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For the 6th event, the ICPF was an official partner of the French Pavilion at the Milan World Fair 2015 and had as its theme “Feed the planet, energy for life”. The 40 photographers of the Festival brought 120 images in reply to this problem.
From November 30th to December 11th, COP 21, the United Nations global conference aimed at fighting global warming, will take place at the Paris Le Bourget exhibition centre. The impact of climate change on our food is very important, so it’s only natural that the village of Dugny should host the Festival for a final exhibition of this 6th event.
Festival International de la Photographie Culinaire
From 1st to 12th December 2015
Espace Victor Hugo
Monday : 9am – 12pm | 2pm – 5pm
Tuesday to Thursday : 9am – 12pm | 2pm – 7pm
Friday : 9am – 12pm | 2pm – 6pm
Saturday : 8.30am-12pm
On Saturday, December 5 Bobble Photography and Mirror Image Photography are running Christmas mini photo shoots at St Mary’s Church Hall, in Combs Ford, to raise money for the Pituitary Foundation.
The charity raises awareness of Adrenal Crisis, an ailment which is life threatening if not treated promptly.
Each shoot will be 20 minutes long and cost £10, which includes an 8×6 mounted print and entry into a prize draw to win a 30×20 canvas.
MARTHA’S VINEYARD, Mass. — The first boat docks at Martha’s Vineyard at 4:30 a.m. Every morning Yann Meersseman and his wife Moira Fitzgerald load 2,000 pounds of newspapers into two beat-up vans and hit the road.
When they started this job six years ago it was just that — a job. After losing their six figure incomes in architecture and software during the recession, it was a way to make just enough money to stay on the island they love.
Their friends on the mainland thought they’d gone mad.
“I said you know what? You should see the sights. You should see this place in the morning, it’s fantastic,” Meersseman said. “I’ll take a picture every day and send it to you.”
That’s how Vineyard Colors started. Today they have 2,000 email subscribers and over 13,000 likes on Facebook.
Fitzgerald says sometimes she’s so preoccupied with taking a photo, she’s not even thinking about the paper route.
“Sometimes I just get out of the car and start taking photographs and 25 minutes go by. And I think, oh, maybe I should deliver some papers.”
Demand for their photos is so great they’ve expanded into cards, calendars, and even art exhibits. Even so, they earn a fraction of what they used to make in their high-pressure corporate jobs – only about 20 percent.
When asked if they are happier now than they used to be, their answer was a unanimous “Yes.”
Meersseman says there’s always something to photograph in the morning light on Martha’s Vineyard — always something to brighten the day for thousands of their closest friends.
Marella Agnelli’s neck seemed longer than ever in that famous Richard Avedon photo from 1953. And the 25 scarlet nails set against glistening red lips from Guy Bourdin in 1972 have reached such iconic status that I was told that they are being offered only to museums.
I spent a day at Paris Photo in the French capital (until November 15 at the Grand Palais), where the quality of the work is outstanding. Some of the images are so soulful, shocking or compelling that the appropriate word was the much overused “awesome”.
But not the fashion images. With the exception of the whimsical and poetic Tim Walker, whose sweetly surreal 2013 picture of red-head model Karen Elson at a piano with a singing lion was put on display by the Michael Hoppen London gallery, the photographs and their originators were oh, so familiar!
I looked at the Gagosian Gallery’s Avedon line up of Marella Agnelli and of Dovima with Elephants (plus a Dior dress), and at Peter Lindbergh’s work from the Nineties – and I asked myself why genuinely contemporary fashion photography has so little allure.
Has the fascination with vintage clothing and with current fashion that regurgitates the Fifties, Sixties, Seventies, Eighties – and now those deliberately ugly Nineties – rubbed off on photography itself?
All the gallerists I spoke to said the same thing: that post-production, digital enhancement and a general feeling of muddied waters in the age of the computer has divided photography into a strategic “before” and “after”.
“Our show is about purity of work,” said Ayse Arnal, director of the Louise Alexander Gallery in Porto Cervo in Italy, referring to the Guy Bourdin work intended for museum acquisitions. On offer, too, were more accessible Polaroids.
Michael Hoppen was scathing about the comparison between the reality of sensuality as photographed by Guy Bourdin and the demand of current editors and publishers to create a disconcerting perfection to human face and figure.
Guy Bourdin, French Vogue March 1972, Louise Alexander Gallery in Porto Cervo.
