9.9.21

Madeira Electricity Museum Receives The New Book + Internacional Exhibition From United Photo Press

Madeira Electricity Museum received the new book from United Photo Press delivered by the UPP member photographer João Sá e Sousa to the director of the Museum, Luísa Garrido. (photo João Sá e Sousa)


The book delivered at the Madeira Electricity Museum was the second volume of the UPP's 30th anniversary celebrations. This new 220-page book features 29 black and white projects by international UPP artists, including photography and painting.


“This new volume that we call“ United Photo Press 30 Years Of Creative Projects In Black & White ”, in addition to celebrating 30 years of the UPP, also intends to celebrate the ever present black and white photography in the lives of all of us throughout these decades , because it made perfect sense to have copies for consultation at the Museu da Electricidade, which is also an international reference for many international institutions, in addition to being a UPP partner in the international exhibitions that take place in Madeira ”. Refers the president of the UPP, Carlos Alves de Sousa.


The book delivered at the Madeira Electricity Museum has the participation of two photographers native to the island, João Sá e Sousa and Rod Costa, who exhibited their work together with members from other countries at the Museum, in the context of the 30 years of the UPP last October 2020.



The UPP highlights the project presented by the photographer João Sá e Sousa in the presentation at the exhibition and in the UPP book on "Podengo de Porto Santo" due to the need to register the breed, otherwise its destiny will be extinction, says the photographer who also is the breeder of these animals.


The book will be released live if pandemic conditions permit around the world, starting in April in the city of Setúbal in Portugal, going to Madeira Island, Brazil in Curitiba and Piauí, Russia in the city of Moscow, Germany in the city of Munich and others will be programmed according to the pace of the global pandemic that affects the entire world.




The Exhibition + Book "UNITED PHOTO PRESS | 30 YEARS OF CREATIVE PROJECTS IN BLACK AND WHITE" will be presented at Madeira Electricity Museum from 17 September to 15 October 2021 in the heart of the City of Funchal. The vernissage of the exhibition will be held on September, Friday 17 at 5pm. Second presentation of the documentary "Laboratory Greece" by UPP member filmmaker and photographer Jacopo Brogi, which portrays the genesis, decline and revenge of liberalism. Background music by UPP member’s Tan Ses, winner of Academia Music Awards in Los Angeles for Best Ambient/Instrumental Song, Alison Welles Jazz Quartet from New York. 

Special Guest from Moscow, Russia, Anna Neizvestnova

Admission is free for all visitors. 





"United Photo Press 30 years of creative projects in black and white" can, however, be purchased at the UPP online store or by email info@unitedphotopress.net for € 35.00 or the book + ecological kit kit for € 40 00 plus shipping costs.

6.9.21

Forget Supersonic. This Hypersonic Jet Can Fly From NYC to London in Under an Hour.


Supersonic flight is arriving—in a hurry. In the last 18 months, Boom has successfully tested its XB-1 demonstrator aircraft and pre-sold 15 of its still-in-development 30-seat Overture models to United Airlines. Virgin Galactic and Rolls Royce rolled out a partnership to develop a 19-seater. Even the Russian Federation revealed plans to build a supersonic jet for commercial use.

Then there’s the Hermeus Quarterhorse. Think supersonic or Mach 1—the speed of sound—multiply by five and you have the hypersonic Quarterhorse.

Last week, the Atlanta-based company announced a $60 million award from the US Air Force to finance testing of the aircraft. Like the Greek god Hermes, this Hermeus is designed to travel seamlessly between worlds, with a projected top speed of Mach 5.5—or 4,219 mph. That makes it the fastest reusable aircraft on the planet, so a New York-to-London flight will take less than an hour.

Belly of the beast: The Quarterhorse’s engine is based on the GE J85 turbo jet, but has been modified to reach hypersonic speeds. - Credit: Courtesy Hermeus

The speed will come from a unique engine set-up, a turbine-based combined cycle (TBCC) propulsion system. Such systems use a standard jet engine for launch and landing and to build enough speed in flight to feed air into a second turbine—known as a ramjet or scramjet—which produces more power, but requires high-speed air flow in order to ignite. The difficulty is managing the transition between the turbines and achieving the necessary aerodynamics.

Hermeus is off to a good start. In nine months, it designed, built and tested its engine, which is based on GE J85 turbo jet, and it has two advantages when it comes to testing. The Quarterhorse will fly autonomously, so the development team can get prototypes in the air and learn from them without risking pilots’ lives.

Right now, it plans to test a small-scale version in 2023, a mid-size cargo-carrying version in 2025 and a larger commercial passenger version in 2029.

