Showing posts with label #cameras. Show all posts
Showing posts with label #cameras. Show all posts

20.9.25

SHARED LIGHTS – 35 Years of United Photo Press


 

SHARED LIGHTS – 35 Years of United Photo Press
International Photography Exhibition
6–31 October – Estúdio de Criação Artística, Largo do Corpo Santo, Funchal, Madeira Island

United Photo Press (UPP) commemorates 35 years of creative excellence with the international photography exhibition “Shared Lights”. Following its debut at the Museu de Eletricidade in Funchal, the exhibition embarks on the next stage of its itinerant journey, taking residence at the Atelier of the Estúdio de Criação Artística, under the auspices of the Department of Culture of the Funchal City Council, from 6 to 31 October.

Featuring a curated selection of iconic and previously unseen works by photographers from around the globe, Shared Lights celebrates the collaborative ethos and visual diversity that have been hallmarks of UPP since its inception in 1990. Light—the fundamental element of photography—is explored here as a metaphor for knowledge, memory, and shared experience, illuminating connections across generations and continents.

The exhibition’s mobility amplifies its cultural reach, forging a closer bond between the art of photography and the Madeiran community, as well as international visitors. Entry is complimentary, offering audiences an immersive and enriching artistic encounter.

In conjunction with the exhibition, UPP will unveil its commemorative 35-year anniversary book, presenting a dialogue between historical and contemporary images. Moreover, in partnership with the Madeiran Association Arca d’Ajuda, the exhibition will feature the submissions and award-winning works from the VI Photographic Marathon.

This initiative is proudly supported by the Funchal City Council, the Parish of São Martinho, the Museu de Eletricidade do Funchal, and the Madeiran Association Arca d’Ajuda, underscoring UPP’s enduring commitment to both the local community and the global dissemination of photographic art.

About United Photo Press
Founded in 1990, United Photo Press is an international association uniting photographers, journalists, artists, and content creators, with a recognized presence across multiple continents. Over three and a half decades, UPP has championed exhibitions, publications, and artistic projects worldwide—from New York to Japan, from Russia to Madeira—establishing itself as a benchmark of creativity, technical rigor, and innovation in contemporary photography.

Press Contact
United Photo Press
Communications & External Relations Office
info@unitedphotopress.net

31.7.25

Flying in 1939: A Low‑Altitude, High‑Risk Adventure


Did you know that in 1939, air travel was less about convenience and more about courage?

Imagine boarding a sleek Douglas DC‑3 or perhaps a Boeing 307 Stratoliner—then among the very few aircraft approaching true comfort. Most planes still flew below 13,000 ft, in unpressurized cabins where the roar of piston engines was deafening—engine noise alone reached nearly 120 dB during takeoff, akin to a rock concert.
Cabin insulation was minimal, so passengers often wore coats and gloves, feeling the chill of altitude despite onboard heating efforts. Air‑sickness was common; discreet bowls rested under seats, and stewards even offered chewing gum to ease ear‐pressure during climbs and descents.
Weather turbulence could cause sudden drops—hundreds of feet with little warning—and without seat‑belts or cabin safety standards by modern criteria, flying required nerves of steel.
Yet for those brave—or rich enough—air travel held undeniable allure. Flights were significantly faster than boats or trains, especially for long distances or remote regions, where rough terrain and unreliable ground transport ruled.
Airlines strove to impress with luxury touches: plush upholstered seats, swivels, reclining berths on overnight journeys, even onboard lounges for the elites.
Stewards, often male early on and later pioneering female flight attendants, delivered meals—cold fried chicken, elegantly composed sandwiches—on fine dishware, helping allay passengers’ anxieties.
Despite that, aviation was still evolving. The Boeing 307 Stratoliner, which took its first flight in mid‑1939 with a “supercharged cabin” pressurization system, marked the dawn of high‑altitude travel—allowing flights above much of the turbulent weather, but it would be years before such technology became common.
In short: flying in 1939 was a raw but thrilling experience—bumpy, noisy, chilly, and potentially dangerous. Still, it paved the way for the modern age of aviation, transforming flight from daring novelty into the global mobility we know today.
Nevertheless, courage and curiosity drove people into the skies, and these bold flights laid the groundwork for the safer, smoother air travel we take for granted today.


Gary Parrs

14.7.25

Shared Lights: 35 Years of United Photo Press

Founded in 1990, United Photo Press was born from the desire to bring together diverse perspectives on the world—capturing life, culture, and the hidden stories in the most unexpected corners of everyday life. Thirty-five years later, in 2025, we celebrate a journey defined by a wealth of visions and by the creation of a truly international community of photographers—both amateur and professional—united by the commitment to tell stories with light.

This path—shaped by encounters, images, and creative persistence—inspired the title of our commemorative project: “Shared Lights.” An expression that symbolizes the collaborative spirit and the ongoing exchange of visual perspectives that define United Photo Press’s DNA. Here, every photograph is more than a record—it is an act of sharing, a spark cast into the shared space of memory and imagination.

To mark this milestone, United Photo Press is preparing the simultaneous launch of a commemorative book and an exhibition, which will feature both iconic images from our extensive archive and previously unseen works, recently captured by members of our network. It will be a celebration of the technical evolution of photography over these decades, but above all, a tribute to its human power—the ability to see, feel, and tell the world through the lens.

Symbolism: Photography, at its core, depends on light—whether natural, reflected, projected, or even imagined. The word “lights” evokes both the technical materiality (the light entering the lens) and the poetic dimension: light as a metaphor for knowledge, memory, hope, and discovery.

Collective Memory: Over 35 years, each captured image is a fragment of history—a flash that records a fleeting moment. These photographed “lights” become part of a collective memory that pulses from North to South of Madeira and beyond regional borders.

