Over 200 health journals unite in calling for urgent action on climate change

https://www.thecanary.co/uk/news/2021/09/06/over-200-health-journals-unite-in-calling-for-urgent-action-on-climate-change/

#Editorial in #publications #worldwide urges leaders to take measures to stop ‘ #greatest #threat to #public #health.’
"The #science is #unequivocal; a #global #increase of 1.5C above the pre-industrial average and the continued #loss of #biodiversity risk #catastrophic #harm to health that will be impossible to reverse."
“Despite the world’s necessary #preoccupation with #Covid-19, we cannot wait for the #pandemic to pass to rapidly #reduce #emissions.
#urgent #british #medical-journal #bmj #united #climatechange #climate #crisis #environment #biodiversity #cop26 #glasgow #conference #2021 #audio

Éditorial de Dogmazic.net de août 2021

Bonjour et bienvenue dans cet édito de Dogmazic.net pour août 2021. Vous trouverez ici les sorties d'album du mois écoulé, les trésors exhumés de notre archive qui compte plus de 55 000 titres, et les nouvelles de notre forum. == Nouvelles publications[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #chroniques #editorial #passion

Originally posted at: https://musique-libre.org/blog/2021/08/12/editorial-de-dogmazic-net-de-aout-2021/

Éditorial de Dogmazic.net de août 2021

Bonjour et bienvenue dans cet édito de Dogmazic.net pour août 2021. Vous trouverez ici les sorties d'album du mois écoulé, les trésors exhumés de notre archive qui compte plus de 55 000 titres, et les nouvelles de notre forum. == Nouvelles publications[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #chroniques #editorial #passion

Originally posted at: https://musique-libre.org/blog/2021/08/12/editorial-de-dogmazic-net-de-aout-2021/

Is Apple Actually Going to Snoop on Your Photos?

Is Apple actually snooping on your photos? Jefferson Graham wrote an article last week warning this based on the company's child safety announcement. An attention-grabbing headline? Certainly. Accurate? It’s complicated.

There has been much criticism from privacy advocates, notably from the EFF and Edward Snowdon. This criticism is warranted, however, that criticism should very much be based on technical elements rather than hyperbole.

So in laymen’s terms, what’s going on?

No matter how well-intentioned, @Apple is rolling out mass surveillance to the entire world with this. Make no mistake: if they can scan for kiddie porn today, they can scan for anything tomorrow.

They turned a trillion dollars of devices into iNarcs—without asking. https://t.co/wIMWijIjJk

-- Edward Snowden (@Snowden) August 6, 2021

Unbelievable: @Apple now circulating a propaganda letter describing the internet-wide opposition to their decision to start checking the private files on every iPhone against a secret government blacklist as "the screeching voices of the minority."

This has become a scandal. https://t.co/uoa4uuNTaP

-- Edward Snowden (@Snowden) August 6, 2021

1) Families enrolled in iCloud Family Sharing will get tools to counter the sharing of explicit content.

If you have Family Sharing enabled and Apple knows that a user is under the age of 13, the device will scan all messages, both sent and received, for sexually explicit content.

The key here is that this feature is only enabled for users under the age of 13 using the Messages app. Parents can also switch on a feature that allows them to get alerts if children ignore a warning about the message.

So is Apple snooping on your photos in this instance? In my eyes, the answer is no.

2) All users who use iCloud Photos will have their photos scanned against a codebase (known as a hash) to identify Child Sexual Abuse Material (CSAM).

First, we need to understand what a hash is. Images connected to iCloud Photos are analyzed on the device and a unique number is assigned to it. The technology is clever enough that if you edit a photo through cropping or filters, the same number is assigned to it.

The National Center for Missing and Exploited Children provided Apple a list of hashes that are known CSAM photos. If your photo does not match that hash, the system moves on. The actual photo isn’t visible to anyone.

If a match is found, that match is added to a database against your iCloud account. If that database grows to a number (the specifications of which are not publicly known), Apple disables your iCloud account and send a report to the NCMEC.

So is Apple Snooping on your photos in this scenario? Maybe. It depends on what you consider snooping. Apple can’t see your photographers, only the hash and then they check that hash against a known CSAM hash.

Bear in mind that this is only enabled for those who use the photos app attached to an iCloud account, therefore you have other options (like using Google Photos) if you aren’t comfortable with the analysis of your photos.

It is worth remembering that all Android and Apple built devices already analyze your photos to be able to make them searchable. If you have a pet, type pet into the search box and pets appear. Analyzing photos is not a new technology, but CSAM detection extends the capabilities for the purposes of what Apple see as the common good.

Apple's filtering of iMessage and iCloud is not a slippery slope to backdoors that suppress speech and make our communications less secure. We’re already there: this is a fully-built system just waiting for external pressure to make the slightest change. https://t.co/f2nv062t2n

-- EFF (@EFF) August 5, 2021

3) Apple is adding guidance to Siri and Search related to CSAM.

This has nothing to do with scanning photos. If you search (using the iPhone search, not Safari), or ask Siri about CSAM content, it will provide you with links on how to report CSAM or tell you that interest in the topic can be harmful or problematic.

This will have the least impact on users, as I’m not sure people ask Siri about CSAM anyway! You can read Apple’s full explanation of that in this document.

To Summarize

1) Explicit content checks take place on devices known to Apple to belong to a child under 13 through iCloud family sharing. If you are over 13, your photos aren’t scanned.

2) Your iCloud-connected photo library will have a unique number (a hash) assigned to each photo. If that number matches a known CSAM hash, it will be added to a database within your iCloud account. If you have too many photos of this type, your account may be disabled and reported to the authorities.

3) You have a choice on whether or not you want this technology to run on your phone. You can decide not to use iCloud to store your photos or opt out of family sharing for your children.

Now that we have delved beyond the hyperbole, you are in a good position to make an informed decision about this technology. I encourage you to read both the criticism and praise for this method and make up your mind based on that.

---

_Disclosure: William Damien worked part-time at an Apple retail location seven years ago. The opinions expressed above are solely those of the author. _

---

Image credits: Header photo licensed via Depositphotos.

#editorial #opinion #technology #ai #aimodel #apple #artificialintelligence #childabuse #government #icloud #iphone #neuralmatch #oped #privacy #storage

Photographing Waves: One of The Most Rewarding Subjects

Waves are some of the most rewarding subjects for photography that I know. For starters, if you miss one, another will be along very soon! Of course, they are also unpredictable and can be dangerous. What is fascinating is that no single wave will be exactly the same as any other wave that has existed since the beginning of time. Mind-blowing stuff.

When you’re starting out in wave photography, it is helpful to have a rudimentary understanding of different types of waves and what you’re likely to encounter on different beaches. Wide beaches with shallow falls typically experience long, rolling breakers. These graceful waves are a pleasure to photograph. The curl of a rolling wave is attractive but this perspective can be elusive as the topography of the coast often fails to offer a side-on angle.

