Latest news with #Photographer
Yahoo
6 days ago
- Business
- Yahoo
VSCO's iPhone camera app is now available globally
Photo editing and sharing app VSCO is making its iOS camera app, Capture, available across the world, following a limited launch in June, when the app could be downloaded only in Ireland, Australia, and New Zealand. VSCO also said it is acquiring The Freelance Photographer, which provides a mix of online and offline workshops for studying photography and videography. 'There's a clear gap in the market for business education and industry-specific guidance for emerging photography professionals who are looking to secure sustainable client relationships. The Freelance Photographer serves as a long-term career partner to creatives, offering a comprehensive education, a supportive community, as well as the tools and insight they need to turn their craft into a career,' Eric Wittman, CEO of VSCO, said in a statement. VSCO's first new app in more than a decade, Capture focuses on taking pictures with a set aesthetic. The app has more than 50 presets for images along with some real-time effects. It offers manual control over camera functions like shutter speed and exposure, and can take pictures in RAW and ProRAW formats. The app also lets users sync all photos with VSCO's cloud through the VSCO app, which means you can't directly upload photos from the Capture app. The Freelance Photographer offers various courses, starting from $208 per month for the basic coaching plan, and a $625 per month that gives subscribers access to over 50 tools, several courses, and personal mentoring from the company's founder, Paul Weaver. The acquisition fits neatly into VSCO's aim of catering more to professional photographers. Last year, the company launched VSCO Hub, to enable brands to discover photographers for different projects, and VSCO Sites, which lets photographers create web pages to show off their work. In May, the company launched VSCO Canvas, a collaborative whiteboard product that lets users create moodboards for different projects. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
ABC News
24-07-2025
- Automotive
- ABC News
Humpback tail
Photo shows Water bubbles as a car passes in the background during flooding from a king tide in early 2024.
Al Jazeera
08-07-2025
- Al Jazeera
To Die for Palestine
A French nurse and an Italian photographer devote their lives to the Palestinian cause but make the ultimate sacrifice. This is a story about two Europeans who devoted their lives to the Palestinian cause and paid the ultimate price. Francoise Kesteman was a French nurse who worked in Palestinian refugee camps in Lebanon in the late 1970s and early 80s. She was a communist and saw the displacement of millions of Palestinians as a fundamental injustice that needed to be addressed. She joined armed Palestinian groups resisting the Israeli occupation. Franco Fontana was an Italian photographer who cofounded a Marxist-Leninist political group in the 1970s and organised exhibitions to raise awareness of the Palestinian cause. As a photojournalist, he visited Palestine and Lebanon, where he also joined groups fighting to liberate Palestine. Kesteman was killed in 1984 in a paramilitary operation in Lebanon. Fontana fell ill in 2015 and chose to return to a Palestinian refugee camp in Lebanon, where he died and was buried, as was his dying wish.
The Hindu
20-06-2025
- Entertainment
- The Hindu
When the silver screen gives space to tribal land struggles
In Khalid Rahman's Unda (2019), a police officer from Kerala, played by Mammootty, who is given the responsibility of leading a team of officers to ensure that elections are conducted smoothly in Maoist-hit areas of Chhattisgarh, says to a tribal boy, 'This is your land, do not die'. Kerala has a strong, eventful, and often forgotten history of land struggles by tribal societies. While often sidelined, these struggles occasionally get its hands bloody (or find itself bleeding) and land a blow on the conscience of mainstream society, becoming the topic of intellectual discussions for a while, after which they again move to the shadows. However, once in a while, the Malayalam movie industry takes note of these events with either subtle nods inside a story or by creating an entire movie around such events. Three movies, different perspectives While Ranjan Pramod's Photographer (2006), K.M. Kamal's Pada (2022) and the recently released Narivetta by Anuraj Manohar effectively do only what the events themselves did — that is, nudge these issues into discourse for a short while — by etching them permanently in film however makes sure that the struggles of some of the most exploited communities are not forgotten. All three of the movies mentioned above are centred on or framed against the backdrop of the struggle of tribal communities in Kerala for autonomy over their own land, and how the State responded. In Narivetta, which is based on the true events surrounding the Muthanga protests and subsequent police shootings and brutalities, theprotagonist finds himself being a complicit part of the state machinery that is working to put out a peaceful protest by tribals for land that was promised to them. In Photographer, starring Mohanlal, the protagonist encounters a tribal boy facing police violence in a forest area. This was also based on the Muthanga incident detailed in Narivetta. In Pada, the makers revisit the actions of the 'Ayyankali Pada' — the youth organisation of the Kerala Communist Party formed under Maoist ideologies by former members of a Marxist-Leninist organisation that was dissolved in 1991. Pada shows how four members of the Ayyankali Pada held the collector of the Palakkad district hostage in response to amendments made to the Kerala Scheduled Tribes (Restriction on Transfer of Lands and Restoration of Alienated Lands) (KST) Act, 1975, in 1996. The KST Act deemed all tribal lands in the possession of non-tribal people through sale, lease, mortgage or by force after 1960 illegal, giving way for tribal people to take back their land. But it was never implemented in the way it was envisioned. In 1993, the Kerala High Court ordered the State government to implement the Act within six months, but that too went unfulfilled with the State asking for continuous extensions. And finally in 1996, the the Left-led government under E.K. Nayanar passed an amendment making transactions of tribal land made till 1986 legal. While Pada is an immediate response to the amendment, events of Narivetta take place after years of unfulfilled promises regarding the question of tribal land. While it can be criticised that the movie took the spotlight away from the struggling tribal people and gave it to the protagonist (highlighting his 'saviour complex'), it manages to disturb the blissful existence of the comfort class, much like Vetri