United Community: United Photo Press has never been just a name; it has always been a gathering place for sharing. Every issue, every contest, every exhibition—whether physical or digital—marked a convergence of photographers from different generations and styles.

Institutional Collaboration: The act of “sharing” also reflects our partnerships with Associação da Arca da Ajuda, Câmara Municipal do Funchal, Freguesia de São Martinho, and Museu de Eletricidade do Funchal. It proves that this project is rooted in the local community while projecting outward, maintaining a cohesion that has endured for three and a half decades.

To ensure the exhibition is once again the result of a living anthology, we invite current members, alumni, and guests to contribute:

Open theme linked to the concept: Photographs exploring notions of “light” (literal or metaphorical) and “sharing” (encounters, communion of gazes, solidarity, tradition or innovation).

Portraits revealing the “inner light” of people who have contributed to the Madeira community or to the local photography scene.

Records of emblematic places—especially public spaces, historic buildings, urban or rural landscapes where natural light highlights textures and colors.

Sequences (diptychs or triptychs) in which each image “passes the torch” to the next, symbolizing generational succession within United Photo Press.

Formats & Techniques: Any (analog, digital, mixed) so long as the images convey the ideas of “light” and “sharing.” Each member, alumnus, or invited guest may submit up to 10 high-resolution images, accompanied by a brief text (max. 150 words) explaining how their photograph engages with the central concept—or, alternatively, the project that follows the CV introduction as in previous publications. For the exhibition (mandatory for alumni and guests), each author selects up to 3 images for large-format printing.

By choosing a title that highlights “Shared,” we reinforce that this is not just another anniversary but a continuously renewing cycle. Every member who submits an image adds their “light” to the collective archive. Hosting the exhibition at the Museu de Eletricidade—a place where light was generated and transformed for years—creates a symbolic bridge: the light that powered local industry now fuels the artistic creativity of photographers.

“Bring your light. Share a fragment of history that represents your vision—from the most intimate portraits to landscapes rich with memories. Together, we will illuminate United Photo Press’s 35-year journey and inspire new chapters in Madeira photography.”

With this title and concept, we aim not only to honor the past but to spark each member’s creative contribution, ensuring that the exhibition and book genuinely reflect a community that, for 35 years, has photographed and shared lights and stories.

info@unitedphotopress.net

www.unitedphotopress.com

16.5.25

Day 2 at HIGH END Munich: United Photo Press Captures 41 High‑Resolution Demonstrations



On Friday, May 16, 2025, the bustling halls of the MOC Event Center in Munich set the stage for Day 2 of the HIGH END audio show, where United Photo Press dedicated its second day to filming 41 high-resolution demonstrations on the exhibition’s second floor. The HIGH END is renowned as the world’s leading international audio exhibition, bringing together over 500 exhibitors, 1,000 brands, and more than 22,000 visitors from over 40 countries across 30,000 m² of exhibition space. Over its four days, the event unites audio experts, producers, retailers, and music lovers under one roof to explore groundbreaking trends and world premieres in high-fidelity technology.

Beyond loudspeakers and streamers, Hall 1’s WORLD OF HEADPHONES zone has drawn crowds of enthusiasts eager to experience cutting-edge personal audio setups. Walking through the second-floor corridors felt like stepping into a curated sound gallery, where each soundproofed room showcased studio‑grade stereo systems and bespoke acoustic treatments. United Photo Press, a Munich‑based visual storytelling known for creating compelling narratives, leveraged its expertise to bring each listening session to life.

Using state‑of‑the‑art 4K cameras and ambisonic microphone arrays, the team captured every subtle detail of the presentations, from the warmth of tube‑driven amplifiers to the transparency of titanium‑tweeter speakers. Among the 41 recordings, listeners will find an array of demonstrations—from vintage components to modern digital streamers—highlighting the diversity of today’s high‑end audio landscape. The immersive footage oscillates between tight close‑ups of precision-crafted drivers and sweeping chamber views, reflecting United Photo Press’s commitment to both technical rigor and artistic framing.

All 41 videos are now live and can be viewed in high resolution on the United Photo Press Facebook page at www.facebook.com/unitedphotopress. 

As this edition marks the final Munich appearance of HIGH END before it relocates to Vienna, these recordings serve as a rich audiovisual archive of the show’s storied legacy. We invite readers and fellow audiophiles worldwide to press play and immerse themselves in the art and engineering of high‑fidelity reproduction, captured by United Photo Press at Munich’s grand audio spectacle.

P.S. - All videos have been recorded in high resolution and are best experienced with headphones for optimal audio immersion.

Carlos Alves de Sousa
United Photo Press
www.unitedphotopress.com

10.5.25

United Photo Press Announces 35th Anniversary Book Project

 


United Photo Press Announces 35th Anniversary Book Project


Munich – United Photo Press, a global leader in contemporary photography exhibitions for over three decades, is excited to announce its 35th anniversary. To commemorate this milestone, the organization is inviting UPP members & guests artists worldwide to contribute to a special, limited-edition book titled “Reconnected 35”.

This deluxe hardcover publication will celebrate the rich history and diverse talent of United Photo Press, showcasing the work of both established and emerging artists. To be included in the book, artists are invited to submit an updated photo of themselves, a brief biography, and a selection of 10 high-resolution images.

Submissions are due by June 31, 2025, and can be sent to info@unitedphotopress.net

"We are thrilled to invite our global community of artists to participate in this exciting project,” said Carlos Sousa president at United Photo Press. “This book will serve as a testament to the enduring power of photography and the incredible talent of our artists & guests."

The "Reconnected 35" book is expected to be released worldwide in the first quarter of 2025. Members of United Photo Press & guests can pre-order their copies for a special price, plus shipping.

About United Photo Press

United Photo Press has a long-standing reputation for showcasing innovative and thought-provoking contemporary photography & books. With exhibitions held across four continents, the organization has fostered a global community of artists and photography enthusiasts.