---

This story is brought to you byELEMENTS Magazine. ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials and fluid, clean design. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

---

Some photographers take to the water with waterproof camera housings and capture amazing moments within or even underneath waves (although not on the beaches where I make photos!). Obviously, this approach is for confident swimmers and, if you want to try it out, I strongly recommend that you first spend time getting to know your location and how to navigate the waves there safely. However, if it isn’t safe to swim or you’d simply prefer to stay on terra firma, don’t give up just because you can’t access the popular “curl.” A front-on perspective can also work; the moment a breaker starts to drop is often all that’s needed to break the line and add visual interest.

On steeper, narrower beaches, there may be backwash. This is when water that has travelled up the beach falls back with enough power that, when it meets another wave, the water is pushed upwards, creating a wall. This is a marvellous subject and you can go wide to show the impact in its setting or zoom in tight to explore the textures. “Clapotis” is a sort of backwash wave. This lovely French word describes the moment that a wave, having bounced off a quay or cliff, crashes into another wave. The shapes often seem to defy gravity. This sort of photography is more like sports or wildlife than landscape work. Fast shutter speeds, responsive focusing and quick reflexes are the order of the day. I suggest you use high-speed continuous or burst mode and run off 3 or four frames for each wave.

As with everything, it pays to know your location and to have done your research. For example, if the wind is blowing from the north, there’s little point in visiting a south-facing beach backed by cliffs. However, if the land behind the beach is flat, a strong offshore wind may be ideal as it will hold back the waves, making them pile higher, and you’ll get spindrift off the top. Equally, think about the tide and the light. There are usually fewer waves at low tide. Harsh midday sun is difficult, and you’ll likely need a polariser to mitigate the shiny patches of water whereas backlit waves can be gorgeous when the sun is low.

Point of view makes all the difference and there are so many variations on the standard, head-height position. If you can get low, your waves will stand proud of the horizon. Not every beach gets big waves, but they all get waves of some sort, even if just from the wake of passing vessels. If you lie on the beach, even small waves can look mighty.

Alternatively, try a higher point of view, a clifftop perhaps. Photos taken from above are no longer about the size of the waves. Instead, they make the pattern the star of the show. Waves leave in their wake wonderful shapes that we never see from beach level. Next time you watch the sea from a cliff, notice the beauty of a wave’s footprint.

The sea is always moving so shutter speed is probably your biggest decision; 1/800 or faster will freeze the waves, capturing all the detail. However, slower shutter speeds are also hugely enjoyable. I particularly like ¼” as it keeps the wave’s overall shape, but the details seem like brushstrokes. In my photos, “Theia” and “Twist,” the waves are the same basic shape, but one is caught at 1/800 and one at ¼”. While we’re experimenting, how about adding some intentional camera movement. I like shutter speeds close to 1” and subtle movement so that I can still see the idea of a wave within the blur. I prefer not to use a tripod for ICM. I’m not looking for perfection here – I want the result to look like a painting and paintings aren’t perfect, at least the good ones aren’t.

If you’ve ever tried to photograph waves and been disappointed, I suggest you try a longer focal length. It will suck the viewer into the action and the wave will almost certainly look more exciting. Most of my storm waves were captured using a 70-200mm lens. More recently, I’ve been using a 100-400mm. This is harder because, at 400mm, it’s difficult to see enough of the sea to find the best waves. I’m enjoying the challenge. Long focal lengths offer a way to create difference. The casual viewer will see the big scene, but they won’t notice the curious textures within a wave. For this kind of work, you have to compose like a photographer of abstracts, thinking only of shape and colour, rather than the subject as a whole.

So far, I’ve concentrated on waves alone but waves as they break against the shore also make exciting subjects, stirring our imagination with awe and even fear. As these photographs tend to reference scale and location, they are often more documentary in style; however, that’s not always the case. I happened to publish my photograph, “Face-of” during the voting for the U.S. presidential election. This was entirely coincidental (I’m British), but several people commented that the picture represented the clash of candidates and ideologies! People will always find metaphors in the sea.

I’ve outlined just a few of the possible ways to photograph waves. As with any subject, the best approach is to be open-minded and willing to experiment. Try everything and see what happens, then make changes based on your experience. Be prepared to make a lot of bad photos (remember, this is more like sports than landscape photography). Above all, make sure you take time to just watch and listen to the waves. The sea’s music is beautiful and inspiring and I firmly believe you will make better art if you let it into your soul.

Safety

I don’t want to spoil the flow of the article with a homily on safety but I feel it would be irresponsible not to mention it at all. Waves can be dangerous. It’s important that you know the relevant tides, wind direction and speed. Working on a falling tide is safest. If it’s not safe to get as close to the waves as you would like, come back another day with a longer lens. Trust your instincts – if you feel at risk, you probably are. Lens hoods are good for keeping spray off the lens and I recommend that you always wipe everything down with fresh water after you leave the beach.

---

**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.

---

About the author: Rachael Talibart is a professional seascape and coastal photographer. Her critically acclaimed photographs of the ocean and coast have been featured in the press all over the world. Rachael is represented by galleries in Europe and the USA, her work is frequently exhibited and her limited-edition prints are collected internationally. She is the author of three monographs, including ‘Sirens’ and, most recently, Tides and Tempests. Rachael owns f11 Workshops, providing location and online photography training and she leads international photography tours for Ocean Capture. You will find Rachael Talibart’s series “Oceans and Odysseys” in the ELEMENTS Magazine.

#editorial #tips #travel #abstractlandscapephotography #abstractlandscapes #elements #elementsmagazine #fineart #fineartlandscapephotography #fineartphotography #landscapephotographer #landscapephotography #oceans #rachaeltalibart #waves

Photo Series Captures the First 100 Days of Joe Biden’s Washington

On January 20th, 2021, I stood on the press risers at the Presidential Inauguration in Washington, DC, photographing Joe Biden taking the oath of office. It had already been a busy and chaotic month. Two weeks prior, I’d stood on these same press risers making photos as tear gas clouded the air and violent insurrectionists broke through overwhelmed police lines to gain entrance to the Capitol. The dissonance between these two events was head-spinning.

When Senator Joe Biden won the election, I proposed a photo essay to Politico to document the first 100 days of the new administration and its effect on the city. I had previously done a similar story for them four years earlier that had run over 22 pages in Politico Magazine and online. They accepted the proposal and soon had put together an amazing team of designers, coders, and producers who would build the site for this story, integrating the photos, videos and audio I would capture over the next three-plus months.

Day 1: President Joseph R. Biden speaks at the 59th presidential inauguration in Washington, DC, on Wednesday, January 20, 2021 after being sworn in as President.

