Keith and I would like to sincerely thank everyone who has come along with us for the ride. Especially the advertisers and donors, subscribers, readers, contributors and colleagues.

This has been on the cards for some time. Our satisfaction in the work, and affection for the photo industry, combined with our reluctance to shut down what we see as a valuable resource, has kept us at our desks for longer than anticipated. But the time has come.

The opportunity for Photo Counter came as a direct result of Yaffa Publishing ending a long-standing contract with Keith to produce the hard copy trade magazine and then online-only Photo Imaging News. This was at the beginning of the era of fierce price competition from Harvey Norman and Big W directed against photo specialists – generously supported by Fujifilm in particular. Photo specialists were getting smashed by 10- and 8-cent print promotions at the same time as margins for cameras collapsed with the introduction of digital cameras to consumer electronic stores.

Photo Counter, the predecessor to Inside Imaging, launched as a direct competitor to the incumbent, and within 12 months had prevailed, with Yaffa shutting down its comparably bland online publication.

It  was launched in partnership with Photo Review Australia publisher David O’Sullivan in 2008. After several years under this arrangement, David decided to focus on his main job – the Photo Review enthusiast magazine, website and associated publications. He generously handed his stake in Photo Counter over to Keith.

‘The notion from the start was to produce original content which resonated with a small business/specialist photo retailer readership by reporting on real local and international photographic industry news, rather than relying on an endless stream of banal and increasingly hyperbolic new product releases flowing from the camera companies’ PR consultancies,’ Keith says.

Photo Counter was joined by Pro Counter, focused on professional photographers, in 2013 which saw me, fresh out of university with a degree in journalism, in the editor’s chair.

A few years later, Photo Counter and Pro Counter‘s website design began showing its age and developing expensive-to-fix bugs. I recall a friend of mine gently berating me about the terrible user experience on a mobile phone. Rather than continue hosting two websites, we resolved to merge them to create a new entity, Inside Imaging, bringing together two readerships: ‘the trade’ – comprising specialist retailers and their distributors; and professional photographers and their supply chain.

The combined editorial mix worked for this readership. Proof was the rich and consistent stream of feedback we received. Readers Comments are a measure of engagement with the audience, and our websites always bested the competition on this measure. The civility, intelligence and insights of our readers was always a source of pride.

Inside Imaging readers are among the most engaged and thoughtful individuals in the Australian photographic industry  – and our subscriber list is a veritable Who’s Who of Australian photography. Even this week we are getting a steady stream of new subscribers. They are interested in all the issues which effected the success of their business and their customers’ business, from the fate of industry associations (when they existed); to changes to the Australian Consumer Law and GST-free sales from overseas, to distributors such as Canon competing with their customers, through to copyright law in the digital era, to bait-and-switch tactics from some pro studios. Then of course there was the steady stream of ‘photographers behaving badly’ stories, from the amusing to the downright appalling – a topic I thoroughly enjoyed covering.

At the same time, Inside Imaging was also across the bread and butter issues of the other photo websites – new product/marketing promotion press releases – but these were rarely lead stories on the website or newsletter. We always aimed to highlight unique content researched and written in-house. That was our strength. We’d often see our stories picked up by larger overseas websites such as Petapixel and DPReview, with significantly greater resources than our two-man team. (Sometimes they even credited us!)

So why are we shutting down? There are a few reasons…

Keith wants out!

Keith, the co-founder and my old man, has had his eyes on the exit for some time. For the last two years, he has spoken longingly about not having to fuss about yet another damned newsletter deadline. I’ve gradually taken on more duties to lessen his commitment, so the the treadmill is running a little slower. But it’s still a treadmill. And it wasn’t only my gentle persuasion keeping him around. Whenever he has broached retirement plans with our amazingly committed advertisers, he’d be flattered into keeping things going for a while longer.

I’m sure he also has a deep affection for this family-owned business and the connection it brings to the photo industry, as well as that satisfaction of breaking a strong story.

Having worked alongside Keith for a decade, starting out with a rudimentary set of skills, I can’t imagine doing the job without him. And now, at the other end of my career from Dad, I find myself  with family responsibilities. It’s simply time to, if not get a haircut, then certainly to get a ‘real job’, to quote George Thorogood (and my late grandfather).

Good journalists, lousy sales reps

Inside Imaging has always been what you might call marginal in terms of generating revenue. While online publishing is a much different business to a photo studio, distributor, or specialist retailer, there are similarities that bring us together.

We are small family partnership navigating an ever-changing digital environment, and operating within a rather turbulent contracting industry. Our biggest challenge (and I imagine some professional photographer and photo specialist readers will relate to this), is that at our core we are good at our jobs, but have to ‘fess up to falling short when it comes to other somewhat critical in-house roles, such as marketing and sales.

Thankfully, we had loyal advertisers who supported us. Not only have they kept us afloat for over 15 years, but I don’t know of any occasions where they’ve intervened or even expressed discomfort with our sometimes robust editorial direction. We are grateful for the loyal support from, in particular, CR Kennedy, Independent Photographic Supplies (IPS), JA Davey, and Noritsu Australia. These businesses still have a sense of the industry as a community, and have in part supported Inside Imaging because it was arguably the last remaining community resource, following the demise of PMA, IDEA, the annual trade shows, the AIPP, the APPAs, ACMP and other representative groups.

We were heartened in knowing that these businesses make their own advertising decisions rather than palming off the role to some faceless media buyer in North Sydney. Talking of which, it has proven near impossible to attract the support of Canon, Nikon, Sony, Fujifilm or the other big brands. (Even though their PR consultancies rely almost entirely on the editorial support of Inside Imaging and the other specialist publications.) Despite our insanely affordable ad rates none ever found room in their considerable advertising budgets to support us in providing an information service to the industry. Given their media spend is increasingly directed towards social media and ‘brand ambassadors’, that doesn’t seem likely to change in the immediate future.

So while the website audience has grown at a steady pace, we plateaued in our ability to generate more revenue. Last year we called on readers to donate, with long-time advertiser CR Kennedy offering a great incentive prize, and that proved a moderate success. But it was one hit of revenue, and we’d have to sustain these donations on a bi-annual basis for it to provide the capital to maintain the business. While I was blown away by the generosity, I’m as bad a salesperson as Keith, and disliked hassling readers to donate.

So we’ve been blessed over the journey with supportive advertisers (though, as mentioned, a few more would have been welcome) and a loyal readership. Thank you.

Thanks also to the incomparable Margaret Brown. We introduced her short and to-the-point camera and lens reviews to the Inside Imaging line-up a few years ago and they were invariably well supported by the readers.

A satisfying business model

As previously mentioned, from the outset our goal has been to publish unique, relevant news for the Australian photo industry. We never attempted to generate the maximum levels of website traffic through clickbait, SEO content, or pushing a deadline schedule based on pumping out quantity rather than quality. Sometimes a lead story takes days to get right, with researching, interviews, transcribing, editing, chasing up pictures, formatting, and so on.

We wouldn’t have had it any other way. From a professional standpoint, keeping the content original and a good read is deeply satisfying. We broke many exclusive stories. When there was a a widely-reported topic, we always endeavoured to find a unique angle focused on our small business audience.

We have never been required to publish a correction, and the only threats of legal action have been from one or two bullies with something to hide.

The unfortunate reality is that most online media business models do rely on maximising traffic to generate revenue through Google Ads and affiliate links. There is an art to striking the right balance between writing for the algorithm and audience, and I commend some of our fellow photo media outlets at finding that balance. But sometimes on my daily commute to their homepages, I’m left feeling the talent is wasted on operating a content farm, as skilled writers aim to win the SEO game.

The few times I used a Google Ads revenue estimator to find out how much we could generate, I was offended by the pittance we’d be paid. Sacrificing the reader experience for pocket money doesn’t seem worth it.

