Chris Hunt is a fashion and advertising photographer, based in New York, Los Angeles and Mexico City. Originally from California, he has spent the last 15 years living and working in Europe, Asia, Latin America, Moscow and across the United States. Beginning his career as a photojournalist, Chris then moved into fashion photography after working as a model agent for several years in L.A. He has recently broadened his portfolio into film, directing TV commercials for fashion and lifestyle brands.
Chris balances outstanding creative talent with an impressive level of technical expertise, delivering impeccable professionalism and work of the highest quality with a relaxed and friendly attitude.
On the rare moments he is not in his studio, Chris can be found pedaling his road bike through Italy, SCUBA diving in the South Pacific or riding a motocross bike in the mountains of California.
His advertising clients include Google, TELCEL, Mitsubishi Automobiles, Pond's, Samsung, GNC, Chevrolet, Knorr and Garnier. He also works for fashion and beauty clients such as BCBG Max Azria, Herve Leger, Forever 21, bebe, ALDO, Nine West, Macy's, GAP, Banana Republic, Wet Seal, Arden B., Jockey International, Avon, Liverpool, Skechers, Fox Girls, Billabong, Stila Cosmetics and C&A. His work has been published in international magazines including VOGUE, Marie Claire, Cosmopolitan, Seventeen, Interview, Maxim, Surface, Men's Health, Nylon and InStyle. High profile clients include sports stars Maria Sharapova and Wayne Gretzky and rappers Ludacris, Ice Cube and 50 Cent.
Located in DUMBO’s Brooklyn Bridge Park and running September 13 to 17 and 21 to 24, the Photoville photo festival is returning with more than 75 exhibitions and installations. Visitors to Photoville will find exhibitions in shipping containers and outdoor displays, talks and workshops, a beer garden, nighttime programming, community events and more.
Highlighting the presentation roster is former White House Photography Office director Pete Souza who, with Michael Shaw, publisher of the nonprofit organization Reading the Pictures, will host a discussion analyzing several images Souza captured during the administration of former President Barack Obama. The talk, called Reading the Pictures Conversation, will take place at St. Ann’s Warehouse in Brooklyn and is open now for registration.
Other notable talks include documentary photographer and filmmaker Danny Wilcox Frazier and fine-art photographer Sheila Pree Bright discussing privilege, race and the era of Trump; PDN‘s editor in chief Holly Stuart Hughes and PDN‘s 30 photographers Sasha Arutyonova, Benedict Evans, Jake Naughton (who has an exhibition at Photoville) and Frances F. Denny discussing tips for emerging photographers; and acclaimed photographer Nichole Sobecki and writer/journalist Laura Heaton, both based in Nairobi, discussing how issues such as migration, extremism and conflict over dwindling resources impact climate change. A complete list of talks is available online.
Exhibitions this year include “Body Talk,” presented by Refinery29, which explores the conversations women are having about their bodies; “Newest Americans,” a storytelling project about immigration and the American identity, presented by the VII Photo agency; a retrospective on past winners of The Aftermath Project grant; “PDN’s 30 New and Emerging Photographers to Watch”; Charlottesville and Beyond, an exhibit depicting the coverage of white supremacists; and many more. Click here to see the full list exhibition list.
Learn more about Photoville and explore the full schedule of events and galleries at Photoville.com.
Zadig & Voltaire Lets Love Rule for Their Spring Collection
Zadig & Voltaire let comfortable femininity rule at their Spring 2018 ready-to-wear show, Let Love Rule, on Monday, Sept. 11 at New York Fashion Week.
At the Parisian label’s show, creative director Cecilia Bönström debuted a collection that diverges a bit from their rock ‘n roll, militaristic look by featuring loose, draping pieces that lay effortlessly on the feminine form.
