News

The Dead Sea Scrolls just got interactive

Zoomed right in to the Temple Scroll

Despite my constant mocking of the megapixel race in common-or-garden cameras, I am more than happy to admit that there are times when resolution really is make-or-break, and I’ve just found an instance of it. Google, the Israel Museum in Jerusalem, the photographer Ardon Bar-Hama, and scores of archaeologists and historians have worked to make five of the Dead Sea Scrolls accessible via the marvel that’s the intergoogles.

Zoomed right in to the Temple Scroll

The Great Isiah Scroll, the Temple Scroll, the War Scroll, Commentary on the Habakkuk Scroll, and the Community Rule Scroll have all been photographed in 1,200 megapixel glory so that you can zoom in close enough to see the contours of the animal skin on which they were written. If you’re browsing the Great Isiah Scroll, you can also click on the Hebrew text to get an English translation, or just look on in wonder at something written about 2,000 years ago that was preserved by being hidden in jars in a series of caves.

The Great Isiah Scroll, with translation

I reckon this is pretty awesome, and not in a godly way!

(You can read more on the omniscient Google’s blog.)

News in brief: Two months in nick - the cost of taking a photo in court

Here in the UK artists’ chalk sketches made in court are a familiar sight; photography in court rooms is banned. Unfortunately this snippet of information, along with the signs saying something along the lines of ‘No photography’ escaped the notice of one Paul Thompson when he turned up at Luton Crown Court on Friday to lend his support to a friend who was on trial for robbing an off-duty police officer.

One photograph from his Blackberry and an hour-and-a-bit later, he was sentenced to two months in prison for contempt of court by Judge Barbara Mensah. She reckoned that a strong message needed to be sent to people who commit such a serious offence.

Judge Mensah, I think that Paul Thompson and quite a few other people might just have got that message.

Yes, it was contempt of court. Yes, it was a remarkably stupid thing to do. Yes, it was also a remarkably ignorant thing to do; using your mobile phone in court is plain rude. But I can’t help but agree with various lawyers and penal reform charities who’ve said that two months is verging on over-kill. Haven’t we got other people, you know, like convicted murderers, who should be in our already-overcrowded prisons?

(If you want to know more, take a look here, here, or here.)

What is this? - In our NewsFlash section, we share interesting tidbits of news. Think of it as our extended twitter feed: When we find something that get our little hearts racing, we'll share it with you right here! Loving it? Great, we've got lots more News Flash articles - and, of course, we're still on Twitter as well, for even shorter news tidbits.

Pictures from the ice

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Whenever I think of Scott’s or Shackleton’s ill-fated Antarctic expeditions, I tend to be more preoccupied with Titus Oates being some time and 22 men being marooned on an island for four months. That both of these expeditions had official photographers who schlepped along tonnes of equipment, including whatever they needed to develop their images from glass plates, has sort of passed me by.

But Scott’s doomed Terra Nova expedition was accompanied by the first official polar expedition photographer, Herbert Ponting, and Frank Hurley was one of the 22 men stranded on Elephant Island when the Endurance was trapped and crushed by ice. Ponting was never meant to travel across the ice to the Pole and Hurley managed to salvage 120 plates, a pocket-sized camera and a few rolls of film before the Endurance was lost. So some, at least, of their pictures survive.

The night watchman spins a yarn, 1915, by Frank Hurley

Ponting presented his images to George V, whilst a selection of Hurley’s work was given to George V by Shackleton. And the Royal Collection will be exhibiting them from 21 October 2011 to 12 April 2012.

Ponting’s pictures consist of the wildlife and icebergs that they encountered as they sailed from New Zealand to Antarctica, as well as scenes of life on board ship and even shots of Scott’s last birthday dinner in 1911.

Hurley did what I can only think of as totally crazy things – like climb the rigging and spend three days out on the ice watching as the Endurance broke up – to get his photographs. As if going on a polar expedition isn’t dedication enough to the cause of photography. But he was, of course, rewarded with some wonderful pictures.

The Heart of the Great Alone will show at the Queen’s Gallery, Buckingham Palace, from Friday 21 October 2011 to 12 April 2012. Tickets for adults are £7.50, more details available from the Royal Collections website.

(Featured image: Grotto in an iceberg, 5 January 1911 by Herbert Ponting. Both images courtesy of The Royal Collection © 2011, Her Majesty Queen Elizabeth II.)

Lens thieves ruin the day


A hustler from BBC's The Real Hustle demonstrates how easy it is to steal a lens off a camera body.

screen_shot_2011_09_27_at_004905.jpgIf you're anything like me, you'll walk around merrily with your camera slung over your shoulder. After all; you can feel the lens strap against you, right, so you'd know if someone was trying to steal your camera. Right? Right? Well... Yes.

I have heard about a few people who have had their lenses go missing off the front of their SLR cameras, however; The thieves know exactly what to look for, too: If there's a golden plaque and the word "Nikon" on the lens, it's worth money. Canon make it even easier: If the lens is white, or if it's got a red ring on it, it's an L-series lens, meaning that the lens is likely to be worth a significant proportion of the camera lens.

The great thing about a quick-release button and a bayonet fitting, of course, is that it's quick and easy to swap lenses. But a would-be thief could use the exact same technology against you, by stealing the lens straight off your camera. If you think it can't be done, take a closer look at the September 26 episode of BBC's The Real Hustle.