The structure of this project meant that each day was a new opportunity, a requirement really, to make a photo. I kept a running ideas document that I was constantly editing with the help of my photo editor at Politico. I closely watched a Twitter list I’d put together to find out about spontaneous protests, gatherings, and other opportunities. Every ten days, I’d put together an edit of what I’d photographed so far and send it over to my editor. This allowed us to work together to identify gaps in the story and be more intentional about telling a wide range of stories.

Day 2: A woman navigates the fencing setup for the Presidential Inauguration in parts of downtown Washington, DC, on the day after the Inauguration, on January 21, 2021.

Day 6: House managers walk the article of impeachment against President Donald Trump through Statuary Hall to the Senate Chamber in Washington, DC, January 25, 2021.

On day seven, I walked around the Capitol complex, which was completely fenced off from the public. A storm had come in overnight, covering the grass in wet, bone-chilling snow. The National Guard stationed around the Capitol worked twelve-hour shifts, standing guard through long, cold nights. They had been hastily called up, leaving behind school, jobs, and families, with little indication as to how long they’d be there for.

Day 7: National Guardsmen stationed around the US Capitol grounds in Washington, DC, January 26, 2021. Today, it was announced that the National Guard would remain in Washington, DC in sizable numbers until at least March, 2021.

On day 12, following a tip, I photographed an underground parking garage at a prominent private school in the city that had been converted into a large, outdoor classroom. By that time, my own kids had been attending school virtually for nearly a year and it was striking to see how private schools had managed to resume in-person, which was still months away from happening for public schools.

Day 12: An outdoor learning space set up in a parking garage at Georgetown Day School, a private school in Washington, DC, January 31, 2021. Public schools in the city have largely been closed or only accepting a fraction of their usual in-person students. DC public schools are scheduled to reopen on a limited basis on Thursday while the rest of the student population will continue to learn virtually.

Day 18 was a month to the day after the insurrection. Unseasonably warm weather brought throngs of people to the National Mall. Children played on picnic blankets, just feet away from the looming metal and concrete barriers that protected the Capitol. People stopped to take selfies by the fence, framing the photos to get the armed National Guardsmen over their shoulder in the shots, standing in silence.

Day 18: One month ago, insurrectionists stormed the US Capitol leading to the death of a Capitol Police officer. Today, a family picnics on the National Mall near a fence with National Guardsmen on the other side, in Washington, DC on February 6, 2021. Day 27: A foggy, rainy night at the Washington Monument in Washington, DC on February 15, 2021. Day 30: National Guardsmen shelter under an overhang at the Russell Senate Office Building during a snowstorm in Washington, DC on February 18, 2021.

I remember day 31 feeling like one of the coldest days of the winter. President Biden had made his first official Presidential trip to a Pfizer plant in Kalamazoo, Michigan and I wanted to photograph him returning to the White House. I was familiar with the typical path that Marine One took and positioned myself on the National Mall, near the Washington Monument. The winter light was fading quickly as I stand in wet grass, waiting. At last, I heard a distance thump-thump of the helicopters, then watched Marine One fly past the Washington Monument to land on the south lawn of the White House.

Day 31: Marine One flies back to the White House after President Joe Biden’s trip to Kalamazoo, Michigan to visit a Pfizer COVID-19 production facility, in Washington, DC, on February 19, 2021. The trip to Kalamazoo was one of the President’s first official trips of his presidency. Day 34: Onlookers listen as the bells at the National Cathedral in Washington, DC, are rung 500 times to memorialize the more than 500,000 people who have died from the coronavirus in the United States. Day 36: People dine outdoors at Le Diplomate, a restaurant in the Logan Circle neighborhood of Washington, DC, on February 24, 2021. As of December, restaurants in the city were limited to indoor dining at 25% of their capacity. Day 39: Pro-democracy protesters march to the Chinese embassy in Washington, DC, on February 27, 2021, in support of ousted Myanmar leader Aung San Suu Kyi. The State councilor was arrested by the military during a Coup d'état. Protesters blamed the Chinese government for its support of the Burmese military. Day 41: Workers remove the concertina razor wire from the tops of the fences surrounding the US Capitol complex in Washington, DC, on March 1, 2021. Despite enormous pushback, the fencing is slated to be replaced and the razor wire reinstalled. Day 46: A woman poses for photos near the Reflecting Pool at sunset in Washington, DC, on March 6, 2021. Today, the US Senate passed the $1.9 trillion dollar American Rescue Plan on party lines. Day 53: Parents and students of DC public schools gather at Freedom Plaza to urge Mayor Muriel Bowser to reopen schools, on May 13, 2021. While some DC schools have reopened, they have only accepted limited numbers of students due to an agreement made with the Washington Teachers Union. Day 57: Activists participate in a vigil in response to the Atlanta shootings that appear to have targeted Asian Americans. Activists gathered near the Friendship Archway in the Chinatown neighborhood of Washington, DC, on March 17, 2021. Day 57: Activists participate in a vigil in response to the Atlanta shootings that appear to have targeted Asian Americans. Activists gathered near the Friendship Archway in the Chinatown neighborhood of Washington, DC, on March 17, 2021. Day 58: This past year has been incredibly hard on businesses in the city. Otello Osteria in the Dupont Circle neighborhood closed this past September after thirty-five years of business. Day 62: DC Statehood activists stage a protest in the Anacostia neighborhood of Washington, DC, on March 22, 2021. Later in the day, Mayor Muriel Bowser will testify in support of HR 51 which would make DC a state. The bill passed the House in 2009 and looks unlikely to be voted on in the Senate. Day 64: A knit mural of Vice President Kamala Harris is displayed near The Wharf. Artist London Kaye worked with 150 people across the country to crochet squares for the mural which were then combined. Day 67: Statues are adorned with facemarks at the National Cathedral in Washington, DC.

Late March brought the arrival of the cherry blossoms, always a beautiful and picturesque time to be in the city. The normalcy of watching people walk under the pinkish-white canopy of flowers as the days grew longer had me hopeful that we’d seen the worst of the pandemic already pass.

Day 68: Visitors take shelter from an approaching storm along the Tidal Basin with the cherry blossoms trees approaching full bloom. NPS warned about the possibility of closing down the area if people were not maintaining social distance but as of today, have not yet taken action.

For a brief aside on equipment -- midway through the project (day 64 to be exact) I switched to Sony gear from Nikon. I’d been using Nikon DSLRs for years, shooting magazine covers, the BLM protests last summer, and many, many portraits.

I’ve been closely watching the progress of mirrorless cameras for years, noticing as more and more of my colleagues in DC make the switch. A few years back, I began using a Leica Q, an absolute gem of a camera that happened to be mirrorless. The experience taught me that my concerns about EVFs feeling laggy or not high-resolution enough were overstated and that it was time to embrace our pixel-ly viewfinder future. In January 2021, I took delivery of a couple of Nikon Z7 IIs. The cameras went into regular rotation.