The gallerist showed, as well as the enchanting Tim Walker photographs, a series from Rex/Shutterstock reportage images from the 1977 London punk scene. That was long before the smart devices of the digital age put a stop to such innocently captured images.
There were rare moments of discovery. I found compelling the pixilated effect on a supermodel image created this year by Valérie Belin and shown by Galerie Nathalie Obadia in Brussels and Edwynn Houk Gallery from New York and now Zurich.
Then there were the Pierre & Gilles decorative images, such as a portrait of Spanish actress Rossy de Palma and an exceptional 2015 Magical Mirror image of Olivier Rousteing, creative director of Balmain. This hand-painted portrait photographed on toile stood out at the Galerie Daniel Templon from Brussels.
London’s HackelBury Gallery produced two graphic, unseen fashion photographs by William Klein, among other abstract images. While another more conventional, but moving, Klein photograph of actress Anouk Aimée (1961), with cigarette holder as accessory, was on offer at the Gallery Fifty One for €18,452 (£13,065) – just one of many reprinted works of past or present masters.
The price of quality, in the age of the smartphone selfie, is ever upward. Unless I misread the price tag, a 1990 Patrick Demarchelier photograph of Christy Turlington was offered by Camera Work in Berlin for €95,600.
Dorothy McGowan juggling white light balls by William Klein, Paris 1962 at the HackleBury Gallery, London.
Putting to one side the varied valuation of fashion work, the images were almost entirely from the past, often emphasising the quality of early printing. (The extraordinary carbon colour printing of Sarah Moon’s work from 2014 at the Camera Obscura gallery was an exception.)
Nick Knight, the British photographer and early creator of fashion film, visited Paris Photo and will receive the Isabella Blow award as fashion creator at the British Fashion Awards at the end of this month. He credits Irving Penn for turning photography into an art form.
But you can’t help wondering whether the power of the moving image and the involvement in film of so many current photographers, has moved the goal posts.
Those photographers who shaped their art in a pre-digital age are – just like fashion designers themselves – taking to shows in museums. Sarah Moon will have a retrospective in the House of Photography in Hamburg from November 27. And Vogue 100: A Century of Style will open at London’s National Portrait Gallery on February 11.
September 2016 will see the Kunsthal in Rotterdam present a retrospective of Peter Lindbergh, A Different History of Fashion, curated by Thierry-Maxime Loriot.
Anouk Aimée with cigarette holder by William Klein, 1961, at Gallery Fifty One.
I still feel intuitively that fashion images, as we have known them, are in decline – whether from a lack of originality, the lure of post-production or even the competition – ridiculous as this sounds – between the glossy professional style and the dynamic smartphone camera grabs.
Coming off Eurostar in London, I went to Paul Smith in Albemarle Street to see a David Bailey exhibition celebrating the launch of his 41st book, Tears and Tears. You had to see the torn off test tear-strips of unexposed paper to understand the title and the images of anyone from Michael Caine or Jack Nicholson to Mick Jagger, Jean Shrimpton, Zandra Rhodes and varied African warriors.
Paul Smith, who learned to use a camera as a child from his father, was fascinated by the Bailey test sheets and the fact that the photographer had printed everything himself.
I asked Bailey, whose work charted the changing world of England in the Sixties, how he defined good fashion photography.
“My pictures were all about the girl,” he said, looking up at the image of Jean Shrimpton, the first model to express the newly liberated Sixties woman. “My fashion pictures were more like portraits.”
Nowadays, with the invention of the digital camera, taking a picture has never been easier. But taking a good picture, however, still requires a certain level of skill. It’s no secret that being a celebrity automatically gains you Instagram fame, but many of the world’s best photographers also use the social media platform to showcase their work, gaining them thousands and thousands of followers.
While you probably have no aspirations of becoming a professional photog necessarily, you do probably snap your fair share of pics and wouldn’t mind a few more likes when you post them.
Whether you’re going for the minimalist look, a top-down foodie shot, stunning nature landscapes, or the twinkle of city lights, 5 leading Instagramers have teamed up with Canon cameras to share their best tips and tricks with #SHOOTITYOURSELF.
Without getting too much into the science behind photography, here are a few basics that go a long way when taking the perfect picture.
Photo cred – @soteeoh
1. Composition over filters
Don’t get me wrong, filters are fun, and a great way to give your photos a specific look or feel, especially when you are not looking to fiddle around with individual image settings, but before you apply that fancy finish, you need a solid structure underneath to carry it properly. It might take you an extra 30 seconds to line up your subject properly, or nail that perfect angle, but the G Series cameras’ large sensors and bright apertures make capturing the finest details or adding an atmospheric background blur a breeze.
