10.1.25

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



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

James Artaius

2.1.25

Everything You’ll See and Hear as a Club Photographer



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


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

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

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

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

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

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

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

The "celebrity" doesn't show up.

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

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

"Can I see the photo?"

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

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

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

"Who do you work for?"

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

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

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

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

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

"Who are you? You're hot."

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

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

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

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

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

31.12.24

Happy New Year from United Photo Press



As we bid farewell to 2024, United Photo Press reflects on a year marked by remarkable achievements in photography, journalism, and publishing. Our global community of contributors and followers has been instrumental in these successes, and we extend our heartfelt gratitude for your unwavering support.

In March 2024 we proudly presented the "RECONNECTED" exhibition at the Ingo Seufert - Galerie für Fotografie der Gegenwart in Munich, Germany & October & November 2024, we proudly presented the "RECONNECTED" exhibition at the Museum of Electricity of Funchal, showcasing a diverse array of works that resonated with audiences worldwide.

Looking ahead, 2025 holds special significance as we celebrate our 35th anniversary. To commemorate this milestone, we are excited to announce the release of a luxurious hardcover book, encapsulating the essence of our journey and the artistry we've championed over the years.

We are deeply grateful to our esteemed members, guest contributors, and global audience for your visits, collaborations, and steadfast support. Your engagement propels us forward, inspiring us to continue our mission of storytelling through the powerful mediums of photography and journalism.

As we step into 2025, we remain committed to exploring new horizons, embracing innovation, and sharing compelling narratives that connect us all. Thank you for being an integral part of United Photo Press's journey.

Stay connected with us for upcoming events, publications, and opportunities to engage with our vibrant community. Together, let's make 2025 a year to remember.

To further celebrate our 35th anniversary, we are planning a series of events and collaborations throughout 2025. These initiatives aim to bring together artists, journalists, and enthusiasts from around the world to share insights, experiences, and the passion that drives our collective creativity.

In addition to our commemorative hardcover book, we are organizing workshops, seminars, and exhibitions in various cities globally. These events will provide platforms for learning, networking, and showcasing the exceptional talents within our community.

We invite all our members and followers to participate in these celebrations, either by attending events, contributing to our publications, or engaging with us online. Your involvement is the cornerstone of our success, and we look forward to creating more memories and milestones together in the coming year.

As we reflect on the past 35 years, we are reminded of the countless stories we've told, the images we've captured, and the impact we've made in the realms of photography and journalism. This anniversary is not just a celebration of our history but a testament to the enduring power of visual storytelling and the vibrant community that brings it to life.

Thank you once again for your unwavering support. Here's to a future filled with creativity, innovation, and shared success.

Carlos Alves de Sousa
President of United Photo Press

28.11.24

United Photo Press Announces 35th Anniversary Book Project

 


United Photo Press Announces 35th Anniversary Book Project

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

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

Submissions are due by December 31, 2024, and can be sent to info@unitedphotopress.net.

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

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

About United Photo Press

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

Season's Greetings from United Photo Press!



 Season's Greetings from United Photo Press! 


As the festive spirit envelops us, we, the global community of United Photo Press, come together to celebrate the joy of the season.  Through the lens and exhibitions of our shared passion for photography, we've captured moments that transcend borders and unite us in a visual tapestry of diversity.


This Christmas, we extend our heartfelt gratitude to our dedicated members and friends who have contributed their talent, vision, and enthusiasm to our international photography ONG United Photo Press.  Your commitment has illuminated the world with stories that transcend language, connecting us through the universal language of imagery.


May the coming year bring new opportunities to frame narratives that inspire, empower, and bridge cultures. Together, let's continue capturing the beauty that surrounds us and sharing it with the world.


Wishing you a Merry Christmas filled with warmth, creativity, and the joy of shared moments. 
Cheers to a picture-perfect holiday season and a New Year brimming with endless possibilities!
We have big news for our members for new year !