My initial impressions of the Nikons were pretty mixed. It was a camera that felt slow overall -- slow turning on, slow focusing in low light, and slow switching from LCD to EVF.

I found myself casting about a little, unsure if I had made a good choice. When the Sony Alpha 1 was announced, it piqued my interest and I immediately pre-ordered one, receiving the first body in mid-March. The Sony Alpha 1 is the everything camera, a photographic tool with specs that seem tuned to conquer its competitors in a side-by-side comparison. The in-house CMOS chip production and an aggressive lens roadmap also drew me in.

For a few weeks, I shot the two cameras side by side, thousands of frames on each, and developed some strong feelings about how they were laid out. Generally speaking, I dislike the prominent positioning of the custom buttons on the Sony and prefer the way Nikon made more definitive choices about where important buttons should go (specifically the Playback and ISO buttons) which seem more logically placed. That said, the responsiveness of the Alpha 1 makes me never feel like I’m waiting on the camera to do something like I did with the Nikons. As a side note, I’m sure that the Nikon Z9 coming down the pipe will solve a lot of these issues but will also presumably weigh more which is a drawback for me.

The rest of the project was photographed with the Sony Alpha 1 and three lenses -- the Sony 35mm/1.4 GM, Sony 55mm/1.8 Sonnar, and Sony 70-200mm f/4.

As the weather warmed, I was able to photograph opening day at the Nationals stadium. Strict limits on press coverage meant I wasn’t able to get inside, but I found a nearby parking garage that gave me a good view of the field and nearly empty stands.

On April 2nd, day 73 of the project, tragedy once again struck the Capitol as a police officer was killed when a car crashed into a barricade. I felt tremendous empathy for the Capitol Police officers who were called to defend the Capitol, knowing they had once again lost one of their own.

Day 73: A US Capitol Police officer motions for the media to stay back as a group of National Guardsmen holding shields walk past him, during a lockdown after a car crashed into one of the permanent barricades surrounding the complex. Capitol Police officer William Evans was killed in the attack and another officer was injured. The assailant, Noah R. Green, was shot and killed by officers after emerging from the car holding a knife and threatening the officers. Day 75: An Easter Sunday service is held at St. Ann Roman Catholic Church, in Washington, DC. The church had previously implemented a reservation system for parishioners to attend services, but on this day, allowed anyone to come, but using an overflow room to help with social distancing. Day 77: The Washington Nationals play the Atlanta Braves on opening day of their season. The start of the Nationals season was delayed after some players tested positive for the coronavirus. 5,000 fans were allowed to attend the game.

The Nationals won the game against the Atlanta Braves in the bottom of the 9th as Juan Soto drove in the winning run to put the team ahead 6-5. Day 77: Fans walk to Nationals Park to watch the Nationals on opening day of their season. The start of the Nationals season was delayed after some players tested positive for the coronavirus.

The Nationals won the game against the Atlanta Braves in the bottom of the 9th as Juan Soto drove in the winning run to put the team ahead 6-5.

On day 83, I saw a post on Facebook that led me to a backyard concert for an audience of no one. These musician neighbors had gotten together every once in a while throughout the pandemic to play music together. It was joyful to photograph them very competently play some classic rock standards.

Day 83: Karen Harris (center), her husband Doug (right) play music in their backyard with their neighbors. The group of musicians in the AU Park neighborhood has gathered occasionally during the pandemic to play music outside. Day 86: Congressman Bill Foster walks through the Gun Violence Memorial on the National Mall. 40,000 flowers were placed on Mall to memorialize the victims of gun violence in the country each year. The memorial was implement by Giffords, a group led by Gabby Giffords, the former Arizona representative who was shot in the head at an event in her home state in 2011. Day 87: Section 60 of Arlington Cemetery in Arlington, Virginia where many of those killed in the wars in Afghanistan and Iraq are buried. President Joe Biden announced it was “time to end” the war in Afghanistan, planning to fully withdraw troops by September 11, 2021. Day 90: A closed Lord & Taylor clothing store in the Friendship Heights neighborhood of Washington, DC. The department store announced it was closing all of its stores in August of 2020 after declaring bankruptcy. Day 92: A man holds a sign in Black Lives Matter Plaza following the announcement that a jury convicted former police officer Derek Chauvin for the killing of George Floyd. Day 92: Cheria Askew celebrates at Black Lives Matter Plaza after a jury convicted former police officer Derek Chauvin for the killing of George Floyd. Day 93: A nighttime exposure of a cherry blossom tree at the Tidal Basin on Earth Day. This area of the Tidal Basin regularly floods due to a combination of rising waters from climate change and the land slowly sinking into the water. Many cherry trees have died after exposure to the brackish water. Today, President Biden pledged to cut US greenhouse gas pollution by 50% by the year 2030. Day 94: One of the lion statues outside of the National Zoo has a facemask. Today, the Smithsonian Institution announced that they would begin opening their museums, starting with the Udvar-Hazy Center opening on early May.

For weeks, I’d been thinking about what day 100 should look like. It had to be something with a near 100% chance of success -- I wouldn’t get another crack at it. I was looking for a photo that would both summarize and be worthy of my last day on this project. I decided instead of one photo, I would take (checks notes) 1,230.

Just like on day one, I got up well before dawn and loaded up a phalanx of gear. I drove down to a spot I had previously scouted a few days before, a statue in a traffic circle on 16th street that gave me an elevated straight-on view of the White House. I would photograph two timelapses (one serving as a backup) as the sun rose. At 4:45 AM, the cameras took the first photos.

Four hours later, the sunlight hit the White House’s iconic white columns and I was done. I rushed home to process the images and edit the timelapse. I sent the final video to the amazing team at Politico that had been building out the site over the past few months. A few hours later, the site went live.

Day 94: One of the lion statues outside of the National Zoo has a facemask. Today, the Smithsonian Institution announced that they would begin opening their museums, starting with the Udvar-Hazy Center opening on early May. Day 95: Ashley Ramirez, 14, of Culpeper, Virginia takes photographs for her quinceañera as her mother looks on at the District of Columbia World War I memorial. Day 95: The band Sligo Waterdogs plays at the first annual Petworth Porchfest. The music festival showcased local musicians playing on porches around the Petworth neighborhood.

Looking back, the best part of this project was the routine I’d developed of photographing day after day. While I won’t miss being glued to my Twitter feed, I did love the challenge of making an interesting image on days when there wasn’t an obvious news event to cover. I spent time in every ward in the city and had long conversations with people who (like myself) seemed eager to connect to another person after the isolation of the last year. I saw the economic devastation suffered by local businesses but also the inventiveness of those who were able to adapt, like a hairstylist who now made house calls after his salon closed. The work of photography often feels like a gift, an opportunity to be curious and look deeper and to do the work, day in and day out.