24.4.25

What Vivian Maier Saw in Color

Self-portrait New York NY May 5 1955


From the 1950s until a few years before she died, in 2009, destitute at the age of 83, Vivian Maier took at least 150,000 pictures, mostly in Chicago, and showed them to nobody. Now she has earned her place alongside Diane Arbus, Robert Frank, Lee Friedlander, Lisette Model, Garry Winogrand, and other giants of the American street. See her vivid photos, which might have languished in obscurity if not for a chance acquisition.

A photograph is a secret about a secret,” Diane Arbus said. In the case of Vivian Maier, the photographer was a secret, too. From the nineteen-fifties until a few years before she died, in 2009, destitute at the age of eighty-three, Maier took at least a hundred and fifty thousand pictures, mostly in Chicago, and showed them to nobody. It’s telling, perhaps, that one of her favorite motifs was to shoot her own shadow. For decades, she supported herself as a nanny in the wealthy enclaves of the city. But her real work was roaming the streets with her camera (often with her young charges in tow), capturing images of sublime spontaneity, wit, and compositional savvy. When pressed about her occupation by a man she once knew, Maier didn’t describe herself as a nanny. She said, “I am sort of a spy.” All the best street photographers are.

Maier’s covert work might have languished in obscurity if not for the chance acquisition, in 2007, of a cache of negatives, prints, contact sheets, and unprocessed rolls of film, all seized from a storage locker because she fell behind on the rent. When John Maloof, a Chicago real-estate agent, bought the material, everything about Maier’s identity was a mystery except for her name. It was only when he ran across her death notice, two years later, that her story began to unfold. (His wonderful documentary on the subject, “Finding Vivian Maier,” was nominated for an Academy Award in 2015.) Maier shot in both color and black-and-white; perhaps to establish her credibility as a “serious” artist, the first of her pictures to be widely disseminated were the latter. Now that Maier has earned her place alongside Arbus, Robert Frank, Lee Friedlander, Lisette Model, Garry Winogrand, and other giants of the American street, a new book, “Vivian Maier: The Color Work,” and a related exhibition at Howard Greenberg Gallery (opening on November 14th) consider her eye for the vivid.


Chicago, 1978.


Maier is such an original artist that it feels a like a cheat to play games of compare and contrast. But, leafing through the book, it’s remarkable how often other photographers spring to mind. On an unknown date, at the Art Institute of Chicago, she pulled a Thomas Struth when she documented a mother (a nanny?) and a child staring raptly at a painting on the wall, both dressed in navy and white; the composition is centrally anchored by another child staring, defiantly, directly at Maier. 

In another image, a red-headed boy, who sucks his thumb while slumped against a wood-panelled wall on which four framed handguns are hanging, could be the shy, sullen cousin of Arbus’s manic boy with a toy hand grenade. The detached bumper and crash-crumpled metal of a Volkswagen Beetle, shot in Chicagoland in 1977, assumes sculptural proportions that invite thoughts of Arnold Odermatt, the Swiss policeman whose forensic photos of automobile accidents deserve to be more widely known.


Location unknown, 1960.


The Beetle was yellow, a color that brings out Maier’s best. In 1975, she took one of her shadow self-portraits against a green lawn dotted with little gold blossoms; cropped by the lens, the dainty, painterly landscape splits the difference between a Warhol silkscreen of flowers and the allover compositions of AbEx. (Note that Maier was shooting her shadow in the nineteen-fifties, roughly a decade before Friedlander, who is renowned for the gesture, did the same.) 

The same year, she came across two men on a sidewalk—one standing, one striding—both wearing canary shorts and lemon-fizz socks. To their right is a woman in a sensibly dark woolly cardigan and a daffodil-colored skirt. Their outfits are almost absurdly sunny, but not one of them is smiling.


Chicagoland, April, 1977.


Maier can pack an entire short story’s worth of details into a single frame. Consider the overly tan, skin-baring couple shot in an unknown location in 1960. They stand peeping through two cruciform holes in a high wall separating them from a swimming pool. The woman’s dingy white curls echo the hue of the stucco; his peeling, freckled back repeats its mottled texture. The ruched fabric of her bitter-orange bathing suit is the same palette and pattern as a poolside cushion in the near distance.

Past the man’s ear, there’s a lively brunette whose blue one-piece is a shade darker than the water below. She’s thrown her arms in the air, as if describing a wild night at a party. The elderly pair are on the outside looking in, and it’s worse than having their noses pressed against glass—they can smell the chlorine. When you see that she’s clutching a wrinkly brown paper bag, the mise en scène becomes somehow sadder.


Location unknown, c. 1960–1976.


The Art Institute of Chicago, date unknown.


One question that has dogged the discovery of Maier’s photography is how a lowly nanny could make such high art. Let’s call that sexism. I’ve never heard anyone ask how another exceptional Chicago outsider, the visionary writer and artist Henry Darger, could have produced his fifteen-thousand-page magnum opus while holding down a job as a janitor. The photographer Joel Meyerowitz contributed a foreword to the new book, a canny choice given that, like Maier, he learned how to shoot on the streets. He also co-wrote (with Colin Westerbeck, who also contributes an essay) an esteemed volume on the genre, “Bystander: A History of Street Photography.” 

He concludes, rightly, that “Maier was an early poet of color photography.” But he also floats a wince-inducing theory about her knack for snatching secrets, what he terms all great street photographers’ “cloak of invisibility”: “She’s as plain as an old-fashioned schoolmarm. She’s the wallflower, the spinster aunt, the ungainly tourist in the big city . . . except . . . she isn’t!” Has Henri Cartier-Bresson’s “decisive moment” ever been defined in terms of his looks?


Location and date unknown.


Location and date unknown.


Chicagoland, March 1977.


Chicago, December 1974.


Chicago, 1975.



Location unknown, 1976.