In the episode, they show one of the main characters distracting the 'mark', whilst the other carefully presses the lens release button on the camera, and turns to take it  off the camera body. The victims frequently haven't got the faintest idea that their lenses are being stolen straight off their cameras!

When I first saw this, I thought "there's no way I wouldn't notice that", and I suppose if I'm carrying a 70-200mm, that's true (there's no way you wouldn't notice several KGs of lens vanishing off your shoulder), but my 50mm f/1.4 is light-weight, and could conceivably be stolen off the camera without me noticing.

It does take a little bit of practice to remove a camera lens like that, but it's not extremely difficult, and it's easy to see how, with appropriate distraction and a little bit of a crowded street, it would be very hard to notice - until it is too late, of course.

So, what can you do?

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Well, the obvious starting point is to make absolutely sure that you keep a close eye on your belongings. If you can feel anybody near you, be sure that you know where your wallet, your phone, and your camera gear is.

And... Despite the ease-of-use of having the camera slung over your shoulder, perhaps it's a good idea to get a quick-access camera bag, like the LowePro Slingshot or similar...

Oh, and whilst we're on the topic of keeping your gear safe; if you do use a camera bag, make sure you put a carabiner or similar over the zippers; it's too easy to open them up in a crowd, and you wouldn't know where or how your bag was opened when the time comes to check...

500px print-sales battle spills out on the internet.


It seems as if it's curious times in the the world of 500px, as they are shaking up their print sales offering, a battle that seems to have been going on in meeting rooms at both 500px and Fotomoto is spilling out into the public.

Fotomoto: 500px can't commit!

Today, I received an e-mail from Ahmad, the boss over at Fotomoto, explaining that they've thrown in the towel, after trying and apparently failing to integrate their service into 500px for quite a while.

He writes:

As you may already know, Fotomoto is going to stop providing service to 500px platform at the end of today. Unfortunately 500px didn't meet their business and technical commitments. After several unsuccessful attempts and unanswered emails to solve their issues, we had to send them a notice last week informing them that we are terminating our contract with 500px (which is a slightly different from what they mentioned in their email).

screen_shot_2011_09_26_at_203244.jpgAs far as we understand, this means that 500px users can no longer use the 500px Store, although the 500px site still thinks you can: "We have integrated a system from our friends at Fotomoto for automatic photo store management. Now every user have an opportunity to sell their photos via 500px with no upfront costs."

It remains to be seen if 500px will come crawling back to Fotomoto, or if they're going to have to start shopping around for a new printing provider. It's not clear what the impact is on the average 500px user, but for now, it may be a good idea to turn off your print sales in your preferences panel at 500px.

500px: They're not good enough!

Of course, the drama wouldn't be complete if 500px didn't have a different take on the same story: In a recent e-mail from them, they say:

One of the most requested changes is coming very soon - we are completely redesigning and redeveloping the photo store experience on 500px. The current 500px photo stores, provided by our partner Fotomoto, are not ideal. Its platform, although powerful and feature rich, does not quite satisfy our high demands for quality of the user experience. So, we will not extend our contract with Fotomoto, and they will end supporting stores on 500px on September 27, 2011.

It seems as if 500px are definitely taking the print sales in-house however:

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screen_shot_2011_09_26_at_211328.jpgSo, who dumped who? And why? Did 500px ditch Fotomoto because they think they can do a better job themselves (and, presumably, with bigger profits)? Or did Fotomoto decide they weren't getting the support they required, and were at their wits end with 500px?

I suppose we'll never know, but I'm excited to see what comes next, both for Fotomoto (who do have a mighty nifty photo printing service) and 500px (who keep the other photo sharing sites on their toes, if nothing else).

Instagram 2.0

Instagram 2.0

The mega-successful photo-sharing and iPhoneography icon, Instagram, with its gajillion users, has just undergone its first major upgrade since it hit the App store just under a year ago. It’s Instagram 2.0. It’s faster and it has a gamut of new features. Wanna know what’s new?

Well, first up is Live Filters, which means that you can apply whichever filter floats your boat before you snap your pic, and see what it looks like. As for those filters, they’ve introduced four new ones: Amaro, Rise, Hudson, and Valencia.

There’s a new tilt-shift doo-dad that’s super-fast: pinch, pan, and rotate and watch it all in live view.

In response to people’s requests for higher resolution images, they’ve done just that. If you use an iPhone 4, resolution has increased from 612×612 to 1936×1936. If you’re stuck with the iPhone 3GS, resolution is now 1536×1536.

Borders are now optional. Much better! And you can now rotate your photos so that they’re not stuck on their sides. Fabulous!

But it’s all still only available for devices-Apple. If you’re an Android user, no Instagram for you.

All the details are over on Instagram’s blog.

AoP Awards Ceremony and Exposure 2011

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Busy next week? Well, Wednesday and Thursday to be precise? Wednesday night is the Association of Photographers’ Awards ceremony, from 17.00-18.00 at Ambika P3 at the University of Westminster, swiftly followed by the awards party at the same venue, from 19:00 onwards. Tickets are £10 for members, £20 for non-members in advance. Wait until the day, though, and those prices go up £5.

Exposure 2011 follows the next day, at the same venue. From 11:30 to 20:00 you can feast your eyes and ears on a series of talks, demonstrations, seminars, and exhibitions. There’s a Blurb book-making workshop; a lighting for fashion and beauty photography demonstration; a discussion of our rights when we take photos in public, as well as lots more. That’ll cost £10 for members or £15 for non-members, too.

If you’re interested, take a look at the Exposure website or Awards Ceremony website for more details.