Day 97: Brood X cicadas emerge from the ground in Washington, DC after seventeen years underground. Day 99: Senator Joe Manchin leaves the Capitol grounds as President Joe Biden addresses a joint session of Congress. Day 99: People cheer while watching as President Joe Biden addresses a joint session of Congress, from the Union Pub near the US Capitol.

---

Header image: Day 1 -- President-elect Joseph R. Biden takes the oath of office as First Lady-elect Jill Biden looks on during the 59th presidential inauguration in Washington, DC, on Wednesday, January 20, 2021.

---

_About the author: Stephen Voss is a photographer based in Washington, DC. He grew up in New Jersey and lives with his family in DC where he covers those in power and those seeking to be so. His clients include TIME, Politico, AARP, Salesforce, and Audi. His work is in the permanent collection of the Library of Congress. He has an abiding love of bonsai trees, gardening, and going for nighttime runs.

His work can be found on his website. He writes about photography on Light Readings, and can be found on Instagram and Twitter._

#editorial #inspiration #longform #essay #first100days #joebiden #journalism #photoessay #photojournalism #politico #politics #stephenvoss #unitedstatespolitics

How to Try Deep Space Astrophotography Without Spending a Fortune

Are you a photographer who would love to give deep space imaging a try – but you’re not quite ready to spend thousands of dollars (or more) to build your own astrophotography rig? With remote astrophotography, you can create astonishing images without the high startup costs. You can learn how to capture and process images using high-end telescopes located all over the world.

Even if you have your own gear, remote technology can supplement what you already have. For example, you could improve your processing skills, capture images without light pollution, try out a variety of equipment options, or capture images from a different location or even hemisphere.

TelescopeGuide recently published a guide to getting started with remote astrophotography. It includes a summary of the best online service providers and a step-by-step walkthrough of how to use Insight Observatory’s remote telescope service. Be sure to check it out, or keep reading below for an introduction (adapted from TelescopeGuide’s original).

Why Consider Remote Astrophotography?

There is something uniquely satisfying about using your own equipment and software (plus some patience and skill) to capture a stunning image of a galaxy or nebula in deep space. However, as amazing as it feels to do astrophotography on your own, it's also a hobby that can get, well, expensive.

NGC 5194 (The Whirlpool Galaxy, a.k.a. Messier 51; Taken with Insight Observatory's ATEO-1 Remote Telescope; 20 Minutes Total Exposure Time

First, the best celestial images require a high-end apochromatic refractor telescope or a fine-tuned astrograph reflector with precision-built optics. Second, in addition to the telescope for astrophotography itself, you'll need a smooth computerized mount capable of being auto-guided with the help of a secondary guide scope. Third, you'll need a suitable camera and several other accessories -- for example, a dew control system, filters, reducers, field flatteners, correctors, et cetera.

Finally, you'll need a place to set up your equipment. While you can certainly do deep space imaging in your backyard, it takes time and effort each time you want to set everything up and you may need to contend with light pollution or sky conditions, which can make things more challenging.

Also, one last thing: Even if you have excellent gear and a great place for imaging, your particular combination of equipment, location, and hemisphere will always limit what you can capture.

So, regardless of your situation, adding a remote option to your toolkit can help expand the imaging choices available to you.

So, How Does It Work?

With remote astrophotography, you collect your image data using a telescope set up in a remote location.

Insight Observatory’s ATEO-1 Remote Telescope with Image of The Horsehead Nebula

An observatory, usually located in a dark-sky location (whether an official IDA site or just a remote location with a very dark sky), houses the rig. The observatory allows electronic control of its roof, so you can remove it anytime for operation without anyone physically onsite at the observatory.

Here is how it works:

• First, you submit an image request to the service provider, specifying your target and any other details required for capturing the image data.
• Next, the computer-controlled equipment collects the requested exposures and sends you a file containing the raw (unprocessed) image data.
• Finally, you use image processing software to “stack” and process your images to produce the final result.

A Great Way for Beginners to Experiment with Astrophotography

For beginners, remote astrophotography offers a great way to get started and learn some of the basics of imaging objects in deep space. You can focus your energy and initial learning on understanding the overall process, figuring out the optimal exposure settings, and converting the raw data into beautiful final images.

Sometimes people who are learning astrophotography spend a lot of time and money on equipment and capturing raw images, but they don’t spend as much time learning and perfecting the back-end of the process where the image “comes to life."

With remote astrophotography, you can learn the entire process before investing in equipment, or you can do a mixture -- use your own equipment while also experimenting with remote imaging so you can compare and optimize results.

But It’s Not Just for Beginners!

If you’re a more experienced astrophotographer, you can still take advantage of the benefits of remote astrophotography:

• Practice and refine your processing skills with a wider variety of targets, conditions, and equipment.
• Use higher-end equipment when you want to create an especially spectacular image.
• Capture images from a different location or hemisphere.
• If you’re crunched for time, take images without setting up the equipment.
• If you have poor local sky or weather conditions, you can take images any time by choosing a location with better conditions since you are no longer limited to imaging only when local conditions are good.

How Do You Get Started?

To learn more, check out TelescopeGuide’s guide to getting started with remote astrophotography, which includes the following:

• What are the best options for remote astrophotography? A summary of the top providers including Insight Observatory, iTelescope, Telescope Live, and more.
• Step-by-step guide: A walk-through using Insight Observatory's ATEO-1 online 16″ f/3.7 astrograph reflector for astrophotography.

Whether you’re a beginner looking to learn the end-to-end process of capturing celestial images, or an experienced pro looking to hone your skills, remote astrophotography offers a great way to take your photography to the next level and expand your imaging possibilities.

---

About the author: Brian Taylor is a technology professional by day, amateur astronomer by night, and writes at TelescopeGuide. He loves exploring the wonder and beauty of the universe—and (especially) sharing it with others. The above article was adapted from its original, published at TelescopeGuide.

#editorial #educational #tips #tutorials #astrophotography #briantaylor #galaxy #howto #insightobservatory #nebula #remote #remotephotography #space #spacephotography #telescopeguide

Éditorial de Dogmazic.net de juillet 2021

Bonjour et bienvenue dans cet édito de Dogmazic.net pour juillet 2021. Vous trouverez ici les sorties d'album du mois écoulé, les trésors exhumés de notre archive qui compte plus de 55 000 titres, et les nouvelles de notre forum. == Nouvelles publications sur[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #editorial #passion

Originally posted at: https://musique-libre.org/blog/2021/07/12/editorial-de-dogmazic-net-de-juillet-2021/

Rocketship-Like Light-Painting Drones Could Be the Future of Space Flight

A Rapid Ascent Drone, or RAD, is basically an electric rocket ship. For now, they can be used to make unusual drone light shows that can replace fireworks and provide unique light painting opportunities, but the creator of the concept believes they may be able to eventually replace rocket ships.

