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Photographer Detained for Not Practising ‘Real Journalism’
Kamran Yousuf, a freelance photojournalist in Kashmir, was apprehended in early September 2017, for his alleged involvement with incidents involving stone pelting. On January 18, 2018, he was formally charged with ‘criminal conspiracy’, ‘waging war against the government of India’, committing ‘unlawful activities’ and being a ‘member of a terrorist organisation’. He has been incarcerated since then. The National Investigative Agency, does not have any strong evidence against him, so far, but the chargesheet presented by them in the New Delhi court states that Yousuf is not a ‘real journalist’. Drawing from the ethics of photojournalism, the NIA said that a ‘real journalist’ should cover the government’s development activities such as inaugurations, statement of political party, an iftar party during Ramzan, and skill development programmes for unemployed youth, which is the ‘moral duty’ of a journalist. The NIA scanned through his devices, and they stated.... “Kamran Yusuf had hardly taken any video of such an activity, or any video or image of any such activity can rarely be seen on his laptop or mobile that clearly shows his intentions to only cover activities that are anti-national and earn money against such footages.” Yousuf dropped out of college in 2014, and began working for publications like Greater Kashmir, and Kashmir Uzma, where Photograph of Kamran Yousuf via Facebook he photographed the turmoil of the region.
HIPA Announces the Winners of 2018 Competition
The Hamdan International Photography Award (HIPA) has concluded its seventh season of competition ‘The Moment’. The award ceremony was held at Dubai Opera on March 12. The grand prize winner of the competition is Mohamed Alragheb’s picture of Spring in Aleppo, Syria. Winner of the Time-lapse video category is Beno Saradzic for Elysium, Slovenia. The Portfolio category winner is Paul Nicklen for A Harsh Melt, Canada. The General Category has been subdivided into two parts: Black and White, and Color. The winner of the Black and White category is Mahdi Pourebadi for capturing Duelling with Nature, Iran; and the winner of the Colour category is Zuhe Ding’s image of The Dream Express, China. Furthermore, photojournalist James Nachtwey received the Photography Appreciation Award, fellow photographer and environmental activist James Balog was presented with the Photography Content Creator Award, and photographer Muhammed Muheisen received the Emerging Person in Photography Award. HIPA has also revealed the theme for its eighth season–Hope.
Canon Reveals New Entry-Level DSLRs
Canon has introduced three new cameras in its popular line of entry-level DSLRs-Canon EOS M50, Canon EOS 1500D, and Canon EOS 3000D. The Canon EOS M50 is a mirrorless camera, and the first in the company’s M-series to provide 4K video at 24p. It has a 24MP APS-C sensor, and a DIGIC 8 processor. It features an in-built 2.36M dot OLED electronic viewfinder, a 3-inch touchscreen, and dual pixel autofocus. The camera has an ISO range of 100-25600, which can be expanded to 51,200. It can also record 1080 HD video at 120p, and supports MPEG-4 and H.264 formats. The Canon EOS M50 uses the new CR3 Raw format. It shoot up to 10 fps, and 7.4fps in C-AF. The Canon EOS 1500D features a 24MP APS-C-size sensor, whereas Canon EOS 3000D has an 18MP APS-C sensor. Both the cameras feature an optical viewfinder, DIGIC 4+ image processors, and an ISO range of 100-6400, which can be expanded to 12,800. Canon 2000D and 4000D have a 9-point AF system with a cross-type sensor, and can record full HD videos at 30p or 24p. They also offer 3p fps burst shooting. However, both cameras feature different sizes of LCD. The Canon 1500D has a 3-inch LCD, and the Canon 3000D sports a 2.7-inch LCD.
1 + 1 = 1 Million – Vito Schnabel Gallery, St. Moritz
From February 15 to March 11, 2018, Vito Schnabel Gallery presented 1 + 1 = 1 Million, an exhibition curated by artist Tom Sachs to spotlight American conceptual artist Sol LeWitt’s significant works. Through a largescale wall drawing from 1978 and 19 luminous framed works on paper beginning from the 1970s, Sachs drew visitors into LeWitt’s careerlong exploration of authorship and the means by which it can be defined. The exhibition focused on three of the thirty-five statements from LeWitt’s 1969 Sentences on Conceptual Art, highlighting the ineffably poetic outcome of pursuing these ideas to their logical extreme.