With gratitude
Carlos Alves de Sousa
United Photo Press
unitedphotopress.com
#unitedphotopress

27.11.24

The Power of Vinyl


“Anytime I meet another female record collector on the Internet or in person, I immediately want to be their friend!” says Erin O’Dell, a record collector, blogger, and factory worker from Red Lion, Pennsylvania. “I feel like we’re often overshadowed by the male perspective and designated as the ‘that’s nice, dear’ of couples in memes and forums. We love to spin and crate dig, too. We exist. We are valid. We want all the vinyl!”

In a male-dominated music industry, O’Dell is part of an active and passionate community of women on Instagram sharing their love of vinyl and helping to promote gender equity. This loose-knit, global sorority of record collectors and music-industry professionals meet up daily on a vast network of like-minded souls, both men and women, to celebrate their favorite artists and albums. Some are earnest collectors who simply post a treasured album cover accompanied by a mini-blog, while others stage lavish tributes to artists and their works, donning makeup and costumes to replicate album art. One Italian Instagram account even curates professional-quality pinups replete with vintage portable record players and scantily-clad models that look like they stepped off the pages of a 1962 Esquire spread.

But the playful pinups belie a deeper sense of empowerment that these enthusiasts are finding through vinyl. “Music can lift and light a fire inside of you that you didn’t know could even burn,” says O’Dell, who writes the monthly Vinyl Femmes & RPMs column. Music-marketing exec Sunny Muehleman Blashe of Milwaukie, Wisconsin (aka @puttherecordon) feels similarly inspired. “I love being part of the vinyl community [on Instagram],” she says. “Everyone is so nice and supportive. I’ve made so many friends who have shared new ways to store my records, and learned about vinyl cleaning products and even new music. I love seeing what albums or artists make other people happy and adding that to my collection. I also love sharing my collection with others who are like me. It gives us time to discuss why we love the music and how it makes us feel.”

Instagram also is helping women find jobs, thanks to organizations like Women In Vinyl, an advocacy group that shares inspirational stories and creates role models for girls and women. The group’s board members include founder and self-confessed Black Sabbath fanatic Jenn D’Eugenio, sales manager at Furnace Record Pressing in Alexandria, Virginia; Jett Galindo, a mastering engineer at The Bakery studio in Los Angeles; Amanda McCabe, a member of the Universal Music Group’s Strategy and Tactics Team in Seattle; and Robyn Raymond, a lacquer cutter and owner of Red Spade Records in Ontario, Canada. “Women in Vinyl, by sharing stories of women working in the field and now with the podcast, is making the industry more accessible,” says D’Eugenio, who founded the organization in 2018 and hosts the group’s new WIV podcast. “It’s about educating the community, and hopefully inspiring people to take a chance and find a way to do something they love. It’s not exclusive to women, but it’s brought to you by women and features women who are leaders in the field—you can’t move an industry forward without innovation and you can’t innovate in a vacuum. Innovation comes from diversity and that comes from inclusion. The more diverse and inclusive the industry is the better it can become.”

One of those women is Mary House, a single mom, stage-3 breast cancer survivor, and owner of Curious Collections Vinyl Records & More in Bryan/College Station, Texas, who found a new life through vinyl. In 2016, she was in the middle of a divorce when her father suddenly died in a car accident. “You see, my dad was a collector, so my brother and I went to West Virginia and cleaned out his seven storage units, two of which were climate controlled and filled with vinyl,” she recalled on the Women In Vinyl website. “I loaded up a 26-foot moving truck, drove that bad boy from West Virginia to Texas, and unloaded its contents into the space that was my first location. Since then, we’ve moved into a 2600-square-foot space and expanded our inventory to include turntables, new vinyl, and posters, right alongside the large, previously owned vinyl selection. I started my own collection when I opened my store. I love finding fun colored versions of albums I love.”

