Συλλέκτης ροής

Sub-teardrop Jeep tiny camper evolves as steel-on-steel adventure core

Gizmag news -

Utah startup Addax Outdoors unleashed a rather unexpected micro-camping trailer on the floor of SEMA 2022. While rugged teardrop-sized trailers are par for the course at the high-flash auto supplier show, the original Addax Overland trailer was developed with a rare combination of military toughness and land speed record vehicle expertise. It sized in even tinier than the typical off-road tagalong and wore official "Jeep" badging. The rugged, little sub-teardrop Jeep trailer, now named the Basecamp, has run through a full V3.0 update regimen and packs more trail and adventure readiness than ever. It's an electrified steel core ready to explode into a multi-sport adventure base.

Continue Reading

Category: Camping Trailers, Adventure Vehicles, Outdoors

Tags: , , , , , , ,

Join our community photo chain: each shot inspires the next

Digital Photography Review news -

The prompt for the photo chain is a feast for the eyes.

Photo: Dale Baskin

In case you missed it, DPReview is gearing up for our biggest redesign in 25 years. As part of that transition, we've had to temporarily pause our long-running challenge system. Despite that, we don't want to miss out on seeing all of your incredible photographs.

To help provide an outlet during this pause, and in response to a recent article on collaboration in photography, we've launched a collaborative photo chain in our forums. The prompt is simple: share one photo (new or old) that responds directly to any visual element in the most recent image.

Read more about the photo chain and share your images!

We can't wait to see where this chain goes and are looking forward to highlighting the amazing variety of photographers in our community!

Collaboration might be the creative push your photography needs

Digital Photography Review news -

This was from one of my most recent collaborative projects, a double exposure series with a friend.
Photo: Myra Holt and Abby Ferguson

If you're anything like me, photography most often feels like a solo endeavor. I typically go out to take photographs on my own. I edit alone. And, at least these days, I create images without any feedback or different perspectives.

Admittedly, all of that isolation is somewhat done on purpose. Photography for me is frequently quite personal. It can be a time for me to reflect, decompress or even work through things. Plus, as an introvert, doing things alone comes naturally.

Photography will always have a solitary side, since for many of us, that's part of the appeal. But I've been realizing that some of the most meaningful growth in my own work has come when I've let other people into the process. Thankfully, collaboration can take many forms and works well even for an introvert like me.

The number of ways to collaborate is essentially endless, so I won't be providing an exhaustive list of the possibilities here. But I will share some of the things that I have experience with and that have been meaningful for my practice.

Collaborative projects

When most people think about collaboration in photography, they likely think about projects worked on with someone else. I've previously written about using photo projects to find renewed creative motivation, but those were largely personal projects, not collaborative ones. Projects done in collaboration with others can also be very helpful for finding your creative voice again, and lead to some really cool work.

Double exposures Two images from different rolls of our double exposure project.
Photos: Myra Holt and Abby Ferguson

One ongoing collaboration I've been tackling lately is a double exposure project with a friend from graduate school. We live in different states, but we wanted a way to work on something together, so we schemed this up. We each shoot a roll of film, mail it to the other person, and shoot the roll of film again to create double exposures.

Thus far, the project has largely been about troubleshooting to get better results, so we've purposely kept the subject matter completely open. It's something we hope to narrow down and do something more specific with at some point, but for now, it's mostly just playing around. It's been a fun way to stay connected to a friend and a good excuse to get out with my camera (which I need to do, since I'm overdue in shooting a roll that she sent me).

Of course, this collaborative project requires access to film, film cameras and the means to develop and scan negatives. But the unpredictable results make it a fun way to work with someone, and it's an opportunity to have some fun with photography.

Photo challenges One of the prompts during the photo challenge project was "fear." While I don't think this image does a perfect job of conveying that, it did get me to dust off some skills I hadn't used in a really long time, but that I really enjoy.
Photo: Abby Ferguson

Another project I worked on for a while was a challenge project with a friend. Each week, we would alternate who picked the topic, and then we had to make an image with that in mind. The topics varied from broad, like black and white, to somewhat more specific, such as fear. We would typically each take more than one, sharing our top three picks at the end of the week before a new topic was selected.

When I started the project, I had been in a bit of a rut with my photography. The weekly challenge was a good way to flex my creative skills again. It pushed me to think outside the box for the first time in a while, which was refreshing and motivating. In this case, collaboration was a method for accountability, helping me to pick up my camera for something other than work on a more regular basis. I like the images I made, but it was more about the process and collaborative act than anything else.

There are plenty of variations on this type of idea, too. My local photo group is currently gearing up for a bingo challenge for our next photo walk, with a board created collaboratively as well. There are also group color hunting challenges (which the DPReview team tackled in Tokyo this year), and more. I've also seen collaborative editing ideas, from as simple as editing each other's photos to creating composite photos with elements from different people.

Shows as collaboration

Last fall, a friend put together a collaborative show to raise money for a wildlife area near us.
Photo: Anthony Verdi

While not an area everyone will have interest in, group shows can be an excellent form of collaboration. I'm currently scheming up a show with two of my colleagues at the school I teach at, and last fall I participated in a group show with friends dedicated to wildlife and nature in our state.

A show could be based around a theme or simply an opportunity to show your work together, whatever it may be of or about. It could be in a formal gallery space, or maybe just the local coffee shop. No matter what, the process of planning and coordinating the show is a fantastic way to connect with others.

Seeing your images next to those created by someone else can give you a fresh perspective on your work and give you ideas for where to take it next. Plus, it's always nice to see your photographs up on the wall in some form.

Feedback as collaboration

Collaboration doesn't have to mean making something together, either. While feedback may not be the first thing people think of when it comes to collaboration, it can be a very useful form of it. Inviting someone else into the process, even after the photographs are made, can change how you understand the work and where you take it next.

Formal critiques

I have a somewhat unique experience in that I went to school specifically for photography, spanning both undergraduate and graduate degrees. As a result, I had 7.5 years of getting regular feedback on my work via critiques. In undergrad, every single project was critiqued, which meant one every couple of weeks.

"Those critiques could be difficult, but they forced me to consider how other people were reading my images."

Graduate school was less structured, since there wasn't a definitive end to projects, but there were still regular and formal group critiques. Those critiques could be difficult, but they also forced me to consider how other people were reading my images, not just what I intended when I made them.

School isn't the only place formal critiques can happen, either, so you're not out of luck if you don't go to school for photography. Some photography groups will host critiques, either in person or virtually, so it's worth checking locally. Photo conferences and expos will also often hold portfolio reviews or critiques, giving you the chance to receive feedback from experienced reviewers or significant names in the industry.

Informal feedback My studio space in graduate school allowed for lots of impromptu discussions about my work.
Photo: Abby Ferguson

While the structured critiques in graduate school were worthwhile, even better were the impromptu critiques that happened when a classmate would pop into my studio to say hi and we would end up discussing my work. They inevitably involved a mix of straightforward feedback and brainstorming on what could work better for a given piece or series.

Those casual conversations were often just as valuable as structured critiques, if not more so. They were more conversational and often served as a time for problem-solving rather than simply being told something isn't working, as can happen in a critique. They also happened in the middle of making the work, so they could help me think through problems before a project felt finished or fixed. That often meant I was more open to feedback, too.

Informal feedback is often easier to recreate outside of school than a structured critique. It can be as simple as sending a photograph to someone you trust to ask what they think or how they would suggest improving it. Or maybe inviting a friend over to flip through some of your recent images on a laptop to see if they have any suggestions. It can also be as simple as a conversation about something you're stuck on, either technically or visually. Or, you can even head to our forums to get input from our incredible community.

Learning to be open to feedback

Since leaving school, I haven’t sought out feedback nearly as much as I should, but I know how useful it can be. Formal and informal critiques have led to significant breakthroughs in my work, leading me to produce projects I'm still proud of to this day.

"If you find yourself in a position to have your work critiqued, be open to it."

If you find yourself in a position to have your work critiqued, be open to it. It can be scary, especially since not everyone knows how to deliver feedback well, but getting a glimpse into how others perceive your work can be a valuable opportunity to grow.

At the same time, staying open doesn't mean taking every comment as truth or instruction. Feedback is information, not a command. It also helps to remember that, no matter how personal the work is, the feedback is a comment on the photographs, not you as a person.

Start small

Collaboration doesn't have to feel like a chore or an overly structured project. It can be as casual or simple as trading prompts with a friend, asking someone you trust to look at a series or single image, or putting your work in conversation with another photographer's. For those of us used to working alone, even small forms of collaboration can be enough to shake something loose and open up renewed creativity and motivation.

If you have collaborated with others in meaningful ways, share those in the comments! It might give someone else an idea to try out as well. We've also started an easy collaborative project in our forums, so head over there to participate!

A different kind of soda may actually lower your blood sugar levels

Gizmag news -

Intake of too little dietary fiber and too much added sugar is a major contributor to obesity, type 2 diabetes, and heart disease. One major source of added sugar is traditional soda, which has long been linked to obesity, cardiovascular disease, kidney problems, fatty liver disease, tooth decay, and other health complications.

Continue Reading

Category: Diet & Nutrition, Wellness and Healthy Living, Body and Mind

Tags: , , ,

Toyota's most indestructible truck gets even more rugged & covetable

Gizmag news -

Toyota's global-market Hilux pickup platform and its turbo-diesel engine is already highly coveted unobtainium in the US, and it's about to get more attractive than ever. A forthcoming upgrade will make it even better for trades workers, off-roaders, overlanders and other diehard truck fans, boosting available payload so the incomparably rugged little truck can carry more weight, whether we're talking stacks of landscaping rock or expansive camper setups.

Continue Reading

Category: Automotive, Transport

Tags: , , , , , ,

Better bee-lieve it – World Bee Day is time to celebrate our fuzzy life-givers

Gizmag news -

For many years, bees were among New Atlas readers' favorite animals. But then things went south, and you guys switched off from learning about these fuzzy little flyers. Maybe it was tall poppy syndrome – since bees are quite obsessed with these nectar treasure chests – but they're staging a comeback framed around World Bee Day.

Continue Reading

Category: Environment, Science

Tags: , , , ,

The photographer who never stopped chasing the perfect shot

Digital Photography Review news -

When you use DPReview links to buy products, the site may earn a commission. 'The Grace Project' dancer: Joy Isabella Brown

Leica M (Typ 240) | Leica Summicron-M 35mm F2 ASPH. | F11 | 1/750 sec | ISO 400
Photo: Josh S. Rose

Josh S. Rose has been capturing visceral reactions since the 1970s, when he wandered around a racetrack park as a kid to explore the event. He found himself hanging out at the photo booth and loved to watch a team develop film after each race, calling up the winners to the announcer upstairs, then hearing the crowd wildly react. His career kept him intrigued by those early moments of capturing scenes on film.

We virtually sat down with Josh to see where that early racetrack experience took him. His experiences and photos are gathered below.

This story is part of our What's in your bag? community spotlight series. The series showcases the diverse gear and photography of our community, and shares their stories of how that gear helped them to capture the perfect shot.

Have your photography featured on the DPReview homepage! Find out how.

'LA Dance Project' Dancer: Anthony Bryant

Leica M (Typ 240) | Leica Super-Elmar-M 21mm F3.4 ASPH. | F3.5 | 1/180 sec | ISO 100
Photo: Josh S. Rose

Meet Josh S. Rose

Home base: United States

Favorite camera and lens: Josh’s main setup centers around the Hasselblad X2D with 25mm, 38mm and 90mm f/2.5 lenses for his more artistic and environmental work. When shooting live performance and dance, he switches to the Nikon Z9 paired with 14–24mm, 24–70mm and 70–200mm zooms for speed and flexibility. A Nikon Zf stays in the bag as his everyday and backup camera.