This is the Hermeus cargo version, scheduled to be tested in 2025. - Credit: Courtesy Hermeus

The other advantage is, of course, the government money. “While this partnership with the US Air Force underscores US Department of Defense interest in hypersonic aircraft, when paired with Hermeus’s partnership with NASA announced in February 2021, it is clear that there are both commercial and defense applications for what we’re building,” said AJ Piplica, Hermeus CEO.

Yes, defense is important, but really, let us know when we can wake up in the morning and make it to a late-afternoon tee time at St. Andrews.

J. George Gorant

5.9.21

TRICHROMES - COLOUR PHOTOS WITH ILFORD HP5


A SCENE THAT SCREAMS COLOUR

Have you ever been out with your camera, loaded with your favourite black and white film stock and found a scene that screams to be shot it colour? Of course you have, we have all been there!

Today I am going to introduce you to a new 150 year old process called Trichromy also known as the three colour process or more recently Trichromes (by Jasper Fforde). As with all early photographic techniques it's difficult to say who coined the process first as there were many people working on similar techniques in the same space of time.

HISTORY
The big three that are most commonly referenced are Louis Arther Ducos du Hauron, Charles Cros and James Clerk Maxwell. Both Ducos du Hauron and Cros presented their methods to the French Society of Photography on the 7th of May 1869 despite not working with one another or knowing of each other's research. J.C Maxwell presented the first colour photograph at a Royal institution lecture on colour theory in 1861. The photograph was taken by Thomas Sutton the inventor of the SLR, of a tartan ribbon using red, green, blue and yellow filters. Unfortunately for Maxwell the wet collodion plates Sutton used were insensitive to red and barely sensitive to green light. A published remark on the lecture read “if the red and green images had been as fully photographed as the blue" it would have been a fully coloured image.

THE PROCESS
I have used a red, green and blue filter and some digital manipulation to create this effect.

The list of items you will need to create this effect, include:
A roll of film (any speed, orthochromatic film will not work as it is not sensitive to red light.)
A camera
A tripod
A light meter (or digital camera for meter reading)
Red, green and blue colour filters (sweet wrappers can and have been used)
Editing software

The key to this procedure is to take three identical images using all three of the filters.

COMPOSING THE IMAGE
My workflow follows these steps.

In my personal opinion I think that outdoor photographs are more interesting than indoor studio shots. I like to look for partially cloudy skies and foliage blowing in the wind, anything with movement. Slight movements of subjects create a Harris shutter type effect to the image.

METERING
Meter the scene, I recommend only taking a reading of a neutral colour object in the scene such as concrete, my reasoning for this is because it will not be affected by the colour filter. Subjects to avoid metering would be anything red, green or blue in colour. I can then apply my colour filter compensation in my case 3 stops for the red filter 2 for the green and 3 stops for the blue filter. Before taking my images I would double check my reading with all filters to make sure that all my readings are accurate. If any of the exposures are off you may end up with weird colour shifts much like the one below. These can be corrected in the editing process but take time.

Incorrect exposure on all filters Very Lomography Purple

It is important to remember which filter you used on each frame number. The order in which I take my images are RGB only because of the abbreviation of RGB in camera sensors televisions and online image publishing.

SCANNING AND MANIPULATING THE IMAGES.
You can develop your negatives as normal, in my case I used ID-11. Once developed and scanned you can bring them into photoshop and combine all to the images. Once all three images are open in photoshop navigate to File>Scripts> Load Files into Stack… From here click add open files and check the box “Attempt to Automatically Align Source Images. Failure to do so will result in a more extreme Harris shutter effect on the final image. Depending on the size of your files this may take a minute or two. Once they are fully loaded you can rename each layer red green and blue. I order my layers red on top green in the middle and blue on the bottom.

From here there are two methods of combining the images.

METHOD 1
Create a new canvas. Be sure to make the size of the new canvas the same size as the stacked images and open the channel panel.

Go back to the stacked images and show only your blue layer, select all and copy. Now go back into your new file and go to the channel panel and select only the blue channel and hit paste.

Repeat this for the green and red channels and you should have a colour image.


METHOD 2
You will then need to convert each layer into a smart object. This step isn’t necessary but helps with any adjustments you need to make later on.

Selecting one layer at a time, then using the shortcut cmd+u/crl+u. This should bring up the Hue/Saturation box. You need to click the colorize box. Slide the top slider to the corresponding colour of the named layer, eg: the image shot with the red filter needs to be red.

I have found through experimentation that the saturation slider position has to be in a positive number whereas the lightness slider has to be in a negative position.