Let Love Rule, named cheekily after a Lenny Kravitz classic, featured a number of Instagram-popular names lik…
Finalist Shots of Wildlife Photographer of the Year 2017
The prestigious Wildlife Photographer of the Year competition is now in its 53rd year, and this year’s edition certain won’t disappoint. Today the competition offered a glimpse into this year’s finalists, which will be displayed in an exhibition that will tour museums and galleries around the world.
This year’s competition saw almost 50,000 entries from 92 different countries, with photographers all competing for the top prize of over $6,500. Here are the finalists along with their details and captions:
Carrying its trophy from a raid on a snow goose nest, an Arctic fox heads for a suitable burial spot. This is June and bonanza time for the foxes of Wrangel Island in the Russian Far East. Lemmings are the basic diet for Arctic foxes, but Wrangel suffers long, harsh winters and is icebound for much of the year, making it a permanent source of stored food for these opportunist animals. The food convoys arrive at the end of May. Over just a few days, vast flocks of snow geese descend on the tundra of this remote UNESCO World Heritage Site, traveling from wintering grounds some 4,800 kilometers (3,000 miles) away in British Columbia and California. Not only is this the biggest breeding colony of snow geese in the world, and the only remaining one in Asia, but it is also growing: from 160,000 geese in 2011 to about 300,000 by 2016. The Arctic foxes catch any weak or sick birds, but what they feast on are the goose eggs, laid in early June in open nests on the tundra. Though the pairs of snow geese actively defend their nests, a fox may still manage to steal up to 40 eggs a day, harassing the geese until there’s a chance to nip in and grab an egg. Most of the eggs are then cached, buried in shallow holes in the tundra, where the soil stays as cold as a refrigerator. These eggs will remain edible long after the brief Arctic summer is over and the geese have migrated south again. And when the new generation of young foxes begins to explore, they too will benefit from the hidden treasures.
Nikon D300S + 600mm f4 lens; 1/1250 sec at f5; ISO 800; Gitzo tripod + Wimberley head.
At dusk, in Kenya’s Maasai Mara National Reserve, David waited for the herd of elephants on their evening trek to a waterhole. As they got closer to his vehicle, he could see that the mellow light from the fast-setting sun was emphasizing every wrinkle and hair. For a photographer who enjoys working with texture, this was a gift. When they were just a few meters away, he could see the different qualities of different parts of their bodies – the deep ridges of their trunks, the mud-caked ears and the patina of dried dirt on their tusks.
The elephants ambled by in near silence, peaceful and relaxed. The female leading the dozen-strong herd – probably the matriarch – looked straight at him, her eye a glowing amber dot in the heavy folds of skin. Her gaze was, he says, full of respect and intelligence – the essence of sentience.
Nikon D800E + 400mm f2.8 lens; 1/500 sec at f13 (–0.3 e/v); ISO 1000.
Behavior – Invertebrates
Andrey was on an expedition to the Sea of Okhotsk in the Russian Far East, and his intention on this day was to photograph salmon. But as soon as he jumped into the water, he found himself surrounded by thousands of mating sea angels. Quickly swapping to his macro equipment, he began photographing the pairs, 3 centimeters (11⁄4 inches) long and swirling around in the current. Sea angels are mollusks related to slugs and snails, without shells and with wing-like lobes used as swimming paddles. They hunt sea butterflies – swimming sea snails – using specialized feeding parts to prise them from their shells. Each individual is both male and female, and here they are getting ready to insert their copulatory organs into each other to transfer sperm in synchrony. One is slightly smaller than the other, as was the case with most of the couples Andrey observed, and they remained joined for 20 minutes. Both would go on to lay 30–40 tiny eggs after fertilization. It was late summer and peak phytoplankton time, so there would be abundant food for the resulting larvae.
To photograph them mating, Andrey had to battle against strong currents and avoid a wall of gill netting, and when he was swept into the net and his equipment became snared, he was forced to make an emergency ascent – but not before he had got his shot. The following day, there wasn’t a single angel to be seen.
Canon EOS 5D Mark II + 100mm f2.8 lens; 1/125 sec at f13; ISO 200; Nexus housing; two Inon strobes.
The bulbous tips of the aptly named magnificent anemone’s tentacles contain cells that sting most fish. But the clown anemonefish goes unharmed thanks to mucus secreted over its skin, which tricks the anemone into thinking it is brushing against itself. Both species benefit. The anemonefish gains protection from its predators, which daren’t risk being stung, and it also feeds on parasites and debris among the tentacles; at the same time, it improves water circulation (fanning its fins as it swims), scares away the anemone’s predators and may even lure in prey for it.
While diving in the Lembeh Strait in North Sulawesi, Indonesia, Qing noticed something strange about this particular cohabiting group. Each anemonefish had an extra pair of eyes inside its mouth – those of a parasitic isopod (a crustacean related to woodlice). An isopod enters a fish as a larva, via its gills, moves to the fish’s mouth and attaches with its legs to the base of the tongue. As the parasite sucks its host’s blood, the tongue withers, leaving the isopod attached in its place, where it may remain for several years. With great patience and a little luck – the fish darted around unpredictably – Qing captured these three rather curious individuals momentarily lined up, eyes front, mouths open and parasites peeping out.
Canon EOS 5D Mark III + 100mm f2.8 lens; 1/200 sec at f25; ISO 320; Sea & Sea housing; two Inon strobes.
Wildlife Photojournalist Award – Single Image
Seahorses hitch rides on the currents by grabbing floating objects such as seaweed with their delicate prehensile tails. Justin watched with delight as this tiny estuary seahorse ‘almost hopped’ from one bit of bouncing natural debris to the next, bobbing around near the surface on a reef near Sumbawa Island, Indonesia. But as the tide started to come in, the mood changed. The water contained more and more decidedly unnatural objects – mainly bits of plastic – and a film of sewage sludge covered the surface, all sluicing towards the shore.
The seahorse let go of a piece of seagrass and seized a long, wispy piece of clear plastic. As a brisk wind at the surface picked up, making conditions bumpier, the seahorse took advantage of something that offered a more stable raft: a waterlogged plastic cottonbud. Not having a macro lens for the shot ended up being fortuitous, both because of the strengthening current and because it meant that Justin decided to frame the whole scene, sewage bits and all. As Justin, the seahorse and the cottonbud spun through the ocean together, waves splashed into Justin’s snorkel. The next day, he fell ill. Indonesia has the world’s highest levels of marine biodiversity but is second only to China as a contributor to marine plastic debris – debris forecast to outweigh fish in the ocean by 2050. On the other hand, Indonesia has pledged to reduce by 70 per cent the amount of waste it discharges into the ocean.
Sony Alpha 7R II + 16–35mm f4 lens; 1/60 sec at f16; ISO 320; Nauticam housing + Zen 230mm Nauticam N120 Superdome; two Sea & Sea strobes with electronic sync.
After several days of constant rain, the bald eagle was soaked to the skin. Named after its conspicuous but fully-feathered white head (bald derives from an old word for white), it is an opportunist, eating various prey – captured, scavenged or stolen – with a preference for fish. At Dutch Harbor on Amaknak Island in Alaska, USA, bald eagles gather to take advantage of the fishing industry’s leftovers. Used to people, the birds are bold. ‘I lay on my belly on the beach surrounded by eagles,’ says Klaus. ‘I got to know individuals, and they got to trust me.’
The species was declining dramatically until the 1960s, but reduced persecution, habitat protection, and a ban on the pesticide DDT have led to its recovery. Some threats persist, including lead poisoning – US prohibition on lead ammunition (which ends up in animals the birds eat) has recently been overturned. ‘As the eagle edged nearer, picking up scraps, I lowered my head,’ says Klaus, ‘looking through the camera to avoid direct eye contact.’ It came so close that it towered over him. His low perspective and simple composition, allowing full concentration on the eagle’s expression, created an intimate portrait, enhanced by the overcast light of the rainy day.
Nikon D200 + 200–400mm f4 lens + 1.4x extender; 1/80 sec at f10; ISO 500.
Behavior – Birds
Tyohar watched the pair of resplendent quetzals from dawn to dusk for more than a week as they delivered fruits and the occasional insect or lizard to their two chicks. Resplendent quetzals usually nest in thicker forest, but this pair had picked a tree in a partly logged area in the Costa Rican cloud forest of San Gerardo de Dota. The additional light made it easier for Tyohar to catch the iridescent color of the male’s dazzling emerald and crimson body plumage and tail streamers, despite his fast, erratic flight pattern. But the light also made it easier for the birds to see Tyohar. So he would arrive before dawn, sit in the same place and wear the same jacket, with the result that the pair accepted his presence and continued to stuff food into their chicks’ beaks every hour or so.
On the eighth day, the parents fed the chicks at dawn as usual but then didn’t return for several hours. By 10 am, the chicks were calling ravenously, and Tyohar began to worry. Then something wonderful happened. The male arrived with a wild avocado in his beak. He landed on a nearby branch, scanned around, and then flew to the nest. But instead of feeding the chicks, he flew back to his branch, the avocado still in his beak. Within seconds, one chick hopped out to the nearest perch and was rewarded. Moments later the female appeared and did exactly the same thing, and the second chick jumped out. The family then flew off together into the rainforest, leaving Tyohar bereft – and thrilled.
Canon EOS 5D Mark III + 300mm f2.8 lens; 13200 sec at f4; ISO 800.
Behavior – Mammals
“We were still a few meters from the surface when I heard the strange noises,” says Laurent. Suspecting Weddell seals – known for their repertoire of at least 34 different underwater call types – he approached slowly. It was early spring in east Antarctica, and a mother was introducing her pup to the icy water.
The world’s most southerly breeding mammal, a Weddell seal gives birth on the ice and takes her pup swimming after a week or two. The pair, unbothered by Laurent’s presence, slid effortlessly between the sheets of the frozen labyrinth. Adults are accomplished divers, reaching depths of more than 600 meters (1,970 feet) and submerging for up to 82 minutes. “They looked so at ease, where I felt so inappropriate,” says Laurent. Relying on light through the ice above, he captured the curious gaze of the pup, the arc of its body mirroring that of its watchful mother.
Nikon D4S + 17–35mm f2.8 lens; 1/640 sec at f11; ISO 200; Seacam housing.
Black and White
The red squirrel closed its eyes for just a moment, paws together, fur fluffed, then resumed its search for food. Winter is a tough time for northern animals. Some hibernate to escape its rigors, but not red squirrels. Mats walks every day in the forest near his home in southern Sweden, often stopping to watch the squirrels foraging in the spruce trees. Though their mainly vegetarian diet is varied, their winter survival is linked to a good crop of spruce cones, and they favor woodland with conifers. They also store food to help see them through lean times. On this cold, February morning, the squirrel’s demeanor encapsulated the spirit of winter, captured by Mats using the soft-light grain of black and white.
Nikon D3 + 300mm f2.8 lens; 1/320 sec at f2.8; ISO 800.
Plants and Fungi
A band of ancient giants commands the expansive arid landscape of Arizona’s Sonoran Desert National Monument in the US. These emblematic saguaro cacti – up to 200 years old – may tower at more than 12 meters (40 feet) but are very slow growing, some sprouting upwardly curved branches as they mature. The roots – aside from one deep tap – weave a maze just below the surface, radiating as far as the plant is tall, to absorb precious rainfall. Most water is stored in sponge-like tissue, defended by hard external spines and a waxy-coated skin to reduce water loss. The surface pleats expand like accordions as the cactus swells, its burgeoning weight supported by woody ribs running along the folds. But the saturated limbs are vulnerable to hard frost – their flesh may freeze and crack, while the mighty arms twist down under their loads. A lifetime of searching out victims near his desert home led Jack to know several that promised interesting compositions. ‘This one allowed me to get right inside its limbs,’ he says. As the gentle dawn light bathed the saguaro’s contorted form, Jack’s wide angle revealed its furrowed arms, perfectly framing its neighbors before the distant Sand Tank Mountains.