The AoP Awards Ceremony and Exposure 2011 will be held at Ambika P3, University of Westminster, 35 Marylebone Road, London, on Wednesday 28 and Thursday 29 September 2011.

A closer look at Nikon's compact camera systems


The Nikon J1

It was only a question of time before one of the Big Two was going to join in the compact system camera arms race - and whilst Canon is still considering it and filing patents that suggest they're going to pull their finger out eventually, it was Nikon that got there first.

Joining the Micro Four Thirds system from Panasonic and Olympus, the NEX system from Sony, the NX mount cameras from Samsung - and the slightly outside-the-box systems from Leica (the M system) and Ricoh (with their GXR interchangeable lens unit system), Nikon is a latecomer to the landscape. But oh boy have they done an interesting job.

They're calling it an Advanced Camera with Interchangeable Lens (A-CIL), which adds even more alphabet soup to Compact System Camera (CSC or CoSyCa), Electronic Viewfinder, Interchangeable Lens (EVIL) or Mirrorless Interchangeable Lens Camera (MILC), but they're all the same: No mirror, electronic viewfinder, and interchangeable lenses.

Two shiny new cameras

Nikon's addition to the bunch is a brand new system, complete with a series of new lenses.

The Nikon 1 V1 is "designed to propel your photography forward". Packing a high-resolution electronic viewfinder into a tough body with magnesium alloy body with a multi-accessory port gives the system the freedom to expand further with a range of system accessories. The Nikon 1 V1 is available in matte black and high-gloss white. Basically, it's 'just another compact system camera'.

The slightly cheaper Nikon 1 J1 loses the electronic viewfinder (you'll have to use the LCD display to compose your images instead), and the accessory port - but it's still a capable starter camera. Nikon claim it's equipped with "everything you need to shoot life as it happens", and is available in a range of colours with compact 1 NIKKOR lenses to match, and it boasts a built-in flash that offers extra light when you need it. The colours are high-gloss white, matte black, high-gloss red, silver and even hot pink.

Both cameras 'only' have 10 megapixel resolution sensors, but that seems to be pretty standard for this class of camera.

Innovative new features.

Nikon claims that the Nikon 1 range has a processor that is many times faster than the most professional cameras. They've tapped this extra speed to add in some fabulous new toys for photo lovers, including "Pre- and post- capture". This means that you can start recording images before you fully press the shutter button, and continue after you’ve clicked, to help you capture the 'defining moment'.

They've got some other fun toys to bring to the party as well, which is rather significant, because it shows that Nikon have done more than just take a look at the competition and create a 'me-too' product:

More than any of the other CoSyCa manufacturers,
it appears that the photography giant have taken the opportunities of the new form factor to heart, and really set out to change photography.

Motion Snapshot "brings a photo to life in just one click". It simultaneously records a slow motion movie and a still image, then instantly combines the two to create a photo that moves and captures the story of a moment as never before – a living picture.

Smart Photo Selector "captures the perfect moment in any scene"; shooting 20 full-resolution images in the time it takes you to snap a photo: you just press the shutter once and, utilising the pre and post capture technology, the camera starts to take the pictures before you’ve even fully depressed the button. Your ‘best’ five shots are saved based on facial expression, composition and focus and the ‘perfect’ shot is presented to you. Never again will you miss the very second a dog catches a ball or the joy on your child’s face while they are on a swing.

Still image mode will "make you a master of movement" as you switch to shooting sharp, full-resolution shots of the action at up to 60 frames per second.

And finally, Movie mode "opens up a host of advanced movie functions". You can take a high-resolution photo while filming a Full HD movie, without interrupting recording, or film in extreme slow motion.

New sensors

Taking its place alongside Nikon’s existing DX and FX-format sensors (used on Nikon D-SLRs), the all-new Nikon 1 CX-format CMOS image sensor is designed for Nikon 1 cameras and the 1-mount. Offering the perfect balance between system size, speed, light sensitivity, resolution and depth-of-field, Nikon 1 demonstrates superb colour reproduction with 100-6400 (extended) ISO, low noise, RAW shooting and 10.1 megapixel resolution, delivering consistently superb stills and movies.

New stash

In addition to the camera bodies, Nikon are launching four new lenses - the 1 NIKKOR VR 10-30mm f/3.5-5.6, the 1 NIKKOR VR 30-110mm f/3.8 -5.6, the 1 NIKKOR 10mm f/2.8, and finally the 1 NIKKOR VR 10-100mm f4.5-5.6 PD-ZOOM.

Finally, they've announced a GPS unit for geotagging your images, a compact external flash for illuminating your future, and, most excitingly, the FT-1 mount adapter, enabling you to use any Nikon SLR lens with the compact camera, giving you access to hundreds of fantastic lenses.

It all goes on sale from 20 October or thereabouts.

Photoshop Elements turns 10


Happy birthday to you, happy birthday to you... The baby brother of photo editing behemoth Photoshop turns 10 years old this year, and celebrates by releasing version 10 - Adobe Photoshop Elements 10, to give it its full and official name. As ever, it's aimed at photographers who do want to edit their photos to their heart content, but without having to shell out the full cost for a lot of features most people would never actually use.

Powered by the same engine as Adobe Photoshop, Photoshop Elements 10 utilises "intelligent technology" that is designed to make it easier to give everyday photos a boost. The technology is brought to life through easy-to-follow steps for achieving lovely photo effects in an approachable way with new Guided Edits. These include innovations such as creating a shallow depth of field or designing an interesting layout of snapshots with Picture Stack, or even adding a dream-like diffused glow with the Orton effect.

New text functionality, has been added as well, to appease the scrapbooker audience, including curving, flowing text to a photo that automatically follows the outline of a subject, custom path or shape. In addition, special crop guides now help users create appealing compositions.

Keeping your photos organised - and then sharing them

Perhaps the biggest news in this evolution of Elements is the additional attention given to organising and sharing your photos.

Object Search automatically finds objects within photos, such as a landmark, flower or pet. The Elements Organiser can also automatically detect duplicate or near-duplicate photos so users can clean up and delete the photos they don’t need and quickly group similar collections of photos. If you shoot video, you're in luck, too - your clips can be uploaded directly to Facebook or YouTube.

Whether users are social networking or using sharing sites like Facebook, Flickr, YouTube or Photoshop.com, Photoshop Elements 10 helps you share your photos directly from within the Elements Organiser and view them from virtually anywhere on the go, offering a comprehensive set of sharing capabilities for today’s increasingly social and mobile worlds. For Facebook lovers, Elements even integrates users Facebook Friend Lists for easily tagging photos that can then be shared directly to Facebook. Nifty stuff.

It's available now from your local Adobe website, for windows and mac. Or, if you're so inclined, you can toddle over to your nearest brick-and-mortars software peddler to pick up a nice boxed copy.

The illustration photo in this post is (c) Adobe.

Put your photos in front of 12M people


Studmuffin and saucy minx.

Sit back and think of the phrase 'Every Second Counts' for just a second. What springs to mind? As photographers, we capture the world in fraction-of-a-second slices, all of us hunting for the elusive moment that captures the essence of our subjects.

I suppose it wouldn't be too far-fetched, then, for Justin Timberlake's upcoming film 'In Time', to link in with a photography competition. The concept for Timberlake's newest film is that in the future, people stop aging at 25 and must work to buy themselves more time. A young man (Timberlake, of course) finds himself with more time than he can imagine, and he must run from the corrupt police force to save his life.

All very Hollywood, but what's that got to do with photography?

As the earlier-alluded photography tie-in: Justin is asking photographers to "capture a moment that almost could have been". The photo can be of anything and everything— they're looking for a unique perspective that best embodies the theme.

If you're the lucky winner, you receive global exposure. Among other things, your image will be featured as the official profile picture on Justin Timberlake’s Facebook page (that's where the 12 million pairs of eyes come into play) for the month of November 2011.

The winning photograph will also be displayed in a pop-up gallery at the Premiere of In Time in Los Angeles, and various other places, too.

Awesome, eh? Enter the competition now - every second counts! (And no, they didn't pay me to write this. But maybe they should. Timberlake, if you're reading this, PayPal payments go to h@kamps.org. Thanks! :)

Facebook updates photo tagging


The World Nude Bike Ride is great fun - but that doesn't mean you necessarily want the photos showing up on your Facebook wal

It used to be easy to untag yourself from a photo on Facebook - you simply click 'Untag', and the deed is done. In the most recent Facebook privacy update, there are a few changes.

The bad(ish) news is that the untagging functionality is still there, but it adds another step. The good news is that you are given more options to help manage your digital reputation.

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The new button is now called Report/Remove Tag, and gives you a host of new options; You can tell Facebook whether you want to simply remove a tag, but you can also report it as harassment of yourself or a friend. Finally, you can report it as inappropriate in a different way; whether the image is part of a spam or scam attempt, whether it contains pornography or graphic violence, depictation of illegal drug use, or hate speech / symbols.

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When it comes to the actual de-tagging, things have been updated as well; As before, you can still just remove the tag, but now, you're also able to request the person who uploaded the photo to take it down altogether. Finally, you are given the option to block the person who uploaded the photo altogether. If you do that, all photos they've tagged of you will be un-tagged, and they can no longer contact you via Facebook in any way.

Given how powerful Facebook is becoming, it's refreshing to see how Zuckerberg & co are taking privacy a little bit more seriously. Good news all around, I think!

Oh, and while I have you here and am talking about Facebook anyway - have you "liked" the Photocritic Facebook page yet?

City Cycle Style - pictures of poncey people who pedal

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London is positively crawling with über-trendy cyclists. Cape-clad women on their three-speed Dutch bikes and cool-dude guys on their bright orange fixies are everywhere. When I cycle through hipster-tastic Hoxton on my ten-speed racer (she’s called Elspeth, by the way), I couldn’t feel more out of place. But in their wisdom, the City of London is attempting to promote cycling by emphasising just how trendy it is with a series of 40 photographs of London’s ‘most stylish cyclists’.

Sir Paul Smith riding a Limited Range Paul Smith Cycles by Mercian.

All the photos have been taken by fashion photographer Horst A. Friedrichs. They feature London dignitaries the Right Honourable The Lord Mayor of the City of London Alderman Michael Bear, Mayor of London Boris Johnson, fashion designer Sir Paul Smith, and shoe designer Jonathan Kelsey.

The exhibition is being held outdoors, 24 hours a day, at the Royal Exchange, which is bang smack in the City. At the end of the exhibition the pictures will be sold off, with the proceeds going to The Lord Mayor’s Appeal 2011. This year, the appeal is called ‘Bear Necessities – Building Better Lives’ and it aims to help disadvantaged young people in the UK and beyond.

