Category Archives: Photography

The global hunger for raw materials such as oil and coal, metals, gravel, sand, and other resources is growing unabated. We dig holes in the ground to tap into the Earth’s natural resources. We excavate, blast, clear or burn to extract them. In 2017, the global material footprint was as big as 92 billion metric tons. It is projected to grow to 190 billion metric tons by 2060. The world’s population today lives as if it had 1.6 Earth’s at its disposal.

The Copper Mine Series I delivers an overview of the Rio Tinto mine project in Andalusia, Spain. It’s the largest open-pit mine in Europe and a place everyone likely has a connection to. We all use electric energy that is brought to us through copper wires, we all use devices that run on those metals, and we all live in buildings that are heated by the use of copper wires. This series provides an insight into the extraction of natural resources and their consequences on nature. Places we know exist but hardly know what they may look like.

Don’t miss to check below series from Tom Hegen:

About Tom Hegen

My name is Tom Hegen, I work as a Photographer and Designer in Munich, Germany. I focus on aerial photography projects that show the impact of human presence on earth. As a photographer, I am interested in the relationship between man and nature. In my aerial photography, I focus on landscapes that have been heavily transformed by human intervention. I am trying to sensitize the viewer for those subjects by taking a look at the extraordinary forces impacting our environment.

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Copyrights:
All the pictures in this post are copyrighted to Tom Hegen. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

© Provided by Dezeen
Two children playing on Muralla Roja roof

Canadian duo Doublespace Photography has released images of Spanish architect Ricardo Boffil’s iconic Muralla Roja apartment building to mark 50years since its completion.

To mark the anniversary, photographers Amanda Large and Younes Bounhar of Doublespace Photography travelled to Spain to stay at an apartment in the complex for six days, in order to capture it in different weather and light conditions.

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Canadian duo Doublespace Photography travelled to Spain to photography Ricardo Bofill’s Muralla Roja

“Each nook and facade changed throughout the day, depending on whether it was bathed in direct sun, in shade or reflecting the colour from an adjacent facade,” Bounhar told Dezeen.

“The play of light and shadow was mesmerizing. In all honesty, that alone was enough of a draw for us.”

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2023 marks the 50th anniversary of the iconic building

Completed in 1973, Muralla Roja was an early work by late architect Ricardo Bofill sited in Alicante, Spain.

Encompassing 50 functional apartments, the structure is known for its playful geometries, bright colouration and its dramatic perch above the Medditerean Sea.

Bofill, who passed away in 2022, described the project as a “maximum expression of critical regionalism to the Mediterranean coast,” according to Gestalten’s monograph of his work, Visions of Architecture.

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The structure still holds 50 fully functioning apartments

Scores of people travel to the site every year, and it is a popular destination for photographers who are attracted to the cross-shaped, postmodern structure.

Bounhar told Dezeen that they saw people from all over the world who were “drawn to capture its magic” and that the crowds were not “not limited to the architectural geek”.

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It is a noteworthy work from Bofill’s early career

The structure’s jagged edges cast shadows on its blue, red and pink-painted walls that form a series of spires, which surround an interior courtyard.

On the roof of the building are a series of parapet-like extrusions that flank public space and swimming pools.

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La Muralla Roja by Ricardo Bofill Taller de Arquitectura

Ten notable projects by Spanish architect Ricardo Bofill

From a distance, the structure appears assembled from a variety of different shapes, with arches, window boxes, cut-outs and staircases, which Bounhar described as “Escher-like”, all contributing to the surreality of the structure, which is compounded by the adjacent Xanadù, also designed by Bofill.

“We were really taken with the general playfulness of the design,” said the photographer.

“The complex is designed in such a way that it doesn’t reveal itself all at once – every turn brings a new surprise.”

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The photographers captured the building at different times of day

“You might find yourself in a dark corner with only a bright spec of colour appearing from an adjacent opening and, from there, either happen upon an explosion of light and colour in the middle of a courtyard, or discover a breathtaking view of the Mediterranean,” continued

“In the end, it is a place that is both ahead of its time and timeless.”

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“It is a place that is both ahead of its time and timeless,” said the photographers

With the advent of image-sharing platforms like Instagram and changing tastes, projects from the last century have gained new fans, driven often by photographers recapturing the buildings for 21st-century audiences.

Recently, Anna Dave photographed Javier Senosiain’s El Nido de Quetzalcóatl, a snake-like apartment complex in Mexico.

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It has a mix of pink, red and blue paint on its facades

Last year, Jack Young released a book of his photography showing the “beauty of London’s council estates”.