Rammaxx is a RAD manufacturer that built its concept by working with small, electric rapid ascent rockets for electronic fireworks shows. The company built its autonomous drones with the ability to work in "swarms" and create unusual visual spectacles thanks to their ability to ascend extremely quickly and stay at altitude long enough to play a light sequence before returning to base. Rammaxx says that the rapid ascent capability is achieved via powerful motors, a streamlined hull, and special guidance fins.

"Rammaxx can be configured to ascend quickly, and noisily, or to ascend more slowly and quietly," the company explains. "The system can work with one rocket, or with a small swarm of them, creating unique and highly -- via App -- configurable light displays for any occasion."

A Rammaxx RAD drone can recharge wirelessly on a dedicated launch pad that is connected to a bus system. Up to five launch pads can be connected together to create more complex aerial light displays.

The drones weigh a scant three ounces (90 grams) and can fly for one minute with full LED power that can project light at up to 3,000 lumens of brightness. While that might not seem very long, the drones can land and recharge in just 30 seconds before they are ready to fly again.

These rapid ascent drones can fly into the air at a blistering 80 miles per hour (150 kilometers per hour) in what Rammaxx calls "rapid and noisy ascent," but are also capable of doing so slower and more quietly.

These RADs are different than traditional drones in a number of ways. While they are battery-powered, Rammaxx's CEO and Co-Founder Dan Lubrich tells PetaPixel that, unlike other drones, these are optimized for vertical flight and the electric circuits in them are optimized for a short duration but very high power, rather than long duration and low power.

Beyond a typical aerial light display, the RADs can also allow for light painting if exposure is set for at least five seconds. The shapes can be programmed into the app the company says that it is working on showing how to do this in upcoming tutorial videos. But in short, Lubrich says a user can draw on the screen to show the pattern and that shape can be uploaded to the drone and it will fly that path accordingly.

"Once launched, the pilot is out of the loop, so they can focus on taking pictures, or just enjoying the show. We are working on putting together a more detailed video that focuses more on the light show aspect of the system," Lubrich says.

Lubrich has greater ambitions for its technology beyond light shows and tells PetaPixel that he believes RAD technology can assist in space exploration.

He says that the large size of a first-stage rocket is the main reason that space flight is so expensive, dangerous, and environmentally unfriendly. To address this, the Rammaxx RAD concept is a large powerful drone based on the design of the current light painting RADs. Early projections show that it should be able to accelerate with a rocket to around 300 miles per hour (500 kilometers per hour) up to an altitude of around 15,000 feet (5,000 meters).

"The important aspect for space flight isn't so much the altitude gained -- although that also helps a little bit -- but rather the speed gained during the ascent," he explains. "So, much less rocket fuel is needed to get off the ground and up to a few hundred miles per hour. That allows for smaller, cheaper, safer, and cleaner space rockets."

"When flying as a swarm with a rocket in tow, we envision the drones to act as one super drone, rather than a true swarm, meaning the flight controllers of the drones link together creating one large drone with many rotors out of lots of small ones," Lubrich says. "This is so that the flight is 100 percent precise."

3D model of a full-size Rammaxx rocketship drone.

If the drones were independent, even if they were connected to each other via the rocket, there could be small differences in the way that they fly, which could create problems due to them being physically connected, Lubrich explains. Instead, there would be one designated master drone in the swarm that would -- when all of them are linked together -- control all the drones and turn the swarm into one large super drone, all controlled by the same master flight controller.

"Once the rocket has launched and the physical link between drones is broken, the software link is broken too and the rapid ascent drones independently descend back to the launch pad, staying out of each other's way as they do so," Lubrich says.

Lubrich and Rammaxx envision a future where these RADs would allow for much smaller ground to space rockets where the current first stage of space flight could be nearly completely eliminated. The space flight-enabled RADs would feature eight rotors with 300 horsepower each for a total of a 2,400 horsepower drone that is capable of carrying 13,000 pounds of payload 15,000 feet in 90 seconds. The RAD's four-minute battery life would give it plenty of time to safely return to Earth afterward.

Ramaxx has already completed a few small-scale tests of the concept as seen in the photos below.

What is now just a neat way to provide a firework alternative and a different light painting experience could be a revolutionary shift in how humans approach space flight. Thanks to successful small-scale tests, Lubrich believes it is only a matter of time.

---

_Image credits: All photos courtesy of Rammaxx and used with permission. _

#editorial #equipment #news #technology #batterypowered #drones #lightpainting #rad #rapidascent #rapidascentdrone #rocketships #space #spaceflight #unique #uniquedesign #verticalflight

Examining Social Media’s Impact on Landscape and Nature Photography

As a landscape and nature photographer with a Master’s Degree in Clinical Psychology, I often enjoy trying to blend the two disciplines to better understand the human experience as it relates to photography. One subject that particularly intrigues me is the impact of social media on photography and photographers.

My journey as a photographer began in 2008 just before the explosion of social media. This was the heyday of forums, blogs, and magazines; if you wanted to find great photography, you had to search for it.

Today, it’s everywhere. Photographers are faced with a problem: How do we stand out? One solution it seems can be found in post-processing. Many photographers chose to push their images to greater and greater extremes vying for the increasingly limited attention of their audiences.

Read more: When is Photography No Longer Photography?

What we have seen unfold in the past 10 years has been extraordinary. Photographs that were once lauded are now largely ignored by the masses in favor of digitally created spectacle. Realistic photographs of natural phenomena, incredible moments in time, or those representing exceptional experiences witnessed by the photographer, suddenly seem mundane.

Change Through Social Media

So how did we get here? In my opinion, this all began with the website 500px, which emerged in 2012. 500px, for those that are unfamiliar, possessed an algorithm they called “Pulse” which measured the popularity of the photograph based on likes, comments, views, and other metrics which then acted as a vehicle by which the photograph would make it onto their “Popular” page or even be selected as “Editor’s Choice.”

The images that were garnering the attention of the algorithm often possessed extraordinary qualities: splashy post-processing, composite elements, and saturated colors, all tied together in a near-perfect fantasy-like style. Photographers who had mastered various techniques in Photoshop such as compositing, warping, and sky-swapping were heavily rewarded with views, likes, and more attention on the platform. Indeed, groups of photographers quickly learned how the algorithm was tailored and banded together in social groups to game the algorithm and maximize the likelihood of making it onto the popular page. This solidified these images as representing the Zeitgeist of landscape photography.