The significance of using record collecting as a gateway to personal empowerment is echoed by Markie Schlake of Cincinnati, Ohio (aka @VinylGal), a “full-time mom” and part-time social-media manager who encourages her Instagram followers to welcome newbies. “Collecting vinyl can seem very exclusive. Nick Hornby’s High Fidelity tells you that,” she says. “But if our world has taught us anything, it’s that inclusivity is key. Include others who are new to collecting; don’t exclude them because they haven’t been collecting since childhood or use a cheaper player than you. We all start somewhere, after all. Include those from all walks of life, all occupations and stations. Music was meant to bring people together, and collecting should, too.”
Carlos Alves de Sousa

16.10.24

Art Gallery of New South Wales

Tammi Gissell performing, 2021, photo: Anthony Browell

FREE this weekend – experience a compelling new choreographic work by Murruwarri/Wiradjuri artist Tammi Gissell, 'Ngara pinta-rru thirri’laa (that truth while dancing)'.

Performed 10am–2pm this Saturday 25 and Sunday 26 May, Gissell's work is made in response to Francis Bacon's 'Study of self-portrait', interrogating what one's self-portrait should be.
Join us in Naala Badu, our north building, for this solo endurance artwork in dialogue with our collection.
Held in the 'Making Worlds' exhibition on lower level 1.

Free, part of our Make it May program | No bookings required
__
'Ngara pinta-rru thirri’laa (that truth while dancing)' 2024 was commissioned by the Art Gallery of New South Wales and supported by the Keir Foundation.

Created and performed by #TammiGissell, with sound design and an original score composed by Awabakal musician #MeeghanOliver and costume design by Darug artist Peta Strachan.

20.9.24

Bang and Olufsen Beosound Emerge


A ‘bookshelf’ speaker that genuinely looks like it belongs on a bookshelf? A Bang & Olufsen product that doesn’t immediately require a load of caveats regarding its asking price? Has the world gone mad?

The Bang & Olufsen Beosound Emerge is on sale now, and in the UK it costs £669. Customers in America will have to part with $899, while in Australia it sells for AU$1449. That’s for the gold tone finish of our review sample – when it originally launched there was a less expensive (£539 / $699 / AU$1199) black anthracite alternative available, but that is no longer an option.

For once, then, here’s a Bang & Olufsen product that isn’t overtly pricier than the products with which it would seek to compete. Bowers & Wilkins, Devialet and Naim, for example, all have speakers at this sort of money – so having got the pricing aspect spot on, all B&O needs to do is nail the performance bit and the Emerge is in business.
DesignAn actual, literal bookshelf speaker
Aluminium, oak and Kvadrat textile
255 x 67 x 165mm (HxWxD)

Plenty of wireless speakers call themselves bookshelf speakers – but the Beosound Emerge takes the description literally. It’s designed to look like a book (a big, luxurious edition, certainly – but a book nevertheless), and Bang & Olufsen suggests its compact footprint and 180-degree sound dispersal makes it ideal for tight space. Such as a bookshelf.


In terms of materials, the Emerge is appointed about as well as you’d expect from the brand. A combination of rose gold pearl-blasted aluminium, natural oak and the ubiquitous Kvadrat acoustic cloth certainly makes for an indulgent look – and there’s a fair degree of tactility about this speaker, too. The brand logo running up the spine of the speaker is a witty touch.

It’s a similarly predictable story where build quality and finish is concerned. The Emerge is constructed with obvious attention to detail and no little professional pride.
Features120 watts of power
Voice-, app- or touch-control
Modular design

The Emerge features a three-strong complement of speaker drivers, arranged to deliver the widest possible spread of sound. A 101mm bass driver is powered by 60 watts of amplification, while the 37mm midrange driver and 15mm tweeter get 30 watts each. The Beosound has active room compensation and adaptive bass linearisation available in the Bang & Olufsen control app (free for iOS and Android) to help adapt its output relative to its position.

  



The app itself is good-looking, stable and useful – three things that can’t automatically be said about the equivalent apps of Emerge’s most obvious rivals. The graphic EQ adjustment, for example, is not only pleasing to use but also can make effective, worthwhile changes to the sound of the speaker.

  

Control is also available from a touch-surface on the top of the Emerge – this interface, it’s fair to say, is a more qualified success. They’re overly sensitive and altogether too responsive, to the point they’ll make you trepidatious about operations that should be straightforward – adjusting the volume level, for example.

