Submitted by The San Juan Island Sculpture Park.
Learn about local birds with expert Tyler Davis at the Sculpture Park | The Journal of the San Juan Islands
Andras Ladocsi captures the “intensity and resilience of the human spirit” in his up-close photography
We initially found Andras Ladocsi’s work striking for its daring portrayal of human connection. He is sometimes shooting close ups where figures are in slumber or at ease, and other times with two subjects wrapped around each other, with dazzling shapes peering from the negative space. Starting out as a swimmer during his adolescence in Budapest, Hungary, he is often capturing bodies in action surrounded by water. “Whether it’s a river, lake or island, they all represent the water within us,” he tells It’s Nice That.
The power of the collective and the environment rings through in every single shot. Even when figures are alone, you can tell that they’re empowered by Andras and his lens. “I want to bring to light the intensity and resilience of the human spirit, in those moments where we push our minds and bodies to their highest potential,” he says. And, whether his figures are far away, pushed together or in complete isolation, in Andras’ world, “we all live in a place of connectedness, no matter how far we travel”.
How photography can be used to shift stereotypes
Multidisciplinary photographer Hiền Hoàng’s series Across the Ocean uses ‘counter images’ to disempower myths and stereotypes about Asian immigrants
“When someone thinks of Asian food they might think of the exotic, something pleasurable,” says Hiền Hoàng, “but when they think of Asian men, in porn or mass media, they might think of them as hairless and desexualised.”
Standing next to her exhibition installation at Les Rencontres d’Arles, the artist points to a photograph that congeals these opposing contradictions found in Western culture. The image shows a slab of pale, plain tofu left to sit unappetising on a ceramic Oriental plate – thick, dark hairs sprout from it.
First arriving in Germany as a student, Hoàng has spent the past few years mining her personal experience as a Vietnamese immigrant in the European country. Asked to reflect on her identity, she is skilled at taking myths and stereotypes and disempowering them through visually jarring photographs that cause us to reflect on why they occur in the first place, in what she describes as ‘counter images’.
“Photography shows us how we collectively consume cultural images,” she says, “and counter images disrupt collective thinking.” A task that seems increasingly more important because at the root of Hoàng’s practice is the desire to challenge the harmful discrimination and the stereotyping of Asian culture. “It’s important to remember my work is about trauma.”
Sign in
We recommend activating Javascript in your browser.
Champion for Indigenous art on world stage couldn’t wait ‘to get home and head to sea’
TIM KLINGENDER: 1964 – 2023
The death of renowned art dealer Tim Klingender, an authority in Aboriginal art, in a boating accident on his beloved Sydney coast has devastated the Australian and international art worlds and his family and multitudinous friends.
The tragic accident near Sydney Harbour’s notorious heads on the morning of July 20 also took the life of his friend, Andrew Findlay, a 51-year-old father of three and one of the many who would accompany Klingender over years of enthusiastically frequent fishing expeditions.
Tim Klingender, art gallery director and senior consultant in Australian Art to Sotheby’s.
Klingender derived stupendous joy from fishing and whale-watching, something his Instagram account colourfully chronicles, including the 67 different fish species he’d hooked in the harbour over the briny years.
That feed, fizzing with fish and the joy of life, also shows a whale breaching during a recent outing with his daughters. He caught a tuna on the way home.
The reverberating shock and sadness and the panoply of accolades reflect the respect Klingender, 59, commanded for his knowledge and for the decency and conviction with which he treated artists.
He was widely recognised as a founder of the global market for Aboriginal art. His pioneering was pivotal.
His professionalism was unimpeachable, his personal presence infectious. He was an eloquent and elegant bon vivant.
For three decades, Klingender took magnificent works afar, helping make the world aware of the compelling beauty and power of Indigenous Australian art.
Advertisement
Klingender in 2010 with a work titled Bima, by artist Declan Apuatimi.
He established the Aboriginal art department at Sotheby’s in 1996 after starting at the auction house in the early 1990s, where he initially ran its contemporary art department.
As head of Sotheby’s Aboriginal art, Klingender created international interest, by touring selected works from upcoming Australian auctions in Paris, London and New York. Artists including Rover Thomas and Emily Kame Kngwarreye became revered throughout the world.
In 2009, he set up his own operation, Tim Klingender Fine Art.