‘From fashionistas to financiers, an increasing number of Londoners are taking to the saddle,’ says Friedrichs. ‘The bicycle is now being seen as a reflection of your own personality and fashion choices rather than a simple way to get around. I hope the exhibition will show London exactly how you can ride in style and encourage more people to start cycling.’ I’m sorry, I think I want to vomit.

The Rt. Hon The Lord Mayor of the City of London Alderman Michael Bear with a 1980 Gentleman’s Raleigh Superbe.

You know, if you really want to encourage people to cycle, you want to emphasise just how universal it is. Fashionistas and hipsters won’t help people who don’t think of themselves as a la mode and constantly on trend. Nope, it’ll just make cycling seem all that much more unobtainable. It would’ve been a far more inclusive and likely successful venture if you’d shown everyone, from couriers dashing across junctions to kiddies pedalling to school, via me on my racer and my friend Elena on the bike that she built herself (how cool is that?), as well as the trendy-types. Oh, and some more women, too.

You don’t need to be stylish to cycle, you just need a bike.

Still, the photos are kinda cool.

City Cycle Style runs from 28 September to 29 October 2011, 24 hours a day, at The Royal Exchange, London, EC3V 3LR.

(Featured image is of Jonathan Kelsey)

Taylor Wessing shortlist announced

Andie, by David Knight

The National Portrait Gallery received 6,000 submissions from 2,506 photographers – some amateur, some professional, and some just graduated from art school – for the 2011 Taylor Wessing Photographic Portrait prize. Somehow, the judges managed to whittle down that list to 60 photos for exhibition and five shortlisted for the £12,000 prize.

Which is your favourite?

Wen, by Jasper Clarke

Clarke was born in 1978. He left school without any qualifications in 1991 and began taking pictures with a camera given to him by his father. He graduated from Edinburgh’s Napier University and moved to London to assist the likes of Nadav Kander and Liz Collins. His shortlisted portrait, taken in hipster-tastic Hackney, is of Wen Wu, a Chinese artist. It’s from a personal project depicting artists, musicians, and other creative types who live where they work.

Andie, by David Knight

Although he now lives in Australia, Knight was born in Oxford. This portrait was commissioned by Loud for the Cerebral Palsy Alliance to raise awareness of the condition throughout Australia. Knight commented: ‘I wanted the portraits to be positive and to convey the kids in an uplifting way. You don’t immediately notice Andie is in a wheelchair; you just see a beautiful young woman.’

Christina and Mark, 14 months, by Dona Schwartz

Dona Schwartz is an American photographer based in Minnesota. This image is from her current series, On the Nest, which documents those moments when parents’ lives change. This one shows a parents in their child’s empty bedroom, after he’s flown the nest.

Harriet and Gentleman Jack, by Jooney Woodward

This photo by Jooney Woodward, a London-born and educated, but Dorset-raised photographer, shows 13 year old Harriet Power who was a steward at the Royal Welsh Agricultural Show, in the guinea pig judging enclosure. I didn’t even know guinea pigs were judged at the Royal Welsh Agricultural Show!

Of Lili, by Jill Wooster

Born in Connecticut, Wooster now lives in London. The portrait is part of a series portraying women in their forties and fifties at pivotal stages of their lives. Lili, says Wooster, ‘Is a complicated character. I like the way her androgyny makes her appearance seem both guarded and relaxed at the same time, capturing both her confidence and vulnerability.’

Exhibition

If you want to see the photographs yourself, you can do so at the National Portrait Gallery (St Martin’s Place, London, WC2H 0HE) from Thursday 10 November until 12 February 2012.

(All images are, of course, copyright their photographers and used with permission.)

August Photo Competition Winner!

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It seems that our usual competition judges Daniela “Editor Extraordinaire” Bowker and Haje “International Man of Mystery” Jan Kamps have gone AWOL, leaving I, Gareth “Owns A Camera, Likes Faces” Dutton to judge August’s photo competition. After Daniela made no less than ten posts announcing ten cameras over two days on Small Aperture, she began to think her hands were small, affordable yet robust compacts with in-camera effects options. I asked her if she’d like to judge this month’s photo competition but I couldn’t get any sense out of her whatsoever: I just left her there poking the palm of her right hand, muttering “how do you turn the flash off?”. As for Haje, he’s almost definitely off doing something cool and brilliant in a place I’ve never been to – I bet he’s photographing a magic bear whilst whizzing down a zipline made of singing gold thread in El Salvador. Sorry? Get on with what, exactly? Oh the competition, right.

This month’s theme was “texture” and we had some great shots to choose from. The entire experience was, quite frankly, texturific. We eventually pared it down to a handful and then agreed upon a winner:

Bark by Herve Sliwa

Congratulations to Herve Sliwa on winning our August photo comp – be sure to get in touch with Daniela to claim your prize! We also felt an honourable mention should go to J.C Chang for his entry:

Mud Curls by J.C Chang

Thanks for the entry J.C and thanks to everyone for their contributions. If you didn’t quite make it this time, never fear – keep trying and submit another pic for our September competition which will be announced in a week’s time. The harder you try, the better you’ll get!

Nikon don't need no mirror-less camera

Nikon P7100 front

It didn’t happen last week. The hugely anticpated mirror-less camera from Nikon didn’t materialise amongst all of its other high-end compact, rugged, and more fun point-and-shoot cameras that were announced on Wednesday. There were some very disappointed people about; the rumours have been swirling for over a year, there have been patent leaks galore, there have been name suggestions, and there have been theories that it’ll resurrect the F-mount. So where is this evil creation that has everyone guessing?