Photo cred – @fursty
2. Shoot in landscape
If you’re not shooting someone’s portrait or any other subject where you’re trying to emphasize a vertical aspect, landscape format is definitely the way to go. You’ll have more room to add depth to your photo, plus social media in general favours the landscape format. Pack on a wide-angle lens when shooting with the EOS M3 to capture epic shots that grasp every sight you see.
Photo cred – @13thwitness
3. Point of view
The most visually-appealing photos you see on your feed generally don’t happen by accident. It takes the right location, proper positioning and a unique p.o.v. to bring to life and properly convey the image you see in your mind. That means getting into those tight spots, or putting yourself in awkward angles, all in the name of the perfect shot! Canon G series and EOS M3 cameras are equipped with touch screens that tilt up and down, and in some cases all-around, making it easy to get that tricky point of view.
Photo cred – @soteeoh
4. Don’t use Instagram to take photos
Instagram is a lot of things, but it is not a camera. If you really want to shoot quality photos, consider getting yourself a quality, ultra-portable camera to really capture the details your looking for. An all-in-one compact like the Canons G series or an EOS M3 mirrorless are great places to start. Not only are they small enough to take anywhere, they have built-in Wi-Fi and NFC capabilities to help you instantly share your shots with your devoted followers.
Photo cred – @thesupermaniak
This is the most crucial component of photography and is the #1 difference between a mediocre picture and the eye-catching image you see in your mind. Always figure out the best lighting possible before hitting that shutter button. For the times when you can’t control the lighting, cameras like the Canons G series and EOS M3 mirrorless are clutch for low-light captures, so you are free to shoot anywhere and anytime.
From thousands of entries, the judges at IPPAwards select the top three photographers of the year and finalists in 19 categories
“It’s an incredible surprise for me to be given this award,” Koralewski tells TIME. “I’ve taken part in the IPPAwards contests for three years, and this is the first time I won something more than an honorable mention.”
Reviewing thousands of entries from all over the world, the jury selected the top three, as well as three winners in each of the 19 categories, which included travel, architecture, food and portrait. “This year’s entries were especially impressive ranging from intimate, thought-provoking moments to stunning, captivating imagery,” says the awards’ founder Kenan Aktulun.
Koralewski won best Photographer of the Year with the shoot Sounds of the Old Town, which depicts an elder accordionist playing traditional Polish songs in the market square of Warsaw. He captured the dreamy scene with an iPhone 5 equipped with a COVR photo lens – a sliding camera lens that allows photos to be taken discreetly from the waist.
As an amateur photographer, Koralewski enjoys the portability and low-profile nature of the device: “I have it with me all the time. It’s fast and always ready to use so I almost never miss the fleeting moment,” he says. “It allows me to stay almost invisible to the neighborhood when shooting.”
Craik won second prize with Cafe Birds, an image taken with his iPhone 5s in a café in Dorset, a fishing town in South England. “I’m overjoyed because I’ve finally won some recognition with a wildlife photo, and with an iPhone photo as well,” he says.
A self-taught photographer, Craik admits his “gut-wrenching passion” for wildlife inspired his shot. “I saw the birds, I saw the shadows on the wall, and I saw the corner of the table,” he says recalling the moment he noticed starlings reaching for crumbs on his table. “I saw this image happen in front of me.”
Craik applied minor edits to the photo using Pixlr to lighten it up. Although photo-editing apps were allowed in the contest, laptop post-production programs such as Photoshop were not.
With Before Sunset, an intimate photograph of a sleeping couple traveling by train along the Hudson River, photographer Yi-Chieh Lu – who goes by Yvonne – won third place. A fine art professional photographer, Lu relies on her phone mostly for street photography, as she values the “real-eye point-of-view” it provides, and praises the ability to share shots quickly on social media to reach a broad audience. Lu used VSCOcam to enhance her photograph.
Founded in 2007, the same year the iPhone was launched, the IPPAwards celebrates the power of the mobile device to produce valuable visual work.
The three winners learned to hone their skills through practice: “If you want to take a good photograph, first you need to cut out distractions in the background and focus on the essential parts of the frame. It’s especially important if you take photos with a smartphone,” says Koralewski who also encourages attention to light and experimenting with different angles for varying perspectives. The key is to be patient and to refrain from the natural instinct to rush, which might lead to blurry outcomes, Craik suggests while Lu reminds photographers to always have their iPhones with them. “Take your phone with you all the time, don’t put it in the bag!” suggests Lu. “That way, you can always capture beautiful moments just with your phone in hand.”