Chicago, 1973.


Self-portrait, Chicagoland, 1975.


Self-portrait, Chicagoland, October 1975.

Andrea K. Scott



10.2.25

DON'T Choose a Camera – You Should Be Choosing the Lenses



We've all been there. Whether you're buying your first camera, you're upgrading your current camera, or you're switching brands and systems entirely, you look for the best possible camera body and that's the one you get.

Here's the problem, though: you're doing it completely backwards!

Obviously, choosing the best camera is incredibly important. If it doesn't have the features or the resolution or even the control layout you need, it's not going to do the best job for you.

However, at a certain point, a camera is a camera – and these days, it's actually pretty hard to buy a bad one. So the thing that should really dictate which camera you buy isn't the body itself, but rather the lenses for it.

It sounds obvious, but it's often the last thing that photographers think about. They get wowed by the idea of having a medium format camera like a Fujifilm GFX 50R, or of getting a camera like the Canon EOS R5 that can shoot 8K… but they often don't consider the best camera lenses that will (or, in some cases, won't) go on them. So while picking, for example, the best Canon camera is all well and good, if the best Canon lenses to put on it aren't the ones that you actually want or need, then even the best camera might not be right for you.
So, when you're scoping for a new camera, here are five reasons why you should make your choice based on the lenses, not the body...

1. Price!
This one might seem obvious, but it's not always the case. Many times you'll see a great deal on a camera, or there's an irresistible offer in the Black Friday sales, and you buy a body at a bargain price… but then you get a rude awakening when you see how much the lenses cost.

The Canon EOS RP, for instance, is a brilliantly priced camera that uses the cutting-edge Canon RF mount – but while the camera itself is affordable, many of the RF optics are still very expensive. Likewise, you might grab a Sony A7 III at a bargain price, though the cost of the G Master lens you want may give you palpitations. And while prices are lower than ever for the best medium format cameras, the cost of the best Hasselblad lenses could make your eyes water.

A great camera is no good if you can't afford the glass for it, so make sure that you're buying into an ecosystem that suits your budget!

2. Size & Weight
Here's another area that's under-considered when buying a new camera system. Mirrorless cameras offer a huge size and weight saving over DSLRs – but even if you buy a tiny full-frame mirrorless camera, like the Sigma fp, you're still going to be stuck putting huge full-frame lenses on it.

Maybe you want the best travel camera or the best camera for street photography. Maybe you're sick of carrying a huge camera bag. Or maybe you've got a condition or disability that means you can't physically use heavy kit. Whatever the case, if you want a small system, you have to look at the lenses for it.

This is where a format like Micro Four Thirds comes into its own, as the best Micro Four Thirds lenses are the smallest and lightest on the market. So be aware that a small camera doesn't necessarily mean small lenses!

3. Lens Selection
Again, this one seems so obvious – but photographers often buy into a system and then find themselves having to change a few years later because they can't get the glass that they actually want for it.

If you shoot architectural shots or interiors, for instance, you'll need a system that offers tilt-shift lenses. You may also want other specialist optics, like fisheye lenses, macro lenses, cine lenses and so on… and you'd be surprised how many mounts don't offer these as native options.

Of course, new mirrorless mounts like the Canon RF and Nikon Z were launched with an adapter that enables you to use existing DSLR lenses, and mirrorless camera in general is great for adapting optics from other systems (including vintage lenses), but there are often asterisks involved in terms of performance and compatibility. Speaking of which…

4. Compatibility
This one often catches people out, even if they're buying a new camera from the same manufacturer.

Take the Canon EF-M system, for example. Buying something like a Canon EOS M50 can be a great option, as the camera and lenses are small, affordable and great to use. And it's appealing because you can also use Canon EF and EF-S lenses with a simple adapter. However, if you want to upgrade to a Canon DSLR or RF-mount camera, your EF-M lenses won't work, and you will have to buy those optics all over again.

Ditto if you want to buy a new mirrorless camera and keep your DSLR as a second body; Canon RF and Nikon Z lenses won't physically fit on DSLR cameras. So check and double check whether the lenses you've already got are going to work on the camera you want to get!

5. Future Proofing
Along similar lines, it's really helpful to think about where you and your photography are going to be in five or ten years' time.

Today, buying an APS-C camera might be the right move for you. However, at some point in the future, you might need a camera with a larger sensor or higher resolution. Shooting 24MP photographs or 4K video might be fine for 2021, but will that be sufficient in 2031?

When it comes time to upgrade, you'll want your lenses to carry over to your new system – but as noted, Canon EF-M lenses won't work on Canon's full-frame cameras, and Fujifilm X-mount glass won't work on its medium format bodies. A bit of forward-thinking now can save you heartache – and money – in the future!

James Artaius

2.1.25

Everything You’ll See and Hear as a Club Photographer



Sometimes it seems like everyone is a club photographer—or at least says they are in order to skip the line like a celebrity or a drug dealer. But those of us who actually do the gig occupy a unique role of privilege (and probably come off super douchey) by providing a vital service in our FOMO-fuelled world: pretty pictures. After all, what's more universally important in 2016 than how busy you look on your Instagram?


From the mouth of the beast, where bouncers give us nods and skip the bag search (we're pretty much always hiding drugs), to the belly, where bartenders wipe our bills in exchange for being the one non-asshole customer they've had all night (a kind gesture we totally abuse), being a nightclub photographer often makes you feel like lower-level royalty in the urban landscape. And honestly, if you think about how historically snobby royalty have been despite having to not get their hands dirty, it's pretty accurate. We deal with the least bullshit and feel the most entitled (I try to soften my edge on this front by at least saying "sorry" as I push people out of the way like a toddler in a ball pit).

