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#2020 photography challenge
viper-motorsports · 1 year
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The N°7 Bentley Continental GT3 Evo accelerates down the Mountain Straight after clocking another leading lap around the 2020 Bathurst 12 Hour to secure Bentley Team M-Sport’s victory at this Australian circuit.
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olyfilmgirl · 1 year
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Another from the ongoing 10-day photo challenge on Facebook.
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ateez-himari · 10 months
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'HIMARI' PROFILE
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... BASICS
Stage Name: Himari (히마리) Birth Name: Min Himari (민 히마리) Korean Name: Min Ha-Yun (민 하윤) Nicknames: Sunshine, KQ's Princess, The Siren, Korea's Angel, White Swan, The Holy Maknae, Hima, Hime, God's Touch, Hand of Midas (w/Yoongi)
Representative Animal: Tiger 🐯 MBTI Type: INFP Position(s): Lead vocalist, Sub-rapper, Producer, Maknae
Date of Birth : November 23, 2001 Birth Place: Kurashiki, Okayama Prefecture, Japan Association: Yeoheung Min Clan Family: Min Won-Shik (father, 1967-2012), Endo Asuka (mother, 1970-2012), Min Hanzo (older brother), Adoptive Mother, Adoptive Father, Min Geum-Jae (adoptive older brother), Min Yoongi (Adoptive older brother)
Blood Type: O Height: 157cm (5'2")
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... CAREER
・As of February 2024, Himari has 165 KOMCA credits
・Was the first 4th generation artist promoted to a full Korea Music Copyright Association (KOMCA) membership in 2022
・Joined JYPE in late 2014 to be part of girl group Twice but was deemed too young to debut after 10 months of training
・Was the first trainee to join Hongjoong at KQ Entertainment and the last to join ATEEZ - following survival show 'Last of 10' (the group was originally going to have ten members but Lee Junyoung didn't debut)
・Became a producer during 'TREASURE EP.1: All to Zero' with credits on 'Stay', 'Twilight', 'Treasure' and 'My Way'
・Officially a part of ATEEZ's 'Demon Line' alongside Hongjoong, Seonghwa and San
・Made a special appearance on the 6th episode of MNet's show 'Good Girl', aired June 18 2020, to perform a cover of Dreamcatcher's 'Red Sun' against the cast.
・Made her acting debut in the K-Drama 'Hellbound' where she played the role of Jin Hee-Jeong. She then obtained the lead role in 'Where We Fall' alongside Yunho in September of 2023.
・She sang the OST 'Suzume' for the animated movie 'Suzume no Tojimari', 'Long Black Night' for K-Drama 'The Glory', 'Rewrite Me' for 'Where We Fall' and 'Blue' for 'The Killing Vote'
・Her fans are called 'Hirangies' which is a play on her representative animal called '호랑이' in Korean as well as her own name and '사랑' which means love.
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... INTERESTS
・Her hobbies are traditional ink painting as well as photography and she enjoys leaning how to reform clothes from Hongjoong.
・Loves Studio Ghibli movies, her favorite being Grave of the Fireflies, and K-Dramas, her favorites being Death's Game, The Glory & My Name.
・Aside from the many groups whose fandoms she is a part of, there are quite a few soloists she tends to fangirl over, those being: Gemini, Penomeco, DPR Live, Han Seung Woo, Woodz, pH-1 and Zico. During her room tour in a recent live several albums of B.A.P could be seen resting on a shelf and she admitted to being a BABY whose bias is rapper/leader & soloist Bang Yongguk, whose albums were also spotted in her room. She calls herself a lucky fangirl as she has filmed the 'Bouncy' challenge with him as well as Woodz and Penomeco.
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... HEALTH
・Was diagnosed with anxiety around 6 months following the group's debut, then a major depressive episode in the beginning of 2021.
・Had a large fear of being left alone while the members went somewhere else due to what happened to her parents - a lethal collision with a drunk driver.
・Has stress induced nightmares, though not as frequent as earlier in her career.
・Fractured her left ribs during a rehearsal for the first stage of 'Kingdom: Legendary War' in February of 2021, then again during the shooting of the 'Guerilla' music video in 2022.
・Since contracting COVID during the quarantine period she has had breathing problems which have permanently weakened her cardio and cause frequent needs for an oxygen mask especially when fatigued. The condition still remains unknown.
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... MISCELLANEOUS
・Her favorite color is white because she feels like it is elegant, which is why she chose it as her microphone color.
・Her birth name means 'Sun' and her Korean name means 'Beautiful Summer' , chosen because the sun symbolizes hope
・The youngest of her brothers, Hanzo, is the National South Korean Soccer Team's captain and currently contracted with the PSG after leaving the Jeonbuk Hyundai Motors at the end of 2023
・When speaking quickly or passionately about something she tends to slip back into satoori (Daegu dialect)
・A palm reader stated that it was both her and Seonghwa's first life, which is why they approach things with such excitement.
・She can play the Koto (Japanese stringed instrument).
・The members tend to refer to her as '우리 Hime' which means 'Our Princess' using the Japanese word for the title and is also a play on words with Himari's shortened name.
・While other members claim that Halazia has one of the easiest choreographies, she finds it to be one of the hardest songs to perform as she has to sing background vocals through nearly the entire song while keeping up with the steps.
・Loves to cook but often tends to be careless when it comes to the amount of spice she puts in. In addition to this, she loves beef and hates any seafood that has a shell.
・Her ideal type is someone warm hearted with a sense of humor and who can accept her care when they need it.
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upinteriors · 4 months
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Autobarn by Bindloss Dawes
The Autobarn is the realisation of our client's long-term dream to house his collection of classic German cars. The project is composed of two volumes: a clean, five-bay garage for everyday use and a taller workshop for repairs and future restoration projects.
Beyond satisfying this initial use, the project ambition was to create a flexible, 'long-life, loose-fit' building that could be used for a range of different uses. Currently it doubles up as event space, however the ambition is that the Autobarn could one day become a low-energy house.
Located on the outskirts of a small Somerset village, the project is set within the grounds of an eighteenth-century Grade 2 listed house. It replaces several haphazard outbuildings and consolidates their amenity into an elegant architectural proposal, nestled within a glade of mature trees.