The photography is by Doublespace Photography. 

The post Doublespace Photography captures Ricardo Bofill’s Muralla Roja on its 50th anniversary appeared first on Dezeen.

In the world of photography and videography, the debate around megapixels and sensor size has always been a hot topic. With the release of Sony’s A7S III, featuring a 12-megapixel sensor, and Canon’s EOS R5, boasting a 45-megapixel sensor, the question arises: why would Sony choose a lower resolution sensor for video capture? The answer lies in the balance between video performance, heat management, and hybrid functionality.

First, let’s break down the exact sensor sizes required for various video resolutions. For 1080p, a 2.1-megapixel sensor is needed; for 2.7K, a 6.2-megapixel sensor; for 4K, an 8.3-megapixel sensor; for 8K, a 33.2-megapixel sensor; and for 12K, a whopping 131.7-megapixel sensor.

With this in mind, it’s clear that a 12-megapixel sensor is more than enough for 4K video capture. Moreover, having larger pixels on a 12-megapixel sensor allows for greater light sensitivity and reduced noise, which is crucial for video production. In contrast, higher resolution sensors like the one found in the Canon EOS R5 have smaller pixels, which can lead to less light registered and increased noise.

Another critical factor is the aspect ratio of the sensor. Sony opted for a 12-megapixel sensor in a 4:3 aspect ratio rather than a 16:9 aspect ratio, allowing the camera to serve as a hybrid for both video and stills while leaning towards video. This decision provides users with extra pixels at the top and bottom, which can be useful for those who want to use the A7S III for both video and still photography.

Heat management and processing power are also significant considerations when choosing a sensor size. Cameras with high-resolution sensors, like the Canon EOS R5, tend to generate more heat and put additional strain on the processor. This can lead to overheating issues, which has been a problem for the R5. To combat these heat issues, Canon launched the R5 C, offering better heat dissipation.

On the other hand, the Sony A7S III, with its 12-megapixel sensor, experiences less strain on both the sensor and processor. This results in lower heat generation and faster processing, making it ideal for videographers who require smooth performance during long shooting sessions.

Essentially a 12-megapixel sensor offers several advantages for videographers using the Sony A7S III. The sensor size allows for better light sensitivity, reduced noise, and a hybrid approach to both video and stills. Additionally, the camera experiences less heat and strain on the processor, improving overall performance and reliability. This is why the Sony A7S III is ideal for videographers prioritising high-quality 4K video capture and a smooth user experience.

In contrast, the higher resolution sensor found in the Canon EOS R5 and the A7R V makes them better suited for still photography. With a 45-megapixel sensor in the R5 and an even higher resolution in the A7R V, these cameras can capture stunning, detailed images that are essential for professional photographers.

When deciding between these cameras, it’s essential to consider your primary focus. If you’re a videographer looking for exceptional 4K video performance, low noise, and effective heat management, the Sony A7S III is the clear choice. On the other hand, if you’re a stills photographer who requires high-resolution images and exceptional detail, the Canon EOS R5 or the Sony A7R V may be a better fit.

The decision by Sony to go for a 12-megapixel sensor in the Sony ZV-E1 has allowed the camera to excel in video performance, offering a balance between resolution and functionality. With less strain on the sensor and processor and reduced heat generation, the Sony ZV-E1 will become a go-to option for many vloggers and videographers looking for something a little more streamline and ready for action than the Sony A7S III.

For more information on the Sony ZV-E1 and its features, visit Sony.co.uk.

In the uninhabited wilderness, what attracts me most was the peace and tranquility of nature. The wasteland was silent, and the hills in the distance were outlined with delicate silhouettes by the setting sun. It seemed that time moved sluggishly and memories were recalled by the reminiscence a long time ago.

At that time, the dawn was considered to be the end of the day. People are inclined to measure time by the laws that appeared in the starry sky and record the years by the alternation of four seasons. Time slipped slowly but it was nice.

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All the pictures in this post are copyrighted to Li Ye. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

The Best Mirrorless Cameras Will Help You Elevate Your Photography

In hobbyist and professional photography circles, mirrorless cameras have replaced the mighty Digital Single-Lens Reflex (DSLR) as the go-to for capturing the sharpest images and video. These hobby- and professional-grade cameras offer excellent optics, large image sensors and advanced features, empowering you to produce exceptional photos and videos.