He had an extensive list of international clients, and his authority and judgment earned trust and respect among artists, curators, collectors and colleagues alike. He was dedicated to supporting First Nations people, and instrumental in raising money for the Western Desert Dialysis Appeal. That funded Purple House, an Alice Springs-based health organisation.
He was also senior consultant to Bonhams auction house between 2011 and 2013, during which time he primed the high-profile sale of the Laverty Collection of Contemporary Australian Art by touring it in New York and London beforehand.
His many auctions enjoyed commercial and critical success. He created a fine and decent international secondary market not only because he was fine and decent, but because he had an exquisite eye. He has set a high standard, part of his legacy.
Klingender, John Mawurndjul, Elle McPherson and Tim Jefferies at the opening of the 2006 exhibition that raised money for the Western Desert Appeal.Credit: Sotheby’s
He continued consulting for Sotheby’s and ran a number of international sales with them. His shows in Australia and in New York, Paris and London were almost, without exception, of museum standard.
He detected heft. Recognised it, innately. In people and in art. And people recognised it in him. Anyone involved with Indigenous art would immediately consider him the “go-to” for his profound knowledge of such an ancient art form. When the National Gallery in Canberra and the National Gallery of Victoria needed to regularly value their Aboriginal art collections, they knew who to call.
John Albrecht, chairman of Australian auction house Leonard Joel, was quoted after the accident as saying Klingender “literally conceived and designed the ethical secondary market for Indigenous art in Australia”.
The founder of Sotheby’s in Australia, Robert Bleakley, was similarly declarative, telling a journal: “I don’t think there’s anyone who can step into the breach there.”
Klingender in 2007 with the Clifford Possum painting Warlugulong.
In a letter to Klingender’s wife Skye McCardle, Henry Howard-Sneyd, Sotheby’s chairman of Asian Art, Europe and Americas, wrote: “Tim became a big part of my reason for being so taken by the Australian market presence of our company … I know my life was enriched by knowing and working with him.”
Only weeks earlier, Klingender had been in New York to command Sotheby’s fourth auction of Aboriginal art.
On leaving New York he posted on his Instagram feed: “Such great art, energy, old friends and new friends every time … and now 26 years of having the responsibility and privilege to show some of the best Australian Indigenous art in a city like no other. Can’t wait to get home and head to sea.”
In the past few days, Klingender’s friend, art curator Hetti Perkins, admired that he was a “comet blazing through life”.
Klingender with John Wilkerson, a leading American collector of Aboriginal art, in New York in May.
She encapsulated what many felt. His voracious embrace of existence was infectious, his capacity for mirth prodigious, his generosity unstinting.
Klingender’s enchantment with art was fuelled by his studies at University of Melbourne, where he graduated in the mid-1980s.
As long ago as 2000, he assisted Perkins source paintings for the seminal exhibition Papunya Tula: Genesis and Genius at the Art Gallery of NSW. He was working with Perkins on a forthcoming retrospective of Kngwarreye’s work for the National Gallery of Australia.
The nature of the savage loss this month clashes with the spirit of this caring, gentle, inspiring man. Of Tim Klingender it can be truly stated that here was a person who made the world better and fairer.
It was a world he loved to explore, travelling extensively with his beloved family, even spending many months some years ago exploring Asia. Another exciting world tour was in the planning to celebrate his 60th birthday.
Klingender’s verve and kindness, his ethics and principles and his ceaseless curiosity were qualities also to be found in his parents, Joanna and Tony.
Klingender was an exceptional father, husband, brother, son and friend. The bond he had with his siblings has been noted by many for its colossal strength.
With many friends, he had bonds spanning decades. And he just kept making them everywhere he went, carefully promoting Aboriginal art.
He was, in his work, words, and ways a cultural leader. So much knowledge has been lost. It is irreplaceable.
Klingender was the most iconic influence on this sector of the international art market. Here was a unique, compelling melange of curiosity, intellect, substance and zest. What a grand memoir he might have written. And what a grand story he wrote with his days.
Tim Klingender is survived by wife Skye McCardle and their daughters Bay and Gala, and his siblings Jessica and Jonathan and their families.
Michael Short
The Morning Edition newsletter is our guide to the day’s most important and interesting stories, analysis and insights. Sign up here.
Most Viewed in National
‘I don’t know if I can ever return’: the photographer capturing a forgotten Hong Kong
‘This is my farewell letter to Hong Kong,” says Wong Chung-Wai, when I ask about the title of his astonishing photobook, Hong Kong After Hong Kong. “I wanted to use photography to preserve what’s left in the ocean of my brain, to create evidence of having lived in the city, as I don’t know if I could ever return.”