What will happen to the archive

The unswerving mission was to be the ‘publication of record of the Australian photo industry’. As such, the history of the Australian photo industry over the past 15 years is on our website. Exclusively. You could even say our archives are the history of the industry over the last 15 years. Keith and I both feel it presents some ongoing value.

If someone wants to read anything about, say, the fate of the Australia’s photo associations, the direction of Eastman Kodak and Kodak Alaris, Fujifilm or Canon, obituaries of photo industry legends, or whether they can trust a certain award-winning photographer to shoot their wedding, the information is here.
We plan on keeping the website active in the short term, but it’s not something we can afford to continue into the future. We’re open to suggestions, or if anyone is interested in picking up the baton, please give Keith or me a call. I can be contacted on 0430 872 056, or wrshipton@gmail.com. Keith is 0409174279 or email kshipton@gmail.com.

All the best to our advertisers past and present, and all our readers. Not to mention our invaluable off-the-record story sources. (You know who you are!)

The post Inside Imaging is shutting down appeared first on Inside Imaging.

The stories, printed here in full with no editing whatsoever, were shared by Nikon Australia with Inside Imaging.

Exploring the Design Secrets of the Nikon Z 8 – Nikon Engineers tell all.

Nikon Z 8 Engineers include:

• Tsuchiya Satoshi: Imaging Business Unit / UX Planning Department

• Obunai Kazue: Imaging Business Unit /Development Sector/1st Development Department

• Furukawa Shinichi: Imaging Business Unit /Development Sector/2nd Development Department

• Mori Goichiro: Imaging Business Unit /Development Sector/Design Department

• Hino Mitsuteru: Imaging Business Unit /Development Sector/Software Development Department

Below, they unveil their overarching goals, groundbreaking developments, and remarkable achievements while passionately working on the Z 8 at Nikon.

Tsuchiya Satoshi:

Our goal was to condense the performance of the flagship Z 9 into a compact body to make the ideal hybrid mirrorless camera. Nothing inside was compromised despite its appearance. To create the Z 8, we strived for the kind of agility that is available only with a small, lightweight body.

We didn’t strip down any features or compromise performance when reducing the body size. The Z 8 is compatible with various external accessories to meet a variety of use cases. To reduce the size of the Z 8, we omitted the vertical grip and wired LAN connection ports. We also offer, an optional power battery pack that can also be used as a vertical grip. The wired LAN can also be used through a commercially available USB-LAN conversion adaptor. In addition to the USB terminal for data transmission, there is a dedicated USB terminal for recharging the batteries. If the commercially available mobile battery is connected through this terminal, power can be supplied for long hours of shooting.

Mori Goichiro:

We were not only pursuing a small and light design. To ensure a sense of security for reliable shooting, a great deal of attention was put into achieving an optimally balanced camera.

Our goal was to pack the Z 9’s performance into a body-size comparable to that of the D850. As we were aware of many Z 9 users’ desire for a sub-camera, we looked at how the D850 had functioned as a sub-camera for the D5 and the D6. But instead of simply following the same path as the D850, we also considered the fact that the Z 8 needed to be well balanced when mounted to heavy, high-performance lenses, such as the NIKKOR Z 85mm f/1.2 S or the NIKKOR Z 50mm f/1.2 S. Moreover, while it is difficult to use the Z 9 on certain types of small gimbals due to its body size, the Z 8’s compact body size gives its users more options, allowing for video shooting with more freedom.

We wanted to keep the camera small for the sake of agility. The big challenge then, was how to deliver the same operability as the Z 9. It required considerable effort to achieve the optimum formation and arrangement of the operational parts and technology in a much more limited space than that of the Z 9.

We were not only pursuing a small and light design. To ensure a sense of security for reliable shooting, even in difficult weather conditions, under shock or impact, we put a great deal of attention into achieving an optimally balanced camera. The dissipation of heat was especially challenging. The heat source and the heat volume are the same as the Z 9, generated from the same image sensor and engine. But the heat tends to stay longer in a smaller body, which is not good if you want to shoot video for extended periods. To address this, we strived to reduce heat generation while also dissipating heat through an extensive trial-and-error process. Both the Z 9 and the Z 8 are designed with video recording performance in mind, and it is our hope that users may use these cameras according to their desired use cases.

Furukawa Shinichi

We have made a variety of video formats available to meet the needs of a versatile range of storytelling and editing workflows. The Z 8 is a flexible camera that is suited for all kinds of shooting styles.

By enabling internal video recording as well as external video recording that uses a cable and monitor, users are better able to shoot video in a way that fits their particular use cases. The shared goal of the development team was to create a camera that flexibly meets a variety of shooting styles. The hurdle was high, but the team worked as one to make it happen.

As with the Z 9, the Z 8 offers a wide variety of video formats (video compression formats), ranging from 12-bit N-RAW and Apple ProRes RAW HQ to 10-bit Apple ProRes 422 HQ to 8-bit H.265/AVC. This means users can use the Z 8 seamlessly in their existing workflows, whatever bit rate or codec they are using. It is easy to add the Z 8 to an already established system, especially as multi-camera shooting becomes more common.

We would like to recommend the N-RAW format for those that pursue high video image quality. The N-RAW format is compatible with Davinci Resolve for editing. On the other hand, the more versatile ProRes RAW codec is also available. Equipped with a variety of formats that flexibly meets the needs of a versatile range of storytelling and editing workflows, the Z 8 is a flexible camera that is suited for all kinds of shooting styles.

Certain video formats, such as ProRes RAW, which was previously recorded externally, can now be recorded internally, like when shooting still images. Achieving this required dedicated commitment from our memory card media partners, in addition to our own efforts. A combined team of Nikon engineers and memory card manufacturer developers worked very hard to successfully create card media that has fast write speeds for extremely heavy RAW video data, accomplishing our objective for internal recording.

Hino Mitsuteru

Our benchmark when considering video performance was the instantaneous start-up of the D5 and D6 digital-SLR cameras. The start-up time that we achieved has astounded video users.

Still photographers using digital-SLR cameras had harshly criticised the time lag between turning the power on and an image appearing in the electronic viewfinder. While digital-SLRs allows users to see the viewfinder image through the optical viewfinder even when the power is turned off, the image can’t be confirmed as quickly with mirrorless cameras, because they utilise an electronic viewfinder, resulting in a time lag after the camera is turned on. To achieve a much faster start-up time, we meticulously examined how long it takes for the camera to be turned on when the switch is pushed, and also how long it takes the image sensor, the image-processing engine, and the EVF to be ready for shooting. We thoroughly considered where we could reduce time, evaluating the process from scratch, and ultimately were able to achieve the current performance. Our benchmark for start-up time was the instantaneous start-up of the D5 or D6 digital-SLR cameras. All we were thinking about was how to make the mirrorless camera’s start-up time closer to these models. We believe the start-up time that we have accomplished has astounded our users.

Nikon cameras, especially high-end models, are developed with consideration for press photographers who need very fast workflow performance, because every second counts. This is one of the strengths of Nikon. The fact that Nikon hasn’t released a dedicated video camera may at first look like a weakness, but actually, we believe the opposite is true. By not being limited by the conventions and standards of video, we are able to consider new ways to improve video workflow through the application of our standards of still photography. By removing the barriers between still photography and video, and working as one, we have created an environment that fosters new capabilities for video cameras that were previously unavailable.

Instead of accepting what’s considered the standard in the video camera market, we began by questioning the current standard, and strived to always choose the standard that yields better results and a higher level of performance. It has been a big challenge. But as a result, the Z 8 offers videographers not only the agility of a compact body, but also the speed of a stills photography camera.

Furukawa Shinichi

With the highly acclaimed, excellent operability of the Z 9 condensed into a compact, lightweight body, the Z 8 will be one of the best options on the market for solo videographers.