The physical gap between the volume up/down and play/pause controls isn’t sufficient, either, so it’s all too easy to engage one function when intending to use the other. To be honest you’re better off with the app, or with the integrated Google Assistant – it’s responsive and reliable.


Wireless connectivity is via Bluetooth 5.0. Bang & Olufsen isn’t saying which codecs are supported, but if there’s any compatibility beyond SBC and AAC I haven’t been able to access it. Spotify Connect, Chromecast and Apple AirPlay 2 are available, thanks to dual-band Wi-Fi.

The splendid Bang & Olufsen Radio streaming service is also accessible via the app, and it’s possible to integrate your favourite streaming service (as long as it’s Deezer), too. Two Emerge can be wireless joined to create a stereo pair, which then puts the B&O into competition with some very capable (and similarly priced) wireless stereo speakers from the likes of KEF and Q Acoustics, of course.

Physical connectivity consists of an Ethernet port, hybrid 3.5mm analogue or digital optical socket, a microUSB service port and USB-C for mains power.

The Emerge is another Bang & Olufsen product with an emphasis on longevity. Thanks to a modular design, it’s possible to swap or upgrade parts should the need arise. There’s a replaceable connectivity module inside, and it features enough processing headroom to be ready to receive updates and/or fresh features for many a year.

And should the worst happen and it become outdated or reach its performance limit, it can be swapped for the module that represents the state of the Bang & Olufsen art at that particular time.
Sound QualitySmooth frequency integration
Good detail levels and fine rhythmic expression
Could be more assertive where dynamics and treble sounds are concerned

The control app takes next-to-no time to calibrate the Beosound Emerge to the environment in which you’ve positioned it, and it makes it similarly swift and simple to get some music playing.

So it’s with a selection of radio stations streaming via the Bang & Olufsen Radio service (mostly the UK’s BBC 6 Music and France’s FIP – I’m of a certain age, after all), music via Deezer integrated into the app (PJ Harvey’s 50ft Queenie and Rude Boy Dub by King Tubby in particular), and further music from TIDAL via Bluetooth (Neil Young’s Rockin’ in the Free World and In the Sky and On the Ground by Nils Frahm), that the Emerge quite readily reveals itself.


Most immediately impressive is the integration of the frequency range. A frequency response of 45Hz to 22kHz, provided by a trio of drivers, isn’t always a recipe for smooth integration – but the Emerge hides its crossover points well, and consequently there’s a unity and completeness to the Beosound’s presentation that’s in no way a given from products like this.

Tonality is similarly consistent, and similarly satisfying as a result. Leave the EQ adjustment alone and the sound is just slightly on the warm, rich side of neutral – but the app offers you a couple of ways of dialling this out if you don’t like it. And anyway, this balance quite nicely matches the speaker’s visual aesthetic.

Low frequency extension is respectable, and low-end sounds are nicely shaped and properly controlled. Edges are more-or-less straight, attack and decay is dealt with confidently – only when attempting to deal with properly droning bass a la King Tubby does the Emerge show any signs of stress.

Bang & Olufsen, to its credit, has not gone down the wide and well-travelled road that allows speakers to use bass and shorthand for excitement – instead, the Emerge generates a respectable amount of punch without losing the run of itself.

The midrange is properly informative, thanks to high detail levels and impressive resolution. Despite the claims for 180-degree, ultra-wide sound, a single Emerge doesn’t sound especially expansive, and can sometimes get a little flustered by dense or compressed recordings, vocalists usually have enough space in which to operate. And because the low end is so well controlled, they’re never in any danger from ill-disciplined bass.


At the top end, the Beosound is just a little circumspect. That’s preferable to hardness or splashiness, of course – but treble sounds could definitely be a little more assertive. It’s a sensible balance, on the whole, but that’s not the same as saying it’s ideal.

Rhythmic expression is good, thanks in large part to those full-figured, properly controlled low frequencies. The Emerge handles tempo and basic momentum well, and is a natural and quite sinuous listen as a result.