As the name implies, mirrorless cameras remove the mirror-based optical viewfinder found in DSLR cameras, which lets you see through the camera, in favor of a purely digital “Electronic Viewfinder.” Taking the mechanism out allows manufacturers to build a more compact and efficient camera that, in many cases, can produce sharper images.

Mirrorless technology is still relatively new, but major manufacturers like Canon, Sony, and Fujifilm have already invested deeply in making the next wave of camera body design. There are already a wide array of options, from affordable daily carry cameras to top-of-the-line professional gear. If you’ve reached a point with your photography where a smartphone isn’t cutting it, the best mirrorless cameras will elevate the quality of your images and inspire new creative possibilities.

Best Mirrorless Cameras

The Expert: I’m a freelance writer and editor who’s written about cameras for publications like Reviewed, Gear Patrol, and Popular Science. I’ve also been a photographer for over a decade. Over the years, I’ve traveled around the globe with various camera systems, from Fujifilm’s pocketable x100 series to Canon’s old-school DSLRs. I currently own a Sony A7 III, which I use with different prime and zoom lenses to shoot stills and videos.

What to Consider When Buying a Mirrorless Camera

Picking a camera, mirrorless or otherwise, is a big decision. Many accessories, including lenses, are brand-specific, so you’ll very quickly lock yourself into buying equipment from that manufacturer. Every camera system has pros and cons, but there are great options from every major brand that can produce amazing images. Whether you’re getting ready to buy in for the first time or looking to upgrade, here are the things we recommend checking out before buying a new mirrorless camera.

Lens Selection

Buying a high-quality camera lens is a critical step on your journey as a photographer. While you can purchase a camera “body” without a lens, cameras generally come with a “kit lens” that offers a standard zoom of 35mm to 100mm. A kit lens is very useful, and an excellent place to start for beginners.

Over time, as your skills progress, you may find yourself looking for a wider range of lenses to optimize for more specific shooting scenarios.

Different lenses are most effective from varying distances based on their focal length, measured in millimeters (mm), which indicates the viewing angle of the lens. Lenses with a small focal length have a wider viewing angle, and high focal-length lenses have a narrow one.

Since most lenses are manufacturer-specific and often work on a specific range of camera models, it’s important to make sure that you can buy any lenses you might want for the photos and videos you plan to shoot.

Here are some of the broader categories of lenses that I would consider essential for most expert photographers to have access to over time:

Standard lenses generally offer a focal length between 35mm and 85mm. Standard lenses are versatile and can be used for portraits, landscapes, and street photography.

Prime lenses have a fixed focal length and can’t zoom in or out. They typically have a simpler optical design than zoom lenses, producing sharper, more detailed images with less distortion. Most photographers invest in prime lenses early because they’re often small, affordable, and perform well in low light.

Zoom lenses cover a range of focal lengths, allowing you to change the angle of view by making it narrower (zoom in) or wider (zoom out).

Wide-angle lenses have a shorter focal length than standard lenses and provide a wider field of view. They are ideal for taking pictures of landscapes, architecture, and interiors.

Telephoto lenses offer a longer focal length than standard lenses and provide a narrower field of view. A telephoto lens is great if you plan to take pictures of distant subjects, such as wildlife or athletes.

Macro lenses generally have a longer focal length, allowing you to focus close to subjects and capture intricate details. They are often used to photograph flowers, insects, and other small objects.

Sensor Size

The sensor is the most important component of any camera. It captures light and converts it into an image. In a mirrorless camera, you want the largest possible sensor: Not all sensors are created equal, but a larger sensor can collect more information, which leads to more detailed images.

Professionals look for mirrorless cameras with a “full-frame” sensor (36mm x 24mm), which mimics the standard 35mm format in film-based cameras. In addition to collecting a large amount of detail, a full-frame sensor produces an excellent depth of field and performs well in low-light conditions. Professionals generally favor cameras equipped with a full-frame sensor because they are great for portraits, landscapes, and sports.

Not every camera has to have a full-frame sensor, though: Smaller and less expensive cameras often have smaller format APS-C or “micro four thirds” sensors, often called “crop sensors,” because they crop down to a smaller field of view. Full-frame sensors are generally better for professional or high-end photography. In contrast, crop sensors can be a good choice for hobbyists or those who need a more portable or affordable camera.

While most consumer cameras use a full-frame or crop sensor, some manufacturers offer cameras with a “medium-format” sensor that, perhaps confusingly, is actually larger than a full-frame sensor. The larger sensor produces more detailed images at higher resolutions, which makes the cameras especially useful for commercial and fine art photography where you plan to produce large prints.