When shooting video on lens-interchangeable cameras, users often opt to focus manually, instead of using autofocus. They shoot on gimbals without using vibration reduction, attach their cameras to rigs, and work with assistants as a sizeable team. But recently, more and more productions are being handled by solo videographers for the sake of efficiency and budget limitations. Videographers who previously did not utilize autofocus or vibration reduction, have started using these features more often depending on the situation. We’ve received quite a bit of positive feedback about the overall performance of the Z 9, on how users would not have been able to manage their shoots without these functions. The Z 8 was also designed to provide excellent operability for solo shooters with autofocus, vibration reduction, and ease of use during handheld shooting, in addition to high image quality. By inheriting these benefits in a smaller, lighter body, the Z 8 will enable solo shooters to work even more comfortably.

We want to deliver to our customers the same excitement our development team felt when we first saw the high-resolution footage of 8K and 4K video.

During the course of product development, there is a stage where we review the product’s image quality. This is when we judge whether the footage recorded in 8K and 4K meets Nikon’s quality standards. During the development of the Z 9, when the development team first saw the 8K and 4K video samples during the internal preview, the room filled with excitement as the team expressed their delight at the resulting high-resolution footage. The high resolution is apparent in portraits with a shallow depth of field, just as much as in landscape video footage. The area of focus is amazingly sharp, with minimal compression noise, shadow noise or jaggies, resulting in remarkably natural footage with an incredible degree of depth. The same imaging expression is possible with the Z 8.

While 8K tends to attract more attention, I would like to highlight the Z 8’s unique 4K image quality. The Z 8 lets users shoot video with unparalleled sharpness, when creating 4K video utilising 8K data. We have received positive feedback from video professionals who shoot music videos and travel documentaries about the Z 9’s video capabilities.

Our NIKKOR Z lenses deliver excellent optical performance. On top of this, because the lens information is communicated simultaneously with the camera body, NIKKOR lenses add further advantages to the camera system. The Z 8, combined with NIKKOR Z lenses, produces images in which the contrast between the sharp focal plane and soft background bokeh makes a portrait subject stand out with an immersive level of depth — a kind of depiction unique to the Z mount system. Nikon image quality realizes a strong sense of “presence” through what we call “three dimensionality”—it’s something beyond on-paper specifications. You need to see it to fully appreciate it.

Hino Mitsuteru

We want users to try N-RAW, which is based on Nikon’s expertise in the still image RAW format. [Hino]

While dynamic range is a key indicator for video image quality, sharp resolution and suppressed compression noise also play important roles. N-RAW is a format that lets users pull great image quality from its efficiently compressed files and offers incredible flexibility in the post-production editing process. There are a variety of RAW formats on the market. While each format has its own merits, N-RAW has a unique benefit of “reversibility” that it allows for the capture of all the delicate nuances of the scene or subject as it is.

Nikon’s original N-RAW format is created through Nikon‘s in-depth understanding of optics and hardware and maximises the Z 8’s high image quality. N-RAW is based on Nikon’s expertise in the still image RAW format, and it is my hope that users will experience for themselves the true value of N-RAW through their shooting.

Obunai Kazue:

Wheat, flour, or bread? We asked ourselves if what our users wanted and delivered options that let users effectively achieve their desired goals.

In order to share a common way of thinking regarding video imaging making, the development team likened video image processing to “wheat,” “flour,” and “bread.” Wheat, a metaphor for the RAW file type, can be processed into anything. We strived to retain high image quality after compression and kept it as unprocessed as possible to maximise users’ creative potential. Flour, representing N-Log, is processed minimally, allowing users to easily prepare a wide range of dishes. It supports the user’s desired image creation, maintaining the sharp resolution of NIKKOR Z lenses, thanks to Nikon’s own interpolation technology. Bread, on the other hand, includes ready-to-eat pastries, or sliced bread that can be made into a sandwich with minimal effort—can be likened to our efforts to respond to the needs for those who wish to shoot with minimal or no postproduction editing, such as Picture Control. As a team, we shared clear ideas about the needs and preferences of our users, carefully setting the goals for the different formats and delivering options that let them effectively achieve their desired image processing.

Picture Control [Auto], offers ready-for-use, great-looking footage straight from the camera. With color grading in mind, the user can choose from [Neutral], [Flat], or [Log] for a less processed look. Tone compression features such as Active D-Lighting can also be applied when shooting video to further reduce the post-production workload.

Mori Goichiro:

A “reliable” camera to us means a camera that offers the user a sense of security. During development, Nikon engineers always consider the worst-case scenarios.

In recent years, more and more users are shooting stills and video to record their own stories and experiences. These users want agility — so the camera doesn’t get in the way of what they are doing — but they also require a high level of reliability that allows them shoot with an underlying feeling of confidence in their gear. The Z 8 was designed to provide users a sense of security, a confidence in knowing that they can successfully record important moments and memories.

Nikon engineers always consider the worst-case scenarios during development. We test our cameras in conditions that are harsher than the actual conditions our users would be using the camera. It’s very important for us to go the extra mile to gain the trust of our users.

Furukawa Shinichi

Considering future user needs is how we managed to achieve the high performance of the Z 9, a level of performance the Z 8 has now inherited.

We learn from our users; we study how they use the cameras by visiting them on location. We observe every step of their shooting process and the way they use the camera settings so that we can discover hidden problems that might arise and produce solutions. We received requests to improve the video functions from video users with their own accustomed shooting styles, such as wanting to focus manually instead of using the autofocus during video. Of course, we respond to these requests, but we also consider the problems and needs that users are not conscious of themselves. We observe very thoroughly how our users work in different shooting locations to discover not just the current needs but also what could potentially be future user needs. Through these concerted efforts, we managed to achieve the high performance of the Z 9, a level of performance the Z 8 has now inherited.

Some of the users’ needs we collect on-site also include ergonomic requests, often to a sensory level, such as, “make the AF operation smoother” or “make the button easier to push.” We translate these user needs, such as AF operation sensitivity, AF speed, the position of buttons on the camera — and even the degree of curvature on the surface of those buttons — into numerical figures before sharing the feedback with the development team. We have made sure that all feedback is shared across all development sections, and we frequently meet to clarify feedback and set and achieve all the necessary goals. We had a strong sense of purpose to achieve the shared goal, and this required stronger teamwork than ever before. Only through a strong sense of unity, were we able to produce such technological innovations as the Z 8 and Z 9.

Looking back at the development of the Z 8 and the Z 9, and looking forward

Continuously offering excitement that go beyond expectations — that is Nikon’s DNA.
Every single member of the development team shares one thing in common: the Nikon DNA that drives us to keep pushing the envelope. It is our belief that business should not be limited to satisfying our users but should go beyond to offer better products that go beyond expectations. There were many different
proposals from each department to improve features and create new features ones. These proposals
continued up to the last stage of development, which meant that the proposer would be signing up for extra work, but the strong and positive teamwork ethos fueled a drive to push our capabilities to the level—this is how we were able to achieve products such as the Z 9 and the Z 8.

The Z 8 is an exemplary hybrid still/ video model that expands the horizons of creativity. However, to keep up with the fast speed of technological evolution, the camera must continue to evolve to meet the ever-changing demands for different recording formats and viewing patterns, for both stills and video. The evolution of the industry and of imaging devices go hand-in-hand, and our purpose is to keep facing new challenges.

The post Nikon engineers share Z 8 inside info appeared first on Inside Imaging.

There is less certainty regarding the resumption of supply of Kodak photographic paper.

Photo Systems has been a contract manufacturer to Kodak Alaris and then Sino Promise, and has a 50-year heritage in photographic chemical manufacturing. Worldwide supply from Photo Systems will commence early in 2024, with manufacture based in the US.

According to a report in a Detroit-based business website, Sino Promise discontinued Kodak Professional Photographic Chemicals back in April this year, with Photo Systems stepping in as the new brand licensee  in September.