The project's design references the language of neighbouring agricultural barns. As a practice we are interested in reassessing the rural vernacular, both for its contextual appropriateness and its lessons in low-cost, pragmatic design. As such, the Autobarn re-interprets simple forms and methods of construction, adapting more temporary, rudimentary methods into a robust and elegant paradigm for low-cost, rural architecture. Composed of a concrete base and steel framed structure, intermittent timber cladding and zinc metal roof, the Autobarn adapts barn typologies with varying levels of refinement. Consideration was also given to its weathering, with the natural zinc roof dulling to complement the silver patination of the sweet chestnut cladding.
Like many barns, permeability to light and air is controlled through a series of movable layers. First experienced as a closed solid mass, the barn walls open up via a number of doors, including an heroic 7m sliding timber screen. The intermittent timber slats of the screens create internal dappled light during the day, which is reversed at night as interior lighting illuminates the surrounding landscape. Internally the steel structure is expressed in an array of simple portal frames, with sustainably-sourced wood-fibre acoustic board forming internal wall and ceiling. The garage space is calm and gallery-like, while the workshop space presents a tougher, taller workshop, surrounded with concrete wainscotting and designed to accommodate a car lift.
The building's 'long-life/loose-fit' ambitions have meant that the insulation and energy performance exceed residential standards. Although thermostats are currently turned down for its current use, the building includes underfloor heating powered by an Air Source Heat Pump, as well as additional first fix services hidden behind the internal wall paneling for future conversion.
Construction started in November 2020 and was completed at the end of 2021, with the project effected by the global pandemic and building material inflation. Despite these challenges, and the inclusion of some one-off expensive items (such as the electric garage doors), the Autobarn was built for under £2,300 / m2. In tandem with high energy performance and the use of natural materials, it combines our studio's goal to combine beauty, affordability, and sustainability.
Design: Bindloss Dawes Location: Frome, United Kingdom Area: 165 m² Year: 2022 Photography: Building Narratives
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docpiplup · 7 days
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LA ABADESA (2024)
Synopsis
In the 9th century, Emma of Barcelona (c. 880-942), a 17-year-old girl, is named abbess in order to repopulate and Christianize border territories in 897. Upon arriving at the abbey, she will have to overcome the mistrust aroused by a woman determined to fulfill her mission, which will lead her to confront nobles, like her brother Count Guifré II Borrel of Barcelona (874-911), peasants and the nuns themselves. Despite everything, Emma will show that it is possible to challenge established power structures. Although she will pay a high price to get it...
Emma is willing to carry out the commission of her deceased noble father, Count Guifré I of Barcelona, Guifré el Pilós (840-897), founder of the House of Barcelona: convert the abbey that he founded in 885, the Monastery of Sant Joan de les Abadesses, for which she is now responsible into the engine of change and transformation of a society that comes down. She must help with all her resources to help the lands that are emptied due to hunger caused by border wars, which in turn are a consequence of the ambitions of the feudal lords of the area.
Emma acquired small or large properties with which the monastery came to have a territory equivalent to that of a county. Her sovereignty was also similar to that of a countess: by concession from her father, her domains were exempt from all interference from the neighboring counts, whom she knew how to oppose with resistance.
On cinemas: Friday 22 March
Filming began in January 2023 at the Loarre Castle, and included scenes filmed at the Turó de la Seu Vella, until concluding at the end of February 2023.
Main cast
Emma of Barcelona - Daniela Brown
Eloisa - Blanca Romero
Guifré II Borrel of Barcelona - Carlos Cuevas
Eduard - Ernest Villegas
Odón - Oriol Genís
Bishop Gotmar of Vic– Joaquín Notario
Clara-Berta Sánchez Bajona
Melisenda - Anäel Snoek
Elvira- Olivia Auclair
Data sheet
Script and direction: Antonio Chavarrías
Produced by: Antonio Chavarrías, Jose María Morales, Miguel Morales, Mónica Lozano
Photography direction: Julian Elizalde
Editing: Clara Martínez Malagelada
Music: Ivan Georgiev
Casting: Irene Roqué, Carla Bisart, Sara Bisart, Elena Gómez Zarzuca and Doriane Flamand
Direct sound: Elsa Ruhlmann
Sound editing: Corinne Dubein
Blends: Emmanuel de Boissieu
Art direction: Irene Montcada
Costumes: Catherine Marchand and Pau Aulí
VFX: Natacha Brohan
Assistant director: Falele Ygueravide
Production direction: Anna Boneta
Executive producers: Alba Bosch-Durán, Flavia Biurrun and Jennifer Ritter
Co-producer: Huber Toint, Alex Verbaere, David Claikens, Samuel Feller
Production of Oberon Media, Wanda Films, Icono 2020, Saga Film, RTVE and TV3.
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Poster
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(Based on a true story/ Based on a true woman)
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gfxced · 4 months
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I went Full-Fuji! (GFX One Year Review)
One year ago, I decided to ditch my Nikon DSLRs for a Fujifilm GFX 50R.
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The GFX's sensor is larger than a full-frame sensor with a crop factor of 0.79
A little over a year ago, I still was using a few Nikon DSLRs to do just about anything. For portraits and landscape, I had a very respectable D810. Enough megapixels to provide some room for cropping and a decent dynamic range for most situations. For action and hobby-wildlife I had a D500. A durable mini-tank with performance that to this day would be hard to dismiss even in the light of mirrorless flagship innovation.
However, the question of my camera-future slowly crept into my mind. Was it time to change and upgrade into the Nikon Z system? Switching to a Z7 would indeed have been a sensible move, adapting older lenses while getting the sensor of the D850 in a smaller, cheaper body with an ecosystem of native lenses with the optical quality up to specs for the next decade. On paper and elsewhere, it should have been the obvious choice. Yet my answer to this question was a resounding "no" and I went against reason to set my sights on a Fujifilm GFX 50R. I took that model over the S because I enjoy the rangefinder form factor.
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In hindsight, the smartest of all moves would probably have been to remain with what I had, adhering to the ancient photographic wisdom: "lenses are more important than cameras". My kits could have kept me satisfied for probably another 10 years if we are being honest. I could have stayed within the F mount ecosystem and could have taken advantage of its downright insane price drops to get top-of-the-line lenses for peanuts instead of selling the farm on a whim, however carefully considered it might have been.
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These old and trusty Nikon DSLRs got sold off to finance the 50R
The truth is that after fifteen years of walking the beaten paths camera-wise, I wanted to shake things up. I longed for a change of pace. I felt confident enough in my practice to know what type of photography I would want to engage in for the foreseeable future. I also felt confident enough that I'd be able to answer the call of the occasional assignment using a camera system that would have a non-negligible amount of drawbacks. The challenge even seemed like a fun new variable to add to contracts. Thus, the choice I made for my photographic future has been one born out of love rather than made from a place of reason.