Well, according to James Loader, Nikon’s Product Manager for Consumer Products, Nikon isn’t interested in the mirror-less market; he reckons that Nikon has its bases covered and Nikon customers really aren’t looking for a mirror-less camera. He told the guys from TechRadar: ‘When we were at Focus last year, it didn’t get asked for. It’s really only the press that constantly wants to know.’

For Nikon, the P7100 is the perfect camera for someone who isn’t quite ready to make the leap to a dSLR, or as the second shooter for a dSLR user. Why do they need to embroil themselves in the battle for the mirror-less ground, which is already churned up by Olympus, Panasonic, Sony, and Samsung? Far better to concentrate on the devil it knows.

It seems as if Nikon has identified its market and is sticking with it. If that changes, then they’ll think about altering their strategy accordingly: ‘We’re watching the market, the same as everyone else is, we’d be foolish to ignore what’s happening,’ said Loader.

So, no Nikon mirror-less. For now, anyway.

(Headsup to TechRadar)

Win a universal underwater camera housing


Fancy doing a spot of underwater photography? Here's your chance to win a SeaShell SS-1 underwater housing!

It's pretty awesome, I reviewed it back in April, if you fancy taking a closer look, and here's a set of photos I took with the SS-1.

I'm getting rid of it because I'm upgrading to bigger and better things in the world of underwater photography, but that doesn't take away from the fact that this is a $150 piece of equipment that could make your wet dreams become a reality. Did I just say that? Oh yes, I did.

To enter the competition:

  1. Follow @Photocritic on Twitter
  2. Follow @PixiqPhoto on Twitter
  3. tweet the following:

Win a universal underwater camera housing with @Photocritic and @PixiqPhoto: http://bit.ly/nh2iDJ #photog #competition

The competition is now closed.

And the winner is...

Mr J Kingston, from South London, UK!

 

A Steadicam for your iPhone


So apparently there are people out there who take videos with iPhone seriously enough that they are willing to part with £170 (US$280 / EUR190) in order to ensure that the shaky-cam quality is removed, and replaced with a helping measure of steadicam goodness.

As far as I can tell, this is basically a heavy thing in which you can mount your iPhone, which adds enough inertia to your movements so it filters out some of the shakies.

I'm sure it works well - after all, the light weight of the iPhone is probably one of the chief reasons why you get shaky camera footage - but I can't help but ask myself WHY? 

Anyway, if you want to open yourself to ridicule from yours truly, you can get one of these gadgets on Firebox.com. But be warned: If I spot you on the street with one of these, I will make fun of you.

Settled out-of-court: the model, the album cover, and the polaroid

Vampire Weekend - Contra

Over a year ago there was a bit of a hoo-haa involving the band Vampire Weekend, the photographer Tod Brody, and the former model Ann Kirsten Kennis. In a nutshell? Brody licensed an image of Kennis to Vampire Weekend, which they proceeded to splash across on the world on the cover of their album, Contra. Slight problem was, Kennis claimed that she never signed a release for the image and that Brody had no right to use it commercially. Kennis filed a law suit against Vampire Weekend and Vampire Weekend filed a suit against Brody. Up to speed?

Well, a year on and Kennis has settled out-of-court with Vampire Weekend and their record lable, XL. The sum is undisclosed, but Kennis orginally looked for $2 million.

The case of Vampire Weekend versus Brody is on-going, however, with Brody defending himself because his lawyers, Lavely & Singer, quit in June. Seems that lawyers don’t much like it if you don’t pay their bills and don’t at least try to co-operate with them when they’re trying to defend you.

(Headsup to PDN)

Riots in London


Illustration photo by Flickr user ssoosay

"There they are", says the man sitting next to me in the Honda Civic, and both our hands go to our radios, covering up the tell-tale little brightly lit square that pierces the darkness whenever the dispatcher or one of my colleagues transmits on his radio. Usually, I carry my radio with pride. Today, it may be just the thing that could get me recognised and subsequently seriously injured.

The place is London. It's in the first week of August 2011, and tensions are running high. Night has fallen. Less than a mile away, we know there are a series of running battles going on between rioters and riot police. Anything that is happening there, is happening on a different radio channel. Inside our little black car, the radio stays eerily quiet.

There are only two of us. We don't have guns. We don't have shields. We don't have riot gear. The only things we have to defend ourselves is a stick and a fist-sized deodorant can filled with mixed spices. A call comes in. "We've just had another I-grade call. A large group of youth is gathering", along with a street name. The name of the street is the name of the street we are on. The next thing I know is that we come around a bend, and we can see it all in front of us.

An ambulance is coming the other way, towards us. Its sirens are blaring and its blue lights are flashing, but it is not making the kind of progress you would expect from an ambulance rushing back to the hospital in its effort to save a life. The crowd is in the way, and the ambulance has to slow down to less-than-walking pace. The youths in the crowd show little interest in moving out of the way. They are looking at it. We're looking at them.

There must be forty of them. Fifty perhaps. There's a couple of faces I've seen before, and my mind is feverishly trying to associate them with known gang members, past victims of crime, anything that can help me figure out exactly what the hell is going on.

Some of them them are on bicycles. Many have their faces covered by scarves. More than a few are carrying sticks, bats and pieces of scaffolding. Some have made an attempt at hiding their weapons, and others are raising them in the sky, as if to say "Look at me. Today, the streets are mine".