Wong recalls that, in 1980, his parents “waited for the guards at the border to rotate their positions” before swimming across Shenzhen Bay in mainland China to Hong Kong. Forty years later, Wong, like many Hongkongers, decided to leave the city after China introduced the national security law in June 2020, which has triggered continuous crackdowns and threatened civil liberties in the former British colony.
I videocall Wong two days after June’s summer solstice, and our conversation switches between Cantonese and English. The morning light in his London apartment appears muted, a far cry from the intense subtropical climate of Hong Kong.
In Wong’s book, we don’t see the typical neon signs of the bustling Mong Kok market district or the skyscrapers in Victoria Harbour. Instead, we find ourselves inside an empty cinema, a cordoned-off garden filled with broken statues, at the gate of a cement factory, and under highway bridges where porcelain Taoist deities find refuge.
“Hong Kong often comes across as an international tourist capital,” says Wong, “but I’ve downplayed its stereotypical image to rediscover my internal landscape,” and offer “a sense of intimacy through the camera”.
Without any identifying captions or dates, Wong’s photographs shift our attention away from information towards feelings. Intimacy and emptiness are juxtaposed in his images, which are filled with intransigent beauty. “The most difficult thing is to create intimacy in an empty place,” Wong says. In his landscapes we see a man walking solo by a canal under a concrete sky of crisscrossing flyovers; in his portraits we are drawn to young people’s blank faces. In one landscape shot, a mirror, leaning against a tree and decorated with Christmas tinsel, reflects an empty grey sky. “I’m interested in the half-hidden, the art of not being explicit,” Wong says. “I’m asking the viewers: what’s missing there?”
The atmospheric language of the cinema is never far away in Wong’s photos. Though he considers himself “an amateur photographer”, he has worked for more than 15 years in the film industry, in script-writing, production and location-scouting. When I ask him about the difference between photography and movies, Wong says: “Photography gives me freedom – a rarity in film-making, which is bound by the budget and other constraints. You can tell a story in a photo by one click, through a one-second connection with the world and the subject.”
Wong mentions the Nobel prize-winning author Gao Xingjian’s novel Soul Mountain, which was loosely based on the writer’s own sojourns in rural China, as an inspiration. “Like Gao’s protagonist, I walked to the four corners of a place searching for something in the past, something that no longer exists.”
Why did he leave Hong Kong, I ask. “I was heartbroken,” he says, “I was anxious for the future, which had turned into a sick relative. I needed to turn away from the sickbed. It wasn’t an easy decision but I’m gradually feeling settled here in London. It’s a new start.”
After we speak, a line by the late Irish poet Derek Mahon haunts me: “Home is where the heart breaks”. Wong’s photos capture a double loss: a home that he has lost, and a city that has also lost itself.
The lost city: three more images from Wong Chung-Wai’s Hong Kong
Sai Wan swimming shed
“I found this walkway for morning swimmers in the most westerly point in the city.” says Wong. “The light seemed ambivalent. At sunset, the woman was facing west as I was thinking of flying west to Britain.”
after newsletter promotion
Graham Street wet market
“I’ve seen this man many times during my late-night photo trips,” says Wong. “I was in the back alley in Lan Kwai Fong, the Soho of Hong Kong, and suddenly there he was, dressed as Elvis with a guitar. The towers of air-conditioners enhance the surreal, cyberpunk feel of our concrete forest.”
Concrete cross, Tao Fong Hill
“I lived in Shatin, in one of the towers,” says Wong. “I could see the cross up the hill but had never visited until I decided to leave Hong Kong. The two Chinese words on the concrete cross read: ‘It is finished’. These are the last words of Christ. I am moved by the woman’s indecipherable posture. Was she praying?”
Main image: Causeway Bay typhoon shelter
When asked why the city’s stunning skyline is pushed to the background here, Wong says: “Whenever I think of Hong Kong, this is the image that encapsulates my feelings: the hazy yellow light, a small person in a big city overcoming the sense of an infinitesimal existence.”
Hong Kong After Hong Kong by Wong Chung-Wai is published by Gost on 6 August (£40). Kit Fan’s first novel is Diamond Hill and his latest poetry collection The Ink Cloud Reader is available at guardianbookshop.com. Delivery charges may apply
UK singer Alison Moyet graduates with her first university degree at 62
KUALA LUMPUR, July 27 — At 16, she was told she couldn’t study printmaking because she was a girl. So British singer Alison Moyet put her dream on hold as she made her mark…
Examining Various Facets of Photography in the South Asian Context
Rahaab Allana’s edited volume Unframed on lens-based practices in South Asia comes at a moment of introspection for photography as a practice that has seen several turns in its nearly 200-year-old biography. Professionally too, this is a reflective moment for the editor who in the introduction, ruminates over more than two decades of work produced by the Alkazi Collection of Photography, New Delhi, including exhibitions, conferences, books and other events from within and beyond its own archive.
The process of ‘unframing’ that the volume offers has to do with identifying and unpacking, understanding and critiquing the archival, institutional, theoretical, exhibitionary and artistic frameworks that have defined photography in South Asia. At stake is a redefinition of both, vernacular photography from the non Euro-American world as well as what is understood as South Asian lens based visual culture at large. As Allana says, “This volume presents photography as both an original media that can assume hybrid form, and as a political, historical and social resource that has radically expanded our understanding of artistic and activist engagement in colonial and postcolonial “South Asia”.”
Unframed: Discovering Image Practices in South Asia
Edited by Rahaab Allana
Alkazi Collection of Photography and Harper Design, 2023
The book’s essays appear under five sections, each informing the reader on photography’s origins, operations and impact in the region. They range between explorations of the self and the ‘other’ in the colonial context, the technologies of image production and circuits of representation, contemporary curatorial methodologies and national cultural politics and histories.
Even though the book does not claim to be exhaustive in addressing all photographic history in the region, it is an ambitious work towards a counter discursive space that departs from known theoretical Euro-American models of understanding the camera’s operations. It is hoped that Unframed shall see subsequent volumes that further address the currently overlooked issues of intersectionality, commerce and pedagogy among others, that shape our photography.
Unframed acknowledges the medium specificity of the camera, engaging with technological, aesthetic and institutional dimensions of photography within the larger socio-political terrain that it affects. The essays seek to interrogate how photography has addressed, affirmed and countered global assumptions about South Asia, how these countries are home and nation to diverse ethnic, linguistic and cultural communities, geopolitically bounded, but also challenged. The state is repeatedly evoked for its roles as the archivist, laboratory, pedagogue, patron, critic and censoring agency of photography. Essays on photographies from India’s neighbouring countries – Pakistan, Sri Lanka, Afghanistan, Nepal, Bangladesh and Myanmar – draw new interconnections through the substratum of digital networks that cut across known realities of animosity and cooperation. These are illustrative of the true democratisation of the camera in a transnational space. As a volume that is chiefly concerned with how power is challenged by the fluidity and disobedience that photography offers, the essays highlight anomalies to expected differences of gender, caste and class in South Asia.
In each of its five sections, Unframed addresses the nature of the viewing gaze and its expectation from photographs to meet the claims of identity and selfhood in personal, local, national and transnational contexts. The category of the ‘vernacular’ interestingly subsumes the plebeian and the princely photographer from South Asia, discussed in the early essays of the book. In his essay, Allana dwells on the exhibition Ephemeral: New Futures for Passing Images for Serendipity Arts Festival in Goa in 2018 mulling over possible iterations of vernacular photography practiced locally, while Mrinalini Venkateswaran examines the nineteenth century archive of Sawai Ram Singh II from Jaipur, the first photographer prince to use the modern camera. Other practices such as the ethnographic works of James Henry Green (1893 – 1975) in Burma resonate with the photographs from Ceylon in the essays by David Odo and Ismeth Raheem respectively. The photographer Lionel Wendt’s (1900-1944) experiments in a modern photographic styles presenting a counter gaze to colonial stereo typification of the ‘native’ in Ceylon.
One is inclined to try and locate Unframed amidst other recently published edited volumes on photography, namely Photography in India: From Archives to Contemporary Practice, edited by Aileen Blaney and Chinar Shah (2020), Photography in India: A Visual History from the 1850s to the Present, by Diva Gujral and Nathaniel Gaskell (2019), and Points of View: Defining Moments of Photography in India, edited by Gayatri Sinha (2021). It shares overlapping concerns with these closely timed volumes, yet its focus on the socio-political flux that complicates South Asia’s political identity sets it apart. The inclusion of essays by Bakirathi Mani on diasporic Indian identity, or Hammad Nasar on the overall status of art practice in Pakistan offer wider contexts to locate photography, without addressing the medium of the camera in particular. Such inclusions allow Unframed to identify the larger frameworks that construct South Asian visuality.
Rahaab Allana.
The title of the volume claims to ‘discover’ new image practices, which it does along with new writing on photography from South Asia, but it posits these amidst established publications that mainly address Indian photography. The inclusion of older, landmark essays that have defined the discipline, say by the authors Christopher Pinney and Sudhir Mahadevan, locate, rather than ‘frame’ or subsume the South Asian photographic context’s dialogue with Euro-American theoretical investigations. What emerges is a possible set of new methodologies for examining photography. Pinney is known for his groundbreaking work on colonial and studio based photography in India in his books Camera Indica: the Social Life of Photographs (1997) and The Coming of Photography in India (2008), while Mahadevan writes on photography’s technological and ontological affiliations with cinema. Gopesa Paquette’s essay explores the possibility of photography’s dialogue with classical aesthetics from within South Asia, ranging from Darshan to Rasa theory, opening new ways of re-looking at our lens based practices. The late Aveek Sen’s lecture from 2010 titled ‘Between Blue Rocks’ addresses the important exhibition Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh, held in London and Switzerland. Sen uses the literary as a tool for commenting on the photographic flows across these three countries. From the same exhibition’s catalogue is Geeta Kapur’s insightful commentary on the family as a subject of India’s key modern and contemporary photographers Umrao Singh Sher-Gil, Ketaki Sheth, Pablo Bartholomew and Dayanita Singh. In a sense, Unframed urges the reader to examine the rationale behind the political cartographies that divide South Asia within itself, in fact Saloni Mathur’s essay concludes Partition as a ‘method’ in social research that more broadly embeds photography amidst other visual art practices from the region.
The final essays and interviews of the book analyse photography within larger discourses on institutional, exhibitory and curatorial initiatives in India, Bangladesh, Sri Lanka, Myanmar and Pakistan, identifying ventures such as the Triennale and the other international art projects as formative junctures for photography’s public manifestations. Other histories of photography in print evidence the inter-ocularity of visual genres, as seen in the essay by Sabeena Gadihoke on the Illustrated Weekly magazine that ran between the 1930s and 90s, Omar Khan’s essay on photographic postcards and Sukanya Baskar’s re-examination of the global exhibition The Family of Man (1955), chiefly through its catalogue and press archives. Inter-ocularity re-appears as the central theme of an interview between Allana and Ashmina Ranjit, a performance artist from Nepal, her political activism taking form through the convergence of these two media.
Finally, the book’s design is to be appreciated for its attention to detail, the treatment of images that level between colour and black and white, and the non-hardcover, academic format inviting serious engagement instead of the leisurely perusal of a coffee-table publication. In fact, the text is granted a certain ‘visual’ space to foster meandered meaning making, an unusual but effective strategy for a book on photography.
Suryanandini Narain is Assistant Professor of Visual Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University.
Villager Jim: Moment young owls wait to be fed captured
Villager JimAn anonymous photographer has captured the “truly special” moment four young owls waited patiently to be fed.
The photographer, who goes under the moniker Villager Jim, took the photos in heavy rain outside a barn in the Peak District.
He described it as a “heart-pounding moment” when he noticed the birds sat together.
His endearing photographs have won praise from thousands of people on social media.
“That will only happen once a year maybe, something amazing like that. It makes every other day worthwhile,” he told the BBC.
Villager Jim, who is based in Eyam, Derbyshire, travels about 40 miles around the Peak District each day to take photos of wildlife.
After spotting the young owls on a previous occasion, the photographer headed back to the barn on Monday.
“These guys I knew were growing up inside this barn,” he said.
“I’ve had one or two on the window sill and then all four were there with the mum 50 to 100 metres behind me, hunting in the field.
“They were there when I came up to the barn and it was a heart-pounding moment where you think ‘Please God, do not go away. Don’t move, stay there’.”
Villager Jim, who some have dubbed the “Banksy of the photographic world” due to his hidden identity, added: “You can’t see it in the picture but it’s peeing it down with rain.
“There’s a golden rule of always go out no matter what the weather is because that wildlife is always still there.”
Follow BBC East Midlands on Facebook, on Twitter, or on Instagram. Send your story ideas to eastmidsnews@bbc.co.uk.
Related Topics
OCTC hosting ‘Candid’ photography exhibit featuring numerous local artists
Owensboro Community & Technical College is currently hosting a photography exhibition, titled “Candid.” | Photo provided
Owensboro Community & Technical College is currently hosting a photography exhibition, titled “Candid.” The exhibition includes the work of six photographers with local ties, each showcasing their perspective on the world as seen through their unique lens.
The exhibition runs through August 3 and is located in the Dayman Art Gallery on the upper level of the Learning Resource Center, located on the Main Campus at 4800 New Hartford Road.
“Capturing candid moments holds immense value,” said Dr. Meredith Skaggs, OCTC’s Heritage, Humanities, and Fine Arts Department Chair. “The world we face today is often dominated by staged and curated content. Yet, these candid moments serve as precious reminders of what’s truly seen through the eyes of these talented creatives.”
Each photographer highlighted in the show is an OCTC alumnus; several have established their own photography and/or media services businesses.
Photographers include:
- Chelsea Howard Bickett, an Owensboro resident who now runs Chelsea Howard Photography.
- Kevin Brown, a headshot and portrait photographer based in Owensboro.
- Anna Lake Crasher, the Kentucky Wesleyan College director of campus ministry.
- Nick Eskridge, a deputy sheriff in Ohio County.
- Madi Richardson, who focuses on capturing “the simple details of life” for her clients.
- Kobe Shrewsberry, Production Associate for Crossings Camps.
OCTC offers an Associate in Fine Arts degree and includes digital photography programming. Those interested in coursework may contact [email protected]. Classes for the the fall semester begin August 14, 2023.
China-Britain photography competition to showcase cultural richness and exchanges
Tim Flach, president of the Association of Photographers of Britain, delivers a speech during launching ceremony of “Beauty Across Borders: China-Britain Photography Competition” in London, Britain, July 26, 2023. “Beauty Across Borders: China-Britain Photography Competition” was launched here on Wednesday with an aim to showcase China’s landscapes and the richness of its culture, as well as the dynamic exchanges between China and Britain. (Xinhua/Li Ying)
LONDON, July 26 (Xinhua) — “Beauty Across Borders: China-Britain Photography Competition” was launched here on Wednesday with an aim to showcase China’s landscapes and the richness of its culture, as well as the dynamic exchanges between China and Britain.
Jointly organized by the China National Tourist Office in London, Nouvelles d’Europe Britain Edition, and Shangtufang Image Art Studio, the competition also enjoys support from the Cultural Section of the Chinese Embassy in Britain, Britain’s Royal Photographic Society, Global Photographic Union, Sino European Arts, as well as Beijing-London Short Video Festival.
The competition, open to photography enthusiasts from around the world, is divided into three sections: “Beautiful China,” “Splendid China” and “Impressions of China and Britain.”
It is important to understand the people and the culture of other countries, and “photography is the best way to do that,” said Michael Pritchard, programs director of the Royal Photographic Society.
“At the time we enter AI, we need a world that works together and break down the barriers. A medium like photography, in a sense, is a language that crosses these barriers. You don’t need to translate it into Mandarin or English,” Tim Flach, president of the Association of Photographers of Britain, told Xinhua in an interview after the competition’s launching ceremony.
In his view, competitions like “Beauty Across Borders” offer an opportunity to explore the differences and commonalities between the two cultures.
“In my understanding, the language of photography surpasses words as it unites cultures through a visual conversation of mutual understanding. It serves as the window to different cultures, enabling us to step into another world,” said Li Liyan, minister counsellor for cultural affairs of the Chinese Embassy in Britain.
Works will be submitted until Oct. 31. The panel of judges is made up of professional photographers from both China and Britain, who are going to evaluate artworks’ professionalism and score them based on three criteria: theme relevance, artistic meaning and visual presentation.
In December, three winners for the first prize, nine winners for the second prize, 15 winners for the third prize, as well as 30 winners for the honorable mention will be announced. ■
Michael Pritchard, programs director of the Royal Photographic Society, delivers a speech during launching ceremony of “Beauty Across Borders: China-Britain Photography Competition” in London, Britain, July 26, 2023. “Beauty Across Borders: China-Britain Photography Competition” was launched here on Wednesday with an aim to showcase China’s landscapes and the richness of its culture, as well as the dynamic exchanges between China and Britain. (Xinhua/Li Ying)