The following is a good starting base that I have found for my images.

RedGreenBlue


Once all the layers are colour coordinated the magic can begin!

Select all the layers and change the blending mode to Lighten. Et Voila! You should see a colour image.

FINAL TOUCHES
The reason for converting each layer into a smart object in method 2 is so if needed, the hue saturation and brightness of each later can be adjusted. I typically like to add a gentle S curve, brightness adjustment layer and do some general adjustments to taste.

That's how to shoot colour photos with black and white film.

ODDITIES
Don’t be disheartened if your images are not the correct colour. On overcast days I have found that images come through really purple so I reduce the saturation of the blue and red layers and shift the blue slightly more towards cyan.

On the left the bare trees in the background are more purple.


On the right I reduced the saturation and shifted red and blue hues


Taken with HP5 and Zeiss Distagon 50mm FLE

PRIMARILY A BLACK AND WHITE SHOOTER
I am primarily a black and white shooter and I dislike colour correction so I am sure someone with more experience could get a better result than I did. In a way I prefer the more abstractpurple shot but at the end of the day it is all down to personal taste.

You will also get strange harris shutter-esque banding arising in certain areas. This may be down to the cloud coverage or light changing whilst swapping filters.

SFX 80mm Planar

IN CONCLUSION
This is a very long and laborious way of taking a colour image but at the same time it's exciting and experimental.That being said it is not a very economical process, you get less images on a roll of film, in my case four 6x6 colour images from a roll of 120 or 12 colour images on a 36
exposure film.

I shot with both HP5 and SFX and found I had the best results with the HP5. This might be down to the fact that SFX has an extended sensitivity to red wavelength of light but I found that the majority of my images became harder to control.

SFX 80mm Planar

At the start of this article I mentioned that this process is over 150 years old. I stumbled across it a few years ago but I only experimented with it when I purchased a new camera system and wanted to standardise the size of my filters. Jasper Fforde wrote an article on his website which I read and referenced before trying the process of myself.



All images above taken with HP5 and 80mm Planar

HP5 with 80mm Planar.


HP5 with 50mm Distagon FLE


I personally wouldn’t shoot colour images like this regularly especially nowadays when we have some fantastic colour film stocks! It has been a great experience to look back and draw inspiration from the methodologies of yesteryear. I am currently working on another effect using similar methods to create a very different effect. Perhaps you can guess what it is if I tell you it uses SFX!


Images © Jack Crofts

4.9.21

Angenieux Announces Two New Full-Frame Optimo Ultra-Compact Zooms


Angenieux has just announced two new full-frame Optimo Ultra-Compact zooms. The 21-56 T2.9, and the 37-102 T2.9. Thus expanding its full-frame solution that includes the Optimo Primes, Optimo Ultra 12X, and the new Optimo Ultra-Compact zooms.

Angénieux Full-Frame Optimo Ultra Compact Zooms

As stated on the Angénieux Instagram: “Just in from the Festival de Cannes, the mystery has been revealed! Angénieux has just announced two new full-frame Optimo Ultra-Compact zooms. We will thus offer a complete full frame high-end solution”. The focal lengths of the Optima Ultra-Compact are 21-56 T2.9, and 37-102 T2.9. These lenses join the Optimo Primes and the Optima Ultra 12X.Cannes 2021- Lens Manufacturers Chart
Optimo: The most used lens in Cannes 2021’s films

The Angenieux Zooms, especially Optimo lenses, were among the most common glass utilized by Cannes Film Festival 2021’s filmmakers. Generally speaking, the Angenieux was the selected lens brand for nine features. Cooke was the leading brand, while Angenieux took second place, which is a significant jump comparing to previous film festivals.

You can explore the segmentation in the chart below:

Cannes 2021- Lenses Chart

3.9.21

After all, it's Xiaomi that's going to put an end to the cameras!


Xiaomi was already growing a lot when the Huawei still reigned in the field of photography. But it looks like it's stronger now than ever. Maybe because right now it's the big Chinese giant. That said, the possibility of smartphones replacing regular cameras has often been talked about. In fact, everything indicated that the first to achieve this feat would be the Samsung. But after all, it seems that Xiaomi will be the one to put an end to cameras.

Xiaomi is working on a smartphone with a 200 megapixel camera that will be released next year, and the Chinese giant promises unprecedented quality. By the way, this is a work that started with the Xiaomi Mi 11 Ultra.

O leakster Digital Chat Station which usually always reveals very interesting things said that the improvements to the innovative camera that Xiaomi will release in 2022 are remarkable. However this equipment will come with a processor Snapdragon 888 plus. Eventually it could be the Xiaomi Mi 12.
But is it really the end of cameras due to Xiaomi?