What's in Josh's bag Josh's camera bag

Photo: Josh S. Rose

"My set-ups are generally based on the physical ins and outs of the shoot. I do 100–200 shoots a year, so I’m always trying to streamline without sacrificing options. If I’m parking next to a venue and starting quickly, I’ll bring a bigger hard case. If I’m flying, I pack chargers, extra batteries and other essentials. For a recent shoot with Esa-Pekka Salonen at Disney Concert Hall, the small Nomatic bag was ideal, since we were moving fast and had little time to experiment. The process is to understand the shoot first, then rely on memory of similar shoots to decide what will help most."

A lot of great equipment! What's your absolute one-pick favorite?

"My Tanner Goods Cognac SLR Camera Strap that goes on my Nikon Z9 is probably my favorite thing in my bag. In photography, as in life, there are very few things that get better over time. That strap has been with me for so many years. Like a country singer's guitar, it has been the constant companion for me. Camera bodies come and go, lenses are a bit of a commodity, even the vintage ones. But that strap only gets more and more personalized, more and more beautiful and more and more comfortable as the years pile on."

What other equipment propels your photography forward?

"For me, photography is about creative flow. I feel like I have to be on, with energy and positivity, so that I can both generate ideas and not forget anything or screw anything up. So, all non-photography things in my kit are around keeping me energized and positive, starting with food and energy drinks (I admit a bit of an addiction to C4 and Bang, which I'm quite certain are poison, but they bring me joy and focus. Also, my partner hates energy drinks, so it's sort of my little rebellion, too – shh, don't tell her)."

Ate 9 Dance Company

Leica M (Typ 240) | Leica Noctilux-M 50mm F0.95 ASPH. | F1.0 | 1/750 sec | ISO 1000
Photo: Josh S. Rose

You mentioned to us you have 10 different camera bags...

"Okay, so don't judge me, but I have at least that many bags. I like to pack specifically for any event, trip or shoot. The bag is sort of an expression of how I'm feeling that day."

"For a minimal set-up, I'll use the Luma Camera Sling 12L. When I'm feeling my inner photojournalist, I'll throw the Domke F2 over my shoulder. When I'm in a bit more creative mood, I'll throw everything into a vintage black patent leather Coast S-1 shoulder bag that I borrowed/stole from my producer. For long travel assignments, I usually go with the LowePro BP 300 backpack or, if I need more space, the Tenba Roadie Air Case. For performances, when I need the full arsenal, I go with the SKB iSeries hard case with Think Tank dividers and a lid organizer. And we haven't even gotten into my cinema cases..."

"A little travel hack I have learned over the years is to always bring a small satellite bag and stuff it inside a bigger bag. The smaller bag is great for little day trips or side quests."

A little travel hack I have learned over the years is to always bring a small satellite bag inside a bigger bag. The smaller bag is great for side trips. How has your photography changed since you started?

"In the beginning, I tried to minimize mistakes. Because I shoot dance and movement a lot, this is exacting work, especially when you're inside – low light and fast movement is a nightmare for a camera. So, I kind of treated dance as one would sports, reaching first and foremost for clarity, focus and split-second timing. It isn't all that hard, honestly. It just takes a certain number of reps."

"What helped far more was learning how to embrace the elements of the camera in ways that break the normal image-capturing techniques, in pursuit of something less ordinary and more evocative. I use a lot of double exposure, slow shutter and dragged shutter techniques in my work. Also, I use glass filters, found framing and just about anything else to make the images feel less technical and more creative, alluring, beautiful or evocative."

Photo from 'The Grace Project'

Leica M10-P | Leica Noctilux-M 50mm F0.95 ASPH. | F4.0 | 1/500 sec | ISO 100
Photo: Josh S. Rose

What excites you most about capturing dance performance?

"My most well-known work is in dance and performance. I have traveled the world as a photographer, often with dance groups and artists. Many times, I am inside shooting a performance, but it is the most special to me when art intertwines with art."