When I think of good photographic memories involving the process — how photography is approached with mind and body — I immediately have two very different ideas jumping to mind and each has an ideal type of tool that best suits it. Neither of these are about efficiency. Neither of these are about performance beside niche-performance, perhaps. But that, is more of an acquired taste and it also comes at a price, but we'll see about that later.
The first idea is an instinctive and spontaneous approach, form of feral and visceral active meditation, akin to Daido's rabid dog method; roaming the streets clear of thoughts and letting the subconscious take the helm. Shooting, shooting, shooting and discovering everything later. No plan, only image-taking. No clear framing, no image-reviewing, no judgement to pass, no threads to weave. Only arrange and make sense later, if there's any of that to find.
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Results using the "rabid dog" method, using a Fujifilm X100, 2014
For this type of photography, the Fujifilm X100 was the tool that instantly clicked with me. The "poorman's Leica" is an apt way to describe what the X100 represented when it came out. I got the original 12mp camera in 2012 as a fun but capable toy to bring along my Nikon D700, until the shutter release button (which also is the on/off switch) broke off in 2020 after one power-up too many. I have since replaced it with a Fuji X-Pro 2 with the XF 18mm F2, 27mm F2.8 and 50mm F2 lenses. To this day, such small Fuji bodies are my tool of choice for this kind of photographic mood (and of course, for family pictures).
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Fuji X100 later replaced by the X-Pro 2 as street photography go-to.
The second photographic process that I tend to naturally gravitate towards stems from my first year of photography school, during which all projects had to be done using film and would have us deal with the whole process (that is to say; shooting, developing, printing, framing, and displaying our work ourselves). It is with nostalgia that I look upon the memories from that time.
There sure is something inherently different in figuring out what to do with the exposures one has left on their film than being able to inconsequentially shoot within two hours three thousand pictures through which you can almost immediately browse. The latter is of course more practical and a welcome technological improvement, but the former brings an unhurried and deliberate focus that I find both refreshing and appealing.
When I think of my strongest recollection of touching the quintessence of the analog experience, the days of using my Mamiya 645 immediately come to mind. Such sluggish, heavy-as-a-couple-bricks box-machines compel one to being careful and purposeful every step of the way. I need that too.
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Mamiya 645 Super, since sold to finance GF lenses.
I have for the longest of time considered getting a more serious medium format camera but some quick-math with the price of film, chemicals and photographic paper made me realize that digital medium format was actually much more worth the investment while most definitely retaining some of the core characteristics of its analog counterparts. My love for the film process couldn't hold up against all the advantages of going digital, especially when buying second-hand.
Using medium format always felt like journeying inwards. It has allowed me to spend long hours in daydreaming-states paradoxically laced with an acute awareness of my surroundings. When thinking about medium format, I can recall the soul-washing quality of some of the winds that swept my cheeks while I was standing next to the tripod waiting for the exposure of the 50iso film to finish.
States of contemplation. Another kind of active meditation?
Of course, any camera can provide this type of feeling, but of all of the digital cameras available, medium format is the one type that will weigh you down the most and dictate the pace you work at.
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Telepanoramas created with the Fujifilm GFX 50R
Notice how these two ideas are almost the ends of a spectrum?
The first one is nervous and agitated, highly reactive, while the other is composed, meticulous and invites introspective fugue-states, yet they both share one vital element in the way that I approach them in that they take the practical considerations out of the picture to leave more space for what is going on within me.
The setting up of the camera or lack thereof becomes an excuse for something else. Maybe it isn't a surprise, that my adhd-ridden brain experiences this inexorable attraction for both these approaches. For they are in essence, two sides of the same coin, with each side matching different, specific and fluctuating needs.
Let's dive in!
After selling my DSLRs, I started looking for a good second-hand candidate. After a month or so, I found a barely used GFX 50R sold with a 50mm 3.5, a couple additional batteries and an L-bracket to boot. The price was rather attractive for the bundle, so it seemed like the time to take the leap. After a short but excruciating wait for the package to arrive, I finally was able to join the larger-than-35mm-sensor club.
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How it started
My first few months with the camera had me immediately blown away by the difference in output. The higher resolution and the sensor's qualities made the (very much existing) noise hardly noticeable when downsized to small printing or screen-viewing sizes. What also immediately struck me, was the looks of the images the camera produced. Images taken with the GFX feel more "3D" to me. It is a very peculiar and hard to describe feeling. I suspect it is a combination of factors; the depth of field of the larger sensor and the very smooth transitions between what's in focus and what is not that it permits, the colour depth, and the quality of the optics. I've seen many Youtube reviews, read forum threads or been in discussions on Discord about GFX cameras where people (who more often than not don't own one) will maintain that these qualities don't exist at all. After a year in the system I can confidently state that they're wrong.
I can't really put my finger on what causes these differences as I am not as tech-savvy as I could be, but it is still clear as day. To use a pretty apt analogy, I would say that the difference between full-frame and (crop) medium format is akin to the difference between aps-c and full-frame cameras. Are they deal-breaking? Not necessarily. For some people they can be. Are they noticeable? Definitely. It is especially funny to me to see medium format cameras being dismissed by such a many full-frame shooter who at the same time, is constantly bashing aps-c sensors.
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Don't you love to pixel-peep? Omnomnom (imagine with 102mp!)
This being said, I will always fully stand by the statement that full-frame cameras are the more sensible choice as they are better all-rounders by design. High-res cameras like Sony's A7RV or equivalent are also better high-iso performers than the aging IMX161 sensor that the GFX 50 series uses, which sees its operational limit at around 6400iso (but the GFX 100 would be another matter entirely). A top-tier full-frame camera is evidently more practical, lighter and cheaper without any deal-breaking image quality difference to what the medium format niche can offer. When all costs are factored in, the choice would seem self-evident. If you consider medium format, it should be understood that you know this before committing to any bigboy sensor. Or don't heed this and make people who buy second hand happy, as GFX gear loses almost one third of its value once it hits the second hand market (a consequence of too many people jumping on the medium format bandwagon only to realise — way too late — that it wasn't for them).
Are we cooking yet?