There is, however, a bit of risk involved. Besides possibly getting your equipment straight-up destroyed in an unrelated brawl or an unexpected moshpit, there's a rotating list of bullshit things you will see and hear while doing this job that will make you reevaluate just how sick of a gig it actually is. So, from someone who's done it for nearly two years in Toronto, here's a shortlist of scenarios you will probably experience while photographing a city's nightlife.

"Hey man, I need you Wednesday at 8 PM. I have a gig."

This is how it all begins. A friend of a friend hits you on Facebook Messenger because he's noticed your photos on Instagram. He thinks they're "so dope" and he "fucks with them hard." He is running an event at a favourite spot for gym bros and walking Supreme billboards. He wants you to shoot it. There's no discussion of pay—don't bother bringing it up online, because he'll just ghost you. When you do bring it up in person, his response will start with, "Here's the thing..."

At best, you'll get $25 and four free beers from a microbrewery that the bar is promoting. Also, he'll buy you two a shot for some bro-to-bro bonding, and will probably give you some free drugs when he's had a few too many Jamesons. At some point past midnight, he will apologize for being broke and explain that spent all of his money on a tech startup in Liberty Village.

This person also messages you through Facebook, but likes to keep things short and sweet. They don't fuck with you like the last guy did, nor do they give a rat's ass about your photographic skills. They're likely in their late-20s and running on a mix of cocaine and anxiety, so expect passive-aggressiveness in all of your interactions. Also, an important note: someone's fronting the money for the photographer, and it's not them. In fact, they're probably are part of the venue's PR team, or are a friend of the manager of the club, but they'll still insist that you refer to them as "the organizer."

You're going to be asked to provide an invoice (via Microsoft Excel only) and will be told the money will be e-transferred once they get the photos. If you don't press them for the money immediately after pressing the send button, you'll probably never get paid.

The "celebrity" doesn't show up.

This is really crème de la crème of classic photographer moments, because it's one you'll probably catch the most grief over. From club-goers who don't understand how little their favourite pop star/rapper actually cares about them (ie. people who paid for a whole bottle of Hennessy V.S. to see Skepta dance in the distance for 20 minutes at an OVO Fest afterparty), to mid-level organizers whose bosses are desperately stretching out how long they can lie before letting on everybody the big star isn't showing up, a big name bailing on an event causes chaos in the club.

As a photographer, you have to understand this and stay relaxed. Deny all culpability—definitely DON'T lie and say you know when they're coming. Managing expectations is key, and you don't want to be the person talking a big game. Just enjoy the show, sip on that free vodka soda, and have your Uber destination ready to go once the DJ takes the mic with a disappointed face.

"Can I see the photo?"

The one line every photographer—both inside and outside a club—never wants to hear. Despite living in an age where VSCO filters and Snapchat facemasks can completely alter an image with simple changes in temperature and lighting, most people are still under the impression that what's on a photographer's screen is the final product. Thus, every person wearing a polo or a romper is going to insist that they be able to look at your camera to size up your work. Which brings us to the inevitable follow-up.
"Oh my god, I look SO bad! Take another."

Motherfucker, you either look good or don't. If you're in the first category, congratulations! I hope you get laid tonight. If you're in the second category, don't worry, I have editing software that I use on hundreds of people like you. Also, since you asked, I'm actually just going to pretend to take a photo, throw you a thumbs up to signify the new photo looks sick (there's actually nothing on my screen), and then dip into the crowd in hopes of avoiding you for the rest of the night.
"OK, but, like, where can I find the picture tomorrow?"

This one's understandable. People are getting their photo taken, they want to at least get a copy of it when they can. Of course, most people don't understand that I'm probably not going to edit these the next day, and if I do, it's for the client—not them. For friends, people I happen to like, or celebrities, this rule is flexible, but for the most part, I hand people who ask this question my Instagram handle and remove myself from the situation as soon as they start looking through my feed. It's better this way.

"Who do you work for?"

One of the most obvious examples of a pissing contest is when somebody with a fleeting sense of clout asks you who you work for. If you tell them anyone but the most popular person at the club, they're going to look at you with smug disgust. If you are actually shooting for (or came with) an artist or celebrity, this person is likely to cling to you like a leech. That's because they've probably asked the same question to at least 26 people before getting to you, and they've finally found their ticket to the afterparty. Ditch this person. Immediately.

"Do you? *makes obnoxious sniffing sound while plugging one nostril*"

Some people seem to be under the impression that every flash photographer in the club is The Cobrasnake. In reality, most photographers just happen to like blow (because it makes our jobs somewhat bearable) and people with less clothing (because they're interesting subjects). That doesn't mean they're necessities to our work, or that every person follows suit. Regardless, you'll likely nod and follow this person—they'll give you free drugs. Just don't hang around too long or they'll expect you to start paying as well.
"Let me take of a photo of you, I'm actually *slurred, unintelligible speech*"

Your response here will depend on whether you've decided to stay sober or not. If you're pretty fucked up at this point (me, most of the time), you may give the right kind of person a chance to use your $3,000+ piece of equipment. If you do, it should be somebody who actually knows how to use the thing, and you probably shouldn't let them hold it for more than 10 seconds. After that, you're risking serious damage to your equipment and pride.

If you stayed sober like a true professional, this is your chance to laugh and make a joke about how the last guy you saw hand out his camera got it wrecked (that last guy was actually you — that's why you're staying sober). At all costs, don't tell them that you actually think they're an overall mess of a human being. It's better to just blame it on the natural danger of inhibition and pretend like they're otherwise totally functional when not under the influence.

"Who are you? You're hot."

Lean in and say your name with a slow, raspy sway to your voice. It'll make them think they're getting somewhere. After that, ask if they want a photo. This will also make think they've wooed you. Now, take one, nod, walk away, and delete it. It's not worth it, I promise you.
"I'm buying you a drink."

Make this easy and say yes. Remember: don't be picky, take the drink. If you don't want to drink it, slip off into the crowd and leave it on a table. Don't be the guy to leave a full beer right in front of the person who just paid $11 for it.

