control. Perhaps it starts underground after years and years of droughts draining the life out of the soil much like in Australia. Or perhaps the changing winds and warmer currents rot away the core of the glaciers.
“On 6 February 2020, weather stations recorded the hottest temperature on record for Antarctica. Thermometers at the Esperanza Base on the northern tip of the Antarctic Peninsula reached 18.3°C (64.9°F) The warm weather caused widespread melting on nearby glaciers. I imagine all the tiny snowflakes that had fallen over many lifetimes to build this masterpiece and all the life that depends on it. With the loss of sea ice, we face mass extinctions of wildlife and sea-level rise, which will ripple all across the globe.”
These grand eucalypts are the famous Bennelong Twins near the Sydney Opera House, dating back to Sydney’s 1788 settlement when the trees would have been saplings. The huge red gums on Bennelong lawn are the only surviving eucalypts from the natural forest in area. Stephen reflects that these trees would have seen Cadigal men brandishing spears as the First Fleet dropped anchor, then the convict parties landing, tents erected, metal axes ringing and surrounding trees falling.
Stephen says he chose to photograph the giant gums simply for their national heritage, historical and environmental significance. When he was framing the scene he noticed that the foliage of the trees looked like lungs if he pointed his camera upwards. He was able to show the power of nature by making the trees appear almost colossal, ending with the appearance of a set of lungs above.
This images is taken from Stephen’s series ‘Are We Dead Yet?’ He says the work is “centered around our planet’s climate crisis focused on recent disasters and events in my own country Australia. From one of the worst droughts in living memory, to the recent catastrophic black summer bushfires and floods to the destruction of native forests. I want my photographs to reflect both the consequences of our current path as well as signal the urgency to find new ones, while motivating viewers to question their roles and responsibilities in this real-time catastrophe. I’m looking at this as an artistic kind of canvas, a way to view the tragedies and the trauma of the Earth, but to find some sort of beauty in it as well, in the colour palette and patterns of the landscape. I’m highlighting the catastrophe to agitate viewers to gaze deeper. These photographs might be beautiful, but if you look at them really closely, there’s a very deep message in all of them and there’s a real sense of urgency in what I’ve captured.”
@stephenmdupont.
Stephen Dupont/Courtesy Vital Impacts
‘Bubble Lion’ by Matt Bagley
Photographed in Port Lincoln, South Australia, between lockdowns.
“I have felt a deep connection with the ocean for as long as I can remember,” Matt says. “Saltwater is in my blood, and when submerged I find peace and wonder. With a camera in hand I follow light paths, diving down into cold free-flowing waters. A handheld torch accompanies my single-breath dives, illuminating instances that captivate and connect. Whether it be the morning light bouncing off the ocean’s surface or the darkness that comes before the moon. There is so much beauty that it’s hard to look past, I’m drawn to them. Not only to capture but to experience them.”
@petrichor.mb.
Matt Bagley/Courtesy Vital Impacts
‘Ascension’ from Tamara Dean‘s series ‘Palace of Dreams’
Tamara Dean makes large-scale fine art photography exploring our connection to nature.
“In the gardens of memory, in the palace of dreams, that is where you and I shall meet” – (The Mad Hatter) Lewis Carroll, Alice Through the Looking Glass, 1871.
“Like Alice through the looking glass, the world is turned on its head,” Tamara says. “Ordinary objects defy gravity, the compass is both physically and figuratively out of whack. Each night I watch the news, taking in images of daily disasters happening across the planet. My mind is filled with moments and snapshots, personal belongings washing away in floods, homes broken, humans in dire need. We are often reminded that we are living on the precipice of a tipping point. A point of no return. Then images from my garden float through my mind, my hands in the earth, flowers that disappear and reappear each year. The certainty of change and of cycles.”
@tamaradean
Tamara Dean/Courtesy Vital Impacts
‘Meeting Place’ from Morganna Magee‘s series ‘Extraordinary Experiences’
“Created in the streets near where I live, on the traditional lands of the Woi Wurrung, Bunurong and Boon Wurrung people, the images are made on places of traditional significance that are now open bushland,” Morganna says. “The resulting images come from an intuitive response to my surroundings, the images interplay with photography’s ability to make eternal what is fleeting. Through in-camera and in-scanner manipulations these images exist through intervention, sometimes by the artist, others by the unseen atmosphere that surrounds what is photographed.”
“Australians have long one of the western world’s most immediate understandings of the environment. Nature is where we play and where many of us live. Because of this the affects of climate change, habitat loss and wildlife extinction are relevant to every Australian regardless of if they live in the city or country- you simply cannot live here without understanding the environment’s health is paramount to all our comfort. For this reason, I think imagery of conservation in Australia can be more nuanced than straight reportage- we understand this land, we understand what is at risk. The beauty of Australia, to me, is unapparelled, as is the access to first nation knowledge of country and what existed pre colonisation. As photographers, this is exciting, we can make images of this ancient landscape with an informed knowledge of what is does, should, and can look like.”
@morgannamagee
Morganna Magee/Courtesy Vital Impacts
‘To Dance with Shadows: Flight’ by Aletheia Casey
“This work explores the silent and fragile places of the post-pandemic landscape,” says Aletheia. “The images physically depict the aftermath of disconnection and isolation.”
@aletheiacasey
Aletheia Casey/Courtesy Vital Impacts
Vital Impacts is a non-profit platform and is hosting its 2022 print sale to support environmental documentary projects and fund the next generation of environmentalists. Visit vitalimpacts.org/collections/prints-for-sale
Related: Winners: Australian Geographic Nature Photographer of the Year 2022
Loupedeck has made a name for itself as an innovative manufacturer with an impressive range of products that aid many creative professionals and enthusiasts. The products that made Loupdeck name included the impressive range of customisable consoles for applications, such as Lightroom, now widely used by imaging professionals.
Now the company has launched the Loupedeck Live S, a new console specifically designed as a simple and affordable way for streamers to control and manage their streams. The new console essentially provides a hardware interface for the Loupedeck software in a compact package. This means that with direct controls at the streamer’s fingertips, valuable screen space is freed.
Loupedeck has also aimed the Live S pricing at an entry-level price enabling more streamers to access these powerful controls rather than just those already pulling in huge audiences and revenue.
The Live S features multiple integrations enabling streamers to interface directly with cameras, lighting, as well as the more standard software. Utilising applications such as OBS as well as physical lighting sources, including Philips Hue, the streamer can utilise preset functions and features pre-installed or set the control board buttons through custom functions and settings.
This means that all controls for the application streams from the machine are quick to access, as are live video and audio feeds as well as the streamers scene lighting. A major advantage of this system is that the software and hardware solution enables you to isolate streams so notifications from applications such as chat can be muted.
Along with the new hardware comes an update to the Loupedeck software. This features an updated action set text editor, icons and more, giving even more customisable controls over the use of the hardware.
Customisation options through the software enable you to drag and drop actions to a touch button to create centre controls for actions. This function expands on other customisable features that enable streams to expand the dial functionality.
“Designing products that add value to the online user experience is part of our DNA at Loupedeck,” says Mikko Kesti, CEO and founder of Loupedeck. “The Loupedeck Live S is a natural extension of this mission as we continue to create and bring to market affordable, intuitive, and efficient tools that equip streamers with everything they need to optimise their creative process.”
Loupedeck Live S is for both Mac and PC
Loupedeck offers plenty of compatibility for Mac and Windows systems and shops with the same software as Liupedeck Live and CT. The hardware itself features a touch panel arranged in a three-by-five grid of buttons that can be expanded by up to 14 pages and activated with a swipe, as well as the touch interface; the Loudedeck Live S also features two dials and four analogue buttons.
Key Loupedeck Live S features include:
Native software integrations support popular streaming tools like Twitch, OBS, Streamlabs, or Voicemod. Plus, optional plugins for creative programs like Adobe Photoshop, Premiere Pro and Final Cut Pro and integrations for additional creative work.
Full control over audio and lighting with freely assignable dials for precise adjustments to volume, backlighting and more, as well as a dial push function for mic muting.
Loupedeck Marketplace to download profiles, plugins, icon & sound packs and more from external providers, partners and influencers from a constantly growing content library (currently more than 200 downloadable items). Some of the key Marketplace plugins and profiles include:
Microsoft Flight Simulator
Twitch Studio
Light control plugins for Philips Hue, Nanoleaf, Razer and Elgato
Voicemeeter
Davinci Resolve Color Panel
Notion
“As a music streamer, I love the dials to control the different types of volumes like system volume for videos and Spotify volume for background music,” said Jayne Rio, Twitch Partner. I also love how slim the Live S is, which makes it easily packable.”
The Loupedeck Live S is available online and in stores today for $179. Learn more at https://loupedeck.com/us
Here are the 30 funny and hilarious no context images shared by “I Want To Leave” Instagram account. This page in question is on a quest to collect the weirdest pics of humans and animals out there, and it’s hilariously bizarre. This page followed by more than 215K followers around the globe. Click here to check more amazign photos.
Scroll down and enjoy yourself. All photos are linked and lead to the sources from which they were taken. Please feel free to explore further works of these photographers on their collections or their personal sites.
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