From the perspective of professional photographers with sophisticated equipment, the answer is clearly no. You will never see professional photographers using smartphones as your main chamber at weddings and sporting events. But what about amateur photographers? What about parents, teenagers and everyone else? Can a person with little or no training do better with a smartphone than with a DSLR? This can already happen!

It's true that our smartphones don't offer the range of a 200mm telephoto lens, but what it lacks in terms of range it makes up for in spontaneity. People use smartphones everywhere. With cameras it doesn't always happen.
A DLSR with a 200mm lens will be great in many scenarios, but it will also be heavy. With the smartphone, just take it out of your pocket and take a picture.

It's true that it will take some time before we have the real sensors resolution on smartphones. Even with this 200 megapixel camera from Xiaomi. However, most people don't need that much resolution unless they're going to print the photos at poster size. If you print the images at a normal size, the photos look great when taken in decent light. If you want to watch them on your laptop or on TV, it's equally well served.

Plus we have the convenience. When we finish taking a photo with the smartphone, we can immediately edit the images in Lightroom, publish the best ones on Instagram and backup your photos to the cloud without having to remove a memory card or connect a device to the computer. In a DSLR, more steps are already needed.
Xiaomi wants to dominate the megapixel war

This isn't the first time Xiaomi has gone further into the megapixel field. I remember this company was the first to launch a 108 megapixel camera on the Xiaomi Mi Note 10 which was released in 2019.

It is true that initially these sensors had some problems with focus and exposure. But it was resolved.

2.9.21

Canon Benefits From the Death of the DSLR


Notwithstanding problems with ramping back up production to pre-COVID levels, manufacturers have been generally optimistic about the emerging camera market as consumers start spending money that has been hoarded over periods of lockdown. Canon looks set to be the big beneficiary, but what about the other manufacturers?

Last year, 2020, was a year to forget for camera manufacturers as shipments of cameras (as recorded by CIPA) imploded from a record low of 15.2 million units in 2019 to a barely believable 8.9 million units. It's not so much the fact that shipments nearly halved, but rather that 10 years previously, camera shipments peaked at an incredible 121 million units. Of course, that isn't an entirely fair comparison, as compact cameras made up some 90% of those shipments; the margin was slim, but spread across a large number of units meant manufacturers made a very healthy profit. The camera world has changed significantly since 2010 with compact cameras now accounting for just 39% of units shipped. Perhaps of more interest to enthusiasts is the dramatic decline in shipments of DSLRs at the expense of increasing mirrorless units. Crucially, 2020 was the first year where more mirrorless cameras were shipped than DSLR. So, how is 2021 shaping up?

If there was a phrase to sum things up then it would be: "not good, but not disastrous." Looking at the monthly CIPA shipments to date (below), 2021 is significantly up on 2020, having reached parity in February. However, that is against a backdrop of a stop in manufacturing as COVID hit. Looking at 2019 is a better comparison, and shipments are down 40%, a significant drop; it is worth noting that we are not back at 2019 production levels yet, though. That said, by May in 2019, shipments were valued at ¥170 billion on a total year's value of ¥587 billion; 2021 is currently sitting at ¥134 billion, a 21% drop. This proportionately smaller reduction reflects three factors: a shift in production away from compact cameras, which now make up only 35% of shipments, the increasing price of cameras, and a shift toward more expensive models.


Perhaps of more interest is the split between DSLRs and mirrorless. Canon and Nikon have the former market sewn up, with Pentax desperately clinging on to whatever is leftover. The latter, however, is a complete free-for-all, as manufacturers battle to establish themselves in this emerging market. Of the 2.3 million interchangeable lens cameras shipped this year, 1.3 million were mirrorless (and 1 million DSLR) meaning that they make up 56% of the market. This compares to 2019 where 3.2 million units had shipped by this point, with 1.4 million mirrorless (and 1.8 million DSLR) making up 43% of the market.