It was obvious for any photographer paying attention that if you wanted to shoot to stardom between 2012 and 2016, your photographs needed to possess this dreamy, fantastical look.

Indeed, images became increasingly perfect by the day, with each group of photographs making it onto the popular page requiring more and more manipulation in the digital darkroom to attract attention. A post-processing arms race began and those photographers that presented nature as they actually experienced it were left behind. Extreme digital manipulation became the norm.

I, too, got swept up in this movement and began compositing images in the hopes they would get noticed. As Facebook, and later Instagram, arrived on the scene, so the trend accelerated. Monster moons, dropped in skies, auroras and Milky Ways, stretched mountains, composites of vastly different focal lengths, painted light rays -everything aimed at creating a perfect final product of nature that never has and never will exist.

On the positive side, these approaches have opened new avenues for artistic expression. It can even be argued that a new photographic genre has been created, valid in its own right. Many of the innovative post-processing techniques that have been developed in pursuing these extremes have become useful to photographers with more understated styles often helping them to present reality in an even more natural way. As a community, we’ve also developed a different understanding of light and color, and the qualities of a scene that transform it into the sublime. Like any disruptive artistic movement, a lot has been gained.

But if there are "losers," then they are those talented photographers who find nature to be sufficient without significant embellishment. Creating work primarily for yourself should be the goal of any artist, but for those working professionally, there is a stark reality that they must court popularity in order to survive -- or even enter the profession in the first place! When the viewer can’t distinguish between experiential scenes and digital fantasies, the latter will always become more popular. It’s a difficult conundrum to solve -- should they try to keep up or just accept their new normal and the potential downsides that come with it?

Why We Post on Social Media

What motivates photographers to post on social media to begin with? In a recent Medium article titled The Psychology of Social Sharing, the authors examined the psychological incentives for sharing content:

1. Physiological needs: Sometimes we post to benefit the health or well-being of our friends and family.
2. Safety: Physical, mental, and financial security are important for people when they choose to post some material on their social media. This certainly makes sense - photographers operating as business people have a vested interest in maximizing their income.
3. Love & belonging: Users generally want to post to feel some kind of social acceptance from a group or a particular individual. I have found this particularly true of photographers who want to be accepted by their peers.
4. Esteem: People want to satisfy the rewards-oriented parts of their brains, which helps explain why some people post “me-centric” content regularly.
5. Self-actualization: This aspect of social media posting manifests when people share their successes -- selling a print, winning a photography competition, or completing a book, to name a few examples.

By examining these psychological incentives, one can begin to understand why landscape and nature photography has been pushed to such digitally-manipulated extremes: because in order to gain these benefits wholly and consistently, a photographer looking to gain the same benefits from social media is forced to edit their photographs in a way that garners the most attention.

To garner positive feedback, photographs must rise to popularity, which requires the photograph to compete with “best” at any given moment. One way to guarantee this is to make the “photograph” perfect in every possible way for the broadest possible audience. This is why we commonly see focal length blended foregrounds with stretched mountains combined with drone perspectives, all in one “photo.” The more extreme the better!

More directly, the quest for likes or follows on social media heavily influences why people post and why they create the “artwork” they do. The positive attention some users receive for posting inspires more and more social sharing in many users.

The Lure of Popularity

So why do we chase popularity as photographers? It is only natural to want people to like our artwork. The human brain is wired for it and social media is the powderkeg. Social media affects brain functions in unique ways - it contains combinations of stimuli that can trigger different reactions, and because of this, social media has numerous consequential effects on the brain.

Positive attention online has an acute effect on the brain. According to an article in Social Cognitive and Affective Neuroscience, accruing likes on Facebook, Twitter, or Instagram causes “activation in brain circuitry implicated in reward.” When social media users receive positive feedback (likes and comments), their brains fire off dopamine receptors, which are the same neurochemical receptors involved with sexual pleasure, enjoying a good meal, or using cocaine. Additionally, where researchers used MRIs to look at the brains of adolescents using Instagram, “viewing photos with many (compared with few) likes is associated with greater activity in neural regions implicated in reward processing, social cognition, imitation, and attention.” ( Psychological Science)

Social exclusion also plays a role. When we share our photographs online and they don’t receive the same amount of praise as others, we can feel excluded. A study observing brain activity published in Nature Communications found that parts of the brain that deal with emotional and sensory processing had a significant negative reaction to a sense of exclusion on social media.To avoid these experiences, some photographers conform to popular trends in order to avoid the negative emotions associated with exclusion.

None of this should come as a surprise. Social media companies have been clued into human psychology from the outset. Understanding and manipulating online viewers is a key means of business growth. Social media channels have even harnessed the psychology of gambling to increase our screen time through the addictive effects of variable rewards. Essentially, the fact that our photos are not rewarded with likes in a consistent way makes us even more prone to spend time on these sites. Well-established research has shown that rewards for behavior that are varied and random have a much more powerful influence on repeating said behavior. The purest example of this can be found in slot machines in casinos.

What’s Next?

What are we to do if we value both styles of landscape and nature photography (extremely digitally manipulated vs. more natural / representative of reality)? I believe there is room for both styles to exist simultaneously without the constant back and forth beating of the dead horse we constantly find ourselves engaging in.

First of all, we need to make some attempts to identify and separate these two approaches, though this will have to be done sensitively. Photographers preferring the truth-to-nature approach risk coming across as elitist if, for example, they start suggesting that their work is real, unlike those who “fake” their work.

Similarly, many photographers who prefer total freedom to manipulate a scene will be resistant to labeling their work as composites, or admitting that a scene never existed. The best we can hope for at this stage is increased openness from both "sides" and respect for their differing approaches.

Secondly, we need platforms, social circles, groups, and competitions that promote more understated photography for what it is so that this work isn’t totally drowned out by other, more hyper-realistic work. Not only would this help to level the playing field for current photographers, but it would also encourage new photographers to consider both approaches, not just the approach that garners the most attention.

With that in mind I, and three other photographers, have created a competition, the Natural Landscape Photography Awards, which will recognize, reward and promote the more natural eyewitness style. This entire article will now of course come across as an advertisement for our competition; however, this competition is born out of love and passion for this style of photography. It is our hope that the competition will be aspirational to those choosing to work in this way, but also for those new to landscape photography. We also hope to create an outstanding collection of work representing the best the landscape photography community has to offer through our panel of experienced judges. It’s not quite the seismic change that social media brought about, but it’s a small step in the right direction.

---

The opinions expressed in this article are solely those of the author.

---

_About the author: Matt Payne is a landscape photographer living in Durango, Colorado, USA. Much of his photography has focused on his life-long goal to climb the one-hundred highest mountains in Colorado which he completed in 2017. Matt is a co-founder of the Nature First Photography Alliance.