"For example, when I get to shoot dancers and a choreography among works of art, often with live music, something special occurs in this blend of art forms that is unlike anything else. To be an artist, working in and among other artists, to me, is the dream. I just love art so much. I feel like I am always and forever a student of art."

When capturing that perfect shot, what techniques come to mind?

"The 'perfect shot' is, of course, a loaded question. I've shot what I consider three perfect shots in my life, and they were all different from each other."

"One was with the Japanese rockstar, Yoshiki. We were high up in a hotel room with a bunch of people around. It was tense as we were awaiting some kind of press event to happen. Suddenly, a window washer came rappelling down, recognized Yoshiki through the window, and they had a funny moment. I had the presence of mind to see it occurring and move myself in real time to get the shot. The complexity of the shot is insane when you consider everything that had to happen for that to play out the way it did."

'The Window, with Yoshiki'

Leica M10-P | Leica Super-Elmar-M 21mm F3.4 ASPH. | F3.5 | 1/180 sec | ISO 400
Photo: Josh S. Rose

"Another was in Qatar, in and around probably the most beautiful sculpture I've ever seen in my life: Shadows Traveling on the Sea of the Day, by Olafur Eliasson. A dance group led by Bouchra Ouizguen, for her piece Corbeaux, entered the space. It was absolutely overwhelming to me how much geometric beauty was happening all at once. It's the kind of thing that often overwhelms me, but I had gotten to the location early and spent two hours walking around and finding a composition I felt was really special. One of the dancers walked alone into the space, which I had no idea was going to happen. I happened to be present enough to remember where I had stood for that composition, and ran over to it just in time to get a shot that's still among my absolute favorites."

Photo from 'Festival In Motion, Qatar'

Leica M11 | Leica Summicron-M 50mm F2 | F5.6 | 1/2000 sec | ISO 400
Photo: Josh S. Rose

"And the other one I'm thinking of is a shot I got on stage, looking out toward the house at the famed Koch Theater with the New York City Ballet. This was just one image in a set of many that I had planned for a giant mural for The Lincoln Center. We placed the bodies in the locations and composed them perfectly. I took the shot, and then I had this incredible moment I'll never forget. It is always my instinct to keep shooting until the bell rings. I just can't turn off. I keep pushing and pushing to see if there's a better angle or a different physical shape a dancer might try. But not on this day. I had already visited this place twice before. This, to my eye, was the best shot there was. I was done. There was no more to get. I have never felt that at a shoot before. It moved me."

'NYC Tableau' for The Lincoln Center, NYC

Hasselblad X2D 100C | Hasselblad XCD 25mm F2.5 V | F8.0 | 1/20 sec | ISO 1600
Photo: Josh S. Rose

What would you say to a struggling photographer looking to break in?

"The biggest job of my life came from doing years and years of unpaid work in the field of dance. A lot of people (including family) didn't really get why I would keep shooting things without it being an official shoot where I was getting paid. Nonetheless, I stayed at it for years. Eventually, I got an artist residency, then another one, and suddenly these dominoes started falling for me."

"Find your weird, singular little passion first. And fight off the self-doubts and the disbelievers. Protect the passion like a butterfly. Don't be surprised if even your closest people don't quite get you."

Josh really enjoyed writing the content for this spotlight article and would be grateful for you to join him in discussion in the forums. Thanks, Josh, for being featured!

If you'd like to share your photography, tell us about your main camera, lens choices, key settings and strategies. Your photos and story could be featured in the next article!

Editor's note: This article continues a series, 'What's in your bag?', highlighting DPReview community members, their photography and the gear they depend on. Would you like to be featured in a future installment? Tell us a bit about yourself and your photography by filling out this form. If you're selected for a feature, we'll be in touch with next steps.

Submit your photos and story to be featured in 'What's in your bag?'

Σελίδες

Subscribe to ΠΛΗΡΟΦΟΡΙΚΗ συλλέκτης