"You took a photo of me last night. Send it now."

Did you pay me? Are you my friend? I don't even have your name saved in my phone and you're demanding I send you a photo a mere eight hours after the club closed? Actually, please, tell me what you look like so I can look for the photo that matches your physical description and move it to the trash.
"Can you get me on guestlist?"

Yes, but just like a narc being asked if they're a cop, always play dumb.

14.1.24

"RECONNECTED" Exhibition by United Photo Press at Ingo Seufert Gallery in Germany




"RECONNECTED: An International Photographic Exhibition by United Photo Press at Ingo Seufert Gallery, Munich, Germany".

The Ingo Seufert Gallery, situated in the picturesque city of Munich, is set to host an international photographic exhibition that is poised to captivate enthusiasts of visual art. The United Photo Press, a distinguished association of photographers, will showcase its latest collection titled "RECONNECTED," a celebration of the diversity and talent within its membership and among its guests.

Scheduled to run from March 13th to March 31st, 2024, the exhibition offers visitors a unique opportunity to explore the world through the lenses of both seasoned and emerging photographers. The name "RECONNECTED" implies a rediscovery, an immersion into narratives and perspectives that transcend borders and cultures.

Having reached its 34th year, United Photo Press has curated an impressive selection of works spanning various themes, from breathtaking landscapes to emotive portraits, capturing moments that transcend time and space. The exhibition stands as a testament to the compelling ability of imagery to narrate stories and evoke emotions.

The Ingo Seufert Gallery, known for its commitment to promoting contemporary visual artists, provides the perfect backdrop for this photographic journey. Organizers are enthusiastic about bringing this international exhibition to Munich, offering local residents and visitors a unique cultural experience.
The vernissage, scheduled for March 13th, will be an opportunity for photography enthusiasts to meet the artists behind the works and delve into the stories that inspired each image. Throughout the exhibition period, Ingo Seufert Gallery will be open to the public, inviting art lovers to explore the extraordinary world of contemporary photography.

"RECONNECTED" promises to be an enriching and inspiring experience, fostering connections among people from different backgrounds through the universal power of imagery. Don't miss the chance to embark on this unique journey at Ingo Seufert Gallery in Munich, Germany, from March 13th to March 31st, 2024.




20.8.23

CALL ALL ARTISTS to Participate in the L.I.V.E. S international Exhibition


CALL ALL ARTISTS to Participate in the L.I.V.E. S Exhibition

Dear Artists,

We are thrilled to invite artists from all around the world to participate in the L.I.V.E. S (Living, Inspiring, Visualizing, Expressing, and Sensing) exhibition. Organized by UNITED PHOTO PRESS, this international and captivating photographic exhibition will be held from September 21st to October 21st at the Museum of Electricity in Funchal, Madeira Island, in partnership with the local association, Arca d'Ajuda.

The L.I.V.E. S exhibition aims to explore the richness and complexity of human lives through a captivating collection of photographs. We believe that art has the power to transcend boundaries, connect people, and evoke deep emotions. As such, we are reaching out to artists of all backgrounds, genres, and styles, inviting them to share their unique perspectives and contribute to this remarkable showcase of visual storytelling.

Located in the heart of the picturesque Madeira Island, the Museum of Electricity offers a stunning backdrop for this inspiring exhibition. The exhibition space has been carefully designed to provide a vibrant and immersive experience for both artists and visitors. Each photograph will be meticulously curated to create a narrative that reflects the diversity and beauty of the human experience.

Participating in the L.I.V.E. S exhibition will not only give you the opportunity to showcase your artistic talent on an international platform but also connect with fellow artists from around the globe. It is through such collaborations and exchanges that we can foster a greater appreciation and understanding of different cultures and perspectives.

To submit your work for consideration, please send a email at info@unitedphotopress.net for complete the submission form. The deadline for submissions is August 31st, 2023. Our expert panel of curators will carefully review all entries and select a diverse range of artworks that best capture the essence of the exhibition's theme.

We look forward to receiving your submissions and joining us in celebrating the power of photography to portray the complexity of human lives. Together, let us create an unforgettable experience that transcends borders and leaves a lasting impact on all who attend.

Should you have any further questions or require additional information, please do not hesitate to contact us at info@unitedphotopress.com

United Photo Press team




19.8.23

Heartfelt Thanks for Celebrating World Photography Day




Heartfelt Thanks for Celebrating World Photography Day

Dear Members of United Photo Press,

I hope this message finds you in great spirits. On the occasion of yet another successful celebration of World Photography Day, I would like to extend my sincere gratitude to each and every one of you. Your unwavering dedication to the art of photography and your collective efforts in commemorating this special day have truly made a significant impact.

Year after year, we come together as a community to celebrate the magic of capturing moments through the lens. The power of photography to tell stories, evoke emotions, and freeze time in a single frame is nothing short of extraordinary. It is this shared passion that unites us as members of United Photo Press.
The success of our celebration wouldn't have been possible without your creativity, enthusiasm, and commitment. From organizing exhibitions to hosting workshops, sharing your insights and techniques, and showcasing your remarkable works, you have all contributed to making World Photography Day an event to remember.

As we reflect on the beauty and significance of photography, let's also reflect on the strength of our community. United Photo Press is more than just a gathering of photographers; it's a family that supports, inspires, and nurtures each other's growth. Together, we have created a platform that fosters learning, creativity, and camaraderie.

Here's to the countless frames that tell stories, the emotions that transcend time, and the connections that bridge distances. Your contributions, whether big or small, play an integral role in the continued success of our collective journey.

Once again, thank you for your dedication, hard work, and shared love for photography. Let's continue to capture the world one click at a time and look forward to many more years of celebrating World Photography Day together.