Let those numbers sink in, then read this: mirrorless models make up 71% by value. And even though mirrorless shipments were down by 100,000 units, the value actually rose by 9%. There are some huge takeaways from (nearly) the first half of the year. Firstly, the value and shipments of DSLRs continue to implode. Not only are they shipping in significantly smaller numbers, but they are worth much less than the mirrorless market. DSLRs are rapidly becoming a small (but still important) camera segment. Secondly, ILCs share an increasing proportion of total camera shipments as manufacturers ramp down compact production. Thirdly, mirrorless models are now the single most important segment by volume and value. In fact, they make up 59% of the value of all camera production. The short story is that manufacturers have shifted production to mirrorless, and consumers are buying them. Quite where the balance between consumers wanting them and manufacturers wanting to produce their lies remains to be seen. If you are a camera manufacturer not making mirrorless cameras, then you are in a rapidly contracting market. Pentax, take note.
Canon Shines in the Mirrorless Market

I previously commented on 2020 sales figures and how these align with CIPA shipment figures. Canon was the best performing manufacturer last year. However, we are now halfway through the year. So, how are sales looking? There is limited evidence on this front; however, Nikon Rumors recently reported BCN sales data. As a reminder, BCN Retail reports online and in-store sales data for Japan and is believed to represent some 40-60% of domestic Japanese sales, with Japan accounting for about 15% of worldwide shipments.

In terms of mirrorless sales, Canon is closing the gap on Sony at about 28% and 32% respectively. The big loser has been OM Digital, dropping from over 25% to less than 15% of sales. This has now started to recover, and the brief bump for Fuji sales above 20% appears to be reversing. BCN doesn't report on sales below 10%, and so, Nikon is excluded, a worrying sign. When you switch to all ILC sales figures, Nikon pops back into contention (on the back of those declining DSLR sales) but at a worryingly low 10.9%, beaten by OM Digital at 11.3%, with Sony (25.8%), and Canon (36.8%) leading the pack. In fact, Canon has had an exemplary start to the year at the expense of almost everyone else but particularly Nikon. In short, while DSLR sales continue to drop, Canon is shifting plenty of mirrorless cameras, something which Nikon is struggling to do.

As expected, 2021 is proving to be a pivotal year for manufacturers for a variety of reasons. First and foremost, the DSLR is dead in terms of significant revenue and profit generation. Less than a third comes from DSLRs, and that figure is dropping with each month. In the same way that compact cameras serve a niche, so does the DSLR. The sooner that it becomes a small-scale, low overhead concern, the better for manufacturers. Secondly, rolling out a full suite of mirrorless models while at the same time filling out APS-C and full frame lens lineups is critical. This is where revenue is coming from.

Where does that leave manufacturers? Sony and Canon are both benefiting from the mirrorless pivot and remain highly competitive. Nikon is continuing to produce a range of highly desirable cameras, but for whatever reason, is not selling as many as it needs to; its quarterly report should provide more detail. Olympus has completed its transition to OM Digital in what has been a difficult year that has seen sales drop to low levels. Going forward, it remains to be seen if new management can provide a stable platform for future development. Pentax remains strangely wedded to the DSLR and must surely be cross-subsidized as a loss-making division by Ricoh. Fuji, through all of this, has remained buoyantly successful, quietly filling out its X and GFX lines while also selling an awful lot of Instax cameras and film. Eyes will almost certainly be on Nikon as the camera market continues to evolve.

Mike Smith

28.8.21

Ethan Hawke received the President's Award at the Karlovy Vary International Film Festival


The American actor Ethan Hawke. (António Cossa / United Photo Press)

In addition to two Oscar nominations for his acting, he has two other nominations as a screenwriter. On Friday in Karlovy Vary, he staged the drama Despair and Hope and won the festival audience.According to the festival organizers, Ethan Hawke has a reputation for being an extremely adaptable actor, who portrays different types of characters in films of different genres and moods with admirable persuasiveness.

The key moment in the actor's career came in 1995, when Richard Linklater cast him in the upcoming romance Before Dawn, which resulted not only in a joint work on the other two sequels to the trilogy Before Twilight and Before Midnight, completed nine years apart. A fateful encounter with Linklater led to collaboration on eight films, including the art hit Boyhood.

In addition to the director-actor relationship, some of them are also signed as co-writers. Hawke has also repeatedly appeared in the work of Andrew Niccol (Gattac, The Merchant of Death, Good Kill) and Antoine Fuquy (Training Day, The Best of Brooklyn, The Seven Brave and the Upcoming Emergency Call). But his filmography includes works by a number of other renowned Hollywood directors: The Great Hopes of Alfonso Cuarón, Before the Devil Finds Out You're Dead Sidney Lumet, or The Despair and Hope of Paul Schrader.

Hawke made his directorial debut with Chelsea Walls, followed by an adaptation of his own novel, Bitter Landscape, Seymour: An Introduction, and the latest Blaze, a biography of country singer Blaze Foley, for which he also wrote the screenplay. Among his four Oscar nominations are two for his performances in Training Day and Boys, and two more for screenplays for Before Twilight and Before Midnight.

António Cossa
UNITED PHOTO PRESS
www.unitedphotopressworld.org