Nikon D810 + 14–24mm f2.8 lens at 14mm; 1/3 sec at f20; ISO 64; Really Right Stuff tripod.
Young Wildlife Photographer of the Year, 11-14
After fishing for clams at low tide, this mother brown bear was leading her young spring cubs back across the beach to the nearby meadow. But one young cub just wanted to stay and play. It was the moment Ashleigh had been waiting for. She had come to Alaska’s Lake Clark National Park intent on photographing the family life of brown bears. This rich estuary environment provides a buffet for bears: grasses in the meadows, salmon in the river and clams on the shore. A large number of families spend their summers here, and with plentiful food, they are tolerant of each other (though wary of males) and of people. ‘I fell in love with brown bears,’ says Ashleigh, ‘and their personalities… This young cub seemed to think that it was big enough to wrestle mum to the sand. As always, she played along, firm, but patient.’ The result is a cameo of brown bear family life.
Canon EOS 5D + 500mm f4 Mark II lens; 1/1250 sec at f8 (+1 e/v); ISO 1250; Gitzo tripod.
Young Wildlife Photographer of the Year, 11-14
Laura had seen many of Spain’s wild animals, but never the elusive Iberian lynx, an endangered cat found only in two small populations in southern Spain. Unlike the larger European lynx, the Iberian lynx feeds almost entirely on rabbits. So a disease that wipes out the rabbit population can be catastrophic. They also need a particular blend of open scrub and natural cavities for natal dens. Laura’s family traveled to the Sierra de Andújar Natural Park in search of the lynx – and struck lucky on their second day – a pair were relaxing not far from the road. There were many photographers there but an atmosphere of ‘respect’. Laura watched for an hour and a half, the only sound being the whirr of cameras if a cat glanced in their direction. ‘The animals’ attitude surprised me. They weren’t scared of people – they simply ignored us,’ says Laura. ‘I felt so emotional to be so close to them.’
Canon EOS 5D Mark III + Canon 500mm f4 lens; 1/250 sec at f4; ISO 1600.
Wildlife Photojournalist Award – Single Image
A back leg of this six-month-old Sumatran tiger cub was so badly mangled by a snare that it had to be amputated. He was lucky to survive at all, having been trapped for four days before being discovered in a rainforest in Aceh Province on the Indonesian island of Sumatra. The likelihood is that the snare was set by oil‐palm plantation workers to catch bushmeat (though tigers are also deliberately snared). The workers are migrants who have been given small plots to grow their own oil palms but who have to work on the big plantations for about five years until their own crops generate a return. To feed their families, they have to hunt, and this cub’s bones would have fetched a good price on the black market. The population of Sumatran tigers, a subspecies, is as low as 400–500 (the world population of all wild tigers is no more than 3,200) – the result of poaching to fuel the illegal trade in tiger parts for the Chinese-medicine market. Anti-poaching forest patrols are helping to stem the killing, partly by locating and removing snares (now illegal), which is how this cub came to be rescued. The cub, however, will spend the rest of his life in a cage in a Javan zoo. Today, there are probably more Sumatran tigers in zoos than there are left in the wild.
Canon 5D Mark II + 24–105mm lens at 58mm; 1/45 sec at f5.6; ISO 400.
The overall winner, category winners, and other finalists will be announced on October 17th this year.
The exhibition will be on display from October 20th, 2017, until spring 2018 at the Natural History Museum in London, UK. Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London.