I need to talk about the GFX's files for a little bit; I'm a raw shooter only — which hopefully you'd have guessed — (in my opinion anyone buying into a medium format to shoot jpeg must have cognitive issues or too much money, or possibly both) and I have to say that when I opened the raw files to give the sliders their very first +100/-100 or +3/+4 EV from base iso (or any combination of these) I was utterly floored by how well the files could handle such an ungodly beating.
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This isn't a joke, I promise.
This type of camera makes the slider memes come true, to a point where for the first few months, my ability to edit properly was severely impaired by the glee I experienced while pushing everything way too far. I believe it is not an uncommon symptom at the start of a medium format journey. It takes a while to come back from that and simply be able to tell yourself "ok here, maybe less dynamic range would be a good edit". I'm getting better at this as I consciously try to avoid overcooking.
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Clean recovery? Can do!
On the image-taking side of things, the major change for me with regards to file-handling is that I'm almost systematically exposing for highlights now. Adding 3EV and boosting shadows in post when shooting at low iso is inconsequential in terms of image quality as there won't be any visible noise whatsoever on the output, unlike my aps-c cameras that will show noise even at base iso. Similarly to many other aspects medium format manages well, this is something I got used to very quickly.
To adapt or to not adapt, that was the question, here's my answer:
At first, I tried adapting my old Mamiya 645 lenses to the 50R. It was useful in the sense that it allowed me to enjoy different fields of view at no cost but it quickly felt like a plaster on a wooden leg. I'm not someone who enjoys the manual focusing as a default and I've grown more and more intolerant of the optical flaws of older lenses as time went by. I realised that it wasn't a viable long term solution for me and quickly chose to sell all my Mamiya cameras and lenses to finance native glass for the GFX.
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My experience adapting? It was alright but not at all ideal.
Which lenses then?
Getting into the GFX system I promised myself I would make no compromise whatsoever on optical quality and directly aimed for the 250mm F4 (mainly for tele-landscapes) and 110mm F2 (mainly for portraits). The grind felt long but it really wasn't, as I managed to secure both lenses from the second hand market within 6 months. It is only later that I added the 35-70mm "kit" lens to my arsenal to fill the wide-angle gap I had. As I seldom feel the need to shoot wider than short-tele fields of views, this is more of a lens of convenience.
The difference between adapting older lenses and using native glass was night and day to me. Two things made this the better choice in my view: first, I've been actively seeking the "clinical" quality of modern optics. I do not care much for the "character" of older lenses especially not if the word is used to help one overlook a lens' unforgivable flaws. Second, while there sure are lenses worth adapting out there, this come at a cost for the adapting to be worth it (the cost of an AF-capable adapter and of course the cost of the lenses themselves) which I saw as a waste of my limited resources. I told myself I wasn't going to make compromises, remember?
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One year after switching, I am now knee-deep into the system, having sold most of my Nikon gear as well as my Mamiya medium format film-cameras to acquire some of the incredibly hard to resist GF lenses.
After a year of transforming a heap of dormant gear and side-gig revenue into new lenses, I also noticed that the representation I had about the worth of money also changed radically when gear was concerned.
A little over a year ago, an XF lens priced 800€ definitely seemed like a steep investment I'd try to find alternative choices for. Nowadays, 800€ is a mere budget lens in my mind. Seeing the price tags of GF lenses doesn't make my head spin anymore and this is somewhat worrisome for the thrifty Dutchman living in the back of my brain.
With the announcement of the 500mm F5.6 lens being in development (a focal length I definitely miss from my Nikon days, I'm a sucker for ultra-telephoto landscape photography), I fear I will manage to push my monetary boundaries further back yet, which I will help achieve by selling my X-T3 video-oriented kit.
APS-C: you're dead to me.
An unforeseen consequence of my GFX switch was that my aps-c cameras were pretty much relegated to the bottom gear drawer and seldom used barring a few notable exceptions (such as a wedding gig) where the need for its autofocusing speed was greater than the need for image and file quality.
To reuse the analogy I made earlier; my X-Pro 2 and X-T3 have become to me what a micro-four-thirds camera would be to a full-frame camera user. Getting into Fujifilm's medium format system prompted me to think about how I use my cameras and to what end. The realisation that there is a clear split in my photographic approaches I evoked at the very beginning of this article is the result of that thought process.
Although I will sell my X-T3 because it feels superfluous and I want to stop my video gigs completely, (and because my need for GFX lens money is still great), I would never part with my X-Pro 2 nor the few XF lenses that I have as they serve a totally different purpose to that of the GFX's.
Having a compact, fast, discreet yet still capable camera that can be casually put into a pocket is an advantage that I would be a fool to part with. The X-Pro is a more practical choice for street-photography, documentary in less-than-favourable conditions, as well as for family pictures, when packing a brick of a camera and two bricks worth of lenses for a walk in the park in suboptimal weather would be met with a tired roll-eye from my spouse.
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My dear X-Pro, I'm Never Ever Gonna Give You Up
Of course there have been many occasions for which I have chosen to take the challenge and went into these situations with the GFX. However, I wouldn't want the GFX to be the only option at my disposal in such cases.
For example, during the last wedding I shot, when the dining room got darker and the guests started moving around a lot (and dancing), the switch to aps-c cameras was absolutely necessary because of how difficult it was to consistently get acceptable results in poor light and with subjects making erratic movements. When you are held under a result-delivering imperative, you have to be able to honour it.
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Packing a Fuji GF or Fuji X kit can be a slightly different experience
"Megapickles don't matter!"
This was an idea that I lived by just a few years ago. I changed my mind. I still believe that megapixels don't matter when you don't have them. Just like one should shoot with the camera one has / is able to afford. It doesn't matter in the grand scheme of things but all these technical niceties just make one's life more comfortable. Cropping, denoising through file reduction algorithms, or enjoying detail endlessly because one can, these are just the icing on the cake. I just happen to like my cakes with more icing than cake now.
Regarding resolution specifically, it's been another area in which there seems to be no possible coming back. Nowadays, every time a manufacturer announces a new camera and I discover they plan to fit it with a 24MP sensor I dismiss the information entirely. It doesn't register anymore. 32-36 is the new 24 in my mind now and it's sometimes difficult to come back from those expectations.
This being said I have no issue using lower resolution aps-c that I own and could perhaps even have fun with a X-Pro 1 because then the output quality wouldn't be my prime concern. It is only concerning new releases that my interest dips firmly for "low" MP cameras.
Did I tell you that medium format AF sucks?