Matt hosts a weekly podcast dedicated to landscape photography called F-Stop Collaborate and Listen, where he has meaningful conversations with other landscape photographers all over the world._

#editorial #opinion #fineartlandscapephotography #landscape #landscapephotography #mattpayne #nature #naturephotography #oped

Éditorial de Dogmazic.net de juin 2021

Bonjour et bienvenue dans cet édito de Dogmazic.net pour juin 2021. Vous trouverez ici les sorties d'album du mois écoulé, les trésors exhumés de notre archive qui compte plus de 55 000 titres, et les nouvelles de notre forum. == Nouvelles publications[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #editorial #musique #passion

Originally posted at: https://musique-libre.org/blog/2021/06/14/editorial-de-dogmazic-net-de-juin-2021/

How One Man Used Photography to Give Back to His Navajo Community

Photographer Mylo Fowler was raised in a small home on the Navajo Reservation of Northern Arizona. In the latest film from director Chris Burkard, Fowler describes his upbringing as "growing up in a 600 square foot home with a 30 square mile backyard."

That backyard was what Fowler and his family valued. The "pile of red dirt" is what they relied on for food, warmth, and security. Fowler spent his childhood learning how to track rabbits and bonding with his horses, of which he had three of before pre-school.

As a child, Fowler did not know what he wanted to be when he reached adulthood. But whatever it was, he never envisioned it would take him away from the home and the land that he loved. That would all change, however, when a spiritual leader in Fowler's life told him that the greatest impact he would have in his community would happen after he moved off of the Navajo Reservation.

While he didn't know what to make of the spiritual leader's words, after a long period of thought, Fowler left the reservation and began his photography journey. He quickly realized he wasn't using his newfound photography skills in a way that lived up to the advice the spiritual leader had given him.

That all changed on August 5, 2015. The most valuable water sources in the Navajo Nation became toxic after the Environmental Protection Agency accidentally spilled three million gallons of mine wastewater into the San Juan and Colorado Rivers. The disaster had dire consequences on many communities, especially the Navajo Nation.

Fowler immediately had the idea to start selling prints of his photography for low prices, with all proceeds being used to buy drinking water for Navajo families. When all was said and done, Fowler had delivered seven semi-trailers filled with water for those in need. This experience changed the young photographer's perspective on what was important to him and what he wanted to use his photography skills for. It also proved that the spiritual leader's vision was correct after all when he said that Fowler's biggest impact on his community would come once he left.

"I think the film and Mylo’s story goes to show that photography can be used as a tool for good," Burkard tells PetaPixel. "I have struggled with the meaning of photography over the years as I have worked on commercial shoots. Sometimes, it feels like the meaning just isn’t there and Mylo’s path shows how someone can use their photography in a meaningful way. It also shows that you don’t necessarily need to do anything huge or life-altering. Just the simple act of selling some of his prints had such a profound effect on Mylo’s community and little things like this are something everyone with a camera is capable of doing."

"It was such an honor to tell Mylo’s story," Burkard describes to PetaPixel what attracted him to Fowler and his work. "I found his work many years ago online and immediately knew we had to work together at some point. His deeply personal storytelling and imagery of the Southwest grabbed my attention from the start. I’ve always loved the Southwest, traveling and shooting there often. I think it’s one of the most beautiful parts of our country with such a unique and important history. I’ve wanted to create a piece about the Southwest and the culture behind it for a long time and I felt like Mylo’s story was the best way to do this."

Being one of the world's most recognizable travel and adventure photographers, Burkard has had his work published in seemingly every publication across the globe, including National Geographic. In recent years, however, Burkard has begun to focus on directing short films that tell meaningful stories of adventure, friendship, and community. His film Under an Arctic Sky was a big hit on Netflix and the success has inspired Burkard to continue to tell his stories through motion pictures.

"I think moving towards short films has just been a natural progression in my career," Burkard says. "For me, it has always been about telling stories, regardless of the medium. After many years of shooting photos I began to realize that you could tell deeper and more intimate stories through short films and since then have continued to work on them. Both are powerful mediums and I think you can tell good stories through either one, but I think with short films you just can go a little bit deeper and create a more cohesive storyline that isn't possible through still photographs."

For those who wish to follow in Burkard's footsteps by incorporating motion pictures into their visual story-telling, he shares some knowledge that he has learned throughout his journey.

"My biggest piece of advice is just to find a story worth telling. That’s really what it’s all about. I wouldn’t stress over the camera gear or the editing or anything like that until you have nailed down a story that’s worth telling and have decided how you want to tell it. Good-looking visuals are nice, but the root of any good film is the story. Focus on telling an interesting story, and the rest will come with it."

With MYLO, Burkard continues his tradition of creating engaging stories that his fans love. Whether it's with his photos or his films, Burkard shows that the world is full of beauty and interesting stories, as long as you make an effort to find them.

---

_Image Credits: Photos by Mylo Fowler and Chris Burkard and used with permission. _

#editorial #industry #inspiration #travel #chrisburkard #documentary #film #mylofowler #navajo #navajonation #socialgood #sony #sonyalpha

Éditorial de Dogmazic.net de mai 2021

BONJOUR ET BIENVENUE DANS CET ÉDITO DE DOGMAZIC.NET POUR mai 2021. VOUS TROUVEREZ ICI LES SORTIES D'ALBUM DU MOIS ÉCOULÉ, LES TRÉSORS EXHUMÉS DE NOTRE ARCHIVE QUI COMPTE PLUS DE 55 000 TITRES, ET LES NOUVELLES DE NOTRE FORUM. == Nouvelles publications[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #editorial #passion

Originally posted at: https://musique-libre.org/blog/2021/05/11/editorial-de-dogmazic-net-de-mai-2021/

Éditorial de Dogmazic.net de janvier 2021

Bonjour et bienvenue dans cet édito de Dogmazic.net pour janvier 2021. Vous trouverez ici les sorties d'album du mois écoulé, les trésors exhumés de notre archive qui compte plus de 55 000 titres, et les nouvelles de notre forum. == Nouvelles publications[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #editorial

Originally posted at: https://musique-libre.org/blog/2021/02/14/editorial-de-dogmazic-net-de-janvier-2021/

ÉDITO MUSICAL DE DOGMAZIC – JANVIER 2021

Bonjour et bienvenue dans cet édito de Dogmazic.net pour janvier 2021. Vous trouverez ici les sorties d'album du mois écoulé, les trésors exhumés de notre archive qui compte plus de 55 000 titres, et les nouvelles de notre forum. == Nouvelles publications[...]

#dogmazic #musiquelibre #musique-libre #ccmusic #freemusic #free-music #licenceslibres #licences-libres #chroniques #editorial #janvier #nouveautes

Originally posted at: https://musique-libre.org/blog/2021/01/11/edito-musical-de-dogmazic-janvier-2021/