Stabilization

It’s really frustrating when you take a picture, only to look at the viewfinder and find the final result is blurry because the camera wasn’t perfectly still. Luckily, many of today’s cameras feature In-body image stabilization (IBIS), which compensates for how a camera may move in less steady hands to minimize blurring. That extra stability usually leads to sharper, clearer images, especially when using slow shutter speeds in low-light situations.

In addition to IBIS features, some lenses provide stabilization, but it’s a costly luxury feature that you shouldn’t expect to find on every lens. It’s helpful for image stabilization in larger glass, like telephoto lenses, which may add additional sway or shaking in unsteady hands.

Continuous Shooting and Autofocus

If you plan to take pictures of fast-moving action like sports (or your small child), you’ll want a camera that supports continuous shooting, which allows you to capture photos in rapid succession.

Camera-makers measure continuous shooting rates in frames per second, similar to video framerate. An entry-level camera may offer 5fps, which means the camera takes five photos per second. More advanced cameras may be able to shoot at 30fps or higher.

There are limitations to faster continuous shooting modes, though. Some cameras with high continuous speeds can only sustain their top rate for a short time. And, as you take more photos, you have to be careful not to fill up your memory card with dozens of large RAW files. (Memory card read/write speeds can also impact continuous shooting.)

Your camera’s autofocus system, which finds the subject of a photo in the frame and adjusts your settings to emphasize it in the photo, is also vital. Autofocus allows you to snap photos without adjusting your settings between each shot.

Many of the options on our list use a phase detection autofocus system, similar to what you’d find in a smartphone. With that kind of system, pay attention to the number of autofocus points your camera can handle, which indicates how many points your camera can focus on. The more autofocus points in the system, the more likely your image will look crisp everywhere, including the edges of the frame.

Video Features

Today’s best cameras, DSLR or Mirrorless, are frequently used for both still photography and recording video. The best mirrorless cameras for video should be able to record in 4K resolution, which is the highest resolution currently available on YouTube and other online video platforms.

We also recommend checking to see whether the camera supports advanced color depth, which indicates how well your camera can reproduce the subtle distinctions between colors in very bright and dim lighting. We usually look for a camera that supports 10-bit color, which indicates the amount of data used to produce color in each pixel. (Currently, you will likely see 8-bit or 10-bit color, though 12-bit is on the way.)

On a less technical level, it’s also useful to have a fully articulating LCD screen on the back, which you can pop out and flip around so you can set up your camera and watch yourself recording while standing in front of it. (This is especially helpful for single-person productions where you plan to record yourself, like vlogging for YouTube and streaming on Twitch.)

Lastly, consider how you plan to record sound when shooting on your camera. Though some cameras can record audio with extra gear, we recommend simply making sure your camera features a microphone input, which will allow you to attach an on-camera microphone.

Increasingly, new mirrorless cameras like the Sony ZV-E10 feature a high-quality in-camera microphone and fully articulating LCD to specifically cater to aspiring YouTubers and streamers.

How We Evaluated The Best Mirrorless Cameras

To select the best mirrorless cameras, I relied on my prior photography testing experience, market research, and insights from Popular Mechanics’ test team, based on its previous coverage. When evaluating each pick, I considered all the essential features I listed above, as well as secondary features like battery life and memory card slots.

Brandon Russell

Sony has announced the ZV-E1, a new full-frame interchangeable lens mirrorless camera which uses the same 12MP sensor as the Sony Alpha A7S III. It’s designed to bridge the gap between cameras such as the Sony ZV-E10, (and the compact Sony ZV-1 and ZV-1F) and more advanced models such as the Sony A7S III, FX30 and FX3, and is aimed at content creators.

According to Sony, the ZV-E1 is the world’s smallest full-frame interchangeable lens camera with IBIS – in-body image stabilisation.

Although the Sony ZV-E1 can capture stills, its primary purpose is video creation and it has a number of features to make content creation easier. As it uses the same 12MP full-frame sensor as the A7S III, it should produce results on a par with the popular filmmaker’s camera, with similar low light capability, 15+ EV dynamic range and an ISO setting range of 80-102,400. It also shares a lot of the AI-powered capability of the Sony Alpha A7R V.

The Sony ZV-E1 is capable of shooting 4K or Full HD video with 10-bit 4:2:2 colour in All-intra. At launch, the camera can shoot 4K video at up to 60p, but in June a free firmware update will boost this to 4K at 120p and take Full HD up to 240P in S&Q mode.