‘Analog photography and analog photo chemicals have always been the focus of (our company),’ CEO of Photo Systems, Alan Fischer, is quoted as saying in the article. ‘We were very concerned that a vital link to analog photography would be lost. We are pleased to become the licensee of Eastman Kodak and carry on the more than 150-year tradition of Kodak Professional Photographic Chemicals.

‘We will continue to use our many years of experience in photographic chemical manufacturing, as well as the specific experience in manufacturing Kodak Professional Photographic Chemicals we have garnered over the past four years, to deliver the quality and reliability that consumers have come to expect.’

(‘As far as supply chain reliability is concerned, Sino Promise set a very low bar, particularly through 2023.)

Photo Systems will manufacture chemicals for black and white, C41, E6, and RA4 processes. There will be a staged introduction, with B&W first cab off the rank as early as January, followed by C41 colour chemicals, E6, and RA4 by the end of the third quarter.

Photo Systems already offers a full array of film and paper photoprocessing chemicals under the Unicolor brand. It also manufactures chemicals for graphic arts, X-ray and micrographics.

‘We still have a bit of Kodak chemistry but we will run out at some point,’ APS managing director Shane Martin told Inside Imaging. He said that they hoped to have fresh stocks of Kodak-branded C41 and RA4 chemicals ‘by mid next year if everything goes right.’

He mentioned another US manufacturer, White Mountain, as a likely outsourced supplier of colour chemistry to Photo Systems.

As mentioned, the ongoing viability of the Kodak paper business is less certain, although Shane Martin noted that APS has adequate stock in Australia to last for the next six months.

He said the supply chain was ‘problematic’. Until Sino Promise’s abrupt demise, bulk rolls of paper were manufactured in Europe by Felix Schoeller,  shipped to the US for coating, then off to China for slitting into customer rolls.

He said that he wasn’t certain that CareStream, which has run the Colorado-based coating line for Kodak paper, was interested in continuing the business.

‘CareStream has stopped the line, but there are other potential sources which make and coat paper.

‘There’s no reason Fuji couldn’t make Kodak paper,’ he noted. (Fujifilm already manufactures some colour negative films for Kodak.)

He said APS had a plan in place if Eastman Kodak doesn’t re-commence production.

‘We are hoping to have product locked in for a number of years in the future. Hopefully Kodak-branded,’ he said.

The post Kodak chemistry back in play, less certainty for paper appeared first on Inside Imaging.

Photo Create was established almost 20 years ago and has been a noted innovator from the start. With 100 full time employees and up to 300 casuals at peak times, it is the largest employer (and Australia Post customer) in NSW regional centre of Glen Innes. It runs two production factories for digital print on demand  and gifting, plus storage despatch and warehousing, and ships products around the world.

Layflat.com recently appointed Independent Photographic Supplies (iPhoto) as Australian and New Zealand distributor for its extensive range of premium lay-flat book binding equipment.

Photo Create decided on two mid-range LF600 All-In units for the flexibility to meet peak demand in a seriously seasonal business, and for redundancy purposes in off-peak times.

‘We wanted two units for redundancy purposes rather than one higher volume machine,’ Photo Create managing director, Hugh Eastwood explained. ‘They are both ticking over now as we are in a peak volume period.’

Unlike other photo book binding systems, which create books which cannot be fully opened to literally ‘lay flat’, leading to a loss of content around the gutter of any two-page spreads, lay-flat books can be fully opened, providing a continuous display without any content blocked.

The Layflat LF 600 All-In is a fully automatic book block system which can produce lay-flat book blocks from single sheets. It includes a creaser and a folder and creates photo books by Hotmelt-gluing pages back-to-back. Operators can optionally insert cardboard in between sheets for stiffer pages. It can handle sizes from 152 152mm (6×6-inch) to 330mm x 460mm (13×18-inch).

Hugh Eastwood explained that Photo Create used to offer lay-flat style photo books years ago but ‘it was a fairly manual, cumbersome process.’ He said production costs made the books  too expensive to generate demand.

‘Lay-flat books are a premium product, but customers won’t pay three or four times as much,’ he said.

‘Now we can offer lay-flat books at a premium 30-40 percent above standard price.’ He added that market data indicated lay-flat books should account for around 20 percent of total demand.

‘We commissioned the equipment about two months ago,’ said Hugh. ‘It only took 48 hours to get up and running and it’s led to a successful wholesale launch.

‘We are happy with the machines – there have been no teething problems and the iPhoto tech guys knew their stuff.’ (iPhoto sent two technical managers overseas for pre-installation training prior to setting up the equipment at Photo Create .)

‘Our people operating the machines are very happy with them. They do what they promised.’

He said Layflat.com seemed the best solution given Photo Create’s volumes and types of market, and the technical support and price offered by iPhoto.

‘When we analysed options it was the most practical,’ he said.

Photo Create is staging the roll-out of lay-flat books, with several local and international clients in the ‘first cab off the rank’.

He noted that the market for text-based, print-on-demand books such as those offered by customised children’s book publishers, was now as large as the growing photo book segment.

Photo Create is using digital press printing technology from Fujifilm and Indigo to create single-sided pages to be fed into the LF600s.

Stuart Holmes, managing director of Independent Photographic Supplies (iPhoto) also in its 20^th Year, noted that the addition of the Layflat range of book binding equipment to iPhoto’s ‘Best Brands in Imaging’ line up was a natural bridge from photographic printing to the premium book publishing world, and it has allowed providors of quality photo specialty products like PhotoCreate to produce premium quality lay-flat books in a high volume production environment.

The post Photo Create’s Layflat units flat out appeared first on Inside Imaging.

‘It would be hugely disappointing for Head On not to return in 2024.

‘We bring art out of galleries, giving free access to families and community members who might not traditionally set foot in a gallery, and it’s been hugely successful for more than a decade.

‘We see people from all over the suburbs and overseas guests coming to Bondi and enjoying this free event.

‘It’s about putting art in public spaces and exposing people to different ideas and cultures through art in a way that’s not been done before. Sometimes an exhibition shines a light on a group of people most of us hardly ever think about, and that’s important,’ Rosenzveig said.

‘We punch above our weight, raising about 50 percent of our budget ourselves to produce a world-renowned event with a tiny team when other organisations receive vastly more funding than us. Although we have had incredible support from the NSW Government through Create NSW, we’ve even had the NSW Arts Minister John Graham open the event, there’s been absolutely no support from the Federal government’s national arts funding body, despite this festival’s national and international interest.’

Rosenzveig fears there’s an element of snobbery, with photography not viewed as sufficiently ‘high-brow’ by some of those holding the budget purse strings.

The budget crunch means funding for the 2024 festival is up in the air, casting a cloud over the event’s future.

‘Without funding the festival doesn’t exist. We really hope this is not the case. This event has been so successful and we are hopeful a decision will be made soon,’ Rosenzveig added.

‘The Head On Photo Festival is one of the most sought-after photography festivals of its kind in the world and we have artists applying from across the globe, so it’s not just great exposure for Sydney but Australia too.”

This year’s festival has exhibited the works of over 700 artists from 30 countries, carefully chosen from thousands of entries.

‘Each one of those photographers focuses on an issue or topic that might otherwise never go under the microscope of public scrutiny, from issues on the environment to seeing how different cultures live.

‘It’s important that art be available to everyone and in the public sphere, not just those who go to galleries or can afford to go to the Opera House to see a show.’

This year’s festival has gained support from the NSW Arts Minister John Graham who says the event is important and brings people together.

‘It’s an accessible event in an accessible art form and that’s really important to make sure that as many people as possible are exposed to the ideas, the thoughts, the feeling that photography really brings to us.

“It is an incredibly important part of the NSW arts ecosystem.

‘It’s great to see people flooding down to the Bondi Pavilion to experience this Head On Festival. It’s such a boost to the local area, to the retailers but also to that feeling of creativity that overwhelms us when we see art like this,’ Minister Graham said.