Before I conclude this one-year review, let me hammer this point in with a two-handed mace; it can't be understated, especially for the GFX 50 series which uses contrast detection — the autofocus will throw you back to the early 2000s. Be ready to be stuck on single point, single AF mode because that's the only thing that will be consistent enough.
Then let's not forget other factors that add to the bad and make it worse; the shutter lag is half a second, the sensor readout speed is 1/4th of a second, and the time the shutter takes to clear the large sensor in combination with the camera's high resolution means you'll need higher shutter speeds in order to get rid of motion blur when shooting handheld (count about one stop faster than usual). Those would be valid reasons as to why a less niche camera system makes more sense for a lot of people.
The final comment:
Despite its sometimes dramatic drawbacks, I definitely have found the pleasure I sought when I originated this system switch. The change and the adapting my process is engaging and makes me think more about what I do, what I use, when and why. This is a win on its own.
All in all I feel like I am still at the very start of my journey though I've had the opportunity to test my GFX 50R in a wide array of situations in the past year (portrait, landscape, documentary) it seems like the way forward is clear and also opened for plunging deeper into this incredibly fun (but needlessly expensive) rabbit hole.
The upcoming 500mm, the prospect of finding an original GFX 100 (with its weirdly appealing tiltable EVF) are ideas that will — for the foreseeable future — definitely keep pulling me back in (and emptying my pockets).
Fun! Fun! Fun!
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Existing school canteen building transformed into an Art centre by Vision Consulting in a small Bulgarian village Read more: Link in bio! Photography: Assen Emilov Photography Bulgarian studio Vision Consulting has been working on Art Centre Vihrony’s transformation during the challenging time frame of 2020 - 2022. The former canteen occupies a central site of Dolno Kamartsi village adjacent to the primary school. Due to decrease of population density and young people migration to big cities, the building has been abandoned for years and in poor condition. With typical communist era design features, it had struggled with connectivity and identity, as the outdated realm dominated the area… #bulgaria #artcenter #dolnokamartzi #архитектура www.amazingarchitecture.com ✔ A collection of the best contemporary architecture to inspire you. #design #architecture #amazingarchitecture #architect #arquitectura #luxury #realestate #life #cute #architettura #interiordesign #photooftheday #love #travel #construction #furniture #instagood #fashion #beautiful #archilovers #home #house ‎#amazing #picoftheday #architecturephotography ‎#معماری (at Bulgaria) https://www.instagram.com/p/CoyCjjzr4Mq/?igshid=NGJjMDIxMWI=
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harvestheart · 10 days
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MADELEINE BRUNNMEIER - GESTALTEN Madeleine Brunnmeier was born in 1995 in Southern Germany. Her cre- ative vein was already clear to see in the drawings she made as a child. As a teenager she began experimenting with photography, using a digital device, discovering a remarkable, almost magical connection with the visual world. Her curiosity in seeking new ways to express emotions was initially realized via the self-portrait. In 2017 she moved to Berlin to study art and to try out other forms of expression, but photography remained her intimate refuge. The protagonists in the portfolio Gestalten (2020-2023) are men and women of all ages, portrayed in their homes wearing their entire wardrobe. Clothing thus loses its primary function and becomes sculptural material, capable of revealing the profound identity of each of the individuals. Brunnmeier, who was to some extent inspired by the imposing costumes of ancient European folklore used in the traditional carnivals, chose to work with an analog technique here: a return to the roots of the photographic medium and a stimulating creative challenge.
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yashwishawi · 11 days
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Behind the Shot: Episode 4 - A Nostalgic Recapture
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Welcome to Episode 4 of “Behind the Shot” on Yashwishawi, where the magic of photography meets the quintessential Indian street food! This episode is particularly special to me as it marks a journey back in time, a recreation of a shoot I did four years ago, in 2020. It was a time when the world was under lockdown, and I stumbled upon a new photography trick on the internet just as a parcel arrived from the renowned New Gajanan Vada Pav Centre in Thane.
The original shoot featured the vibrant and delicious Vada Pav, Samosa, and a variety of fritters that never saw the light of day; they remained hidden in my camera, only to be shared with the world a week ago. After some editing magic and a follower poll that strongly favored a reshoot (90% voted yes!), I decided it was time to revisit this culinary adventure.
Despite battling health issues, I pushed through and scheduled the reshoot for a Saturday. My destination? The same New Gajanan Vada Pav Centre that had started it all. This time, I brought home Vada Pav, Samosas, a mix of Spinach, Potato, and other fritters, along with a cutting tea cup to complete the scene.
The setup was simple yet effective. I chose a black chart paper as the background to ensure a seamless look that would make the colors of the food stand out. The shoot began in the evening, and it was not without its challenges. My camera’s battery kept dying, and I lost the natural sunlight I had hoped to capture. Nevertheless, after two hours of shooting and an hour of editing, I wrapped up the project by 11 PM.
The result? A series of captivating images that not only paid homage to the original shoot but also showcased the evolution of my photography skills over the years. The shoot was a reflection of persistence, creativity, and the love for capturing moments that tell a story.
Unfortunately, due to falling ill once again, I was unable to publish the full YouTube video as planned. However, shorts from the shoot are available, and I aim to upload the full video this week, health permitting.
This episode of “Behind the Shot” was a reminder of how far I’ve come, not just as a photographer but as a storyteller. It's about more than just the delicious street food of Thane; it's a testament to the journey, the challenges, and the triumphs that come with pursuing one's passion. Through the lens of my camera, I was able to connect with my followers, revisit cherished memories, and create new ones.
Thank you for being a part of this journey. Each shot, each episode, is a chapter in the larger story of Yashwishawi. Stay tuned for more adventures behind the lens. Together, let’s continue to explore the beauty and diversity of the world, one photo at a time.
Check out my Social Media @
https://linktr.ee/yashwi.shawi
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lamyaasfaraini · 1 month
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Day 14 - Eyes
30 days photography challenge
Agak bingung foto tentang mata. Cuma yg aku tau dan aku suka adalah bentuk mata anakku yg besar dan matanya msh jernih karena masih anak2 lah yaa. Satu lagi bola mata suami berwarna coklat dan bentuk matanya hampir sama kaya nemo.