Cinematic mode

The ZV-E1 introduces a new Cinematic Vlog mode in which the camera’s aspect ratio is set to 2.35:1 and the frame rate is fixed at 24p (23.98p). There are also 5 ‘Looks’ available; S-Cinetone, Clean, Chic, Fresh and Mono. These can be combined with 4 ‘Moods’, Auto, Gold (warm), Ocean (cool) and Forest (green), to give footage a range of appearances.

Experienced users can also use the S-Log profile with assignable LUTs to get the look they want for their footage, however, it’s not possible to record raw video.

Advanced focusing

Like Sony’s other recent cameras, the ZV-E1 features Focus Breathing Compensation, Focus Map, Focus Assist, AF Transition speed adjustment and AF Subject Shift Sensitivity control to help ensure the correct subject is sharp and changes in focus are smooth.

Like the A7R V, the ZV-E1 has a dedicated AI processing unit to help with subject detection and focusing. It can be set to detect humans, animals, birds, insects and cars/trains, aeroplanes, and Sony’s Human Pose Estimation technology is on hand to help the camera recognise and track humans in the frame when shooting stills or video.

The ZV-E1 also introduces a new feature called ‘Framing Stabiliser’ in which I crops the image from 4K to keep the subject in the same position in the output frame. This can be set to use a small, medium or larger crop. Sony’s spokesperson was unable to comment on the resolution of the output but said that he did not expect it to be lower than Full HD.

It’s also possible to simultaneously output the uncropped footage to an external recording device connected via the miniHDMI port. The cropped version is stored on the SD card in the camera.

There’s also Sony’s Active digital stabilisation and Dynamic Active Stabilisation, with the latter boosting the stabilisation capability for following moving subjects.

Sony’s Bokeh Switch and Product Showcase modes are also available to help content creators keep the focus on the desired subject. Meanwhile, Multiple Face Recognition enables the camera to adjust the aperture (bokeh) setting and focus automatically when a second person enters the frame so that they are also sharp.

Additional video features

Sony has given the ZV-E1 a dedicated video menu screen which shows all the key features that you’re likely to want to be able to adjust including frame rate, aperture, ISO, white balance and shutter speed, all of which can be selected by a tap on the screen ready for adjustment.

Sony has also upgraded the microphone on the ZV-E1. It has a 3-capsule mic that can be set to record from the in front of the camera, behind the camera or from all directions.

Other video features include a 3.5mm microphone jack as well as a headphone port and a tally lamp plus a red frame display to make it clear from in front and behind the camera when it is recording.

The ZV-1 can also stream live at up to 4K 30p or FHD 60p and it’s compatible with Sony’s Creators’ smartphone app which enables remote control over the camera as well as file uploading and management.

Sony ZV-E1 price and availability

The Sony ZV-E1 price is $2199.99 / £2,350 / €2,700 body only and £2,600 / €3,000 with the 28-60mm kit lens. It goes on sale in April.

For the past six months, I’ve been traveling thousands of kilometers for several photo projects. As I mostly had to drive to very remote areas, I passed many types of terrain. From highlands to swamplands. From lava fields to river arms. At a height of about 150 meters, I’ve documented my journeys from above my car.

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Today, the worldwide network of roads connects almost every place and every city. Due to the constantly growing international freight traffic as well as the increasing number of vehicles, it is impossible to imagine life without these connecting routes.

However, I personally have been fascinated for years by the inconspicuous, often unpaved or only rarely used roads and tracks in some of the most remote places in the world. Roads through lava fields, dried up salt lakes or even wetlands. Roads that only interfere with nature to a limited extent and allow a co-existence of landscape and movement path. Due to the very versatile soil and the mostly immediate surrounding nature, the aerial perspective shows how we have created paths through all kinds of vegetation.

This series should give an impression how abstract but also fascinating our planet is looking from the air.

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About Kevin Krautgartner

Kevin Krautgartner, born and raised in Germany, currently lives and works in Wuppertal. Already during his design studies, he devoted himself intensively to digital photography, which today is the core of his artistic work.

Conceptually, Krautgartner’s projects focus not only on classical architectural photography but also primarily on aerial perspectives, from which he rediscovers and redefines landscapes and habitats created by nature in general, geological processes and/or man-made structures as enormous “Found Art” objects. Particularly in the case of geological conditions, the characteristics of which are largely attributable to the Anthropocene, his works also touch on current, socially relevant topics.

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More Series from Kevin Krautgartner

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You can find Kevin Krautgartner on the Web:

Copyrights:
All the pictures in this post are copyrighted to Kevin Krautgartner. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.