‘The Festival is great exposure for Australia on the world stage, attracting works from some of the biggest names in photography on the planet including Trent Park, Ben Lowy and Masayoshi Sukita with Head On also invited to be part of exhibitions in Europe, China and New Zealand.

‘Despite the festival’s success and reach, Head On operates on a shoestring budget. We have a small team that has a big impact, but the reality of not having our funding confirmed actually puts those jobs and the festival itself at great risk.’

The Head On Photo Festival wraps up for 2023 on Sunday December 3.

‘We hope it’s not the last chance people will have to experience it,’ Rosenzveig said.

COMMENT: The above is heavily based on a press release from Head On. The careful reader would have noticed that there is a critical fact missing – where the ‘fund slashing’ is coming from. Given the NSW Minister for the Arts is hugely supportive of the event, according to the press release, one would assume he would be supportive of continued funding. The Federal Government comes in for criticism for a lack of support, so it can’t be the source of the ‘budget crunch’. We’ve gone back to Head On’s PR person for clarification.

The post Threats to Head On funding flagged appeared first on Inside Imaging.

The new lens features internal focus, so the lens does not move out as it goes from 70 to 200mm. Minimum focus at 70mm is 65cm through to 100cm at 200mm, while the widest f2.8 aperture is constant through the zoom range.

Image stabilisation is  up to 7.5 stops at the wide end and 5.5 stops at 200mm. The internal focussing is of benefit to videographers, according to Sigma, as it results in a more fixed centre of gravity. The aperture ring can be ‘de-clicked’ for smoother transitions.

Here’s the full Sigma US press release:

SIGMA Announces Release of 70-200mm F2.8 DG DN OS | Sports Lens

Ronkonkoma, NY, November 16, 2023 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the official release of the highly-anticipated SIGMA 70-200mm F2.8 DG DN OS | Sports lens.

A reliable and lightweight large-aperture telephoto zoom lens designed exclusively for full-frame mirrorless cameras, the 70-200mm F2.8 DG DN OS | Sports is available for Sony E-mount and Leica L-Mount. Combining high-speed AF, remarkably effective OS, exceptional mechanical reliability, and superior optical performance, this high-performance lens is purpose-built to meet the rigorous demands of professionals, and is suitable for a wide range of styles and genres including nature, wildlife, photojournalism, action sports, wedding and portraits. The lens will retail for $1,499 USD and will be available through authorized retailers on December 7, 2023.

Dust and splash-proof construction, high-performance optical stabilizer (OS), and an inner zoom mechanism that does not affect barrel length, are all features designed for the most demanding photographic conditions. It is also the first SIGMA DN zoom lens to be equipped with an aperture ring (click/declick type).

Streamlined optical design and a multi-material structure featuring magnesium and TSC have resulted in a lightweight lens body. A new compact tripod collar and foot also help minimize weight, as does a CFRP (carbon fiber-reinforced plastic) lens hood. Compared to the 70-200mm F2.8 DG OS HSM | Sports for DSLR cameras (1,805g for SA mount), the 70-200mm F2.8 DG DN OS | Sports is significantly lighter (1,345g for L-Mount).

Featuring Dual HLA-driven floating focus for fast, accurate AF, the focus lens is driven using a high-thrust HLA (High-response Linear Actuator) as the focus actuator, and a floating focus is used to achieve high-speed AF drive. The floating configuration of this lens, in which the two focus groups are driven in opposite directions, reduces the amount of movement of each focus group to about half that of a single group focus system, achieving extremely fast AF that is highly responsive. The latest OS2 stabilization algorithm achieves image stabilization performance of 7.5 stops at the Wide end and 5.5 stops at the Tele end.

The SIGMA 70-200mm F2.8 DG DN OS | Sports has very minimal focus breathing on both the wide and tele ends, making it a powerful lens for video applications. The minimal change in center of gravity enables stable shooting in all situations, including handheld, on a tripod, and with a gimbal. During zooming, five groups are moved to suppress aberration fluctuation, achieving high optical performance throughout the zoom range.

S | Sports
SIGMA 70-200mm F2.8 DG DN OS

Performance, reliability, and mobility at its highest level.

• High-speed AF and optical stabilizer function that maximize superior optical performance
• Top-level build quality condensed into a highly mobile lens
• A wealth of functions to assist professionals

Available mounts: L-Mount, Sony E-mount

Launch date: December 7, 2023

Packed with all the technology SIGMA has to offer.

The large F2.8 aperture provides stable and high descriptive performance at all zoom and focus ranges. The high-speed AF with a dual HLA (High-response Linear Actuator) based on a floating focus structure, and the Optical Stabilizer function with the OS2 algorithm with up to 7.5 stops of correction effect*, ensure that users can take the right shot when there is no room for error. The highly mobile lens with high durability, rigidity, and texture is equipped with a wealth of functions to assist comfortable shooting, including an inner zoom mechanism for easy handling, as well as an aperture ring and switches with various customization functions. The flagship SIGMA 70-200mm F2.8 DG DN OS | Sports, combined with the best of SIGMA’s latest technologies to meet the high-level demands of professionals, has finally arrived.

* Based on CIPA guidelines (Measured at 70mm and 200mm with a 35mm full-frame image sensor)

[Key Features]

1. High-speed AF and optical stabilizer function that maximize superior optical performance

The SIGMA 70-200mm F2.8 DG DN OS | Sports, developed with professional use in mind, offers not only high optical performance, but also high-speed AF with a dual HLA (High-response Linear Actuator) and an optical stabilizer function with up to 7.5 stops. The Sports line lenses offer high optical performance, and all functions are based on state-of-the-art technology.

High descriptive performance at all zoom and focus ranges

The latest optical design, which employs luxurious glass materials including 6 FLD and 2 SLD elements of special low-dispersion glass, delivers high resolving power throughout the entire zoom range. Three aspherical lenses are used, as they are now indispensable for superior optical performance and streamlined lens construction. The exceptionally high precision of the aspherical lenses, which take advantage of the technical capabilities of SIGMA’s only production facility, the Aizu factory, further improves optical performance. The incorporated floating focus is advantageous in improving short-range performance, ensuring a stable, high-level image quality throughout the entire range from the minimum focusing distance to infinity.

High-speed AF with a dual HLA

The SIGMA 70-200mm F2.8 DG DN OS | Sports with floating focus has a structure in which the two focus groups move in opposite directions, thereby reducing the amount of focus lens movement by about half. In addition, the use of an HLA (High-response Linear Actuator) motor in each of the two focus groups enables high-speed autofocusing. In addition to being fast and accurate, the lens also employs a control program that is designed to be quiet, so users can shoot movies comfortably without worrying about noise.

OS2 algorithm in optical stabilizer function

The latest OS2 optical stabilization algorithm provides an extremely high image stabilization effect of 7.5 stops at the wide end and 5.5 stops at the telephoto end*. The lens is equipped with two OS modes: Mode 1 is suitable for general shooting, and Mode 2 is ideal for panning shots of motorsports and other sports. In Mode 2, SIGMA’s Intelligent OS, an algorithm specially designed for panning shots, enables effective image stabilization even when the camera is moved vertically or diagonally, irrespective of the horizontal and vertical orientation. This ensures that the subject’s movement can be captured without losing the panning shot effect.

* Based on CIPA guidelines (Measured at 70mm and 200mm with a 35mm full-frame image sensor)

Designed to minimize focus breathing

The lens has been designed to suppress focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.

Designed to minimize flare and ghosting

Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

2. Top-level build quality condensed into a highly mobile lens

SIGMA is committed to excellent build quality in all its lenses. Among them, the SIGMA 70-200mm F2.8 DG DN OS | Sports, which is part of the Sports line, offers not only high weather resistance performance for shooting in harsh environments, but also improved quality and durability through the use of cutting-edge materials in appropriate places based on a streamlined optical and mechanical design. At the same time, a high level of mobility is also realized, resulting in a professional equipment that can be used with confidence over the long term.

High quality and durability despite its small size and light weight

The latest optical and mechanical design streamlines the lens configuration and internal structure, resulting in a significantly smaller and lighter body than the previous SIGMA 70-200mm F2.8 DG OS HSM | Sports model. The body, including the hood, features a “multi-material structure” that optimally arranges materials such as magnesium, CFRP*1, and TSC*2. Even with enhanced mobility, the lens features SIGMA’s renowned excellent build quality, including high durability, reliable rigidity, and various control rings and switches that have been carefully designed to feel good.

* 1 CFRP (carbon fiber reinforced plastic), a light but strong material used in the interior and exterior fittings of aircraft, among many other applications.
* 2 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has high affinity to metal parts which contributes to high quality product manufacturing.

Adoption of inner zoom mechanism

The zoom mechanism employs an inner zoom. Since the total length of the lens does not change with zoom operation, it is easy to handle when shooting hand-held, highly stable when installed on a gimbal, and resistant to dust and water droplets.

Weatherability of Sports line specifications

The mount connection, manual focus ring, zoom ring, switches, switch panel and exterior connection are all dust and splash resistant* to prevent dust and dirt from entering the lens. Further, the front element of the lens features a water and oil repellent coating to facilitate maintenance when water droplets or dust adhere to the lens.

* The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.

3. A wealth of functions to assist professional photographers

In addition to an aperture ring, a magnesium tripod mount, and various switches, the highly mobile lens has a wealth of functions available, enabling a more comfortable and versatile shooting experience for users.

Equipped with an aperture ring

This is the first SIGMA zoom lens for still photography to be equipped with an aperture ring. It is also equipped with an aperture ring click switch and an aperture ring lock switch, allowing for aperture operation suited to the shooting application.
Newly developed tripod socket

The lens body incorporates an Arca-Swiss compatible magnesium alloy tripod socket. The detachable leg is newly designed for the SIGMA 70-200mm F2.8 DG DN OS | Sports in order to achieve a compact and lightweight design.

Customizable functions

Equipped with a Focus Limiter switch, the lens enables users to limit the focus driving range during AF when necessary, allowing quick and precise focusing.
Further, the lens features three AFL buttons* ready to be assigned to preferred functions using the camera. The AFL buttons are easy to operate regardless of how the camera is oriented or which settings are used. For the L-Mount version, the SIGMA USB DOCK UD-11 can be used to set OS operation or focus limiter range for the Custom Mode switch.

* Only on compatible cameras. Available functions may vary depending on the camera used.

Tele Converter for L-Mount (1.4x / 2.0x)

The L-Mount version of the lens is compatible with the SIGMA TELE CONVERTER TC-1411 (1.4x) and TC-2011 (2.0x). Using a tele converter, the focal length can be multiplied by 1.4x and even 2x, for AF-enabled shooting at ultra-telephoto focal lengths of up to 400mm.

Cover-type lens hood included

A lightweight, high-strength, exclusive cover-type lens hood made of CFRP* is included. In addition to its slim design that does not impair the mobility of the lens, the tip of the hood is rubberized to protect the lens from abrasion and scratches caused by placing the lens upside down.

* CFRP (carbon fiber reinforced plastic), a light but strong material used in the interior and exterior fittings of aircraft, among many other applications.

[ Additional Features ]

• Lens construction: 20 elements in 15 groups (6 FLD, 2 SLD, 3 aspherical elements)
• OS (Optical Stabilizer) function with the latest “OS2” algorithm
• Inner zoom
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction
  * Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
  
* On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON’ (AUTO).
• Supports DMF and AF+MF
• Compatible with AF assist (Sony E-mount only)
• Nano Porous Coating
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button (3 buttons)
  * Only on compatible cameras. Available functions may vary depending on the camera used.
• Focus Limiter switch
• Focus Mode switch
• Support for switching between linear focus / non-linear focus ring settings (for L-Mount only)
• Function available on supported cameras only.
• OS switch
• Custom Mode switch
• Dust and Splash Resistant Structure
• LENS HOOD LH860-01
• TRIPOD SOCKET TS-151 (detachable lens foot type)
• Compatible with SIGMA TELE CONVERTER TC-1411 / TC-2011 (sold separately / for L-Mount only)
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 11-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan” craftsmanship

The post Sigma launches f2.8 70-200mm for Sony and L-Mount appeared first on Inside Imaging.

Nowakowki’s portfolio covers a range of newsworthy topics, ranging from his speciality, protest images, as well as editorial portraits, sporting moments, house fires and bus crashes, a Star Wars cosplayer, and an awkwardly celebrating Daniel Andrews.
‘Preparing to shoot a planned protest requires research and knowledge of the protest group or groups, early arrival to ensure a prime position, delicate negotiating skills to get through police lines, safety goggles to protect from pepper spray, and the expectation that anything is likely to happen,’ Nowakowski said. ‘Pre-arranged feature, portrait, and picture story shoots require the same skills and planning. The location, whether it’s going to be busy, the time of day, the position of the sun, delicate negotiating skills for overzealous security personnel, and required lighting are just some of the things that need to be taken into consideration.’

The judges describe Nowakowski’s portfolio as showing his range as a newspaper photographer.

‘The shot of Dan Andrews with a manic look is very visually striking and Nowakowski has worked around difficult TV lighting to achieve it. There’s hard news and a bit of quirk and humour,’ they said.

After leaving a career as a graphic designer in 2003, Jake Nowakowski found himself freelancing both at home and abroad before eventually accepting staff positions at the North West Starin Mount Isa and The Cairns Post. He is currently employed as a staff photographer for the Herald Sun in Melbourne.

In 2021, Nowakowski described how he was arrested by Victoria Police while photographing a Melbourne anti-lockdown protest.

The Nikon-Walkley Press Photo of the Year goes to Matilda Joy, by Getty Images sport photographer, Quinn Rooney.

The image was captured moments after Matildas goalkeeper, Mackenzie Arnold, stopped one of France’s penalty shots in the Quarter Final match.

The Walkley Photography judges describe the image as the perfect example of ‘jubo’, a newsroom abbreviation for a picture that captures the jubilation of a sporting victory.

‘It’s a moment that encapsulates the spirit of the country,’ the judges said. ‘The eyes on it,the emotion we have invested into it. It’s the peak of action, a global moment. Of all the Matildas’ celebration jubo photos, that one really nailed it. It includes many of the key players on the team, caught in a perfect moment. Poetry in motion.’

Here is a gallery of the other category winning images:

News Photography – Ian Munro, The West Australian, ‘Banksia Hill Riot’

Nearly 50 juveniles were involved in a riot overnight at Western Australia’s Banksia Hill Detention Centre, a prison facility for offenders aged 10-17, in May 2023. They set fire to accommodation, arming themselves and climbing up onto the roof. The tense stand-off came to an end when special operations group officers stormed the roof of WA’s only juvenile prison. Ian Munro caught this lightning rod moment, which brought the 14 hours of chaos to an end. The image struck a nerve, and was used at protests and shared on social media.

Ian Munro said, “The picture is exclusive and was taken on a long lens from scrubland near the Detention Centre that I had to access on foot through bushland. I felt that the situation between the special operations officers and this individual was escalating, which led me to focus on this group and quickly change my location to get this shot.”

Sport Photography – Quinn Rooney, Getty Images, ‘Beauty in Sport’

Five images in ‘Beauty in Sport’ depict the raw emotion, competitive intensity and dedication of athletes performing at their peak. Rooney’s creativity is on show in a shot of a diver, photographed through an out-of-focus yellow sign to encircle and highlight the diver’s performance. And as for raw passion, it is hard to go past the energy and elation on every Matilda’s face as they celebrate their penalty shoot-out victory against France. This shot won the 2023 Nikon Prize for Photo of the Year.