Saving Priceless Family Photos from Hurricane Harvey Floodwaters
Record-smashing rainfall brought by Hurricane Harvey recently flooded thousands of homes across the Texas and Louisiana Gulf Coast, including my grandmother’s home in Southwest Houston. Despite being located in a flood-prone area, her single-story house had never flooded before in more than five decades of her living in that house.
As a result, my grandmother, Jeanne Samuels, who will be 94 this December, was caught off guard by the foot of floodwater that made its way into the house a few hours after Brays Bayou crested on the morning of Sunday, August 27th.
My wife and I were dealing with our own flooding situation at our home near Downtown Houston that morning when my brother called me in a panic after speaking with our mother, who, along with a cousin and a friend, thought they’d be safe at my grandmother’s house upon Harvey’s arrival.
Quickly getting off the phone with my brother, I called our mother to insist that they evacuate the house as soon as possible. I then phoned several of my grandmother’s neighbors in search of an evacuation route. Thankfully, we found one. My grandmother and everyone else in the house, along with three dogs, managed to wade through rising floodwaters in the backyard, crossed through a gate in the fence, and found shelter in a friend’s multi-story house the next block over on higher ground.
Over the next 36 hours, residents in my grandmother’s neighborhood of Willow Meadows became first responders, performing hundreds of rescue operations, often by boat, throughout flooded streets in the area.
When floodwaters receded two days later, we were able to access my grandmother’s house. Virtually everything from the floor up to about a foot was destroyed.
Family members, friends, coworkers and waves of perfect strangers then proceeded to re-flood my grandmother’s house with help, tearing out damaged flooring, drywall, furniture, appliances and property. By the following Monday, much of her life and reminders of 67 years of marriage to my grandfather, Joseph Samuels, who died in 2011, had been piled up in mounds of discarded debris that has consumed most, if not all, of her front yard.
On Saturday morning, Sept. 2, we were busy mucking out one of the back bedrooms in my grandmother’s house when my brother and mother discovered a wooden suitcase at the bottom of a closet. Inside, we discovered a large cache of photographs and negatives, the oldest of which were dated from the early 1920s. They had belonged to my great-grandfather.
The items had sat, submerged, in floodwater for at least a day, plus however long it took for their eventual discovery. By the time we got to them, the contents were well on their way toward becoming a solid block of pulpy slime.
Initially, we tried to peel some of the prints apart and laid them out on folding tables in the yard, weighted down with small stones to keep the wind from blowing them away.
I called my sister in Kansas City, who works in the museum world, and my brother-in-law, a skilled darkroom photographer, to ask for further advice. They quickly searched online and found that by re-submerging both the prints and the negatives, we might be able to mitigate some damage and possibly even save portions of the mass.
Grabbing every available bin and tray we could find inside the house, half-a-dozen volunteers, including another photographer friend of mine who rushed over after I called her, dumped the entire lot into a bath soapy water, followed by a clean-water rinse.
Over the next 8 or so hours, we washed, separated and laid out to dry on tables and racks as many prints that could be salvaged. Meanwhile, we crisscrossed several hundred feet of electrical wire throughout my grandmother’s backyard and used clothespins to individually hang dry every negative.
In all, we hung up about 1,500 negatives and laid out another 1,000 or so prints. We also unspooled and stretched out a few 100-foot rolls of 8mm movie film.
Among the prints that survived, about 80 percent suffered some damage, though faces more or less are still readable. We lost an estimated 10 percent of the overall lot. While there are a few dozen negatives that suffered obvious emulsion damage, it appears that a majority somehow escaped destruction. I’ll know for sure over the coming days and weeks when I’m able to scan each individual negative for inspection.
Eventually, my goal is to digitize the entire archive and make it into a book for my grandmother and anyone else who’d like a copy. Of all my grandmother’s losses from Hurricane Harvey, the old family photos have been among the hardest to accept, both for my grandmother and for the entire family.