Munich, 19 August 2023
Warmest regards,
Carlos Alves de Sousa
United Photo Press

1.7.23

National Geographic lays off its last remaining staff writers & photographers



The magazine, which remains among the most read in the U.S., has struggled in the digital era to command the kind of resources that fueled the deep reporting it became known for.

Like one of the endangered species whose impending extinction it has chronicled, National Geographic magazine has been on a relentlessly downward path, struggling for vibrancy in an increasingly unforgiving ecosystem.

On Wednesday, the Washington-based magazine that has surveyed science and the natural world for 135 years reached another difficult passage when it laid off all of its last remaining staff writers.

The cutback — the latest in a series under owner Walt Disney Co. — involves some 19 editorial staffers in all, who were notified in April that these terminations were coming. Article assignments will henceforth be contracted out to freelancers or pieced together by editors. The cuts also eliminated the magazine’s small audio department.

The layoffs were the second over the past nine months, and the fourth since a series of ownership changes began in 2015. In September, Disney removed six top editors in an extraordinary reorganization of the magazine’s editorial operations.

Departing staffers said Wednesday the magazine has curtailed photo contracts that enabled photographers to spend months in the field producing the publication’s iconic images.

In a further cost-cutting move, copies of the famous bright-yellow-bordered print publication will no longer be sold on newsstands in the United States starting next year, the company said in an internal announcement last month.

National Geographic writer Craig Welch noted the moment in a tweet on Wednesday: “My new National Geographic just arrived, which includes my latest feature — my 16th, and my last as a senior writer. … I’ve been so lucky. I got to work w/incredible journalists and tell important, global stories. It’s been an honor.”

The magazine’s current trajectory has been years in the making, set in motion primarily by the epochal decline of print and ascent of digital news and information. In the light-speed world of digital media, National Geographic has remained an almost artisanal product — a monthly magazine whose photos, graphics and articles were sometimes the result of months of research and reporting.

At its peak in the late 1980s, National Geographic reached 12 million subscribers in the United States, and millions more overseas. Many of its devotees so savored its illumination of other worlds — space, the depths of the ocean, little-seen parts of the planet — that they stacked old issues into piles that cluttered attics and basements.

It remains among the most widely read magazines in America, at a time when magazines are no longer widely read. At the end of 2022, it had just under 1.8 million subscribers, according to the authoritative Alliance for Audited Media.

National Geographic was launched by Washington’s National Geographic Society, a foundation formed by 33 academics, scientists and would-be adventurers, including Alexander Graham Bell. The magazine was initially sold to the public as a perk for joining the society. It grew into a stand-alone publication slowly but steadily, reaching 1 million subscribers by the 1930s.

The magazine was eventually surpassed for profits and attention by the society’s video operations, including its flagship National Geographic cable channel and Nat Geo Wild, a channel focused on animals. While they produced documentaries equal in quality to the magazine’s rigorous reporting, the channels — managed by Rupert Murdoch’s 21st Century Fox — also aired pseudoscientific entertainment programming about UFOs and reality series like “Sharks vs. Tunas” at odds with the society’s original high-minded vision.

The magazine’s place of honor continued to dim through a series of corporate reshufflings that began in 2015 when the Society agreed to form a for-profit partnership with 21st Century Fox, which took majority control in exchange for $725 million. The partnership came under the Disney banner in 2019 as part of a massive $71 billion deal between Fox and Disney.

Among those who lost their jobs in the latest layoff was Debra Adams Simmons, who only last September was promoted to vice president of diversity, equity and inclusion at National Geographic Media, the entity that oversees the magazine and website.

At the time, David Miller, executive vice president of National Geographic Media, said the magazine was “realigning key departments to help deepen engagement with our readers while also nurturing existing business models and developing new lines of revenue.”

In an email to The Post on Wednesday, National Geographic spokesperson Chris Albert said staffing changes will not affect the company’s plans to continue publishing a monthly magazine “but rather give us more flexibility to tell different stories and meet our audiences where they are across our many platforms.”

Paul Farhi / WP

7.1.23

4 Favorite Medium Format Film Cameras


If you love film photography, you’re missing out if you don’t use medium format film cameras. Arguably, this is where you’ll really to start a major advantage over digital photography. There’s also things like the look, the feel, and the overall approach to how you work with subjects. You have to be a million times more conservative with how you shoot photos. So we dove into the Reviews Index to find some of the best medium format film cameras we’ve used.

Why We Chose These Medium Format Film Cameras

First off, we’ve reviewed a bunch of medium format film cameras over the years. And we’ve specifically chosen these for a variety of reasons. With the exception of the Mamiya 6, all of these cameras are completely analog and don’t need batteries at all. Of course, if you get a metered prism for the two SLRs, that’s the exception. But a fully analog camera will always work no matter what. The Mamiya 6 was chosen because the system has arguably some of the best lenses ever made. It’s also incredibly versatile, and I love the square format.

No Hasselblad? Yes. The reason for this is because of the pricing. That’s also why we haven’t reviewed or listed the Contax 645, Mamiya 645, etc. We also chose the Mamiya RB67 because it’s often more reliable than the RZ67. We also didn’t choose a 645 format camera because digital 645 arguably outdoes film at this point.

Mamiya 6: Square Medium Format
“I’ve been on the search for the perfect medium format film camera for me for years now. This, the Fujifilm GW690 III, and the Mamiya RB67 Pro S are amongst my favorites. I prefer to have a multitude of formats and cameras that can handle different situations accordingly. But of any of those, the Mamiya 6 seems to offer the most versatility. I can use it for documentary work, studio work, landscapes, portraiture, and so much. It’s just meant to be a damned good professional film camera.”

Mamiya RB67: 67 Medium Format
“The Mamiya RB67 Pro S is a camera meant for the serious photographer that wants to stick to analog. It’s a studio and landscape camera that will most likely require a tripod from you. They’re fantastic to use; but also keep in mind its difficulty.”