Quinn Rooney said, “At times, the beauty in an image is easy to see in the athlete’s raw passion or athleticism. At others, the image needs to be complemented by skilful use of the surroundings to convey the story to the viewer.”

Feature/Photographic Essay – Justin McManus, The Age, ‘Leaving the Land of Plenty’

This is a deeply personal narrative documenting Effie Tsagalidis’ journey of grief, loss and loneliness,which culminated in her departure from the family farm, her home of fifty-eight years. Justin McManus first encountered Effie and her husband Paul in 2016, and has been visiting and photographing them ever since. Early in 2023 he saw signs advertising a new estate at the property’s front gate. Paul had passed away and, amid her grief, Effie had to work through a lifetime of possessions and memories as she prepared to leave her home.

Justin McManus said, “I was taken by their traditional way of life on their farm in Plenty, in Melbourne’s north-east. Surrounded by the encroaching urban sprawl, their humble way of life was in direct contrast to the extravagant mansions rising up all around them. Property developers were constantly at their door encouraging them to sell their farm and move into the city.”

The post Jake Nowakowski wins Walkley Press Photographer of the Year appeared first on Inside Imaging.

The Head On Photo Awards, consisting of the Portrait, Landscape, Student, and the new Environmental prize, were announced at the photo festivals’ launch on November 10 at Bondi Beach. Cossini wins $10,000 cash and other prizes. Each category has both an international and Australian runner-up.

Cossini’s winning image, Ugandan Ssebabi, is ‘set among the tough slums of Kyazanga’, the image description states, and ‘is a photographic tribute to the world’s greatest underdog’.

‘Godfrey Baguma, born with a rare and painful physical disability, was abandoned by his mother as a bringer of ‘bad luck’ and shunned by society,’ the image description states. ‘Through a chance encounter, he reinvents himself as an entertainer in a travelling show. Now 57, he has beaten the odds. While most people with his condition die by 40, he has found love, success and bought a house — a testament to human resilience and positivity.’

It’s the second time Ugandan Ssebabi has appeared on Inside Imaging, with Cossini’s image winning the 2023 National Photographic Portrait Prize (NPPP) Art Handler’s Award earlier this year.

The Head On Landscape Prize was won by Sydney-based underwater photographer, Talia Greis, for her image Underwater Garden.

‘A shallow, pond like, open air sinkhole with the most impressive range of water lilies,’ the image description states. ‘Found in the depths of the rainforest, Mexico.’

The Environmental Prize overall winner is Belgian documentary photographer, Alain Schroeder, for Saving orangutans 1.

‘Sibolangit, SOCP Quarantine Centre, North Sumatra, Indonesia,’ the image description states. ‘The SOCP team works together to prepare Brenda, an estimated 3-month-old female orangutan (she has no teeth yet), for surgery. They administer a sedative, shave her arm, and take her temperature while others hold her head or hand out of compassion. This series documents Indonesia’s orangutan’s rescue, rehabilitation, and release. They are under threat from the ongoing depletion of the rainforest due to palm oil plantations, logging, mining, and hunting.’

And lastly, the Student Prize goes to Lucia St Leon for Paper constructs.

‘I experiment with light and natural fragments of the earth, captured and reframed through dioramas to create an alluring glimpse of the connection between Earthy forms and their inhabitants. Encouraging appreciation for our world.’

Here’s the Australian and international runner-ups:

Portrait Prize runner-ups

Landscape Prize runner-ups

Environmental Prize runner-ups

The post 2023 Head On Photo Award winners gallery appeared first on Inside Imaging.

And to be clear, there are not many reasons to visit Ballarat on the edge of winter. This time of year Victorians are either in hibernation, making a pilgrimage north to warmer pastures, or spending a fortune on an European summer holiday. Ballarat – a city seemingly plagued with a cold, wet and windy microclimate – is no winter wonderland. Yet once every two years BIFB presents a great excuse for a voyage, whether that’s a day trip or a weekend. Or something even bigger.

BIFB’s new CEO, Vanessa Gerrans, informs Inside Imaging visitors and volunteers travelled from interstate for the exhibition. Some even boarded long haul flights across the Pacific – coming from as far as Peru specifically to attend the festival.

Right place, wrong time: Outdoor installations

So Inside Imaging‘s team of two made the 90 minute journey up the Midland highway. And, yes, the rain was relentless. Perfect conditions to spend a day inside galleries. Not a great day for checking out the outdoor installations. The images are similar to ‘paste ups’, where they’re printed onto poster paper and glued to a building’s exterior. It’s an art form popularised by music promoters to advertise events and street artists. The quality of BIFB’s outdoor display work was at a much higher quality.

By adorning a building’s exterior with photography, BIFB is beautifying the city and providing passing foot traffic something interesting to look at. By expanding away from the indoor venues where only ‘the converted’ wander, and placing photography in front of a broader audience, the festival becomes more of a general community event.

 

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Kate Ballis’ installation of infared photography, Portals To Atlantis, at the Ballarat Train Station added a welcome splash of character to a building that’s sole purpose is to provide travellers a functional place to wait in transit. William Yang’s single image in a window at the Chinese Library on Lydiard Street fell short of what I initially expected to be a full exhibition. Stumbling upon Oculi photographers’ work in outdoor locations around Ballarat’s city centre was a pleasant surprise, but they’d be elevated to another level on centre stage at an indoor gallery.

For some attendees these installations may be their favourite component of the festival. I reckon it’s an ordinary medium for viewing photography – broader exposure notwithstanding.

Our attendance was late in the festival’s two-month lifespan. It’s a looong time for a large arts event to run. In previous years there were rumours that volunteers’ interest waned towards the end, and there was a risk of exhausting this valuable resource. But signs of a slowing momentum – tired and empty exhibition spaces and weary attendants – were not apparent. The volunteers were plentiful and chirpy, and groups of high school students and elderly people swarmed through various Lydiard Street venues. Every exhibition attended, from paid ticket venues to crumbed chicken franchise, Schnitz, had BIFB visitors on this rainy week day.

The Art Gallery of Ballarat, showing numerous Core Program exhibitions including the headline retrospective by Platon, was the first stop.

Effacement, a collaboration between Ballarat locals, photographer Karenne Ann and crochet artist Heather Horrocks, occupied the first gallery space. Horrocks has been crocheting for around 70 years, and when Covid reared its ugly head she began experimenting with extremely fragile video tape to make a series of woven shiny black masks.

Next up was The Stephanie Collection by New Zealand portrait photographer Yvonne Todd, which on first glance look like a series of conventional fashion photos straight from a glossy beauty magazine. Upon closer inspection, each portrait looked not quite right. They had an eerie demeanour and it wasn’t quite clear how to read them. It was re-assuring to double back to the exhibition description explaining the ‘unsettling’ nature of the portraiture is, in fact, intentional.

Instant Warhol is a series of original Polaroid portrait snap shots by the pioneer of pop art. The prints show Warhol’s friends and colleagues, mostly celebrities, snapped indoors or at night with full flash. The tiny instant prints covered the walls ‘Salon style’, with captions on an adjacent wall prompting a double take to identify the subject.

It’s intriguing to see famous faces in a relaxed environment, shot by a glorified snapshooter with an ordinary camera. Many people likely have their own small collection of instant prints that aren’t too far removed. The glaring difference being Warhol’s exclusive access to celebrity, and the eccentric art crowd he ran with. Gerrans noted that Instant Warhol was a big hit with secondary school students – no surprise given the revival of instant film photography.

The headliner: People Power – Platon

The headline exhibition, People Power – Platon, is a crowd-pleasing world premiere consisting of 139 prints by US-based celebrity portrait photographer, Platon. Working for the likes of The New Yorker, The New York Times, Time, and Vanity Fair has provided Platon unfettered access to celebrities and world leaders.