Low-level dynamics, the sort that become apparent when listening to Nils Frahm’s solo piano, are expressed well too. But the big dynamic shifts in the PJ Harvey recording (which goes from quiet to loud to EXTREMELY loud in very short order) aren’t handled quite so confidently – the Emerge lacks just a little headroom.

Combine this with the relatively confined soundstage and the accompanying lack of outright scale, and the Beosound isn’t quite as intense or immersive a listen as some price-comparable rivals. But at least the Emerge has some rivals that are price-comparable – that’s not always something you can say about Bang & Olufsen products.

Carlos Sousa

18.8.24

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Photojournalist & member of the United Photo Press, Àlex Burgaz captures life on the world's streets for 45 years with over 20,000 photographs



A photograph of Plaça Catalunya in Barcelona, taken on June 14, 1979, marks the beginning of 'Street Stories'. This project comprises over 20,000 photographs taken over the past 45 years. The images showcase everyday or significant situations in various public spaces in cities or towns in Catalonia and around the world. Since last June, the project has been distinguished in the world of photography for its long duration, explained the author and photojournalist Àlex Burgaz to ACN. Born in the Catalan capital, Burgaz currently resides in Juneda (Garrigues). The main objective is to portray the "reality and evolution" of society over time and the "phenomenon of globalisation," he expressed.

The 'Street Stories' project gathers photographs showing "people or moments" ranging from the "most insignificant to more iconic" in towns and cities in Europe, the United States, and Asia, Burgaz explained. "When photographing, I seek snapshots that show the whole reality. Capturing nuances helps explain the social reality of different places, even when there are governments that want to hide it," he said.

In this sense, he hopes the project can surpass a century of history and spread even further around the world because "one of the most important objectives is to define the evolution of society everywhere and show how it converges over the years with the phenomenon of globalisation," he emphasised.

"Africa is no longer the same as it was twenty years ago or, for example, in Barcelona, you used to find very personalised shops, and now almost everything is full of franchises. These changes occur in different places, and you see how the world is becoming more unified. Portraying this evolution is very interesting," he expressed.

Furthermore, the photojournalist explained that "talking with a friend of mine, who is also a photographer, I recently realised that it is probably one of the longest-running street photography projects on record." However, "this initiative is personal and does not seek any economic purpose because it would alter its meaning and essence," he added.

Asked about the photographs that have most marked his career, Burgaz recalled the one he took of a child who was a victim of child slavery in Haiti or the one he was able to take of President Carles Puigdemont at one of the most significant moments of the process. Additionally, the project includes images of the Borges Blanques market in 1980, a pioneer street performer in Barcelona in the 1990s, a floating market in Thailand in 2001, and social conflicts between various groups and the police, among many other themes and images from around the world.

Origin and trajectory of the project

Burgaz became interested in photography as a child because his father and another relative worked as photographers and passed on their passion and knowledge to him. "I tried various styles, but what I liked most was capturing what was happening at every moment," he expressed. Moreover, on his way to school, located in the Gothic Quarter of Barcelona, he observed daily situations that motivated him to photograph them. Thus, in June 1979, he photographed Plaça Catalunya in Barcelona, an image that would become the starting point of 'Street Stories'.

"At first, it was like a personal diary, but I began to see the photographic evolution and note the date and place of each photograph," he commented. However, in the 1980s, he spent "a lot of time thinking about what to photograph because the number of photographs I could take was very limited due to the economic resources I had and the cost of developing the image at the time," he said.

"Initially, the annual volume of photographs was very small, between 50 and 200 a year." The project gained momentum in the late 1990s, with increased economic income and the possibility of travelling to various countries. From 2000 and especially from 2010, the number of images grew exponentially with the advent of digital photography. "Since then, I have surpassed a thousand photographs a year, and, in fact, last year I closed it with around 3,000," he detailed. Currently, about 20,000 photographs are part of the project.


Finally, Burgaz wanted to thank the help received over the past two decades from the United Photo Press and the "unconditional" support of his wife and portraitist, Aide Gutiérrez, with whom he is studying whether the project can be part of the Guinness World Records given its duration, and they have already applied for it.