Pentax 67: Obviously, 67 Format
“The Pentax 67 is honestly a fantastic medium format SLR camera. It has found a way into the heart of so many photographers. With a plethora of fantastic lenses, it is surely best used when shooting with natural light outdoors. It’s not the best for studio work and location work with a flash due to the long flash duration of 1/30th. You’ll also want to use wider lenses for something like that.”

Fujifilm GW 690 III: Big is Beautiful
“I’ve been using the Fujifilm GW690 III for a really long time now. By far, it’s my most used medium format film camera, even over my Mamiya RB67 Pro S. That’s because it’s got a small(ish) size, fantastic lens, rangefinder focusing, and it’s reliable. Sure, you’re only getting eight shots per 120 film roll, but if you’re careful then that’s enough.”

5.12.22

Pro photographer makes incredible macro photographs at 1000 megapixels!


Fabio Lena specializes in photographing incredibly detailed macro photography of insects revealing all of their fine details.

Fabio Lena was born in Venice in 1961, and has been passionate about entomology and photography from a very young age. The study of insects and the meticulous approach and the in-depth study of photographic techniques have led him to create detailed macro photographs for incredibly large-format prints.

His Microcosmo project of massively detailed macro insect imagery now spans more than 80 photographs, each one being about several gigapixels (that’s 1000 megapixels) large!

We recently sat down with him to find out more about his macro photography and the specialist setup and equipment that he uses to take his incredible close-up shots.

"As a little boy I had access to the entomology laboratory of the S.N. from Venice and this was where I discovered my passion for nature photography.

"When I was getting into super macro photography I asked myself, how I could relive that emotion I felt as a child seeing tiny insects under a microscope which left me awestruck. In my Microcosmo project, which now contains more than 80 images, I’ve been creating highly-detailed images of tiny insects using a specialist setup and my Canon EOS 5DS. I merge multiple images, like a mosaic, and I focus stack each ‘tile’ to ensure total sharpness. I use Zerene Stacker software to merge the pictures together.

"I’ve turned an insect just 2cm in size into a canvas print measuring 3x170m which is in a permanent exhibition at the Yangpyeong Insect Museum in South Korea. A finished image is usually a blend of 8000 shots – my largest image to date was about 11 Gigapixels, or 1000 megapixels!

"I select specimens from all around the world, preferring those with bright colours and good looks. I search for perfect symmetry and maximum cleanliness of the surface as any small imperfection, at high magnification, would end becoming particularly unsightly.

"My workbench is setup specifically for these shots and is very specialized, including computerized sliders to move the camera, special macro lenses, a bellows system, LED lights and a hand-made anti-torsion platform."



1 - Canon EOS 5DS - "To ensure I’m able to capture all of the fine details I use a Canon EOS 5DS, which has a 50.6MP full frame imaging sensor, producing images with a resolution of 8688x5446 pixels. This means when I’ve finished merging all of my various pictures together in my insect ‘panorama’ they have a final resolution of often several gigapixels in size and can be printed at 10m on the longest side."

2 - Canon MP-E 65mm f/2.8 1-5x Macro - "The Canon MP-E 65mm f/2.8 1x5x mega macro lens allows me to vary the magnification from 1-5x lifesize. A reproduction ratio of 1:1 means it’s lifesize, capturing the insect at the same size as if it were laid across the imaging sensor. But going to 5:1 makes it five times more ‘zoomed in’ than lifesize. It is a very unique and useful lens for my work."

3 -  Canon Auto Bellows - "I put Canon Auto Bellows between my Canon EOS 5DS and Lomo 3.7x0.11 Microscope lens, which lets me rack the lens further away, or closer to the camera. Moving the lens away will boost magnification and help correct converging verticals. It’s an old FD mount model, but still works brilliantly well and is perfect for macro. You can still find them on online auction sites for around £75."




4 - Lomo 3.7x 0.11 Microscope Objective lens - "Microscope optics have recently been used in traditional macro photography, namely combined directly with a camera and no longer with a microscope. The Lomo optic is Russian made, it was handmade and proved to be one of the best for low refraction and optical distortion in the x3.7 magnification ratio."

5 - Cognisys StackShot Macro Rail - "The macro rail consists of a motorized slide assisted by an electronic control unit. This allows the camera body to be advanced from a minimum of one micron. It can manage the advance and waiting time between shots to dissipate micro vibrations and control the shutter release. It also calculates the number of shots to be taken on the basis of the starting point, the end point and how many microns must be advanced per shot."


"The macro rail consists of a motorized slide assisted by an electronic control unit. This allows the camera body to be advanced from a minimum of one micron. It can manage the advance and waiting time between shots to dissipate micro vibrations and control the shutter release. It also calculates the number of shots to be taken on the basis of the starting point, the end point and how many microns must be advanced per shot."

6 - LED panels - "I use a variety of LED lights and panels, I often utilize 20w versions that I’ve picked up from a DIY shop or even IKEA. It’s important that the colours are consistent between the panels. I use three LEDs, two from each side and another from the top. These are all fitted with diffusing panels for softer gentle shadows and have to further pass through another diffusion layer looped around the insect."


Dan Mold


3.9.22

Berlin Photo Week 2022


This will be an extraordinary day. We are proud to host Magnum photographers on the Conference Stage on Saturday in cooperation with the well-known news magazine DER SPIEGEL.

DER SPIEGEL – politically independent, not affiliated with any economic group, committed only to itself and its readers and users – has stood for investigative journalism for 75 years. Its editors set the news, provide context in an increasingly complex world and set the pace in public debate.

This is the ideal combination to interview Magnum Photos’ great photographers on the burning issues of the current times. Each photographer is assigned an editor from DER SPIEGEL as an interviewee.

Moderator: Heike Ollertz, Professor for Photography at the UE University of Europe for Applied Sciences

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