Kathmandu, Nepal – They adorned the walls of an ancient palace, rested against old stone water spouts, and hung scattered through narrow alleyways across the ancient city of Patan – images that convey feelings of nostalgia and hope, joy and history.
This was Photo Kathmandu, Nepal’s first international photo festival.
A map to the exhibition, which ended on November 9, guided people through the city, as though they were on a magical adventure, unsure what they would see next and which feelings it would evoke.
The festival came towards the end of a challenging year for the Nepalese people. First, there was the massive earthquake that took thousands of lives. Then there was the socioeconomic and political instability resulting from the release of the long-awaited constitution.
“We started thinking about and preparing for the festival in February,” explained Photo Kathmandu’s codirector, Nayantara Gurung Kakshapati. “But after the April earthquake, everything was put on hold”
“[Then], after a few months, we decided this would be a perfect way to bring the attention back to Nepal, displaying to the world our ability to adapt positively to the challenges facing our country.”
The festival has already contributed $12,000 to help rebuild an old Pati, a traditional rest stop, in a town called Chyasal, which was destroyed in the April 25 earthquake.
“I just stand by my exhibition and watch thousands of people passing by my work, and when they are drawn in by the photos, it makes me feel really fortunate to be able to give my work back to Nepal,” explained Kevin Bubriski, who has been taking photos of Nepal since 1975 and whose work was on display in Patan.
In addition to the exhibition, there were workshops, talks by artists, and slide shows of various artists’ work in different locations around the city.
Internationally acclaimed photographers, including Tanzim Wahab, Surendra Lawoti, Sohrab Hura and Philip Blenkinsop, reviewed the portfolios of emerging artists. Also present was Soren Pagter, the head of the world-renowned Photojournalism Department at the Danish School of Media and Journalism, and Thomas Borberg, the photo editor-in-chief of Politiken, one of the largest newspapers in Denmark.
“It’s not photography for photographers, it’s photography meant for developing the consciousness of the people,” said Pagter. “All of a sudden, it’s not about photography – it’s about democracy, it’s about information, it’s about gaining knowledge on your society … and this you do by putting your work out into the street.”
The festival has allowed the international and local community to communicate – connecting two different worlds through the powerful medium of photography
Photographer Emily Lesher gives us helpful tips for getting the most out of our holiday photos.
1. How to pose to look 10-15 pounds thinner in pictures: chin down, neck out
2. Where to find flattering light for the best indoor pictures: take photos using window light
3. How to photograph candid moments without ruining the moment: lighting
4. How to photographic kids so they look and act natural: take photos of them doing things they enjoy so you don’t have to force smiles
5. Why you should photograph details: so you remember them!
It is understandable that many beginners new to taking photos often get impatient when learning photography. Learning this craft is a process and involves the gradual addition of techniques that will eventually turn into second nature. We all get “the bug” and want to learn anything and everything as soon as possible, it’s natural. There are all sorts of elements that factor in to a well composed final image. The fact of the matter is, we’re all still learning new things from our experiences that we encounter.
So what is a great exercise to help better your photography skills? Shoot Black & White! (B&W) About a year ago, I was in Manhattan doing a little street photography for fun. I decided to stick to B&W for the entire trip for my theme. Shooting in B&W really opened my eyes to how light works, bends, and reflects to our surroundings.
Photography in its simplest form, is capturing shadows, mid-tones, and highlights. The benefit from shooting B&W is that it breaks down photography into a very basic interpretation of light. We are forced to forget about colors all together and focus more how we light our subject. Colors in a way distract you from the tonality of the image; colors interfere with your perception of light. We are able to clearly see how the light shapes our subject and how we can manipulate how the light hits the subject.
One trick I do often when shooting B&W or even color is that I change this setting in my menu (Nikon):
Shooting Menu > Set Picture Control from “Standard (SD)” to “Monochrome (MC)”
That way I can review my photos on my LCD screen quickly in Black & White so I can check the light and exposure more effectively. If you’re shooting RAW your photos will still be in color once you import them into Lightroom, Capture One, etc.
I learned many nuances from shooting exclusively black and white for a month or two, it really taught me how light works and how to capture it. If you find yourself in a rut with your photography or lighting, try giving black and white a shot and see how it can help you and your photography skills. It’s a great exercise to improve your work. And remember, learning is a process, we all want to be the best we can be, a little patience will help get you there!