Harry Jackson, Fairfax candidate, sued over fake porn actor account

A Fairfax County mother and education activist says that a school board candidate used her name and photo to pose online as a failed porn actress, according to a lawsuit filed last week.

The suit alleges that Fairfax School Board candidate Harry Jackson created an account on X, formerly known as Twitter, with the handle @pornobsessedffx and display name of “Stacy Bartell-Langton Only Fans,” referring to the media platform OnlyFans where subscribers pay for access to videos and photos. Fairfax mother Stacy Langton says the profile page, which featured her high school yearbook photo, defamed her by falsely describing her as a “failed actress from porn valley” in the bio.

Jackson declined to answer questions about the allegations and the lawsuit. He instead provided a statement to The Washington Post about his opponent’s positions.

The lawsuit is the latest controversy to dog Jackson’s candidacy, after an earlier appearance online in December with an alleged white-nationalist group and an incident in which he mocked a disabled child and then temporarily withdrew from the race. Although Jackson secured an endorsement from the local GOP chapter, some of his critics, including Langton, are conservatives. The unusual conflict on the right in Fairfax reflects the wild nature of education politics amid rising tensions in a nationwide culture war surrounding schools — one that sometimes scrambles party allegiances and can have little to do with education policy or what kids learn. Northern Virginia has often been at the center of those debates in recent years.

Langton, the plaintiff in last week’s suit, who speaks often at school board meetings and has opposed Jackson’s candidacy since last year, filed the lawsuit in Fairfax County Circuit Court on Sept. 14. Langton alleges in the suit that Jackson has also told people in-person that Langton is a porn actress.

She says that she has never been a porn actress.

Fairfax school board hopefuls apologize after laughing at student

In fact, Langton, a self-proclaimed “ultra-MAGA” voter, has spent significant time over the past three years challenging books she deems sexually explicit in school libraries, part of a rise in book challenges nationwide led in part by conservative parents. (Jackson also supports removing such books from middle school libraries.) Langton seeks $850,000 in damages for “reputational harm, mental anguish and emotional distress, shame, embarrassment, and humiliation.”

“Defendant made the defamatory statements with the intent of injuring Plaintiff’s reputation in her community and, specifically, to diminish her credibility in advocating about an issue that he has appropriated and made central to his own campaign for school board,” the lawsuit reads, referring to his platform on school library books.

“I can’t think of a worse thing to say about me,” Langton said in a news conference earlier this year, “given my fight against porn in schools.”

The suit also points out that Jackson posted screenshots online indicating he was signed in to the @pornobsessedffx X account, suggesting he had ownership of it.

Many education activists in the state’s largest school district have vocal social-media feeds, where they lob criticisms, critiques and concerns at one another. It was there that Jackson’s persona came under scrutiny.

Jackson dropped out of a school board race last year after a video showed him laughing at an autistic student singing the national anthem at a school board meeting. At the time, he offered an apology in a statement to The Post and said he was committed to supporting students with special needs.

Jackson did not answer questions about why he decided to rejoin the race for school board, but his website states that his goal is to restore “parental rights in education, transparency, trade and financial literacy, school safety, staff recruitment and retention, mental health, and a focus on core learning concepts.”

His critics have also drawn attention to an appearance in an online chat in December with members of the far-right group the Groypers, which the Anti-Defamation League identified as a white-nationalist group that holds antisemitic beliefs. Jackson joined a “Twitter Spaces” live conversation with a group of users who said they were Groypers. During the conversation, Jackson discussed his run for school board and said he was interested in learning more about what the group was about. In the nearly three-hour conversation, one member of the Groyper chat said they try to help people see that for “almost every degenerative quality of the progression of our nation, there is a Jewish element that’s in power.”

Jackson did not answer questions from The Post about his involvement in the conversation, but previously told WUSA9 in a statement that it was “a political spin story” and he does not agree with the views of the Groypers.

Jackson is running against incumbent, Melanie Meren, for the Hunter Mill District seat. School Board races in Virginia are nonpartisan, meaning there is no party affiliation or primary to nominate candidates. But the politicization of education policy in recent years has led political parties to endorse school board candidates regularly. Meren is endorsed by the local Democratic Party, and Jackson by the Republican.

Photo draws attention to Virginia school system’s use of seclusion

In a statement, Michael E. Ginsberg, GOP chairman of the local congressional district, did not address the claims that Jackson has posed online as Langton, but he defended the candidate: “Instead of dealing with these serious issues, a Twitter-obsessed activist, Stacy Langton, is spending her time focused on meaningless Twitter games that will do nothing to improve educational outcomes in Fairfax County. … Her complaints about Mr. Jackson’s Twitter activities are an unholy combination of projection, a personal animus against Mr. Jackson, and a desperate need for attention.”

During a Fairfax County Republican Committee meeting in May, party members voted to reconfirm Jackson’s endorsement after some voters — including Langton — raised their concerns about Jackson’s background. A small group of members spoke both in favor and against Jackson during the discussion about his endorsement before he took the stage to defend his campaign.

The party decided to maintain Jackson’s endorsement as the only Republican running to unseat Meren.

A father of three, Jackson is a co-founder of Coalition for TJ, the parent group that sued the school board over reforms to the admissions process at Thomas Jefferson High School for Science and Technology. A federal district judge initially sided with the parents who argued that magnet school’s new admissions criteria discriminated against Asian American students. That decision was reversed earlier this year by an appellate court, and the case now awaits a ruling on an appeal to the Supreme Court.

Early voting in the school board race opened Friday.

¿Cómo se formó la Luna?

La Luna, nuestro satélite natural. Orbita nuestro planeta a una distancia media de unos 384.000 kilómetros. La vemos casi todas las noches, a veces incluso de día aunque nunca igual debido a sus cambios de fase, tan familiar y sin embargo todavía tan desconocida que sigue sorprendiendo a cualquier persona que no la haya visto nunca a través de un telescopio.

Pero ¿Cómo se formó la Luna? La teoría más aceptada actualmente apunta a un gran impacto protoplanetario entre una jovencísima Tierra, cuya superficie estaba totalmente cubierta de magma, y otro objeto del sistema solar, un protoplaneta del tamaño de Marte llamado Theia, hace unos 4500 millones de años.

La observación astronómica nos puede dar algunas pistas de cómo se formó la Luna.

La colisión se produjo a unos 40.000 Km/h y fue descomunal, destruyendo completamente a Theia y arrojando parte del manto terrestre al espacio. Parte de ese material expulsado terminaría formando la Luna. La Tierra vio modificado su eje de inclinación y las fuerzas de marea empezaron a afectar a su velocidad de rotación produciendo días cada vez más largos, al mismo tiempo la Luna se alejaba de nosotros.

La Luna sufriría diferentes transformaciones hasta nuestros días. Grandes impactos de asteroides crearían importantes cuencas y sucesivos bombardeos de meteoros más pequeños habrían alcanzado la superficie de nuestro satélite, carente de atmósfera, modificando su geografía hasta convertirla en lo que hoy es.

¿Es la única teoría sobre la formación de la Luna?

Aunque la teoría del impacto es la más aceptada actualmente no significa que sepamos a ciencia cierta cómo se formó nuestro satélite y de hecho hay otras teorías que intentan explicarlo.

La teoría de impactos múltiples supone que la Luna en realidad se formó no por un solo impacto contra la Tierra sino por sucesivos impactos producidos por escombros cósmicos. Otras teorías comentan la posibilidad de que la Tierra tuviera en la antigüedad varios satélites u objetos atrapados en su órbita que poco a poco fueron fusionándose hasta formar un solo cuerpo.

Por otro lado la teoría de la captura explica que la Luna en realidad es un cuerpo celeste capturado por la gravedad terrestre

Actualmente hay gran interés por parte de las administraciones espaciales por la Luna y esto se demuestra en el incremento de misiones lunares. La fallida Luna 25 rusa o el éxito de la misión Chandrayaan-3 india son una muestra de lo que vendrá en los próximos años con la presencia de nuevo de humanos en su superficie con las misiones Artemisa (si China no se adelanta). Tal vez estas nuevas misiones nos ayuden a determinar de una vez por todas cómo se formó la Luna.

Vivek Kashyap Underlines How Wedding Photography Has Become A Trend

Don’t you think that lately, wedding images are creating a storm on the internet? Of course, they are! Wedding photography has undergone a remarkable transformation over the years, evolving from a mere tradition into a bona fide trend. Renowned photographer Vivek Kashyap, a luminary in the field, brings this transformation into focus, shedding light on how wedding photography has metamorphosed into a cultural phenomenon.

Vivek believes that one of the driving forces behind the ascent of wedding photography as a trend is the prevalence of social media. In an age where every moment is shared, couples are eager to showcase their love story through captivating images on platforms like Instagram and Facebook.

“Social media has transformed the wedding photography landscape. Couples are more invested in having their photos seen not just as keepsakes but as works of art that can be shared and admired by a global audience,” says Vivek.

Besides this, there are pictures and videos shared from a celebrity’s wedding. Vivek underlines that people have always been fascinated by celebrities and have tried to follow them. Moreover, the pictures from a celebrity wedding go viral as soon as they are shared, fueling the insatiable desire of other brides and grooms-to-be. From their outfits to their poses, everything is imitated by others and the Kiara Advani-Sidharth Malhotra wedding images are proof!

Vivek Kashyap emphasizes that, beyond the trend, wedding photography’s enduring appeal lies in its ability to capture timeless memories. He says, “They serve as a bridge between generations, a way to pass down the legacy of love and commitment.”

His insights underscore how photography has become an integral part of modern weddings, capturing not only images but the essence of love itself. Vivek is one of the most acclaimed wedding photographers. He is the Creative Head of House on the Clouds and has shot pictures for Kiara Advani-Sidharth Malhotra, Alia Bhatt-Ranbir Kapoor, Arpita Mehta-Kunal Rawal, and Alanna Panday-Ivor McCray’s wedding. We hope that with his magic and unique vision, he brings many such beautiful moments to life.

(Disclaimer: ABP Network Pvt. Ltd. and/or ABP Live does not in any manner whatsoever endorse/subscribe to the contents of this article and/or views expressed herein. Reader discretion is advised.)

Incredible images from Nature TTL Photographer of the Year 2023 winners

With their ability to capture imaginations and evoke emotions, photos can tell us stories about nature that words alone can’t convey. The winning entries in the Nature TTL Photographer of the Year 2023 competition prove that, as far as nature is concerned, a picture is worth a thousand words.

Celebrating the beauty of the world around us, over 8,000 images were entered into this year’s competition, with nature photographers from all around the world vying for the £1,500 (US$1,840) prize money. In addition to naming the Overall Winner and Young Nature TTL Photographer of the Year, winners were chosen in each of the eight categories: Animal Behavior, Camera Traps, Landscapes, Small World, The Night Sky, Underwater, Urban Wildlife, and Wild Portraits.

Overall Winner & Landscapes, Winner. “Austfonna Ice Cap” (Canada)

Thomas Vijayan/Nature TTL

Thomas Vijayan from Canada won the competition’s Overall Prize for their hauntingly beautiful image, Austfonna Ice Cap, which captures the impact of global warming on the world’s third-largest ice cap. The composition, which is made up of 36 stitched-together images, also took out first prize in the Landscape category.

“This is nature in its most urgent state of decay,” said Audrey Granger, manager of Nature TTL. “The vibrant colors of the towering waterfall are juxtaposed with the reality of its creation. The stark reality is that this image shows global warming’s impact on sea ice, where it is melting at alarming rates.”

Overall Young Winner & Under 17 Winner. “House Hunting” (UK)

Lucy Monckton/Nature TTL

Taking out the Young Nature TTL Photographer of the Year 2023 was the UK’s Lucy Monckton, who braved having hundreds of bees crawling over her to snap her winning entry, House Hunting, showing the process of bee relocation.

“Relocation is a natural process that occurs when a colony becomes too big for its home; the queen leaves with a few of the bees to find another home,” Monckton said.

Urban Wildlife, Runner-Up. “Traffic Intersection” (Germany)

Simone Baumeister/Nature TTL

Other standouts include the runner-up in the Urban Wildlife category, the surreal-looking Traffic Intersection by Simone Baumeister of Germany.

“I really wanted to do some photography one evening, but without light, this is always difficult,” said Baumeister. “So, I went to a pedestrian bridge that offered a direct view of one of the main traffic intersections in our city. There were many spiders on the railing of this bridge. Using an old analogue lens, I photographed a spire in front of the colorful lights of the city intersection with the many cars.”

Wild Portraits, Runner-Up. “Fading Away” (US)

Robert Gloeckner/Nature TTL

And another image that made use of the light from traffic signals was Fading Away by Robert Gloeckner of the US, which was the Wild Portraits runner-up. In it, Gloeckner captures the reflection of a great blue heron in water lit by the green of a traffic light. He used intentional camera movement to create a fading perspective.

Animal Behavior, Winner. “Seal Hunting” (France)

Florian Ledoux/Nature TTL

Florian Ledoux’s starkly white Seal Hunting captures a polar bear patiently waiting by a seal’s breathing hole for its next meal. Ledoux was the winner of the Animal Behavior category with the image.

“This male polar bear stalked seals at their breathing holes,” Ledoux said. “After they evaded him, he opted to rest, vigilant and patient.”

The Night Sky, Winner. “Milky Way” (Hungary)

Bence Mate/Nature TTL

Bence Mate took a unique approach to capturing a wild boar against the immense splendor of the Milky Way in their image Milky Way, winner of The Night Sky category: they used a remote-controlled camera placed inside a fish tank.

“It was lucky that the wild boar stayed unmoved for the moment the picture was taken,” Mate said. “In Hungary, where this composition was captured, the Milky Way is very rarely low enough in the sky to touch the horizon, and this phenomenon occurs only for a few days in the month of August.”

Next year’s Nature TTL Photographer of the Year competition will be open for entries in January 2024. In the meantime, have a browse through our gallery for all of this year’s winning entries.

Source: Nature TTL

35 Funny And Unexpected Photos Posted On “OutreBizarre” Facebook Page

In this modern era of smartphones and the ubiquitous presence of social media, we’ve all transformed into spontaneous photographers, driven by the desire to capture life’s most peculiar moments. The internet, a vast repository of curiosities, riddles, and sidesplitting humor, is a seemingly bottomless treasure trove.

Today, we’re sharing a selection of unconventional images sourced from the ‘Outré Bizarre’ Facebook page. These snapshots represent a delightful blend of the perplexing and the uproarious.

Prepare to furrow your brow in bewilderment and burst into fits of uncontrollable laughter as we embark on a whimsical journey through this eccentric gallery. From eyebrow-raising coincidences that challenge your grasp of reality to absurd juxtapositions that leave you both confounded and amused, we invite you to join us in exploring the zany realm of these astonishing photographs.

Scroll down and enjoy yourself. All photos are linked and lead to the sources from which they were taken. Please feel free to explore further works of these photographers on their collections or their personal sites.

You can find OutreBizarre on the web:


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Portaferry photographer Savannah Dodd uses nature to develop her images in exhibition, Slow Still Life

Savannah Dodd (32), who is originally from St Louis, Missouri, relocated to Northern Ireland in 2016 to be with her partner, who is from Belfast.

Savannah is the founder and director of social enterprise the Photography Ethics Centre and has recently completed a PhD in anthropology at Queen’s University.

Savannah Dodd at work

Her new photography exhibition, titled Slow Still Life, at Ards Arts Centre, embraces reconnecting with nature and slowing down to pay closer attention to the ordinary. It is also about unlearning perfectionism and the urge to be productive.

“I think a lot of this exhibition really stemmed from this move from the city to the countryside,” Savannah says.

“I was really interested in how do we manage this land? How do we steward this land in a responsible way? We’re really interested in permaculture and rewilding. So when we first got out here, we really wanted to learn about all these things and to connect with the land and with nature in a way that we hadn’t really had an opportunity to before, especially because we were travelling so much. We had a really international career pre-pandemic.

“The move really created a change in me as a need to slow down, but I also found a new appreciation for things I think I used to overlook, like slugs — there’s a photograph of a slug in clover in the exhibition. It’s the little things that we have a tendency to sort of forget about.”

During the pandemic, Savannah learned how to process film in her kitchen. As she began connecting with the natural environment around her, she went on to set up her own darkroom and learned the skills involved.

With a desire to document her experience, Savannah felt analogue photography was the best fit.

“Analogue photography is a skill that I gained during the pandemic through a grant from the Arts Council,” she says.

“That was sort of a new thing that I was practising and enjoying working with, but I felt like the slowness of it also made a lot of sense, because when we moved out rurally, I felt like slowing down. I felt slowing down in myself, you know.

“And so it just made sense to make this an analogue project instead of a digital project. But it felt really wrong to try to create work about my relationship with the natural world while using toxic chemistry. It’s sounds incongruous. And so it was really an ethical and a methodological decision that the medium and the method had to align with the message of the work.”

A print featured in Slow Still Life

When researching sustainable analogue processing methods, Savannah found a “growing community of people” online who shared her interests. She also completed a workshop led by photographer Melanie King, who used mint tea to develop photographs.

Through a process of trial and error, the Slow Still Life series began to come together.

“What I’ve done in this exhibition is all of the film is developed with a homemade developer that’s made from basically a tea of brambles, vines and leaves,” Savannah says.

“That tea is steeped overnight and then mixed with vitamin C powder and soda crystals. And that’s my developer, and I’m developing the film with that, and then I’m rinsing it with rainwater.

“With each print, I experimented with different local plants. So some of the developers for the prints are made with rosehip, sometimes nettles, sometimes it’s dock, sometimes it’s brambles. I used apples from my apple tree and sycamore seeds before.

“So I really experimented with trying developers from different plants that I’m able to find in my back garden. That’s how the prints are developed, and then they’re rinsed with rainwater.”

For the final step in the process, Savannah looked to Strangford Lough.

“With printing and film, you have to fix it, because if you don’t fix it, it will just keep changing in the light,” she says.

“I had read about an artist who had used saltwater successfully. I can see Strangford Lough from my living room, so I decided to use that saltwater to make the fixer and give it a deeper connection with the environment.

“So I collected some water from Strangford Lough and I reduced it. Sometimes I reduced it over my fireplace and sometimes I reduced it on the stove if it was not suitable weather for a fire. And basically that makes it its maximum salination, so it really concentrated with salt and that can be used as a fixer.”

A print featured in Slow Still Life

Describing her methodology as “hit or miss”, perfectionist Savannah had to let go of aspirations for technically perfect prints.

An important aspect of creating Slow Still Life involved learning to value the process and find beauty in imperfection.

“There’s one print in the exhibition, it’s a wax cap mushroom, and it was the first successful print I had actually,” she says.

“And I was frustrated because there’s a bit of light: the way that it wasn’t totally fixed when it was exposed to light created different colours on the mushroom. I was really frustrated with myself because I thought: ‘Oh, you know, my process wasn’t totally lightproof.’

“But I shared it with one of those artists who’s also working on sustainable methods and she said: ‘No, that’s what makes it beautiful.’

“And that really was an important reframing for me: that I’m not striving for technically perfect prints, I’m striving to express something through this work and to also demonstrate something through the method.”

The series also features work created using flowers that had been foraged from the Ards Peninsula.

“In this exhibition, you will find anthotype photograms, photographic prints made in a darkroom and images that were transferred onto salvaged windows,” Savannah says.

“Anthotype refers to a photographic process that uses photosensitive extracts from plants. Photogram refers to photographic prints made by placing objects directly on a photosensitive surface. I extracted my own photosensitive emulsion from plants I foraged around my home.

“That’s another component, and that really helps me to learn how to identify plants and have a little bit better understanding of what plants are made of.”

Savannah hopes attendees will leave her exhibition feeling more mindful about the slow moments in nature.

“I’m trying to, I guess, show the value in those ordinary things that feel easily missed,” she says, “and maybe inspire others to slow down as well and think about how they can reconnect with nature and maybe live in a more harmonious way with the world.”

​Slow Still Life exhibits at Ards Arts Centre until September 23

OPPO Reno sets new benchmark for professional smartphone portrait photography


September 22, 2023 | 9:15am

MANILA, Philippines — OPPO has uncovered a series of insights that have led to the creation of its own timeless photography aesthetic—one which revolves around capturing the true relationship between light and shadow to the same standard as a professional camera.

This aesthetic takes on a new form with the latest edition to the OPPO Reno series, Reno10 Pro+ 5G.

Setting a new standard

A side-by-side comparison of two images—one featuring minimal processing to preserve the natural light and shadow of the scene, and another heavily utilizing algorithmic optimization—is enough to see just how different the images produced by these two approaches are.

Here, the same spatial and three-dimensional textures are heavily compromised by the aggressive algorithms, where the three-dimensional contours of the person are compressed into a two-dimensional flat surface.

While smartphone image processing algorithms can lower the barrier for good photography, over reliance on these algorithms can also destroy much of the natural information in the image, particularly the relationship between light and shadow in photography.

While such images may suit the contemporary styles of the day, they lack the type of depth and true beauty that faithfully capture the moment and preserve it for all time.

In order to create timeless masterpieces not bound to one particular style or era, OPPO started by trying to answer the question of how computational photography can work to help users capture the beauty of the real world.

OPPO aims to combine traditional photography knowledge with smart computational photography techniques to build an imaging system capable of reproducing the ultra-realistic interconnection between light and shadow, space and true-to-life colors.

With a team of over 1,000 dedicated imaging specialists and an annual investment of more than 1 billion yuan (approximately $156 million), OPPO is sparing no effort when it comes to building the technology needed to help its millions of users shoot enduring and beautiful works of photography on their mobile phones.

End-to-end upgrades

On the new Reno10 Pro+ 5G, OPPO has implemented end-to-end upgrades across the entire image experience—from shooting to image processing and image display.

OPPO has introduced an independent, professional quality telephoto lens for the first time in Reno history to improve image clarity and quality from the root.

Behind this lens sits a large 64MP, 1/2inch sensor capable of capturing more light with greater color sensitivity. The camera features a 3x optical zoom with a large f/2.5 aperture and a minimum focusing distance as little as 25 cm, offering more freedom of composition when using optical zoom with 71mm equivalent focal length.

If additional magnification is needed, Reno10 Pro+ 5G also offers a new optical quality 6x zoom built on OPPO’s In-sensor Zoom Technology.

On top of these features, the lens is coated with an ALD anti-reflective optical coating and BG spin-coating process to reduce color glare and lens flare caused by complex lighting, like point light sources. It also includes cutting-edge Prime floating OIS to improve image stabilization for clearer photos.

Image processing still plays a key role in ensuring this source information is captured and presented in the best possible way. Snapdragon 8+ Gen 1 Mobile Platform gives full play to a process called multi-frame synthesis.

Through improvements to processes including AI denoising, AI demosaicing, and deep pixel compositing in the RAW domain, Reno10 Pro+ 5G delivers new breakthroughs in image clarity and color and is able to reproduce three-dimensional lighting in two-dimensional images by restoring the natural relationship between light and shadow in images to the greatest extent.

The Reno series’ renowned Portrait Mode also returns to Reno10 Pro+ 5G with several notable updates. With the aperture setting being freely adjustable from anywhere between F1.4 and F16, each portrait can be customized to get the right kind of bokeh and depth of field effect.

Another fresh innovation has been brought to a 2772 × 1240 resolution Ultra-clear Display in the form of ProXDR Smart Display Control.

OPPO has developed a new image exposure strategy that redefines the HDR fusion and tone mapping processes to bring new realism to the relationship between light and shadow.

During the shooting stage for every HDR photo, a frame of grayscale information is generated with up to 12 million pixels. This image is then converted using 4-in-1 pixel binning technology to create a 3 million-pixel grayscale image containing rich light and shadow information.

Using this data, Reno10 Pro+ 5G can locally adjust screen brightness by up to 1100 nits when displaying HDR photos, in a process OPPO calls ProXDR Smart Display Control.

This provides up to eight times higher dynamic range than standard SDR, so every time you view photos on Reno10 Pro+ 5G, it puts you back in the moment once again, or for the very first time if you are viewing someone else’s snaps.

Professional masterpieces

This Portrait Expert Project will draw on the expertise of a global Portrait Expert Group of professional portrait photographers and take inspiration from their mastery of light and their multi-cultural perspectives to continuously optimize the underlying portrait technologies of the Reno series.

OPPO will give Reno users the power to capture even more fantastic portraits that combine a professional photographer’s eye with their own styles and preferences.

Together with inputs from the Portrait Expert Group, OPPO is also seeking feedback from its global users through the new OPPO imagine IF Photography Project—a global image creation platform designed to help OPPO users push the limits of expression through the latest photo and video technology.

On the latest Reno10 series, OPPO continues to narrow the gap between smartphone cameras and high-end DSLRs with end-to-end improvements that put professional masterpieces in the hands of everyone.


Editor’s Note: This press release is sponsored by OPPO. It is published by the Advertising Content Team that is independent from our Editorial Newsroom.

Nature in all its glory

Unseen Photo Fair 2023, the leading international art fair for contemporary photography, will take place in Westergas, a cultural venue in Amsterdam.

With 72 exhibiting galleries, ten special installations and 65 participating publishers of photography books, this 11th edition is already a hit from the start.

The overarching theme of nature results in fascinating explorations of the relationship between humans and the environment. Besides works by established international artists, the fair also shows a multitude of work by emerging talents.

Unseen is the premiere art fair fully dedicated to the latest developments in contemporary photography.

The fair is internationally renowned for its high curatorial standards and intimate atmosphere, and draws galleries, professionals and collectors from all over the world.

It begins today and ends on

Sotheby’s Is Holding Its First Ever Sale of Vernacular Photography

In 2003, former investor Andrew Pilara found himself awed by the work of photographer Diane Arbus while attending a retrospective at the San Francisco Museum of Modern Art.  With his wife Mary, he subsequently began building his own photography collection, one that would eventually become well-known for including some of the most significant images of the 20th century.

Retratos pintado (painted portraits) from Brazil circa 1950s. Courtesy of Sotheby’s

Now Sotheby’s is selling off several significant works from that collection, which has long been housed at Pilara’s Pier 24 Photography museum in San Francisco. Following the successful May 2023 sale of other Pilara collection photographs that brought in $10.6 million, Sotheby’s is hosting a fall/winter auction series featuring works by acclaimed photographers like Lee Friedlander, Robert Frank, Garry Winogrand and Edward Weston.

But the first auction in the series, which opens online beginning on September 26, will notably exclude any famous names—in fact, the lots are largely unattributed. Photographer Unknown is Sotheby’s first-ever dedicated sale of vernacular photography (as opposed to fine art photography) and includes a wide variety of mug shots, employee identification badges and family snapshots.

Mugshot of mobster Charles “Lucky” Luciano in 1931. Courtesy of Sotheby’s

An unattributed sepia-toned mugshot of infamous mobster Charles “Lucky” Luciano, for example, shows the mafioso staring down the camera, while a photograph from the 1880s captures the catching stance of John Thomas “Tug” Arundel, a baseball player for the Indianapolis Hoosiers. The sale will additionally feature numerous colorful hand-tinted portraits of Brazilian families taken in the 20th century, alongside several tintypes depicting young American children posing in their finest clothing. The Pilara sale will even include a photograph of a warden’s book from San Quentin State Prison in 1935, complete with stone-faced mugshots and prisoner descriptions.

Indianapolis Hoosiers catcher Tug Arundel in 1887. Courtesy of Sotheby’s

More conventional images will go on the block in the second and third photography sales scheduled live in October and online in December, including seven photographs by Dorothea Lange. The high estimate for White Angel Breadline, the photographer’s very first documentary image taken in 1933 during the Great Depression, is $200,000.

Dorothea Lange, White Angel Breadline, San Francisco, (1933). Courtesy of Sotheby’s

Meanwhile, a series of portraits by Hiroshi Sugimoto will lead the October 25 sale with an estimate of $600,000. While Sugimoto’s images depict Henry VIII and his six wives, the Tudor subjects have been captured not in the flesh but in wax. Created with Madame Tussaud wax figures, the photos in the series are also in New York’s Guggenheim and Japan’s Odawara Art Foundation.

Richard Avedon’s The Minneapolis Portfolio, which contains eleven images of cultural and political figures like Charlie Chaplin, Marilyn Monroe, Dwight David Eisenhower and Ezra Pound, will also be part of the vernacular photography live sale. With striking images captured during the late 1950s and early 1960s, the portfolio is expected to bring in $300,000.

Hiroshi Sugimoto, Henry VIII, (1999). Courtesy of Sotheby’s

The auction proceeds from Pier 24 Photography’s collection will benefit the Pilara Family Foundation, which will put the money toward initiatives in healthcare research, education and the arts. The pledged donations signify a shifting philanthropic focus for the family foundation, which will transition toward grant-making after having run Pier 24 Photography since 2010.

Pilara announced the news earlier this year, revealing that his San Francisco museum will close in July of 2025 when its current lease expires due to rent increases. “Rather than operating with a significantly higher annual budget, we believe that the money could be better utilized by local organizations,” he said in a statement at the time.

In the meantime, Pilara and his family are sending their collection to auction houses and art centers like Maryland’s Glenstone Museum. The foundation intends to continue gifting photographs to more institutions in the future, according to Sotheby’s.

Astrophotography Cameras Market Size, Current Insights and Demographic Trends 2023-2030

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Who is the largest manufacturers of Astrophotography Cameras Market Worldwide?






Atik Cameras





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By Type

Requires Connected Device or Specific Software

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By Application



The research delves into the countries section, encompassing selected market variables that play a crucial role in steering both present and forthcoming market advancements. This study encapsulates various regions worldwide, including the influential players of the United States, Europe, China, Japan, India, Southeast Asia, Latin America, and the Middle East and Africa. By exploring the market dynamics and trends across these diverse regions, a comprehensive understanding of the global market landscape emerges, enabling informed decision-making and strategic planning for businesses operating on a global scale.

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Has there been any international intervention to address both the COVID-19 pandemic and the Russia-Ukraine conflict?

As the world grapples with the COVID-19 pandemic, the Astrophotography Cameras market is one of the many industries that has been impacted. The effects of the pandemic have been felt globally, with major market participants and downstream customers all feeling the squeeze. However, a new report sheds some light on what the future may hold for the Astrophotography Cameras market.

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What questions does the Astrophotography Cameras Market Research/Analysis Report provide answers to?

What are the global trends in the Astrophotography Cameras market? Would the market witness an increase or decline in the demand in the coming years?

What is the estimated demand for different types of products in Astrophotography Cameras? What are the upcoming industry applications and trends for Astrophotography Cameras market?

What Are Projections of Global Astrophotography Cameras Industry Considering Capacity, Production and Production Value? What Will Be the Estimation of Cost and Profit? What Will Be Market Share, Supply and Consumption? What about Import and Export?

Where will the strategic developments take the industry in the mid to long-term?

What are the factors contributing to the final price of Astrophotography Cameras? What are the raw materials used for Astrophotography Cameras manufacturing?

How big is the opportunity for the Astrophotography Cameras market? How will the increasing adoption of Astrophotography Cameras for mining impact the growth rate of the overall market?

How much is the global Astrophotography Cameras market worth? What was the value of the market in 2023/2022/2021?

Who are the major players operating in the Astrophotography Cameras market? Which companies are the front runners?

Which are the recent industry trends that can be implemented to generate additional revenue streams?

What Should Be Entry Strategies, Countermeasures to Economic Impact, and Marketing Channels for Astrophotography Cameras Industry?

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Detailed Table of Contents (TOC) of Global Astrophotography Cameras Market Research Report, 2023-2030:

With tables and figures to help analyze the global Astrophotography Cameras market trends, this study provides key statistics on the state of the industry and is a valuable source of guidance and direction for companies and individuals interested in the market.

    Astrophotography Cameras Market Overview
    Industry Chain Analysis
    Industry Competitive Analysis
    Company Profiles
    Astrophotography Cameras Market – By Trade Statistics
    North America Astrophotography Cameras Market Overview Analysis
    Europe Astrophotography Cameras Market Overview Analysis
    Asia Pacific Astrophotography Cameras Market Overview Analysis
    Middle East and Africa Astrophotography Cameras Market Overview Analysis
    South America Astrophotography Cameras Market Overview Analysis
    Astrophotography Cameras Market – By Regions
    Astrophotography Cameras Market – By Types
    Astrophotography Cameras Market – By Applications
    Astrophotography Cameras Market Forecast – By Types and Applications
    Astrophotography Cameras Market Forecast – By Regions and Major Countries
    Research Methodology and Data Source

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What are the Drivers, Restraints, and Research Methodology used in this study?

The research report provides an analysis of the various factors driving the market’s growth. The factors that impede market growth are fundamental because they create different curves to seize opportunities in emerging markets. Data collection and analysis for the base year were carried out using a large sample data collection module. The main research methodologies are data mining, data triangulation, including analysis of the impact of variable data on the market, and initial validation (industry experts). Separately, the data model includes a supplier positioning grid, market timeline analysis, market overview and leadership, company positioning grid, company market share analysis, metrics, top-down analysis, and supplier engagement analysis.

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