Then I spot the really worrying part: A couple of people are holding wine bottles. It all clicks into place. I know my police station has already lost a few police cars to arson; that the mood among some of the youths we encounter is, shall we say, not wildly enthusiastic about the police; that if these guys are, indeed, gang members, that they might finally decide that this is their chance for payback; that those wine bottles are relatively unlikely to contain wine. Images from my public order training - part of which is a petrol bomb demonstration - flash in front of my eyes.

For the first time in my year-and-a-half as a voluntary police officer, I'm afraid. Cold palms, shallow breath, and a god-awful rush of adrenaline. Time slows down, and I'm looking around for options. What if they surround our car? What if I have to run for it? What if I have to defend my colleague? What if something happens to that ambulance? What if... What if...

I see one of the youth lift up a cigarette lighter and the wine bottle. I see the flint of a lighter sparking brightly in the night, and for a very brief moment, it is the only light source lighting up the universe. I know there is no way it could be possible, but I would merrily swear on a bible that I could hear the cigarette lighter from inside the car.

"Uhmm", I hear my colleague saying, as he is surveying the scene in front of us, "Let's go the other way". He stops the little car dead, backs calmly into a side road, turning the car around, whilst I do my duty as an operator. I reach for my radio. "Golf Delta receiving...". My own voice crackles as I hear it loop back through the in-car radio set and my colleague's personal radio. I sound even less like myself than I do normally, as encryption protocols, interference, echo, feedback, network overload and fear are mixed together in a delicious comms cocktail.

"Go ahead", comes the reply. "We're on location of your last", I say, referring to the call that was put out seconds earlier. "We've just encountered a group of forty to fifty youths, some of them are believed to be armed with petrol bombs". I hold the push-to-talk button for what feels like an eternity whilst I try to get my wits together for how I'm going to round off the transmission. "Eh, we're going to turn around".

I recognised the composed-as-ever voice of the dispatch operator when she first put the call out. I have no idea what her name is or what she looks like, but for the occasion, images of Angelina Jolie with a microphone headset are flashing through my mind. She is rapidly typing the information she has been relayed by yours truly. "Received", she says, waits a beat, and adds "Be careful".

The dispatcher enters the intel into their computer-assisted dispatch system (CAD), and it is presumably handed over to a group of fire-proof superhumans known as "Level 1 officers" in the Metropolitan police - or "riot police" to everybody else. It is with a tinge of disbelief that I recall that "riot police" actually have the same tools at their disposal as I do. Sure, they have full-body padding, a helmet, a fire-retardant suit, and a shield. But where it matters, they are the same as us. Still police officers. Still human beings. Still carrying only a truncheon (if slightly heavier duty than mine) and a (slightly bigger) bottle of CS spray, and a picture of their children in their wallets.

I look behind us, as we've just about turned the car around. The ambulance has nearly made it through the crowd. One of the youths throws something, and I see the street lights reflect in an item made of dark glass flying through the air. The ambulance has finally cleared the group of youth and accelerates away, past our police car. On auto-pilot, both my colleague and I raise our hands to the paramedics: You never know if they're saving your life next.

The bottle thrown by one of the hoodlums shatters into a thousand pieces onto the dark asphalt, and I'm expecting the next vision to be a massive fireball trailing the Ambulance, engulfing the street in an inferno of heat, smoke, and fire. But nothing happens, and as we drive away in search of a call we are equipped to deal with, I wonder: Did the rag not catch fire? Did the wind extinguish the flame before the bottle impacted on the ground? Could it have been empty or filled with wine or water?

I'll never know, but I was relieved to see the crowd get smaller in our rear-view mirrors.

And that was only the first five minutes of my 14 hour shift...

Photo credit: Image is (cc) Soosay on Flickr.

Metropolitan Special Constabulary

For the past few years (since May 2007, or thereabouts), I have been living in London. I love the city for its multitude of different people, its opportunities, its nightlife, and its people.

When I left my old job, I decided to give writing full-time a go. Setting my own hours, picking my own tasks, designing my own workload: It was a dream, but I was missing one key point to all of this - I had a lot of colleagues in the past, and working on my own was a rather lonely experience.

So I started looking for a voluntary job. It took me a while to find one; one of the key things I wanted from a voluntary job was personal development: I don't care about being paid, but I wasn't completely altruistic in my approach either: I did want something back. Specifically, I did want to feel like I'm making a difference, I wanted some training, I wanted to learn some new skills, I wanted flexibility to do as much or as little volunteer work as I could spare the time for, and I wanted some structure. It turns out that there aren't a lot of voluntary positions out there that tick all these boxes. Then one day I spotted a poster on the underground advertising for special constables.

I thought about it for a while, and eventually sent off my application to be a member of the oldest police force in continuous service, the Metropolitan Police. Specifically, an officer in the Metropolitan Police Special Constabulary - or the MSC, among friends.

What followed next was two days of entrance interviews and medical and physical checks, followed by legal- officer safety- and first aid (or "emergency life support", as it is more grimly known) training. Then one day, I went to a ceremony, where I was granted a Warrant Card. I was now in Her Majesty's Service.

If you've watched a little bit too much television, you are now imagining images of me being handed 'a badge and a gun'. The truth couldn't be further removed; according to Wikipedia, there are only 6,780 police officers that carry guns in the UK. Given that there are a total of around 140,000 police officers in all of the UK, that means that less than 5% of officers carry firearms. Unsurprisingly, the volunteers aren't chucked a side-arm, a box of ammo, and a pat on the back for good luck.

