These Tender Photos Illuminate The Experience Of Pregnancy For Young, Black Women

By in Photography

These Tender Photos Illuminate The Experience Of Pregnancy For Young, Black Women
Photographed by Jade Carr-Daley.
“I was two weeks into my master’s course when I found out I was pregnant,” says 24-year-old photographer Jade Carr-Daley. “At the time, I had already started a body of work focusing on my relationship with being both British and Jamaican but it was moving slowly and, in all honesty, I hadn’t been feeling that strongly towards it.” While searching for a topic that felt more fulfilling, Carr-Daley began taking photos to document her transition into motherhood – just for herself at first, until three months later when she finally decided to acknowledge what was staring her in the face: this documentation should be her major project. “It seemed so natural and free-flowing,” she says, “like this was the project I was meant to make.”
The resulting photo series is entitled Not Ready Not Steady Go! and it’s full of gorgeous, intimate pictures evoking the spectrum of emotions that flood in with impending parenthood. Across the series, we watch as Carr-Daley’s body adapts to accommodate the new life inside her, and as her relationship with her partner evolves. In both black and white and colour images, moments of tenderness between the two of them are fused with a sense of soft anticipation. Of course there are anxieties that come with being pregnant, and Carr-Daley didn’t want to shy away from visualising those, too.
Photographed by Jade Carr-Daley.
Photographed by Jade Carr-Daley.
“The first three months of my pregnancy were the hardest,” she recalls. “At the time, only my partner and I knew and during this time, I experienced some issues with bleeding, spent a lot of time being assessed and was constantly worried something was wrong or that I had done something I shouldn’t have. As a result, I fell into a sort of hole, and found it hard to talk about my feelings. So when I started photographing myself and my environment, it turned into a form of self-therapy for me. Instead of being in that moment and state of mind alone, I was able to photograph it and this made it easier to understand how I was feeling, to see my physical changes and to better articulate how I felt about certain situations to my loved ones and friends.” 
Photographed by Jade Carr-Daley.
Growing up in Bristol, Carr-Daley began life in an area of the city called Easton, which she describes as particularly multicultural, before moving to an area called Henbury when she was still a child. She still lives there today. “This place was very different to Easton,” she says, “mainly because, at the time, the area was predominately white and my family were a minority there. I was subjected to racism a few times – not anything close to the stories my parents or other family members would tell me but more through microaggressions, body language and sly comments made by children in the area or by people on public transport.”
By the time she got to secondary school, Carr-Daley was back with kids from all different backgrounds and that’s when she really started to feel around the edges of her identity. She took photography at GCSE level and then went on to study it at Bath Spa University. “That was probably the most crucial moment in my practice. I was the only Black student on the course and there were countless times I would feel out of place or that the work I was creating didn’t fit in,” she says. “In my second year, I thought about dropping out but a teacher of mine wouldn’t let this happen. He could see my potential and often said, ‘We need more voices like yours’.” And so she felt empowered to apply for her master’s course at UWE, beginning her studies there in 2021.
Alongside making her physical work, researching the project topic became crucial to Carr-Daley’s process – chiefly because she found it very hard to find other projects documenting the experiences of Black pregnant women. This drive also came from her personal experiences in the healthcare system and the exhaustion of having to advocate for herself constantly. “I would have liked to have seen more Black women in healthcare. When attending appointments, sometimes I didn’t feel truly comfortable, understood or listened to, and I constantly felt like I wasn’t always in control of my body,” she says. “I felt as though certain midwives and doctors could only help to a certain degree because the basis of pregnancy and women’s bodies for years has been taught from a white standpoint, and that can make things hard.” Then there was the matter of her age, which meant she often felt talked down to, alongside the difficulties of being a third-generation mother in her family. “I felt judged sometimes with how I wanted to approach my pregnancy – deciding not to cover my stomach in public places, for instance, and wanting to give birth at home or at a midwife-led centre with a water birth,” she says.
Photographed by Jade Carr-Daley.
When asked how it felt to turn the camera on herself and her relationship, Carr-Daley is clear. “To put it bluntly, I hated it,” she says. “I felt very vulnerable and uncomfortable in front of the camera, and in some of the images you can see that I would often use different objects to cover my face. The further I got into the project, though, the less I started to care.” Her partner felt more comfortable in front of her lens because she’d photographed him so often before, although they still had to have a conversation about what he was comfortable with during this new experience. 
Photographed by Jade Carr-Daley.
Photographed by Jade Carr-Daley.
“During pregnancy, a lot of focus is on the woman – and for good reason – but sometimes, from my own experience, the partner’s feelings can be overlooked. Becoming a parent is such a big change for both people involved and sometimes we can forget to check in on them too, so it was really important to ask him what his boundaries were. In this way, I would say it became a collaborative project between the two of us at times, as he would often photograph me too, and whenever we worked together, we would always converse about the reasons behind the images we were making, and then those conversations would turn into deeper ones about our fears as new parents, things we looked forward to, what our baby would look like, and our plans for how we would raise our child together.”
Photographed by Jade Carr-Daley.
Photographed by Jade Carr-Daley.
Carr-Daley gave birth to her son, Knox, in early July 2022; he’s 8 months old now. One of her favourite images from the series is a close-up of Knox’s little feet, framed by her own legs. It’s called “The Big Question?” and you can see a little puddle of dribble on the bedsheets beneath them. “I took this image on my iPhone and it was a happy accident because the dribble looked like a question mark, which made me think of the question: ‘What’s next?’ As in, what’s next for this project, for myself and for my new family? Right now, I’m just taking it one day at a time, learning how to be Knox’s mum and how to balance being a photographer and a parent. I love every day that being a parent brings, even on the days that make me feel like complete shit. I definitely want to create more work around motherhood and our health system, and I would love to start speaking publicly on the themes within this project because they are just so important.”
Photographed by Jade Carr-Daley.
Ultimately, Carr-Daley wants this work to contribute to the conversation around representations of the Black pregnant body. “In social media, pregnant bodies are often manipulated and edited to fit into society’s ideal, perfect pregnancy and then when Black pregnant bodies are introduced, they are edited even more, or portrayed in a way that fits into society’s white beauty standard,” she says. “With this work, I want people who are either going through a similar situation, or have already gone through this, to feel seen, related to and understood, and I want more conversations when it comes to the importance of representation, especially for people from Black or coloured backgrounds. My advice to anyone going through this for the first time is to be patient with yourself, and to learn and understand your rights as a woman going through pregnancy. Always remember you have the right to say no.”

Chuck Hoskin: Cherokee Nation works to protect our artists

By in Native

Chuck Hoskin: Cherokee Nation works to protect our artists
Indianz.Com > News > Chuck Hoskin: Cherokee Nation works to protect our artists

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Cherokee Nation: It’s Time for Congress to Strengthen the Indian Arts and Crafts Act

Protecting the creative works of Cherokee artists

Monday, April 10, 2023

By Principal Chief Chuck Hoskin Jr.

Cherokee Nation

For too many generations, citizens of tribal nations around the country, including Cherokee Nation citizens, saw their language, their culture and their artistic expression suppressed and eroded by policies of the United States. Meanwhile, many non-Indians have profited from art based on stereotypes and misrepresentations of Native Americans.

The federal Indian Arts and Crafts Act, first passed in 1990, finally put some long-needed protections in place. It is a truth in advertising law intended to protect Indian artists and consumers. Unfortunately, the law still defines “Indian” and “Indian tribe” too broadly. Instead of reserving the label of “Indian art” to members of federally recognized tribes, current law extends that protection to state-recognized tribes, which have not passed any of the important federal safeguards against falsely claiming tribal identity.

Recently, I sent a letter urging Congress to strengthen the federal Indian Arts and Crafts Act by reserving its protections to members of federally recognized tribes. I called for Congress to include these changes in the proposed ARTIST Act.

🔴 LIVE: Cherokee Nation Principal Chief Chuck Hoskin Jr. kicks things off tonight at the reception for #CherokeeDays! We can’t wait to see everyone when Cherokee Days officially starts tomorrow at the Smithsonian’s National Museum of the American Indian in Washington, D.C.! Head over to CherokeeDays.com to learn more!

Posted by Cherokee Nation on Thursday, March 30, 2023

The list of fake tribes and state-recognized tribes is long. At least 10 state-recognized groups across the country make a false claim to Cherokee history and culture. These groups pose as Cherokee tribes and issue membership cards, usually for a fee. Rather than earn federal recognition through a rigorous examination of history, facts and the law, they perpetuate a fraud.

Unfortunately, the Indian Arts and Crafts Act — a law intended to protect Native artists — helps these “tribes” in their quest for legitimacy. Under the law, artists with membership in these fraudulent organizations compete alongside Cherokee citizens in selling art under the federally protected “Indian art” label.

This is an offense to our ancestors, an offense to our artists and confusing to art patrons. As Chief, I will not tolerate it. So, let’s do something about it. Let’s tell Congress that our ancestors endured too much to allow fake tribes to undermine our culture and lifeways. Let’s tell Congress that our artists, and artists in all federally recognized tribes, deserve to be respected. Let’s tell Congress that if a person is going to sell their art as Indian art, they ought to at least be an Indian.

Deputy Chief Bryan Warner and I took an oath of office to preserve and defend Cherokee sovereignty and culture, which are threatened by the countless examples of people falsely claiming Cherokee Nation citizenship and ancestry. Our oath compels us to speak up to federal leaders.

We need your help, too. Genuine Native artists across the Cherokee Nation and across the country need your help. I’m asking you to join me and Deputy Chief Warner in calling on Congress to remove non-federally recognized tribes from the Indian Arts and Crafts Act. The law must be changed to protect actual Cherokees, including thousands of Cherokee artists, artisans and craftspeople who are citizens of the Cherokee Nation, the Eastern Band of Cherokee Indians or the United Keetoowah Band of Cherokee Indians.

Tribes like the Cherokee Nation — which has been continuously federally recognized since the founding of the country — and other tribes and bands recognized later under federal law are the only legitimate tribes. If groups posing as tribes under state law want the unique rights and responsibilities of Indian tribes, including protections for Indian artists, these groups should go through the rigorous process of federal recognition, just like the other 574 federally recognized tribes.

The Senate Committee on Indian Affairs is seeking comment on the proposed ARTIST Act of 2023. Now is the time to push for changes in federal law that give Indian artists the respect and protection they deserve.

You can visit the Cherokee Nation’s Citizen Action website for a template letter showing your support for the strengthening of the Indian Arts and Crafts Act. Email your letter and comments to Artist@indian.senate.gov. The deadline to let your voice be heard is Friday, April 14.

Chuck Hoskin Jr
Chuck Hoskin Jr.
is the 18th elected Principal Chief of the Cherokee Nation, the largest Indian
tribe in the United States. He is only the second elected Principal Chief of the
Cherokee Nation from Vinita, the first being Thomas Buffington, who served from
1899-1903. Prior to being elected Principal Chief, Hoskin served as the tribe’s
Secretary of State. He also formerly served as a member of the Council of the
Cherokee Nation, representing District 11 for six years.

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Did you know there’s a photography world cup? There is – Mexico just won it!

By in Photography

Did you know there’s a photography world cup? There is – Mexico just won it!

We’ve been saying for years that there should be some sort of global Olympics for photographers, but little did we know – there has been all along. Clearly, we’ve been living under a rock. But in our defense, the competition doesn’t have the best promotion – with as little as 3,000 followers on Instagram.

The World Photographic Cup (WPC) was founded in 2013 with the singular goal to unite photographers worldwide in the spirit of friendship and cooperation. It does, however, seem to be a little exclusive with only one team per country allowed to enter, which must be created by a national association, and committee-approved. 

• These are the best professional cameras (opens in new tab) worthy of world cup winners

The WPC (opens in new tab) celebrated its tenth anniversary in March, while announcing at an awards ceremony in Singapore that Mexico had won the 2023 Cup for the second year in a row.  

The 2023 winning images (opens in new tab) are truly phenomenal examples of world-class photography, and the results of the overall competition were said to be very close, with only three points separating the podium-finishing teams. 

Team Australia claimed the second-place crystal trophy, followed by Team United States in third place. The rest of the top ten teams, in rank order, were Malaysia, Portugal, Brazil, the United Kingdom, Austria, Costa Rica and finally New Zealand in tenth place.

(Image credit: World Photographic Cup)

(opens in new tab)

Founded in 2013, it all began when the Federation of European Photographers (opens in new tab) and the Professional Photographers of America (opens in new tab) came together in the creation of the World Photographic Cup as a one-of-a-kind Olympic-style team competition.  

“The quality of images entered from teams around the world gets stronger every year,” said WPC inaugural chief executive officer, Giuseppe Scozzi. “The WPC is the only Olympics-style event in the world for photography.

“Over the past ten years the competition has grown and with it the standard of entries. WPC truly showcases the best in photography from across the world. Those who do succeed can truly claim to have created the best photography in the world and WPC is the vehicle for showcasing this work.” 

Scozzi was overseeing his last Cup, as he will be retiring from the organization to be replaced by Australian photographer Kylie Lyons – who has been a member of the WPC Governing Committee since 2014. 

The tenth edition of the WPC Collection can be viewed in a commemorative book, available to purchase (opens in new tab) for approximately $76 / £61 / AU$114.

Registration for entries (opens in new tab) to the 2024 edition of the World Photographic Cup will be open from July 01 – October 31 2023.

You might also be interested in the best Sony cameras (opens in new tab), as well as the best Canon cameras (opens in new tab) and the best Nikon cameras (opens in new tab) used by professionals. 

Chapel Hill-Carrboro community, poets laureate celebrate National Poetry Month

By in Art World News

Chapel Hill-Carrboro community, poets laureate celebrate National Poetry Month

Carrboro was the first town in North Carolina to have a local poet laureate and 20 years later is still continuing that advancement of poetry during National Poetry Month.

National Poetry Month is celebrated annually in April — and the Towns of Chapel Hill and Carrboro are both celebrating this year. National Poetry Month was first launched in April 1996 by the Academy of American Poets.

“The town of Carrboro has been a poetry-loving community since at least going back as far as 2002, when we established the poet laureate,” Carrboro Mayor Damon Seils said. 

He said he has always loved poetry and enjoys sharing and celebrating it with his neighbors. 

“It’s been an arts-loving town for a long time now,” Seils said. “Whether it’s poetry or the visual arts or music, it’s just been a place where artists, musicians and others have found a home. I don’t know what to attribute that to — obviously, the proximity to the University has a lot to do with that.”

Liza Wolff-Francis, Carrboro’s current poet laureate, will be involved in a line-up of events in April to celebrate the month in Carrboro.

Wolff-Francis said eco-poetry is important to her, especially since Earth Day is also celebrated in April. On April 22, Earth Day, Wolff-Francis will be at the Carrboro Farmers’ Market for a seedling giveaway and community poem event.

During her tenure as poet laureate, Wolff-Francis said she is trying to get poetry out in the community in whatever way she can.

“Anybody can write a poem, and probably people have many, many poems within them,” she said.

Wolff-Francis also said she wants people from neighboring communities to participate in local poetry events.

Seils said while his short-term goal is to have an inspiring poetry month, his longer-term goal is the success of the Town’s annual signature event, the West End Poetry Festival, which is held in October.

Chapel Hill also has a poet laureate — Cortland Gilliam currently holds the role. Melissa Bartoletta, the communications coordinator at Chapel Hill Community Arts & Culture, said her department works closely with the poet laureate.

This month, Chapel Hill Community Arts and Culture is partnering with the Chapel Hill Public Library to amplify poetry in the community.

Hosted by Gilliam, “The Poet is a Verb” is an open mic event that will take place on April 27 at 6 p.m. at the Chapel Hill Public Library.

“I think a lot of people, when they think of the library, just think of arts, digital and written resources, so it’s really exciting when we can bring things to life like this,” Hannah Olson, the marketing and communications coordinator at the Chapel Hill Public Library, said.

Olson said the library has made poetry booklets and displays in the past, but the presence of a poet laureate has facilitated increased engagement with poetry.

Bartoletta said Gilliam has also worked with former Chapel Hill poet laureate C.J. Suitt to create a new poetry work that will be unveiled as an artistic design on a Chapel Hill Transit bus shelter. The art is being designed by local artist Wutang McDougal as part of the Art + Transit program.

“Certainly, Chapel Hill has an arts-loving community as well,” Seils said.

The two Towns will also be hosting a few events together to celebrate the month.Wolff-Francis and Gilliam will be at Flyleaf Books in Chapel Hill on April 6 to speak about the role of poetry in the public realm. 

“Poetry is a way for people to be heard,” Wolff-Francis said. “People are able to use their voices in ways that they might not otherwise.”

@DTHCityState | city@dailytarheel.com

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An AI-obsessed photographer who tricked Instagram

By in Photography

An AI-obsessed photographer who tricked Instagram
image

PARIS: Jos Avery was given a camera almost four decades ago, sparking a lifelong fascination with photography. But last September he found a new creative outlet, one that led him to deceive thousands of people: the artificial intelligence programme Midjourney, which generates wild and wonderful images from brief text instructions.

“Soon after starting with Midjourney, I became obsessed with the creative possibilities,” Avery said.

Midjourney and rivals like DALL-E 2 and Stable Diffusion generate unique pictures by mashing up a vast back catalogue of images they have been “trained” on. For Avery, a 48-year-old software engineer and lawyer by training from Virginia in the United States, Midjourney was liberating.

He said it allowed him to create beautiful art without needing to tackle his own social anxieties. “Then I started to wonder if I could make AI images that could pass for photographs,” he said.

This led to his fateful experiment: He started an Instagram account to house his Midjourney output, without being entirely upfront about the origins of the images.

‘Misleading’

“At the beginning, I don’t think many people thought the images were photographs,” he said. “The eyes and skin were unrealistic.” He fixed these glitches with a dose of Adobe Photoshop, eventually

populating his Instagram feed with stunning and stark portraits of beautiful — but unreal — people.

More users flocked to his feed, and more of them began to think the images were genuine. “People would ask in the comments about my camera and lens equipment,” he said.

“I’d respond with the equipment I actually use for real photos or equipment I had included as part of the prompt.” He admits his answers were “misleading” since they suggested he had used his gear to create those specific images.

Yet he just got deeper into the deception, spending hours choosing and editing images to boost the realism and deleting earlier efforts that were more obviously AI-generated. His follower count was rising rapidly, so the experiment was a success. But he was struggling to maintain the facade.

Losing sleep

“It grew far beyond my expectations,” Avery said. “The followers and my misleading answers made me feel uneasy, and I had trouble sleeping at night.” He eventually told the specialist website Ars Technica what he had done, added a mention of AI to his Instagram biography and started to give honest answers to his followers.

“I’ve slept a lot better since then,” he said.

Although he did get some abuse — “I had to block about 30 people” — he said the reaction overall was positive, and his Instagram account, now with almost 40,000 followers, is still growing.

These days he populates it with both real photography and clearly labelled images generated from Midjourney. He said the AI tool has been hugely beneficial, helping him discover a love for portrait photography.

But the downside is that once again he isn’t sleeping so well — he stays up all night creating images on Midjourney.

Published in Dawn, April 10th, 2023

The Questionnaire : Sylvie Castioni by Carole Schmitz – The Eye of Photography Magazine

By in Photography

The Questionnaire : Sylvie Castioni by Carole Schmitz – The Eye of Photography Magazine

Sylvie Castioni : Truth and Freedom

After studying at the University of Visual Arts in Lyon, Sylvie Castioni took her first steps in fashion by working for the international press, in particular for Vogue. Her portraits were soon published in Elle, Harper’s Bazaar, Numéro and Glamour…

In 2010, she crossed paths with actress Léa Seydoux. A meeting that proved decisive. Indeed, their series of photos made with little artifice triggered Sylvie’s desire to specialize in intimate portraits of celebrities. The result: images that question the woman and her representation. In her quest for truth and freedom, she seeks to give a deeper and more spiritual dimension to women’s bodies. Sylvie regularly exhibits her work in Paris and New York.

In May 2022 she was co-author of a documentary series of 14 portraits of women film directors “From Shadow to Light” showed on France televisions during the Cannes filmFestival. An adventure that she is repeating this year.

To be continued.

Website : www.sylviecastioni.com
Instagram : sylviecastioni

Your first photographic trigger?
Sylvie Castioni :I was around 8 – 10 years old, I was an introverted child, I did not like the world around me which I found hostile. I took refuge in my view of this world to feel safe.

The man or woman of image who inspires you ?
Sylvie Castioni : Marylin Monroe, she is the feminine incarnation of a whole patriarchal system that projected its fantasies and expectations on her. She died and today I wonder about the place of the icons and the muses in history. The representations of the female figure are the very heart of my work.

The image that you would have liked to realize ?
Sylvie Castioni : The first photograph in the world “Point of view from the window of the Gras” by Niépce, the inventor of the process.

The one that moved you the most ?
Sylvie Castioni : The one I took of my daughter and her father on the first day of her life. It was 25 years ago.

The one that made you angry?
Sylvie Castioni: The stolen photograph of Princess Diana when the death of her father was announced .

A key image in your personal pantheon?
Sylvie Castioni : I have several : portraits of committed women : Simone de Beauvoir , Jeanne d’arc , Olympe de gouge , George Sand , Lauren Bastide … and I hope one day to have mine !

A photographic memory of your childhood ?
Sylvie Castioni : The cover of Ellen Von Unwerth’s June 1994 photo magazine featuring Eva Erzigova. I was a teenager and I grew up identifying with these women whose beauty I admired. In the 90s the super models invaded the media.

The image that obsesses you?
Sylvie Castioni: An image that we do not look with our eyes but with our heart. The one where we feel a woman’s power, her magic and her accuracy.

Without any budget limit, what would be the work you would dream of acquiring?
Sylvie Castioni : The venus de Milo exposed in the Louvre. It is part of the history of the representation of the female figure. It is on this criteria that many photographic works of women have been inspired in our modern societies.

According to you, what is the necessary quality to be a good photographer?
Sylvie Castioni: The most important quality for me is the receptivity to the invisible, the availability to capture the essence beyond appearances.

The secret of the perfect image, if it exists ?
Sylvie Castioni : An image that touches the unconscious and makes the collective conscience evolve.

The person you would like to photograph ?
Sylvie Castioni: Kim Kardashian. I would like to photograph her without artifice.

An essential photo book?
Sylvie Castioni : “The atlas of Beauty

The camera of your childhood ?
Sylvie Castioni : I used disposable cameras, I come from a modest family. I got my first camera when I was 18 years old and went to university. It was another time when patience was required because to see the processed films we had to wait two weeks.

The one you use today?
Sylvie Castioni : A Canon EOS 5 D mark 4 . I have been a Canon pro for 20 years, it is difficult to change habits.

Your favorite drug ?
Sylvie Castioni : Dancing. Dancing. Dancing.

The best way to disconnect for you ?
Sylvie Castioni : Practicing trans while dancing, it helps me to connect again.

What is your relationship with the image?
Sylvie Castioni : It is paradoxical, photography allows me to reveal the beauty of the world while exploring my shadow zone. It is the disease and the remedy.

Your greatest quality?
Sylvie Castioni: Hope.

Your last folly ?
Sylvie Castioni : I went alone to Japan to discover another culture, I looked for a job there, and for an agent and finally I have been working there regularly for 10 years.

An image to illustrate a new banknote?
Sylvie Castioni : A dinosaur, let’s not forget our condition of simple mortal. We can also disappear.

The job you would not have liked to do ?
Sylvie Castioni : If I think of professional work, the one that makes you earn a living, I would say all those that do not bring joy and pleasure and that are lived in constraint without alignment with its raison d’être. I am very lucky, I chose a job that feeds me on all levels.

Your greatest professional extravagance?
Sylvie Castioni : I am a reasonable person and simplicity and authenticity are at the heart of my approach. My extravagance lies in the fact that I allow myself not to have any.

What are the differences between photography and art photography?
Sylvie Castioni : Photography becomes art when it delivers a profound message, when it is committed to advancing humanity. Art includes human works intended to touch the senses and emotions of the public. Since for me all photographs tell something and touch a place, they are all art.

Which city, country or culture do you dream of discovering?
Sylvie Castioni : I dream of discovering Peru, and of climbing Machu Pitchu. My childhood was marked by the cartoon ” The Cities of Gold “. The  ancient civilisations that disappeared  fascinate me .

The place of which you never get tired ?
Sylvie Castioni : The arms of my lover.

Your biggest regret?
Sylvie Castioni : I regret not having super powers and being immortal in order to enjoy the true meeting between men and women which for me has not yet taken place. We live in a society where gender inequality still exists and when that happens I’ll probably be dead.

In terms of social networks, are you rather Instagram, Facebook, Tik Tok or Twitter?
Sylvie Castioni: Snapchat what for? Instagram is the only one I master! And I already spend enough time on it not to add other constraints.

Color or B&W?
Sylvie Castioni : B&W without hesitation.

Daylight or artificial light ?
Sylvie Castioni: It doesn’t matter as long as there is only one light source identical to the sun.

What do you think is the most photogenic city?
Sylvie Castioni : There are several, Pompei the city buried by the volcano eruption or all those disappeared! Heracleion city of Egypt swallowed by water. Finally all those disappeared!

If God existed, would you ask him to pose for you, or would you opt for a selfie with him?
Sylvie Castioni: I would ask him to pose for me. I’ve always been looking for him in my work and I feel like I know him but I’ve never been able to solve his mystery.

If I could organize your ideal dinner, who would be at the table?
Sylvie Castioni: All the inspiring and inspired women around me.

The image that represents for you the current state of the world?
Sylvie Castioni: The new SpaceX rocket

What is missing in today’s world?
Sylvie Castioni: The respect of the living which is not compatible with the current capitalist society.

If you had to start all over again?
Sylvie Castioni: I would do the same life path with the same trials. Each experience, as difficult as it is, allows us to grow and to find our way.

The last word ?
Sylvie Castioni : There is no end or beginning, everything is in perpetual motion. It is the flow of life ….

Masters Sunday in Photographs

By in Photography

Masters Sunday in Photographs
image

After days of rain and dark clouds, the final round was sunny and clear with nothing but blue skies and green fairways providing a brilliant backdrop for Jon Rahm’s win.

AUGUSTA, Ga. — The weather on Saturday at the Masters Tournament threw the schedule into chaos as rain and wind drove golfers off the course at Augusta National Golf Club in mid-afternoon when conditions became too poor to continue play. That meant Sunday — usually the start of the final round — began with the finish of the third round before advancing to the big finish: Jon Rahm capturing his first green jacket and second major tournament win.

The excellent weather on Sunday provided a crystal clear backdrop for the highs and lows of the final round at the Masters, the first men’s golf major tournament of the year.

Viktor Hovland was tied for the lead after the first round and finished tied for seventh at six under par.
Xander Schauffele shot below par in three of his four rounds, including one under on both Saturday and Sunday.
The tournament calls its attendees patrons rather than fans.
Tiger Woods made the cut but withdrew from the tournament before third-round play resumed on Sunday following its suspension Saturday.
Russell Henley tied for fourth after shooting under par in each of his final three rounds.
Rahm celebrated his win with his wife, Kelley Cahill, and oldest son, Kepa.

A Gallery For Fine Photography : Joyce Tenneson : Ten – The Eye of Photography Magazine

By in Photography

A Gallery For Fine Photography : Joyce Tenneson : Ten – The Eye of Photography Magazine

A Gallery For Fine Photography presents ten pigment prints and one polaroid by Joyce Tenneson.

Internationally lauded as one of the leading photographers of her generation, Joyce Tenneson’s work has been published in books and major magazines, and exhibited in museums and galleries worldwide. Her portraits have appeared on covers for magazines such as: Time, Life, Newsweek, Premiere, Esquire and The New York Times Magazine.

Tenneson is the author of seventeen books including the best seller, “Wise Women”, which was featured in a Today Show series. She is also the recipient of many awards and, in a poll conducted by American Photo Magazine, readers voted Tenneson among the ten most influential women in the history of photography.

The Lucie Awards named Joyce Tenneson as Fine Art Photographer of the Year in 2005, and in 2018 she received the Lucie Award for Outstanding Achievement in Portraiture. In the Fall of 2014, Fotografiska Museum, in Stockholm, Sweden, mounted a large retrospective of Tenneson’s work. In 2021 Tenneson was inducted into the International Photography Hall of Fame.

Joyce Tenneson’s exhibition will be on display until August 31, 2023.

A Gallery For Fine Photography
241 Chartres St.
New Orleans, LA 70130
www.agallery.com

https://agallery.com/search/JT10/?mc_cid=4ed73a0c1a&mc_eid=670cc327cb

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