Maaran with his Visaaranai and Viduthalai. Lesser-valued lives While it is commendable that movie makers choose to portray such events and bring them back to public discourse, there is a line that distinguishes genuine representation from mere tools for character building. Arousing sympathy in the audience for the downtrodden can easily slip away into re-establishing class politics. What Narivetta fails to do is break away from the idea of the need for a saviour to help bring up the downtrodden. It is necessary here to note another police movie that came out in Malayalam, a slow burner, that can describe the Muthanga incident in an even powerful way than Sikshayum (2022) by Rajeev Ravi is a simple tale of a group of policemen going out of their home turf in search of the accused who got away with a jewellery store heist. But the lead actor played by Asif Ali is plagued by his past, a montage that the movie opens with, where he shoots down a protester from an advancing group in a forest area. While the movie contains the disclaimer that the events are fictional, the protest can be compared to the Muthanga incident. But what Kuttavum Sikhshayum does is wrap up the whole conflict in a monologue before entering the climax, where the police officer opines how the killing, from the bullet that he fired, has vanished now, with no evidence and no one held responsible. The character played by Alencier, a subordinate to the protagonist, listens silently as the protagonist describes how protesters pelting stones forced the then-young officer to shoot, and how his aim went at the protester's chest rather than his legs, how higher officials saved him from any serious actions save enforced leave and how he is still tormented by the act. Alencier then breaks the fourth wall and stares at the audience for a split second, maybe to remind them of the killing, asking them how it got swept under the rug. Near the end of the movie, the protagonist once again, with a gun in his hand, comes face to face with a person who could pose harm to him. But the police officer does not shoot. Struggle for property has been a part of human life ever since nomadic hunter gatherers decided to settle down and cultivate the land around them. And for tribal people, who co-exist with 'modern' society, this struggle is not just for stability, but for existence. And cinema has its own way of reminding society of these struggles.
Time of India
02-06-2025
- Entertainment
- Time of India
Happydent unveils sparkling storytelling highlighting the power of a smile
HighlightsHappydent, the chewing gum brand from Perfetti Van Melle India, has launched a new ad campaign titled 'Chamking Gum: Chamka Muskaan, Jagmag Jahaan', which emphasises the power of a radiant smile to inspire imagination and social responsibility. The campaign, conceptualised by McCann Worldgroup India, features creative leader Prasoon Joshi, who wrote the lyrics and provided the voice for the background song, enhancing the film's emotional and cultural resonance with modern audiences. Nikhil Sharma, Managing Director of Perfetti Van Melle India, highlighted the brand's commitment to cultural and emotional relevance, while Gunjan Khetan, Marketing Director, emphasized that the campaign reflects the spirit of imagination and purpose central to the brand's identity. Happydent , India's chewing gum brands from the house of Perfetti Van Melle India , has launched a new ad film that takes a playful yet purposeful turn. The new campaign ' Chamking Gum: Chamka Muskaan, Jagmag Jahaan ', rekindles the brand's legendary storytelling with a fresh, cinematic lens—celebrating the magic of a radiant smile and its power to inspire imagination, drawing viewers into a visually rich narrative world. Conceptualised by McCann Worldgroup India , the campaign is led by creative leader Prasoon Joshi , who has written the lyrics for the background song and lent his unique voice to it, set to the music of Bollywood's music maestro, Shantanu Moitra. The campaign is thoughtfully crafted to resonate with a new generation of consumers who value authenticity, playfulness, and purpose. At the heart of the film is a storyline revolving around a group of performers who, with the help of visual-red paint and bright smiles, highlight the improper conduct of needlessly littering their surroundings. It is an imaginative yet insightful reminder that small acts of brightness can spark larger societal change. Rooted in cultural insights and everyday behavior, the film blends relatability, warmth, and a subtle message to highlight how simple gestures can inspire collective responsibility. With rich, high-impact visuals, the campaign pays homage to Happydent's iconic legacy—including memorable classics like the Palace and Photographer ads while evolving its storytelling for today's world. Commenting on the launch, Nikhil Sharma, managing director, Perfetti Van Melle India, shared, 'At Perfetti Van Melle India, our goal has always been to build brands that resonate culturally and emotionally while delivering business impact. Happydent perfectly embodies this vision. ' Chamka Muskaan, Jagmag Jahaan ' reflects our strategic intent to stay relevant with modern consumers while staying true to the brand's core. Our enduring partnership with McCann Worldgroup continues to deliver creative excellence that is both distinctive and meaningful.' Gunjan Khetan, marketing director, Perfetti Van Melle India, added, 'Happydent has always believed in the power of imaginative storytelling—narratives that don't just entertain, but connect. This campaign celebrates the sparkling smile as a symbol of imagination, expression and meaning. ' Chamka Muskaan, Jagmag Jahaan ' isn't just a tagline—it's the spirit of the brand and the times we live in. As we engage with Gen Z and modern audiences, we're proud to create stories that reflect purpose and emotional resonance with visual brilliance.' Prasoon Joshi - chief creative officer and chief executive officer McCann Worldgroup India said, 'Writing for Happydent has always been close to my heart. But this project would not have been possible without the unwavering trust and collaborative spirit of the Perfetti team. Special acknowledgment goes to Nikhil and his belief in bold ideas. Along with Gunjan who gave us the creative freedom we needed to soar. They have kept the legacy of visionaries like Sameer Suneja who redefined Perfetti's advertising . The day I met Vinil for this project I knew he would be the right person to give life to this idea and script. He has an exceptional eye for craft and storytelling, and it shines through in every frame.' The new Happydent commercial is a film that isn't just another commercial—it's a reminder of what advertising can be when it dares to dream, laugh and feel, the company stated in a press release. Watch the video here:
