Did it integrate opposites, has it united differences under a common flag, did it break down barriers or has it sparked controversies? Be it the white girl with blonde curly hair and an African American girl embracing each other or an attempt to fight world hunger or pulsing hearts of three different races, United Colors of Benetton has defined a new era of fearless and provocative ads.
Italian art director and photographer Oliviero Toscani is credited with creating Benetton’s daring advertising campaigns. Breaking the age-old advertising tricks, Benetton has always pushed sensitive subjects and challenged realities.
By 1984, Toscani’s work started creating buzz with ‘All the Colors of the World’ campaign that focussed on young people of multicultural groups wearing the brand’s apparels. A political alignment with consumers rather than just talking about the style and colours has helped in creating a movement against various social taboos.
Showcasing the message of unity in 1991, the brand portrayed one figure from three different continents warmed by a single blanket. The ad looked like a family portrait and gave the message of spreading love between people of different races. In order to fight world hunger in 1997, the brand used one of the most astonishing images to depict how hunger can consume human body. The most controversial ad was the ‘Death Row’ campaign that aimed at drawing attention to the controversy around capital punishment in the US. Convicted criminals were used as models and the photos were stamped with the words ‘Sentenced to Death’ and ‘We, on Death Row’.
Right from bravely using HIV AIDS to the colourful mix of condoms and the Cold War campaign with a photo of two black children kissing and wrapped in different flags, the brand doesn’t shy away from sparking debates.
The iconic image of an umbilical cord still intact to a baby and featuring a real AIDS patient on his deathbed was an unusual sight in the advertising space. To some it appeared distasteful and insensitive but it generated awareness about the disease and number of infant deaths.
Raising the bar of controversies again, Benetton recently launched the ‘Unhate’ campaign featuring religious leaders, prime ministers, presidents kissing each other as an attempt to foster global love and creation of a new culture of tolerance.
The campaign also took the Lion Grand Prix in Press; however, Benetton had to withdraw the photograph featuring Pope Benedict XVI kissing a senior Egyptian imam. The campaign generated more than 500 million hits and was among the top trending topics on Twitter.
The ‘Unhate’ campaign was followed by the launch of ‘The unemployee of the year’ communication campaign, set up under the aegis of the UNHATE Foundation, that seeks to challenge clichés about youth non-employment and asserts a belief in the creativity of the world’s youth. The campaign aimed to support youth to become actors of change against indifference and stigma. Young non-employed people, between the ages of 18 and 30, were invited to submit outlines of projects to be supported and the 100 most deserving projects received support from the UNHATE Foundation to turn these projects into reality.
Oliviero Toscani is an Italian photographer, born in 1942, in Milan. He is the ingenious force behind some of the most successful brands and magazines of the world, such as Esprit, Chanel, Fiorucci, Benetton and more. He studied design and photography in Zurich from 1961 to 1965.
Many a times, eminent brands all around the world communicate controversial statements through their advertisements and promotional campaigns. Toscani is one such artist who makes it possible for these huge or elite companies to spread creativity yet taunt at some social, economic or political issue. Through his work, Oliviero Toscani has given insinuation to war, racism, capital punishment and religion.
What is unique about such advertisements by Oliviero Toscani and other creative photographers, is that there is no image of the product, yet things are made to be understood. In some advertisements, there is no hint about what is being sold. The same thing is presented in one of Toscani’s work for No.l.ita, an Italian apparel company.
According to Toscani, as much as it is important to promote a product or service, it is equally important for a company to demonstrate their social sensitivity and intelligence to a society. So, he began working using such issue as a reference and kept experimenting. The results suggested that this tactic became successful. Over the eighteen years of his work for Luciano Benetton, the company grew 20 times in size. Hence, whenever there is a possibility to use such creative angles, Oliviero Toscani is always up for it. For him, the most important part of an advertising campaign is the concept and the communication.
The only objective of art is to illustrate the conditions of humans through rationality and emotions. Toscani thinks that he inherited this great talent from his father, Fedele Toscani. Fedele was a photojournalist for Corriere della Sera, Italy’s well known daily newspaper. Thus, controversial photography is genetically transferred to him.
The latest Fox India Look Book was shoot by our team at Hilton in Hua Hin.
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Henri Cartier-Bresson, (born August 22, 1908, Chanteloup, France—died August 3, 2004, Céreste), French photographer whose humane, spontaneous photographs helped establish photojournalism as an art form. His theory that photography can capture the meaning beneath outward appearance in instants of extraordinary clarity is perhaps best expressed in his book Images à la sauvette (1952; The Decisive Moment).
Cartier-Bresson was born and attended school in a village not far from Paris. In 1927–28 he studied in Paris with André Lhote, an artist and critic associated with the Cubist movement. Lhote implanted in him a lifelong interest in painting, a crucial factor in the education of his vision. In 1929 Cartier-Bresson went to the University of Cambridge, where he studied literature and painting.
As a boy, Cartier-Bresson had been initiated into the mysteries of the simple “Brownie” snapshot camera. But his first serious concern with the medium occurred about 1930, after seeing the work of two major 20th-century photographers, Eugène Atget and Man Ray. Making use of a small allowance, he traveled in Africa in 1931, where he lived in the bush, recording his experiences with a miniature camera. There he contracted blackwater fever, necessitating his return to France. The portability of a small camera and the ease with which one could record instantaneous impressions must have struck a sympathetic chord, for in 1933 he purchased his first 35-mm Leica. The use of this type of camera was particularly relevant to Cartier-Bresson. It lent itself not only to spontaneity but to anonymity as well. So much did Cartier-Bresson wish to remain a silent, and even unseen, witness, that he covered the bright chromium parts of his camera with black tape to render it less visible, and he sometimes hid the camera under a handkerchief. The man was similarly reticent about his life and work.
In more than 40 years as a photographer, Cartier-Bresson wandered continually around the world. But there was nothing compulsive about his travels, and he explicitly expressed a desire to move slowly, to “live on proper terms” in each country, to take his time, so that he became totally immersed in the environment.
In 1937 Cartier-Bresson produced a documentary film, his first, on medical aid in the Spanish Civil War. The date also marked his first reportage photographs made for newspapers and magazines. His enthusiasm for filmmaking was further gratified when, from 1936 to 1939, he worked as an assistant to the film director Jean Renoir in the production of Une Partie de campagne (A Day in the Country) and La Règle du jeu (The Rules of the Game). As a photographer he felt indebted to the great films he saw as a youth. They taught him, he said, to choose precisely the expressive moment, the telling viewpoint. The importance he gave to sequential images in still photography may be attributed to his preoccupation with film.
In 1940, during World War II, Cartier-Bresson was taken prisoner by the Germans. He escaped in 1943 and the following year participated in a French underground photographic unit assigned to record the German occupation and retreat. In 1945 he made a film for the U.S. Office of War Information, Le Retour, which dealt with the return to France of released prisoners of war and deportees.
Though Cartier-Bresson’s photographs had been exhibited in 1933 in the prestigious Julien Levy Gallery in New York City, a more important tribute was paid to him in 1947, when a one-man exhibition was held in that city’s Museum of Modern Art. In that same year, Cartier-Bresson, in partnership with the U.S. photographer Robert Capa and others, founded the cooperative photo agency known as Magnum Photos. The organization offered periodicals global coverage by some of the most talented photojournalists of the time. Under the aegis of Magnum, Cartier-Bresson concentrated more than ever on reportage photography. The following three years found him in India, China, Indonesia, and Egypt. This material and more, taken in the 1950s in Europe, formed the subjects of several books published between 1952 and 1956. Such publications helped considerably to establish Cartier-Bresson’s reputation as a master of his craft. One of them, and perhaps the best known, Images à la sauvette, contains what is probably Cartier-Bresson’s most comprehensive and important statement on the meaning, technique, and utility of photography. The title refers to a central idea in his work—the decisive moment—the elusive instant when, with brilliant clarity, the appearance of the subject reveals in its essence the significance of the event of which it is a part, the most telling organization of forms. Later books include Cartier-Bresson’s France (1971), The Face of Asia (1972), and About Russia (1974).
He was singularly honoured by his own country in 1955, when a retrospective exhibition of 400 of his photographs was held at the Museum of Decorative Arts in Paris and was then displayed in Europe, the United States, and Japan before the photographs were finally deposited in the Bibliothèque Nationale (National Library) in Paris. In 1963 he photographed in Cuba; in 1963–64, in Mexico; and in 1965, in India. The French filmmaker Louis Malle recalled that, during the student revolt in Paris in May 1968, Cartier-Bresson appeared with his 35-mm camera and, despite the explosive activities, took photographs at the rate of only about four per hour.
In the late 1960s Cartier-Bresson began to concentrate on making motion pictures—including Impressions of California (1969) and Southern Exposures (1971). He believed that still photography and its use in pictorial magazines was, to a large extent, being superseded by television. On principle, he always avoided developing his own prints, convinced that the technical exigencies of photography were a harmful distraction. Similarly, he directed the shooting of films and did not wield the camera himself. With this medium, however, he was no longer able to work unobtrusively by himself. Cartier-Bresson devoted his later years to drawing.
His Leica—his notebook, as he called it—accompanied him wherever he went, and, consistent with his training as a painter, he always carried a small sketch pad. There was for Cartier-Bresson a kind of social implication in the camera. To his mind, photography provided a means, in an increasingly synthetic epoch, for preserving the real and humane world.
Photographing Songkran in Thailand is a bit like underater photography So here is the collection of 200 random images taken during Songkran in Chiang Mai. This is how far you can go with the cheapest DSLR wrapped in a plastic bag from 7-11
Looking back at old classics, we are presenting a collection of portraits by Helmut Newton
He led the ultimate glamorous life. He lived in the Chateau Marmont in the winter months, to keep the cold and gloom at bay, befriending Billy Wilder, Dennis Hopper and Robert Evans. He was married to fellow photographer Alice Springs, quirkily named after a pin was placed in a map.
Newton arrived in Paris in a white Porsche, was hired immediately by French Vogue, commissioned by Playboy, had a heart attack at 50, and lived in Monte Carlo. Then in a final fling – or what Karl Lagerfeld poetically described as “his last picture, taken by himself”, he crashed his Cadillac on Sunset Boulevard aged 83, on January 23 2004.
- After taking a model onto the streets during an early assignment at British Vogue, he was sternly told by the editor that “ladies, Helmut, do not lean against lampposts”
- All Newton’s exhibitions were curated by his devoted wife; all books edited by her, including: White Women (1976), Sleepless Nights (1978), Big Nudes (1978), World Without Men (1984) and the massive Sumo (1999), which came out at 31 inches, 26 kilos, £625, and with its own coffee table (Brad Pitt bought several copies)
- Celebrating 51 years of marriage in 1999, their joint exhibition and book, Us And Them, included Alice’s photo of Newton wearing nothing but black stockings and his strangely tender portrait of her lying on a hospital bed, following a major operation, wearing a catheter and a huge metal zip running up her stomach.
THE latest Pirelli calendar will not star fashion’s current crop of supermodels as expected, rather the Italian tyre company – which launched its first risqué edition in 1964 as an marketing tool – will release an unpublished 1986 calendar shot by Helmut Newton.
The original version was never launched due to a mix of factors. Two calendars were commissioned in 1964, with the best one chosen for release. However, Newton was forced to stop shooting because of personal issues and his assistant took over the project, paying close attention to his boss’s instructions, but, in the end, competing photographer Robert Freeman landed the job.
Pirelli celebrates its 50th anniversary next year, and its 2014 edition has been hailed as a celebration of its success to date. Each calendar is known for starring scantily-clad supermodels posing in provocative positions, although the 2013 edition was photographed by Steve McCurry – who adopted a more demure approach to the proceedings – having famously taken the striking portrait of the green-eyed Afghan Girl for the cover of the National Geographic in 1985.
In August this year, Pirelli unveiled a commemorative shoot of some of fashion’s most famous models, including Miranda Kerr, Alessandra Ambrosio and Helena Christensen, which were thought to pre-empt its forthcoming calendar stars – although this wasn’t to be.
From muddy smiles to mini ponies and a rodeo in France, here are the winners of the youth and open categories in the 2014 Sony World Photography Awards
source: Guardian UK
We are very excited to announce that Casting Call Asia is now fully online
Check our new website www.castingcallasia.com
You can register for free and benefit from the new launch of the platform.
This tool will allow you to build the profile you like, improve your visibility on the net, and have access to more castings.
Casting Call Asia – CCA has been built by professionals who are active in the media, photography, movie, modeling and entertainment industry.
The ultimate target is to facilitate the communication & cooperation among professionals working in the same industry.
It is very easy to register:
- Go on www.castingcallasia.com
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John Stanmeyer, a VII Photo member and National Geographic contributor, has won World Press Photo of the Year for an image of African migrants on the shore of Djibouti, “raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia”
World Press Photo of the Year 2013: 26 February 2013, Djibouti City, Djibouti African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighboring Somalia—a tenuous link to relatives abroad. Djibouti is a common stop-off point for migrants in transit from such countries as Somalia, Ethiopia and Eritrea, seeking a better life in Europe and the Middle East © John Stanmeyer, USA, VII for National Geographic
“It’s a photo that is connected to so many other stories – it opens up discussions about technology, globalisation, migration, poverty, desperation, alienation, humanity,” says Jillian Edelstein, jury member of this year’s World Press Photo. ”It’s a very sophisticated, powerfully nuanced image. It is so subtly done, so poetic, yet instilled with meaning, conveying issues of great gravity and concern in the world today.”
US photographer John Stanmeyer of VII Photo was on assignment with National Geographic when he shot this image of “African migrants on the shore of Djibouti city at night, raising their phones in an attempt to capture an inexpensive signal from neighbouring Somalia – a tenuous link to relatives abroad,” reads the caption. “Djibouti is a common stop-off for migrants in transit from countries such as Somalia, Ethiopia and Eritrea seeking a better life in Europe and the Middle East.” The picture also won 1st Prize in the Contemporary Issues category.
Speaking to BJP, Stanmeyer says: “It’s an honour and privilege to win. I hope it communicated the reality that we could be any one of those people on the beach, trying to talk to our families back home.”
The image was shot during the first part of a multi-year project for National Geographic on human migration in northern Africa. “I spent a month driving and walking through Ethiopia and ended up in Djibouti, and I remember talking with my writer Paul Salopek on the beach at the Red Sea where, ironically, 60,000 years ago there was a land bridge that allowed us to continue our path – to connect. Today, we have other means of connecting, using, for example, mobile phone signals. I was in Djibouti city, walking along the beach looking for things to photograph, and I remember coming across that spot and seeing all of these people here; I asked my translator what they were doing. They were engaged in what is called ‘catching’. They were trying to get a signal to talk to their loved ones at home. How can modern-day migration be more illustrated than this?”
Stanmeyer photographed at night in a bid to protect his subjects’ identity and privacy. “People are very skittish, they don’t want to be seen. Understandably. And I love photographing at night – it was a full moon that night.”
Stanmeyer didn’t expect to win the World Press Photo of the Year, which, he says, should also go to the entire team who worked with him on the story: “The writer, the photo editor I’ve worked with, the magazine that supports reportage storytelling. And it’s also for the people in the image. I’m glad that I’m able to communicate something that is universal to us all. I have been that man or that woman in that frame countless times as I tried to reach my family back home. I’m thankful and honoured that something poetic, that I hope screams loudly, is shared this way now.”
David Guttenfelder, a photographer with Associated Press and also a jury member, says: “The photo is like a message in a bottle, it is one that will last. People will bring their own life experiences to it as they stand in front of it.”
“What we’re looking for in the winning image is the same quality you would look for in a great film or in literature – the impression that it exists on more than one level, that it makes you think about things you haven’t thought about,” adds jury member Susan Linfield. “You begin to explore the layers, not only of what’s there but of what isn’t there. So many pictures of migrants show them as bedraggled and pathetic; this photo is not so much romantic as it is dignified.”
Sarah Leen, National Geographic’s director of photography, welcomes the win. “John Stanmeyer’s winning image was the lead photograph in National Geographic magazine’s December 2013 story ‘Out of Eden’. It is an image of beauty and magic and wonderfully mysterious,” she tells BJP. “It worked marvellously within our story but it also stands as an icon for the digital era we are living in. Today we seek connection and community with texts, tweets, images and emails. This photograph beautifully, and poignantly, speaks to that desire for connection thru a particular community of people separated from their families and loved one. It is a wonderful choice.”
Stanmeyer’s image was selected from among 98,671 images submitted by 5754 photographers from 132 countries. The jury was chaired by Gary Knight, also of VII Photo. He talks about the process: “Whenever anything comes on the screen, you are obliged to state to the jury that you have a potential conflict of interest. Every single time, you have to do the same thing. You repeat it over and over again. That was absolutely the case for me, and it was the case with many of the other jurors with photographs entered in this competition.”
He adds: “Also, David Campbell, the secretary, has written down all of our associations, and if he notices that there is a pattern in our advocacy or our voting that is consistent with the professional relationship we may have, we get called out on it.”
Other winners include: French photographer Philippe Lopez, who took first place in the Spot News (singles) category for his image of typhoon survivors in the Philippines; Goran Tomasevic from Serbia, who won first prize in the Spot News (stories) category for his image of rebels attacking a government checkpoint in Damascus, Syria; and Alessandro Penso from Italy, who won the General News (singles) category for his image of Syrian refugees. US photographer Sara Naomi Lewkowicz took first place in the Contemporary Issues (stories) category for her portrait of domestic violence; Markus Schreiber from Germany won first prize for his image Farewell Mandela, Pretoria, South Africa; and Julius Schrank, also from Germany, took first prize in the Daily Life (singles) category for his image of Kachin fighters in Burma.
Last year, Swedish photographer Paul Hansen won the World Press Photo of the Year title for a picture of a group of men carrying the bodies of two dead children through a street in Gaza City. The picture proved controversial after Hansen was accused of manipulating and toning his image. The ensuing debate forced World Press Photo to change its rules regarding “the permissible levels in post-processing of image files” submitted.
BJP Editor Simon Bainbridge comments:
The more I see John Stanmeyer’s World Press Photo of the Year, the more I like it.
On first glance, seen without a caption, it looks like a rather cliched setup shot for a telecommunications advert, the silhouetted figures resembling sculptures – a naff reference to Mayans praying to their sun god, perhaps? – holding their mobile phones aloft in apparent reverence. But that works in favour of the picture when you learn that it is a reportage shot, and it highlights one of the most important stories of our times.
The figures are, in fact, African migrants, standing on the shoreline of Djibouti, the small republic wedged between the war-torn countries of Eritrea, Ethiopia and Somalia on one side, and the kleptocracy of Yemen, a short hop across the Gulf of Aden, on the other. They are holding their mobiles aloft in an attempt to catch a less-expensive phone signal from Somalia – maybe their only link to relatives abroad, or perhaps to contacts who will help them transit to Europe or the Middle East in search of better lives.
It is then a surprising picture, quite different from the images we are usually given to illustrate the wider story of migration out of Africa. It also hints at the role technology plays in this story, highlighting the fact that mobile phones, the internet and social media are bringing the so-called Undeveloped World closer to us in the West much quicker than the often arduous journey that migrants take to escape war or poverty – a reminder that our wealth and opportunity can no longer remain hidden.
see all pictures in the gallery
The latest Rig Anthony Look Book was shoot by our team at Rig Anthony Look Book Shoot at Ocean Urban Lounge in Bangkok.
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by Martushka Fromeast, Nyima Tamang
“The main aim of my project is setting a clear goal and enabling a group of young people to accomplish something spectacular. I did not want 27 children in Syafrubesi, Nepal to become photographers, but I wanted them to get courage. I wanted to empower them and help tem to find a way to achieve whatever they want to achieve, regardless of their economic situation.”
In order to prepare ‘The Story of Gosaikunda from the Eyes of the Kids from Syafrubesi’, we created a set of photographs illustrating a local story, Chogar and Chona, shared with us by a local shaman. A group of 27 young people living in Syafrubesi village in Lamtang region of Nepal were supervised by myself and Nyima Tamang a local activist. The young people also received some training from Kishor Dangol and Priya Tamang, both from Kathmandu, Nepal.
I collected in Poland and UK second hand digital cameras from different people and took them to Nepal and taught young people how to use them. Afterwards, during carefully planned sessions, we divided the story and prepared professional storyboards. We worked towards the plan, carefully designing every picture. We shot knowingly and used a variety of photographic means, playing with narrative sequencing and visual language of photography itself, carefully choosing the natural light or mixing it with artificial light, using long and short exposures, fake perspectives and so on. As a result, we created 20 pictures to illustrate the story.
The Gosaikunda Lake is situated at 4380 meters above the sea level. The lake is considered to be holy by Buddhist, Shamans and Hindu believers. The set of pictures illustrate the local story explaining the creation of the Gosaikunda Lake:
‘There is an amazing place nearby. Many years ago there was a village between hills. In this village, there lived two sisters, eldest was Chona and youngest was Choga. Once they set off to the jungle to fetch grass for the cows. They got very tired as they worked really hard. When they saw a beautiful place they decided to take a little rest there. When they finally set on to home, Chogar saw next, an even more beautiful place. Oh, how much she wanted to reach there. She started to walk. Suddenly, Chogar and Chona were no more together. No one knew where was Chona, Chogar was searching her so hard. Few months passed and Chogar was still searching for her sister Chona. Chogar was so tired searching, no where being able to find her sister Chona. Finally, in one place, she just sat. Chogar was searching days and nights and anywhere she could find any information about her lost sister. She had in her heart the true love for her sister. This love changed her into a Goddess. When she finally found her sister she was very happy. But when they started to talk, it came out that Chona found a place she really wanted to stay and she did not wanted to live anymore with Choga. Choga got really angry as she was searching her sister for all this time. But Chona’s heart was black and she did not care for her sister’s feelings, she just left to live by her own. Chona’s egoism made all her body black. Chogar said to Chona: “You may stay by yourself, anyway I will be always around. One day you will see.” Since then Choga become a respected Godess and all the people celebrated her. When the sisters time passed, they changed into lakes. Since then, every year during Janai Purima holidays, we come to the Gosaikunda lake to celebrate Choga.’
To set a clear aim and enable the group of young people to accomplish something spectacular is what was most important. I did not want 27 children in Syafrubesi, Nepal to become photographers but I wanted them to become courageous. I wanted to empower them, disregarding their economic situation, to be able to find the way and achieve things they want to achieve.
The project was financially supported by Polish Institute in New Delhi, Social Welfare Foundation, Syafrubesi as well as via a Kickstarter campaign supported by a group of individuals. I want to thank my local collaborator Nyima Tamang for help in running the workshops. I was also supported by volunteers from Kathmandu: Kishor Dangol, Priya Tamang and Prakash Sijapati.
Pictures taken by children from Shyabrubesi and Martushka Fromeast
Story curated & edited by Martushka Fromeast
in collaboration with Nyima Tamang, Kishor Dangol & Priya Tamang
The most astonishing pictures of 2013 – Reuters releases its best photographs of the year.
See all at the Daily Mail website
Around 200,000 demonstrators rallied in Bangkok, with protest leaders saying their goal this Monday is to storm Shinawatra’s office, known as Government House.
During the weeks of demonstrations, protesters have occupied various government offices. The rallies have been mostly peaceful, but clashes between protesters and government supporters on November 30 left five people dead.
Protesters and police, who had confronted each other with tear gas and rocks in parts of Bangkok last week, agreed to a truce Tuesday in a show of respect for Thailand’s revered king, who celebrated his 86th birthday Thursday.
Protest leaders have said they want to rid Thailand of the influence of former Prime Minister Thaksin Shinawatra, the older brother of Yingluck.
Thai Prime Minister Yingluck Shinawatra dissolved the nation’s parliament Monday and called for new elections. But the move did little to appease anti-government protesters who remained on the streets by the thousands.
This is how the day looked like:
“This collection’s inspiration comes from the curved and geometric prints which appear on the pottery of Ban Chiang in the north eastern Thailand. The form of these potteries connects with silhouette in this collection. The colors scheme is not limited to to the colors that we used in the past but we also use black,gold, maroon and cream. In addition we also have embroidery made by hand and flower pattern that is our long-time signature.”
Source: Tipayaphong Poosanaphong Press Release
See all collection below:
Digital technology is such a good thing especially for those with extremely creative imaginations. London-based artist Daniella Zalcman realizes the concept behind her latest project, which is simply called New York + London: A Collection of Double Exposures. As the title declares, the collection is simply what it states.
From the Far Rockaway to the South Bronx in New York, or from Hammersmith all the way to White Chapel in London, the series merges iconic landmarks and imagery, turning into a series of amalgamated images of locations, haunts and skylines.
Originally inspired by the concept during her last month in New York City, Zalcman snapped over 100 smartphone photographs of the streets in NYC. With that start, she then used different smartphone apps to juxtapose her pictures of the Big Apple over images of London.
The composite results reveal striking similarities between two of the world’s most iconic cities. Zalcman’s work has been featured in The Wall Street Journal, Vanity Fair, and Sports Illustrated, and she is at present raising funds thru Kickstarter to fund a photo book of her work.
Zalcman recently spoke of New York + London: A Collection of Double Exposures,
“I was inspired by my move from New York City to London last year. I think it’s natural (and unavoidable) to constantly compare your old home and your new home when you move somewhere new (“London cab drivers actually know how to get around!” “The Tube closes at 12:30am?!”), and this is my way of visually capturing that instinct. These images are very much about architecture and urban infrastructure and I love comparing the two cities in that particular respect. London feels like such an old city rooted in visual tradition, where New York always feels like it’s trying to be as shiny and new as possible.”
Source: Double Exposure
World Press Photo, who has selected VII Photo co-founder Gary Knight as chair of its 2014 contest, has announced a change of rules regarding “the permissible levels in post-processing of image files” submitted following this year’s intense debate about manipulation in photojournalism
Earlier this year, World Press Photo was forced to re-evaluate the integrity of its winning image following false allegations of forgery leveraged against photographer Paul Hansen. While a panel of forensic analysts found that the image had not been digitally manipulated, it concluded that the image had gone through “a fair amount of post-production, in the sense that some areas [had] been made lighter and others darker,” wrote Eduard de Kam, a digital photography expert at the Dutch Institute for Digital Photography.
The allegations were at the centre of an intense debate about the increasing post-production practice in photojournalism, as discussed in a BJP article published last May.
Now, World Press Photo has confirmed that it will introduce new rules for its 2014 contest. “There has been a lot of discussion and widespread speculation regarding the permissible levels in post-processing of image files in the contest,” Michiel Munneke, World Press Photo’s managing director. “We have evaluated the contest rules and protocols and examined how to create more transparency, and we have changed the procedures for examining the files during the judging.”
He continues: “We will announce further details when the 2014 Photo Contest opens for entries later this year, but the bottom line is that we will need to be able to rely on the integrity and professionalism of the participating photographers.”
The contest will be calling for entries in December with a 15 January 2014 deadline. The winners will be selected by a jury chaired by VII Photo’s co-founder Gary Knight.
“The World Press Photo contest evolves every year as it seeks to adapt to the rapid changes in the media landscape,” says Knight in a press statement. “The very definition of what constitutes the press or what is a photograph has transformed since the Award was instituted. World Press Photo takes its role as the world’s most prestigious and multi-genre global photojournalism award very seriously and, as I look forward to chairing the jury again, there are new categories and a more diverse demographic of jurors to adapt to this changing topography.”
For more information, visit www.worldpressphoto.org.
Photographer Kacper Kowalski’s aerial photos of Poland make for a flattering introduction to the country. Protruding into the southern Baltic sea, Pomerania in Poland is well-known for its great areas of forests that are scattered with lakes and winding rivers. The Kashubian Lake District is a land of enormous forests, rolling hills, untamed ravines speckled with giant boulders, colorful fields, picturesque villages, active rivers and hundreds of beautiful lakes.
During fall, the diverse forest sites turn into a sea of colors, with the leaves wilting at varying degrees while exposing the deep undergrowth as well as waterways. While airborne from para-gliders and geo-planes, Kacper Kowalski has been photographing this beautiful area from the air for years. His glorious pictures demonstrate nature’s exquisiteness as it transforms through a year.
In commission of the City Archives and the The Amsterdam Fund for the Arts Erik Klein Wolterink has focused on the innards of the kitchens, as if the exterior didn’t matter.
The photographer opened cupboards, drawers, fridges and ovens. Each piece he photographed separately and reconstructed the images again to one unit. Like him, we zoom in on what the cupboards have collected over months or even decades. From instant mashed potatoes to truffle oil, from Maggi cubes to Ethiopian spice mixes. This is the raw material with which we must try to imagine who belongs to these kitchens.
A well-stocked kitchen refers to Turkish cookery with goat’s cheese and halal sausage. But the mix for homemade apple pie is a witness of an open attitude towards other customs. A mother shows her African roots with a plastic Voltic Sparkling Water bottle filled with palm oil. Female students undermine our prejudices with a spotless kitchen. In the kitchen of a family with growing children, a packet of Korma curry of Pakistani descent and cardamom pods try to square themselves with Dutch kitchen habits. Here the Dutch sandwich culture leaves its traces in the sandwich wrappers in the drawer, the sandwiches in the fridge and the Nutella chocolate paste in the sink cupboard next to the abrasive agent. The kitchen as metaphor of a complex, multicultural reality.
The book Kitchen Portraits is for sale in the City Bookshop.
see all the pictures here
Antonio Busiello (first picture below) won for his photograph which ‘raises valid and contemporary questions about body image.
Judge Anthony Holland Parkin said: “The Cullatore struck a chord with a number of the judges. In a world obsessed with retouched perfection, Antonio’s honest image of a man proudly displaying his huge calluses challenges the viewer, and raises valid and contemporary questions, about body image.”
Busiello was one of 1,285 photographers from 59 countries to enter the competition, of which 115 were selected for the exhibition.
source: Independent UK
BK Magazine has asked Bangkokians “What is it that you love so very dearly about your beautiful city?”
This is what they said: