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Three top soccer players from English team Arsenal FC have swapped scoring goals to taking photos for Visit Rwanda’s Photography Challenge. Gabriel Magalhães, Ben White and Bukayo Saka tested their skills behind the lens in the hope of taking the winning shot, under the guidance of sports photographer Sam Mironko.

Cameras for sports photography need to have fast burst modes and precise autofocus so that photographers are able to freeze fast-moving subjects. A skill that comes naturally to the people who do it every day proved to be a bit more of a challenge to the players who are more used to controlling a ball than a camera. Playing for one of the elite Premier League teams, the three are no strangers to being photographed – but which prevailed behind the camera?

• Check out the best lens for sports photography – telephoto zooms perfect for capturing action in the distance

Armed with what looks like a Sony A9 II and a prime lens, the three players were tasked with taking a sharp, crisp image of a teammate doing “keepy uppies” (a drill to keep tapping the ball in the air with your feet). Although Sam described photography as “just pressing a button”, the players quickly learned there was a lot more to it than that. The limitations of a prime lens meant there was no zooming in and out to get the shot, and instead the players had to move around to get the perfect picture.

Each player had ten seconds to compose their image and take the shot. While they all managed to take a clean image (the camera settings had already been dialed in by Sam), Gabriel was the only one to really move around and experiment with different angles – and was crowned the winner.  In the second task, each player was asked to pose in the position they would want their statue to be in, while Mironko took their photos – a much easier task.

• Watch the Visit Rwanda photography challange

Over on Instagram, Mironki described what an “incredible feeling” it was to represent his country while creating memories alongside his favorite childhood team. Visit Rwanda is a tourist information center that has partnered with Arsenal Football Club in an attempt to support the country’s tourism industry. It is hoped by partnering with a high-profile team, more people will notice how the country has transformed in recent years and attract more visitors.

I don’t think these world-class soccer players are going to change careers any time soon but, perhaps the next time they see a photo of themselves online or in a newspaper, they’ll have a little bit more appreciation for the photographer who took it. You can watch the Visit Rwanda photography challenge here.

Check out the best monopods and best tripods– perfect for taking the weight of massive heavy telephoto lenses.

Rotolight, has officially launched its highly-anticipated ANOVA PRO 3 via Kickstarter. The ANOVA PRO 3 is a powerhouse 1×1 production LED light featuring a custom-designed LED optic system, representing the pinnacle of Rotolight’s advanced lighting products.

With a 22,000 lux output, the ANOVA PRO 3 surpasses its predecessors, the Anova and AEOS 2 PRO, delivering over double the brightness. This revolutionary light introduces industry-first features and unmatched versatility, catering to the needs of TV production, filmmakers, professional photographers, and content creators.

Following the success of previous campaigns for products like the Rotolight NEO 3 and AEOS 2 PRO Editions, Rotolight offers its user community exclusive early access and discounts through the ANOVA PRO 3 Kickstarter campaign. Backers gain the opportunity to select from various ANOVA PRO 3 options, including multi-light kits and accessory bundles, becoming the first to experience its exceptional performance and innovations.

The ANOVA PRO 3 builds upon the legacy of the award-winning Rotolight ANOVA PRO series, renowned for its use by leading broadcasters and studios, including Amazon Studios, Netflix, BBC, and ITV, on major productions like ‘Ghostbusters: Afterlife’ and Amazon’s ‘The Expanse.’ Developed over 12 years with user feedback and cutting-edge R&D, this light promises significant advancements for creative professionals.

An industry-first, the ANOVA PRO 3 boasts IP65 weather resistance and native battery operation, making it suitable for challenging conditions ranging from snow to tropical rain-showers. The light incorporates a groundbreaking ‘Magic Eye’ optical light sensor positioned on its front, which automatically measures and matches any Kelvin or HSI colour, eliminating the need for a light meter and simplifying on-set lighting adjustments.

Key Features of the Rotolight ANOVA PRO 3

• Unparalleled brightness, >22,000 lux at 3ft, making it the brightest 1×1 panel on the market.
• IP65 rated for outdoor use in extreme weather conditions.
• Native IP dual V lock battery operation.
• Innovative ‘Magic-Eye’ optical light sensor for instant and precise colour matching.
• Intuitive full-color touchscreen display, an industry-first.
• In-built lumenradio wireless DMX, wired DMX, and Bluetooth app control via the Rotolight app (iOS & Android).
• Adjustable color temperature from 1,700-20,000 Kelvin.
• 16.7 million colours and compatibility with 2500 gels, including LEE and Rosco filters.
• Exceptional battery performance with an industry-leading energy consumption to power ratio (200W).
• HSS Flash mode doubles power output.
• Compatibility with transmitters from Elinchrom, Godox, Pixapro, Neewar, and more.
• Previous generation accessories, such as yokes and barn doors, are compatible.
• SmartSoft electronic diffusion enabled.
• 2-year manufacturer warranty included.

The ANOVA PRO 3 comes equipped with Rotolight’s patented ‘Smart-Soft’ electronic diffusion technology, complemented by an optional Rotolight Smart-Soft Box. This innovation empowers users to adjust diffusion electronically, focus, and spread without the need for gels or additional modifiers, saving time and resources on set.

With an industry-leading brightness output of 26,600 lux at 3 feet, 250% more powerful than its predecessor, combined with exceptional battery performance, the ANOVA PRO 3 is a lightweight (3.5kg) and portable solution, perfect for outdoor shooting. It offers 16.7 million colours, 2500 filters, and state-of-the-art RGBWW chips, providing endless creative possibilities.

The ANOVA PRO 3 features Rotolight’s acclaimed suite of CineSFX effects, adding drama to scenes with ease. It can be customized, with settings easily recalled, reducing on-set time. Additionally, the light will be manufactured and assembled exclusively in the UK, ensuring the highest quality standards, and includes a 24-month manufacturer’s warranty.

Rod Gammons, CEO of Rotolight, commented, “We are delighted to announce our latest innovation… The Anova PRO 3 represents the pinnacle of LED technology and delivers class-leading performance that saves you time on set.”

The Rotolight ANOVA PRO 3 Kickstarter campaign

Article Name

ANOVA PRO 3: The Ultimate LED Powerhouse for Photography and Filmmaking

Description

Experience the lighting revolution with the Rotolight ANOVA PRO 3, setting new industry standards for photography and filmmaking.

Author

Ali Jennings

Publisher Name

Camera Jabber

Publisher Logo

Vivid, cinematic and poetic, it’s all about my inner contemplation whenever I take a walk in the rain.

And this time it was a dark gloomy evening when I left home and reached the fairyland of my city Kolkata named Park Street where rain blends with vivid lights and makes the street looks like a lucid dream.

And when it pours I just keep my camera shutter open n let it capture the mood to keep it as the way it is. In my imagination evening rain is an amazing fusion of colours, lights, moods and fairy droplets.

Everything was a crazily beautiful experience for me that evening, either it’s simply a commuter holding an umbrella with his shadow on the middle of the road or simply the play of light n colours on the wet seat of scooter waiting there, either it’s the mysteriously vibrant car found on street in rain or the dreamy watery texture of car glass. I found magic everywhere and later bagged a story to share with you.

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About Jayeeta Ghosh

I’m Jayeeta Ghosh from Kolkata, India, by profession I own a business & by passion, I’m a concept photographer rather I’m immensely passionate about the fine art form of photography. Academically, I studied honors in Botany n later Bioinformatics.

I will not be able to tell, exactly when I realized that my passion is photography, initially it was I felt good doing photography and capturing moments, but later I realized that I need to know it closely, which actually indulged me to take admission into the National Academy of Photography Kolkata, and then after in London Institute of Photography in London.

My images are regularly being published at the magazine of London Institute of Photography, I take images for iStock by Getty images and my images have been published on IG pages of different popular national or international photography communities.

You can find Jayeeta Ghosh on the Web:

Copyrights:
All the pictures in this post are copyrighted Jayeeta Ghosh. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

Photography is almost 200 years old and Photography: Real and Imagined at the National Gallery of Victoria (NGV) can be interpreted as an attempt to make sense of its history.

A huge and dazzling exhibition containing 311 photographs, the basic thesis of this exhibition is that some photographs record an actuality, others are purely a product of the photographer’s imagination, while many are a mixture of the two.

The parameters of the exhibition are determined, in part, by the holdings of the NGV collection and, in part, by the perspective adopted by the curator, the erudite and long-serving senior curator of photography at the NGV, Susan Van Wyk.

Mercifully, the curator has not opted for a linear chronological approach from daguerreotypes to digital, although both are included in the exhibition, but has devised 21 diverse thematic categories, for example light, environment, death, conflict, work, play and consumption.

Australian artists, international context

The categories have porous boundaries. Even with the assistance of the 420-page book catalogue, it is difficult to determine why Michael Riley’s profoundly moving photograph of a dead galah shown against the cracked earth belongs to the environment theme instead of death; why Rosemary Laing’s Welcome to Australia image of a detention camp belongs to movement, instead of being in community, conflict or narrative.

I felt that there was a perceived need to somehow organise the material, and the broad thematic structure allows the viewer to develop some sort of mega-narrative for the show.

There is also evident a desire to create an international context within which to display the work of Australian photographers.

It is indeed a very rich cross-section of Australian photographers assembled in this exhibition. This is not an Anglo-American construct of the history of photography; Australian photographers are presented together with New Zealanders and their Asian contemporaries.

Although the NGV boasts of having the first curatorial department of photography in any gallery in Australia, in the department’s 55-year history there remain serious lacunae in the collection.

For example, Russian constructivist photographers, including Aleksandr Rodchenko, who, as far as I am aware, in the NGV collection is represented by a single small booklet, but looms large in any account of the history of photography as presented by the British, European and American museums. Eastern European photographers are also generally underrepresented.

Read more:
Friday essay: 10 photography exhibitions that defined Australia

Key moments, and surprises

This exhibition combines the iconic with the new and the unexpected.

The expected key moments in the history of photography are generally all present with the roll-call of names including Dora Maar, Man Ray, André Kertész, Henri Cartier-Bresson, Dorothea Lange, Eadweard Muybridge, Bill Brandt, Lee Miller and László Moholy-Nagy.

They are all included in the exhibition and are represented through their iconic pieces.

Henri Cartier Bresson’s Juvisy (1938), colloquially known as Sunday on the banks of the Marne, is an intentionally subversive image by this left-wing radical photographer.

This image, made at the height of the Great Depression, shows a victory by France’s popular left-wing government that legislated in 1936 the entitlement for French workers to have two weeks of paid vacation. Here the working class is enjoying a picnic at Juvisy, just to the south of Paris.

At about the same time, Dorothea Lange’s Towards Los Angeles, California (1936) contrasts the anguish of the unemployed trekking in search of work and a billboard advertising the comforts of train travel. An aphorism ascribed to her sums us much of her work:

Bad as it is, the world is potentially full of good photographs. But to be good, photographs have to be full of the world.

Man Ray’s Kiki with African mask (1926) is one of the most famous photographs in the world, also known as Noire et blanche (Black and White). The surrealist artist juxtaposes the elongated face of his Muse and mistress, Kiki (Alice Prin), with her eyes closed with that of a black African ceremonial mask.

The photograph was controversial when it was first published and continues to be controversial to the present day.

There are also numerous modern classics in the exhibition, including Pat Brassington’s Rosa (2014), Polly Borlan’s Untitled (2018), from MORPH series 2018 and Robyn Stacey’s Nothing to see here (2019), that can all be viewed as edging into the realm of the uncanny. Beyond the façade of the familiar, we are invited to enter an unexpected world.

Reinterpreting our world

Photography’s reputation of creating a trustworthy facsimile of the real had long been eroded, even before the creation of digital software. There is an old adage, “paintings sometimes deceive, but photographs always lie” – precisely because there was a perception that they could not lie.

One of the most intriguing works in the exhibition is by the New Zealand-born photographer Patrick Pound, titled Pictures of people who look dead, but (probably) aren’t (2011–14). It is a sprawling installation of mainly found photographs where the audience is invited to create a life and death narrative.

Photography: Real and Imagined reexamines our thinking about the art of photography and explores photography’s ability to recreate and reinterpret our world.

Photography: Real and Imagined is at the Ian Potter Centre, National Gallery of Victoria, Melbourne, until February 4 2024.

Read more:
Can a photograph change the world?