Visitors are first greeted by US presidents. A frowning Donald Trump; George HW Bush throwing a peace sign; his son, George W. Bush, sporting a goofy grin; and Barrack Obama carefully holding a steely gaze. Starring back at the US presidents are enemies of their Western and democratic value systems: Vladimir Putin, Muammar Gaddafi, Robert Mugabe, Hugo Chavez. Hats off to Platon for getting these stubborn bastards into the same room together!

The next space houses the celebrities. Despite most portraits utilising the same format – black-and-white with a plain back drop – each is unique. Even if it’s the first time viewing them, the portraits feel familiar. This might be because the subjects are household names, and the concept or idea that we collectively attach to the celebrity filters through.

The remaining rooms show Platon’s activist work through his non-profit, The People’s Portfolio. It combines documentary photography and Platon’s signature portraiture style with the aim to ‘tell the story of emerging human rights defenders and the people they serve and help them develop a leadership platform’. It’s a welcome addition to the exhibition, which may have otherwise been somewhat one dimensional. Two emotional elderly ladies viewing the Sexual Violence in Congo were blown away, and had to take a few moments to sit down and take in this image:

A friend accompanying me on the trip noted how some of Platon’s image captions included full details, while others had no information beyond the title. As a curatorial assistant, he found it unorthodox and  kind of off-putting. ‘It probably doesn’t bother most people,’ he said, ‘but I’ve never seen it done like that’. A gallery staff member he ambushed wasn’t 100 percent certain why, but suggested Platon’s dyslexia may play a role. Platon has stated his reading difficulty means he ‘can’t really function with a lot of complicated things on a page’. (BIFB confirmed this played a role in the disjointed approach to captions)

Further along Lydiard Street is the Post Office Gallery, where photojournalist Stephen Duponts’ Fucked Up Fotos was on display. These pictures are linked by failure, leaving them useless from a documentary photography point of view.

Here’s an excerpt from an essay by Dupont for his photo book of the same name:

‘It’s the imperfections in photographs that makes them unique; beautiful; makes them great. Perfection is boring. I think it was Salvador Dali who once said, have no fear of perfection because you’ll never reach it. Fucked Up Fotos takes my philosophy of imperfections to a whole other level. There is very little of me in these photographs. In fact, the images were not exactly made by me at all. Of course I created them, but who really made them what they are? Science? Nature? My own negligence? Outside interference? These photographs, once dismissed as poor rejects, are sometimes extraordinary, magical and poetic. They’re destructive and layered moments; complex and mysterious, like a painting they invite us to look much deeper, revealing interwoven fragments of time and space. In the end they offer new meaning to the art of photography itself, like fractured puzzle pieces from a waking dream.’

Here’s a slightly related side note. The late and great war photographer, Tim Page, mentioned to Inside Imaging in 2021 that Dupont’s open-mindedness to imperfection made him a thoroughly enjoyable co-worker when editing a comprehensive retrospective of his Vietnam photos. Page, a mentor and close friend of Dupont who is a portrait subject in Fucked Up Fotos, found new meaning in his work’s imperfections thanks to Dupont’s philosophy.

Fucked Up Fotos has two standout images.

The first shows a young boy from Port Moresby, part of a criminal ‘Raskol’ gang, aiming a pistol at the camera. A dark room editing error left the bottom of the frame stripped apart like threads, by sheer co-incidence resembling the boy’s tattered white singlet. The other is part of the White Sheet series, where a bed sheet is used as an impromptu portrait back drop. An editing mistake resulted in the frame appearing ripped down the middle through the portrait subject, making it look as if the men holding the sheet are in some way responsible for either ripping or holding the picture together.

The Mining Exchange hosted a large exhibition of large prints, How To Fly, by Swedish digital photo artist, Erik Johansson. This exhibition was a highlight in terms of the presentation, with the prints suspended from the ceiling, excellent lighting, and flawless printing quality. Johannson is a master illusionist and digital manipulator, whose uses photo elements to create composites that are surreal yet retain enough realism to fool the mind. Some images are subtle with few fantastic elements. A kind of psychedelic dreamscape, tricking the mind into filling the gaps and interpreting an image as normal, before de-coding the surreal elements.

Other concepts are more outlandish, resembling a fairy tale scene which doesn’t trick the mind so much. My colleague described them as ‘whimsical’. It brought to mind kooky movies from my Millennial youth, like Big Fish, Pan’s Labyrinth, or The Imaginarium of Doctor Parnassus. Johansson has unlocked the secrets of blending light and layers. His process is carefully executed. Only eight new pictures are made each year. His TED talk is worth watching for more context. While this style of surreal photo realism is not my cup of tea, Johansson is clearly a master. It’s no surprise to find out he worked with an architect on the exhibition design, and most likely oversaw the printing. The presentation is an exercise in how a style of work that’s not necessarily to an individual’s taste can still make a lasting impact.

A triumphant debut

BIFB’s tenth run is the debut festival for Gerrans, who succeeded Fiona Sweet in 2022. Upon taking the reigns she didn’t play around with the format. What she did do is surround herself with a team who are deeply immersed in photography. It showed. There was a variety of work that displayed what can be done with the medium. Following the festival’s conclusion, Gerrans made this reflection to Inside Imaging:

‘Overall there was a feeling of excitement that is very satisfying to our small team,’ she said. ‘We hoped the yellow bags would be out in force. They certainly were, and we were reminded how unique this festival is to Ballarat. People loved to intensity of work displayed on and around the main Lydiard Street. This was a fantastic backdrop to visitors sporting their yellow bag and it built a great sense of camaraderie.

‘This festival is regional at its heart – from ideas forged in Ballarat by locals, and cultural industry workers and community members understanding the economic benefit it brings to the City. Ballarat residents have clearly honed an awareness and understanding of photography over 10 iterations of exposure to the photography medium through this festival that I found inspiring.’

More photography was on show that’s equally worthy of mention, but beyond the scope of this piece. In total we clocked about 20 exhibitions in a day visit, with a brief lunch intermission to find the most throwback country town Chinese restaurant possible. It’s a great day out. A whole weekend, preferably on opening weekend to experience the full buzz of activity, would be ideal.

But nevertheless, BIFB’s tenth run is a testament to Ballarat’s strong commitment to celebrating photography through an unbeatable festival format.

The post BIFB nails it tenth time round appeared first on Inside Imaging.

Key features include:

• 10–18mm ultra-wide zoom (equivalent to 16-29mm on full-frame camera);
• Image stabilization;
• Compact and lightweight design;
• A new optical design, optimized for RF lens mount and APS-C sensor size.

The RF24-105mm F2.8 L IS USM Z is ‘the world’s first 24-105mm focal length lens combined with consistent f/2.8 maximum aperture’. It is also the first RF zoom lens to combine a dedicated iris/aperture control ring and servo functionality via an optional power zoom accessory, for super-smooth zooming during video operation. Its optical design contains 23 elements in 18 groups and includes four UD and three aspherical elements.
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Local RRP is $5399.

The RF200-800mm F6.3-9 IS USM super telephoto zoom lens is (relatively) lightweight at 2Kg.

Its optical design contains 17 elements in 11 groups and includes three UD (ultra-low dispersion) elements.

The super zoom automatically detects panning and adjusts stabilisation accordingly, and includes a zoom ring, a combined manual focus and control ring plus two custom function buttons and an AF/MF switch. The non-removable tripod collar includes both 3/8-inch and standard ¼-inch tripod mounts.

It’s weather sealed, approximately 314mm long,and has a maximum diameter of 102mm. Local price is $3499.

Canon says all three new lenses should be available in December, with power zoom adapters for the 24-105mm lens coming some time in Autumn.

The post Trio of new Canon lenses from super-wide to super-tele appeared first on Inside Imaging.