Capture an adikku posting ini di igs waktu umur nemo 1 bulang menuju 1 thn, yaampun bayiikkk liat matamuuu menggemaskan bgtttt
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Coba kalo yg ini, bapak anak ini bagian matanya agak mirip ngga sih. Soalnya kalo muka yah ke ibuknya hahaha (bapake suka gaterima akan hal ini, sowri~)
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Btw itu baru2 nyobain hijab inner 2 in 1 kayanya dr akhir 2020 awal 2021 msh kaku2 pakenya wkwkwk
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aulel-process · 5 months
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Helmut Newton
“But Newton’s naked women were dressed in pride; they appeared to be powerful women, whose autonomy the great photographer celebrated.”
These women look at us through Newton’s shots as if they were challenging us. It’s all about a clean but never vulgar eroticism, as Curti concluded. “Newton was not ‘just’ a fashion photographer: he was a visionary, a genius capable of reading society right into its most hidden folds,” Curti wrote in his book, Capire la fotografia contemporanea. Guida pratica all’arte del futuro, Marsilio Editori, 2020. “With his photography, Newton gave shape to desires, fantasies and perversions without becoming entangled in coarse vulgarity as an end in itself. Revolution, rather than provocation: there is more beyond the nude.” ( 1 )
"There is a time for any fledgling artist where one's taste exceeds one's abilities. The only way to get through this period is to make things anyway." - Tomorrow and Tomorrow and Tomorrow by Gabrielle Zevin
I think one of my strengths is recognizing that the aesthetics I am capable of creating at any moment is a distance away from the aesthetics I'd like to create. And I think recognizing that distance is important to knowing how to proceed to eventually close it.
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mybeingthere · 1 year
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KIM SCHWANHÄUSSER photography, Nuremberg, Germany.
In the midst of the forest
Silver Gelatin Prints in 60x40cm, Limited Edition of 10.
This series was shot 2020 in France.
All the images I take are inspired by nature and my curiosity for the natural world. It’s the simplicity of my subjects that challenge me to create a new way of looking at them. Choosing analog photography as my working method allows me to be involved in the whole process, from taking the picture to developing the film and finally making silver gelatin prints in the darkroom.
https://www.kim-schwanhaeusser.com/
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figureskatingcostumes · 11 months
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Molly Lanaghan and Dmitre Razgulajevs competing in the free dance at the 2020 Skate Canada Challenge and 2020 Canadian Championships.
(Sources: Skate Canada and Danielle Earl Photography)
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Photographer Jaqueline Vanek Photography with two self-portraits representing her series 'Delicate Fragments'. Jaqueline posted this work on her birthday in 2020 and shares in an inspiring caption: "36 years that form a past with history... with selective memory to remember the good, the present is a gift... with logical prudence so as not to ruin it, and tomorrow is a mystery... with challenging optimism to face the future."
Found on the feed of our dear Elizah Leigh 
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#beautifulbizarre #jaquelinevanek #selfportrait #crow #darkart #photography #photomontage #inspiration #darksurreal #darksurrealism #artphotography #contemporaryart #artist #art #visualart #newcontemporary
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D-DAY
Release date: 21 April 2023
Announcement
Announcement notice, pre-order notice
Official page
Promotion Schedule
D-DAY Calendar: April week 1 (eng), week 2 (eng), week 3 (eng), week 4 (eng) May week 1 (eng), week 2 (eng), week 3 (eng), week 4 (eng) June week 1 (eng), week 2 (eng), week 3 (eng), week 4 (eng)
Tracklist
Glitch film
Concept Photo: being, exister (see below)
SUGA | Agust D 'Road to ARMY' (see below)
Weverse live
Special picture: Spotify and Melon (HD), QQMUSIC
Melon page with exclusive pictures
Naver posts:
Something is finally here (eng)
SUGA | Agust D 'D-DAY' activities behind the scenes revealed!
BANGTAN BOMBs:
SUGA's POV Naver Posting
'Haegeum' Challenge Video Shoots Sketch
Spotify Hero Film (Behind the Scenes)
SUGA’s Instagram post: D-2, D-DAY
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SUGA is the fifth member to have a solo release in Chapter 2. This album also concludes Agust D’s career after Agust D and D-2.
The army film club account posted a Twitter thread showing several parallels between the whole Agust D trilogy and the movie Scarface (1983) by Brian de Palma.
Tracklist
D-Day
Lyrics
Doolsetbangtan’s translation
해금 (Haegeum)
Lyrics
Doolsetbangtan’s translation
An haegeum is a traditional string instrument. it can also mean “to lift a ban” in some cases
The beat is similar to the one in the video SUGA 의 Maschine mk2 review (src). It was also used in “The Last” in the first Agust D mixtape
HUH?! (feat. j-hope)
Lyrics
Doolsetbangtan’s translation
AMYGDALA
Lyrics
Doolsetbangtan’s translation
SDL
Lyrics
Doolsetbangtan’s translation
사람 Pt.2 (feat. 아이유)
Lyrics
Doolsetbangtan’s translation
극야 (Polar Night)
Lyrics
Doolsetbangtan’s translation
Interlude: Dawn
SUGA explained in his Weverse live that he used a part of the track for “Snooze” and reversed it to obtain this interlude
Snooze (feat. Ryuchi Sakamoto, 김우성 of The Rose)
Lyrics
Doolsetbangtan’s translation
Life Goes On
Lyrics
Doolsetbangtan’s translation
“Life Goes On” is also the title of BE’s main track
The description of each track is available in Korean here.
“사람 Pt.2 (feat. 아이유)”
Release date: 7 April 2023
Poster
DJ Syub radio show form (eng translation)
DJ Syub's kkul FM is back
SUGA’s Instagram post: lyrics (eng translation), album cover, on the set
Official Photo on Melon (archive)
MV Photo Sketch
Episode of the MV Shoot Sketch
youtube
This song is the second collaboration between SUGA/Agust D and IU, after “eight(에잇) (Prod.&Feat. SUGA of BTS)” released in May 2020.
The MV was filmed at South Cape (cr. btsmap1). They used one of the cliff houses for the part in the home and the music library for the part in the studio. During this first part, you can notice decorative fake books and a Danish springy-toy called Hoptimist (src). Thanks to Instagram stories from Nam Hyunwoo and the brand Entre d’eux, we know some of their products were in the bathroom: the nkumba flos or the verte grez hand wash as well as the bitter vitae hand cream.
The black dog appearing in the MV is Nam Hyunwoo’s, the director of photography who’s been working on pretty much every BTS MVs and CFs. Nam himself did a cameo in “The Astronaut” MV.
A Danish ARMY also caught sight of an Hoptimist, a little springy-toy designed by Danish designer Gustav Ehrenreich in 1968 (src).
Glitch Film
Release date: 14 April 2023
The film starts with a calendar from 2016, moving from January to August, passing July twice. The first Agust D mixtape was released on the 16 August, 2016.
The following part mixes extracts of the previous videos so “Agust D” MV, “give it to me” MV and “Daechwita” MV. There are also new elements that seems to relate to D-DAY, including a recorder, birds, dollar bills, and an eye. The video also connects the three human shapes to an MV:
rectangle shape: “Agust D” MV
spiky shape: “Daechwita” MV
particle shape: “give it to me” MV
Concept Photo
Release date: 17-18 April 2023
Being
Exister
Outfits and accessories: tropical shirt identified by BangtanStyling
In the Being concept photo, SUGA stands in front of a fake police station, the APC (Asia Pacific Police Union).
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@Lmyjj noticed that these pictures fits with the shapes seen previsouly, notably on the promotion schedule and on the main poster for the documentary SUGA: Road to D-DAY.
“해금”
Release date: 20 April 2023
Teaser
Jacket Shoot Photo Sketch
Episode of MV & Jacket Shoot Sketch
Dance practice
Outfits and accessories: tweets from BangtanStyling, Tailorable’s Instagram post about the custom suit
youtube
The MV was filmed in Bangkok, notably in a place known as the thieves' market (src). The street scenes were filmed here (src), the hideout of criminal Agust D was here and the tangerine scene happened in a nearby street.
The team also used popular filming locations, namely this deserted building (src) already seen in Jeff Satur’s “Dum Dum” MV and in the Hidden messages video teasing Kinneporsche, as well as the sports complex Nightingale Rama Inthra Club (src) famous for being a shooting location of F4 Thailand: Boys Over Flowers. Director Lumpens shared his storyboard for the video on Instagram. MU:E did too (#1, #2, #3).
The dragon on SUGA's jacket is a symbol of royalty in Korea (src). It could a nod to "Daechwita" MV. Be it in the MV or in the choreography, SUGA is accompanied by 6 extra, reminding of the 6 other members of BTS.
Nam Hyunwoo, director of photography for all BTS MVs and some CFs, makes a cameo as a policeman in the background.
chloë and army film club noticed parallels between the MV and the movie Oldboy.
“AMYGDALA”
Release date: 25 April 2023
MV & Jacket Shoot Photo Sketch
Episode of the MV & Jacket Shoot Sketch
SUGA’s Instagram post
Outfits and accessories: tweets from BangtanStyling
youtube
Thanks to the Episode, we know the video features the book The Logo Design Idea Book by Gail Andersen and Steven Heller, the issue 39 of Magazine B titled “Breville”, and the frontpage of two international editions of The New York Times, the one from the 17th of May 2022 and the other from the 16th of May 2022.
 As for the filming location, it was at the basketball court of the Juam-dong Sports Park and in a street nearby.
@btswingsjm7 noticed that one of the shirt Agust D wears is from Ludovic de Saint Sernin’s collection, about the duality between one’s self image and the public preconceptions..
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During the scene in front of the 202 flat, we can see custom-made flyers with phone numbers that mix the digits of SUGA’s birthday (9th March, 1993). The flyers on the door advertise delivery for Korean chicken, food and Hit Shopping products, with special promotions for Chuseok (Hit Shopping could be a nod to Big Hit). The flyer on the whole is for internet contracts and the one below is for a washing service. Concerning the little stickers they’re all locksmiths’ name and phone number.
SUGA | Agust D TOUR D-DAY
Announcement (additional dates)
Get Ready for the Day
Get Ready for D-DAY
Official Trailer
Official Merch
TOUR DIARY in: NY (eng), Chicago (eng), LA (eng), Oakland (eng), Jakarta (eng), Japan (eng), Bangkok (eng) Singapore (eng), Seoul (eng)
[EPISODE] SUGA | Agust D TOUR 'D-DAY' in the USA
[EPISODE] SUGA | Agust D TOUR 'D-DAY' in Asia
[SUGA VLOG] D-DAY TOUR in: Chicago, Jakarta, Phuket
Stage Photo Sketch
SUGA’s Instagram post: playing guitar, tour, Chicago, Chicago 2, LA, Oakland, Jakarta, #2, Japan, Bangkok, Singapore, #2, Seoul, #2, thanks
MAX’s tweet about his appearance on May 11 at the Kia Forum
Halsey’s Instagram post about her appearance on May 14 at the Kia Forum
NME: “Suga live in New York: a show-stopping statement of artistic intent at the BTS rapper’s debut solo tour”
Weverse Magazine: SUGA | Agust D ‘D-DAY’ world tour report
MAX, Halsey, and PSY made guest appearances for some dates. They respectively sang “Burn It”, “SUGA’s interlude”, and “That That” (src).
THE FINAL: poster
An encore concert on August in Seoul was announced at the end of the tour, through a meme-like poster (a style they used several times for comebacks live show).
This time, it’s the members who made guest appearances. Jung Kook came to sing “Burn It” and “Seven”, Jimin performed “Tony Montana” and “Like Crazy”, and RM did “이상하지 않은가 (Strange)” as well as an unreleased song he was working on.
THE MOVIE
Official tweets
Announcement
Main Trailer (English, Korean)
IMAX Trailer (English, Korean)
Ticket Announcement
'SUGA: Road to D-DAY'
Mood Teaser
Poster teaser
Official Trailer
Official Photo 1
Main Poster
Official Trailer 2
Highlight
'People Pt.2 (feat. IU)' Live Clip (60")
'People' Live Clip (90")
'해금 (Haegeum)' Live Clip (full ver.)
'대취타' Live Clip (full ver.)
Starnews: “BTS SUGA on fire... 'SUGA: Road to D-DAY' live still released”
Youtube playlist on Disney+ Korea
Steve Aoki’s tweet with pictures
This documentary follows SUGA during a road trip in the United States, while he was creating the album.
Concerning the main poster, you can notice seven song titles written, probably the ones that will be performed live in the documentary:
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“People” and “Daechwita” are from D-2 while all the other tracks are from D-Day.
Press releases, interviews, and promotion
[IU's Palette🎨] IU X SUGA Palette (With SUGA) Ep.19
Billboard: “BTS’ Suga Returns as Agust D to Tackle Loneliness, Humanity & Being Acknowledged”
Weverse magazine: “From Agust D with love”
Apple Music Radio: Episode 1
"D-DAY" album introduction
슈취타 EP.9 RM with Agust D
Rolling Stone: “‘I Poured My Soul Into This Album:’ How Suga Let Go of the Past and Stepped Into His Future”
NME: “Suga of BTS: “You have to find what makes you happy, what brings you joy””
NME: “Agust D – ‘D-DAY’ review: lessons and liberation reign on final part of BTS rapper’s trilogy”
CINE 21: “Interview in commemoration of the release of the last album of Agust D’s trilogy <D-DAY>”
The Tonight Show Starring Jimmy Fallon: Standoff with BTS' SUGA & Agust D, SUGA Gets Ready for His Tonight Show Solo Debut, Imposter Challenge with SUGA, SUGA Spills on His Album D-DAY and Attempts to Play the Haegeum, tweets
Los Angeles Times: “BTS’ Suga on going solo, his love of hip-hop and the band’s future: ‘We’re real brothers, period’“
The Atlantic: “Suga of BTS’s World Tour Is Pop Subversion at Its Finest”
SUGA’s All Night Nippon Gold (interview translation)
K-pop ON! Track: “BTS’ SUGA Drops His Official Solo Album, D-Day” (archive of the video)
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idolskpop · 6 months
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Son Ye Jin Praises Husband Hyun Bin as ‘Perfectionist’ and Reveals How He Helps Her with Golf
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Son Ye Jin has nothing but good words for her husband, Hyun Bin, who is not only her partner in life but also in golf. The actress recently appeared on a golf YouTube channel and shared how the actor supports her passion for the sport.
Son Ye Jin and Hyun Bin’s Love for Golf
The couple, who starred in the hit drama “Crash Landing on You,” are known to be avid golfers. They were often seen playing golf together before they confirmed their relationship in 2021. Now that they are married and have a baby boy, Son Ye Jin and Hyun Bin still enjoy hitting the golf course whenever they have time. The actress revealed this during her guest appearance on the YouTube channel “ImJin Han Class,” which is hosted by a professional golfer.
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(Photo : Piretti Golf c/o MK Internet) In the episode, Son Ye Jin said that she started playing golf about four years ago and that she became more interested in it because of Hyun Bin. “I decided to appear on YouTube this time and asked my husband to practice together,” she said, as quoted by Allkpop. “My husband is really good at golf. He teaches me well and tells me what to fix.”
Son Ye Jin Calls Hyun Bin a ‘Perfectionist’
Son Ye Jin also complimented Hyun Bin’s skills and attitude when it comes to golf. She described him as a “perfectionist” who always strives to improve his game.
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(Photo : Son Ye Jin Instagram) “He has a very kind heart. He’s nice to me. He’s a perfectionist, so he practices harder,” she said, adding that she should get something from him for praising him so much. The actress also showed off her own golf swing and received some tips from the host. She said that she likes golf because it helps her relieve stress and focus on the present. “I think golf is a sport that makes you concentrate on yourself. It’s fun to challenge yourself and overcome your limits,” she said.
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(Photo : Son Ye Jin Instagram)
Son Ye Jin and Hyun Bin’s Relationship Timeline
Son Ye Jin and Hyun Bin first met in 2018 when they filmed the movie “The Negotiation.” They became close friends and later co-stars again in the popular drama “Crash Landing on You,” which aired from 2019 to 2020. The drama sparked dating rumors between the two, especially after they showed great chemistry on and off screen. They were also spotted playing golf together several times, which added fuel to the speculation.
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(Photo : Son Ye Jin Instagram) However, they denied the rumors until January 2021, when they finally confirmed that they were in a relationship. They said that they developed romantic feelings for each other after the drama ended. In July 2021, they surprised their fans by announcing that they had gotten married in a private ceremony. They also revealed that they were expecting their first child, who was born in September 2021. The couple named their son Binnie, after Hyun Bin’s nickname. They said that they were grateful for the blessing and asked for the fans’ support and love.
Son Ye Jin’s Instagram Husband Skills
Aside from being a supportive husband and father, Hyun Bin is also a good Instagram husband for Son Ye Jin. The actress often posts photos of herself on her social media account, which are taken by the actor. In one of her recent posts, Son Ye Jin shared a picture of her wearing a chic outfit at the golf course. She joked that she asked Hyun Bin to make her look longer, but he only took a long picture.
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(Photo : Son Ye Jin Instagram) The actress also thanked him for his photography skills and said that he had improved a lot. She added a hashtag #BinJin, which is the ship name of the couple among their fans.
Son Ye Jin’s Fashion Comeback
After taking a break from the spotlight due to her marriage and pregnancy, Son Ye Jin is back in the fashion scene. She is currently the brand ambassador for Valentino, one of the leading luxury fashion houses in the world. She recently attended the Paris Fashion Week, where she watched the Valentino Fall-Winter 2024 Haute Couture show. She wore a stunning black dress with a feathered collar and a matching clutch bag. She also posed with other celebrities who were invited to the event, such as Zendaya, Anya Taylor-Joy, Bella Hadid, and Naomi Campbell.
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(Photo : Piretti Golf c/o MK Internet) Son Ye Jin is also the first official muse of Piretti, a premium golf brand. She was chosen for her elegant and sophisticated image, as well as her passion for golf. She said that she was honored to be the muse of Piretti and that she hoped to inspire more people to enjoy golf.
What’s Next for Son Ye Jin and Hyun Bin?
Son Ye Jin is set to star in a new drama titled “Thirty-Nine,” which will air in 2022. The drama is about three friends who are approaching their 40th birthday and facing various challenges in their personal and professional lives. Son Ye Jin will play the role of Cha Mi Jo, a successful dermatologist who runs a clinic in Gangnam. She will be joined by Jeon Mi Do, Kim Ji Hyun, and Yeon Woo Jin.
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Son Ye Jin Shares Hyun Bin’s Photography Skills on Instagram Hyun Bin, on the other hand, is currently filming a movie called “The Point Men,” which is a remake of the 2010 French film “Point Blank.” He will play the role of a mercenary who gets involved in a conspiracy. He will also star in another movie called “Confidential Assignment 2: International,” which is a sequel to the 2017 action-comedy film “Confidential Assignment.” He will reprise his role as a North Korean detective who teams up with a South Korean detective to solve a crime. The couple has not announced any plans to work together again, but their fans are hoping that they will reunite on screen someday. They are also looking forward to seeing more updates from their family life and their golf adventures. Subscribe to IDOLS KPOP for exclusive updates and captivating content. Read the full article
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