After giving the negatives 24 hours to dry, I picked one out from the pile and ran it through my scanner. The image was of a woman clutching a newborn baby.
I texted the raw scan to my mother, who then showed it to my grandmother. I received a response within seconds, despite it being late at night.
“That’s my mother and me when I was new!” my nearly 94-year-old grandmother replied.
About the author: Michael C. Duke is a journalist and street photographer based in Houston.
Apple Unveils the iPhone 8, 8 Plus, and X with Next-Gen Photo Features
Apple has just officially announced the iPhone 8, iPhone 8 Plus, and iPhone X, a new generation of iPhones that boast, among other features, upgraded cameras for improving the photos captured by the masses. There’s also a brand new Portrait Lighting technology.
iPhone 8 and 8 Plus
The new glass-backed iPhone 8 and 8 Plus feature new 4.7-inch and 5.5-inch Retina HD displays, respectively. Inside the phones is a new A11 Bionic six-core CPU that’s not only powerful for the phone’s general speed and functions but also beneficial for photography as well. It allows for faster low-light autofocus, improved pixel processing, and hardware noise reduction.
There’s a new 12-megapixel main camera module in both phones that has lower noise and a wider dynamic range. The dual camera system on the iPhone 8 features a f/1.8 main camera and a f/2.8 telephoto camera. Apple says the new imaging sensor is 83% more light efficient and uses less battery power as well, allowing you to shoot more photos and video on a charge.
Optical image stabilization will be present on not just the iPhone 8 Plus, but the iPhone 8 as well.
Portait Mode has been improved, resulting in sharper foregrounds and backgrounds that are blurred more naturally.
On the video front, Apple says the iPhone 8 line has the highest quality video capture ever offered in a smartphone. The phone analyzes 2 million tiles in the scene per second to predict image and movement. In addition to 4K 60fps, you’ll also be able to shoot 1080p slow motion at 240fps — twice the frame rate as the iPhone 7.
The cameras are also specially calibrated for augmented reality technology, capturing low-light at 60fps with accurate motion tracking and a new gyroscope and accelerator.
Other iPhone 8 features include wireless charging, water and dust resistance, and dual-domain pixels for a wider viewing angle.
What’s very new in the new iPhones is a “Portrait Lighting” feature. While Portrait mode in the iPhone 7 helped simulate a shallow depth of field for nicer looking portraits, Portrait Lighting helps simulate professional lighting.
When framing a subject, you’ll have a number of different lighting options to choose from for giving your portrait different looks — things like Contour Light, Natural Light, Studio Light, Stage Light, and Stage Light Mono.
These “aren’t filters,” Apple says. Instead, the phone is actually studying your subject’s face and calculating the look based on light that’s actually in the scene using machine learning.
Apple has also announced its new flagship camera, the iPhone X (the iPhone “ten”). This is the phone that’s designed to “set the path for technology for the next decade”, just as the original iPhone revolutionized how we used the phones in our pockets.
The phone features an edge-to-edge, 5.8-inch, 2436×1125-pixel Super Retina display, great for enjoying phones and videos. It’s the highest pixel density (458ppi) ever introduced in an iPhone and is also the first OLED display used in an iPhone.
There’s no Home button — the feature has been replaced by a “Swipe Up” and by a new Face ID system that powerfully recognizes your face regardless of things like hairdo, glasses, makeup, and more. The system is powered by a TrueDepth camera on the front of the phone that will bring new power to selfie-mode photography.
The rear camera system uses dual 12-megapixel cameras with larger and faster sensors. There’s a new color filter and deeper pixels. The standard and telephoto cameras feature f/1.8 and f/2.4 apertures, respectively, with the f/2.4 being faster than the f/2.8 telephoto found in the iPhone 8.
Both cameras feature optical image stabilization that enables better low-light zoom and improved video stabilization. In between the camera modules is a Quad-LED True Tone flash with 2x better uniformity of light.
The front-facing cameras can do both Portrait Mode and the new Portrait Lighting feature.
Here’s a look at what the front and rear cameras now offer in terms of hardware:
Other features of the iPhone X include a glass front/back, surgical stainless steel around the sides, dust and water resistance, two flavors (space gray and silver), LTE Advanced, Bluetooth 5.0, and wireless charging (with a new AirPower pad).
The iPhone 8 and iPhone X will join the iPhone SE, 6S, and 7 in Apple’s smartphone lineup this season. The 8, 8 Plus, and X will have starting prices of $699, $799, and $999, respectively. The iPhone X will have 64GB in its base model and 256GB in its high-end one. Preorders begin on October 27th, and shipping will commence on November 3rd.
Color Photography Godfather William Eggleston to Release First Music Album
William Eggleston is well known for his work in the early 1970s as a pioneer who helped legitimize color photography’s place in the art world. The 78-year-old artist has revealed that he is releasing his first music album — one composed of improvised symphonic tracks recorded on a Korg synthesizer.
Eggleston is revered as one of the most influential artists of the latter half of the 20th century. His experimentation in the ‘60s with color photography and later MoMA exhibition in ’76 challenged an industry that saw the medium as suitable only for commercial prints and tourist snapshots.
The Photographer Who’s Friends with Over 200 Hummingbirds
By day, Melanie Barboni is an assistant researcher at UCLA who studies volcanoes. But one of her nicknames is “The Hummingbird Whisperer,” and that’s because she’s an avid photographer who has become friends with a colony of over 200 hummingbirds.
After moving into her office in the geology building at UCLA, the first thing Barboni did was set up a hummingbird feeder outside her window. She has since set up three additional feeders, and in the 2.5 years that followed, the number of tiny birds that regularly visit to feed exploded to over 200 — and that number is still growing.
Every weekday, Barboni puts out the 80-ounce feeders filled with a custom nectar made from water and sugar. The hummingbirds will sit on her finger if she puts her hand out, and if she doesn’t put out the feeders on time the hummingbirds fly into her office to “yell” at her and remind her.
Here’s a 2-minute video by UCLA about Barboni and her love for the birds:
Kodak today launched a new stylish ‘point-and-shoot’ instant print camera, the Kodak Printomatic. It prints high-quality, full-color photos straight from the camera, something which Kodak says makes it the “ideal all-in-one solution for capturing and sharing vibrant prints instantly.”
Created alongside its licensee C+A Global, the Printomatic is perfect for anyone attending events or vacationing who wants to create an instant memory, and it’s perfect as a “scrapbooking” camera, too.
“The Kodak Printomatic is a contemporary camera with a wonderful balance of digital and analog technology,” says Steven Overman, President of Kodak’s Consumer and Film Division and Kodak Chief Marketing Officer. “It’s an accessible device for anybody who wants to create a lasting memory in a tangible, colorful way.”
The camera has a maximum resolution of 10-megapixels and can store the images on a microSD card.
It’s similarities to the olden days stop there, though, with a number of modern features making this quite a unique camera.
The built-in lithium ion battery means you can shoot for longer, and there’s a low battery indicator that will tell you when it’s running low. Its built-in flash will turn on automatically when the light is low thanks to a special sensor. There’s also a printer status indicator, and two separate printing modes: vibrant color, and black & white.
It spits out 2×3-inch Zink photo prints that don’t require using ink cartridges, toner, or film. The prints are durable, water and tear resistant, and even have an adhesive back.
The camera is small and compact, too, meaning it’ll fit into someone’s back pocket easily. It is even capable of shooting a new photo while still printing the previous one.
Available in gray or yellow, the Kodak Printomatic will hit store shelves in late September for $70 at major retailers and online. It comes with a USB cable, quick start guide, a 10-pack of Zink photo paper, and a memory card. Zink paper can be bought in 20 and 50 packs, sold separately.