Instead, we are issued with a stab vest, a friction-lock expandable baton, incapacitant spray, a pair of handcuffs, and various other bits and bobs, including our radios and personal first aid kit etc.

If you're in the UK; most police forces use special constables, check out their recruitment websites to find out how to join.

Worth noting: A few details in this story have been changed, as I cannot speak about the events exactly as they happened: There are still ongoing investigations into the public disorder. Consider it a piece of fiction, if you will, but I was there, and I believe it conveys the feeling of what it was like to be out there, as a police officer, when there's a riot going on. Finally, all opinions in this piece are my own, and do not reflect the policies or opinions of the Metropolitan Police, or, indeed, anyone but myself.

Police in England can seize your camera as evidence


Stock image (c) iStockphoto

Earlier today, I sent out a quick tweet warning potential photographers at the ongoing London Riots that police could potentially seize their cameras as evidence. Unsurprisingly, that tweet was challenged, referencing the I'm a Photographer, not a Terrorist 'bust card'.

Everything on the 'bust card' is 100% correct, but there is a legal power police have to seize evidence - any evidence - of a crime, whether the 'evidence' is a bloodied knife, a brick that has been used by a rioter, or video footage recorded on a mobile phone. And yes, that does include any stills or video footage you have.

Enter the Police and Criminal Evidence Act

Under the Police and Criminal Evidence Act (PACE) of 1984, under section 19 subclause 3, "The constable may seize anything which is on the premises if he has reasonable grounds for believing that it is evidence in relation to an offence which he is investigating, and that it is necessary to seize it in order to prevent the evidence being concealed, lost, altered or destroyed." It is worth pointing out that "premises" in this context refers to "any place", as per PACE s23.

In theory, that means that police can seize any recording device if they believe it has been used to record a crime. Say, if you are out photographing a riot, and you take a photo at the exact moment somebody is throwing a petrol bomb, and a police officer spots you, believing that you are the only person who has a record of the crime taking place, for example.

In practice, this means that UK police can seize your whole recording device, whether that is a mobile phone, a camera, or anything else that can be used to record data.

Why your camera would get seized

The reason why your whole camera would get seized, is that police aren't familiar with every camera, and it isn't always possible to ascertain whether an image is stored on internal memory, on a memory card, etc. In addition, in order to be forensically significant, it is preferred that the photos are removed from the camera by forensic examiners: They can then match the clock on your camera to the photos embedded in the EXIF data, for example, to verify exactly when the photo was taken.

It is worth noting that police do not have the right to delete any of your photos (not without a court order, anyway), and that you will get your recording device back in due course.

Can you just refuse to hand it over?

I would certainly demand a receipt for it, but refusing outright isn't necessarily the best approach, nor is the 'scorched earth' approach of trying to delete the photos in an effort to stop them from taking your camera. Deleting images would be seen as perverting the course of justice, and besides the images could easily be recovered anyway.

In addition, constables have the power to use 'reasonable  and necessary force', under section 117 of the Police and Criminal Evidence Act: "Where any provision of this Act confers a power on a constable (...) the officer may use reasonable force, if necessary, in the exercise of the power". In practice, that means that a police officer can use force to take the camera from you. If they would have to do that, they would probably also arrest you for Assaulting or Obstructing a Constable in the Execution of His Duty (section 51 of the Police Act 1964), or perverting the course of justice.

Are professional photographers exempt from this?

This post discusses that police can legally seize your camera, but it would be a question of whether they would.

Obviously, if the BBC was filming something that was a crime in progress, police probably wouldn't seize their camera. Why? Because it would be unlawful: There is generally no reason to believe that the BBC would "conceal, lose, alter, or destroy" the evidence, which is one of the provisions in s19. Instead, police would be able to request a raw, unedited copy of the footage, and can reasonably expect the BBC to comply with the request to hand over the footage.

If you are an accredited press photographer, the same might apply to you: It's possible that you might be able to copy your photos off your memory card, before submitting the memory card as evidence.

However, if the police officer in question does not trust you to submit the evidence needed to secure a prosecution without interfering with the evidence, they may very well seize your camera - or at the very least your memory card.

What should you do if they want to take your equipment?

At the very least, note down the following:

  • Their shoulder number. (If they don't have one displayed, it's probably because they are ranked inspector or higher - they will have a shoulder number, even if it is not displayed. Get it, and write it down.)
  • Their rank and name (should be displayed on their stab-vest, usually as "PC Bloggs" or "PS Thompson" or similar. Again, if it's not displayed, ask to see a warrant card, and write down the information).
  • The police station where you can get your equipment back
  • An estimate of when you can get your equipment back
  • A receipt. Get the officer to write down what they have seized (be specific, with serial numbers), along with the information listed above. Note how many photos are on the memory card; that's how many there should be when you get it back. If there aren't, file a complaint for criminal damage and/or offences under the Computer Misuse Act of 1990 (probably section 3:1a)

Personally, I would also immediately go to the nearest police station and file a complaint. Even if the seizure is lawful, a complaint will ensure that it is escalated, and the forensic examination will probably be expedited, which means you get your camera back faster.

When you file a complaint, you will get a reference number. Take good care of it; the reference number and the receipt are what will ultimately get you your camera back.

DISCLAIMER - I have had some law training, but I am not a solicitor. Whilst I believe the contents of this post are accurate, none of this should be construed as legal advice. Please consult with your own solicitor before acting on any of the above.