“Brothers” by Olga Steinepreis. Non-Professional Overall Winner and Non-Professional Portrait Winner.
“Two brothers are so different, but sometimes they are as one. They quarrel, but cannot live long without each other. After all, neither of them two recall a time before he had a brother.”

The Exposure One Awards is celebrating the nuances of black and white photography by announcing the winners of the 2024 One Shot Photo Contest. Separated into divisions for professional and non-professional photographers, the contest highlights the timeless quality of the monochromatic color palette.

Photographers competed in a wide range of categories, including Portraits, Landscapes, Conceptual Works, and Fine Art. Paul Lukin was named the overall winner in the professional division, while Olga Steinepreis won the non-professional division.

Lukin is a photojournalist based in Bangkok. His winning image gives an aerial perspective on a rooster fight as the animals are cheered on by a crowd. As he explains, working in black and white is a purposeful choice for the photographer.

“I gravitate towards black and white photography because it feels more mysterious and timeless. It is more of an interpretation of reality than a reflection of reality.  By stripping away color, the focus shifts to forms, contrasts, and the scene’s essence, inviting the viewer to engage more and encouraging imagination and interpretation.”

Steinepreis won the non-professional category for a distinctly different image. Her portrait of two brothers is a touching tribute to the bond siblings share and is a nostalgic look at childhood. This photo of her sons, stolen between moments of play and laughter, also creatively uses shadows to enhance the composition.

Scroll down to see even more of the winners. If you love black and white photography, consider entering the Exposure One Photographer of the Year competition, which is now accepting entries.

The Exposure One Awards celebrates the beauty and nuance of black and white photography.

“Feathered Warriors: A Moment of Suspense” by Paul Lukin. Overall Professional Winner and Professional Photojournalism Winner.
“In the heart of the cockpit, two majestic roosters soar through the air. Their feathers ruffle in the intensity of the moment. Surrounding them, a captivated crowd holds their breath, their eyes fixed on the airborne spectacle unfolding before them.”

“Absence” by Silke Hullmann. Overall Professional Runner-up and Professional Abstract Winner.
“Even without color, reduced to black and white, the flamingo formations above the marbled waters of Lake Magadi are a masterpiece of nature.”

“Flock of Sheep” by Serkan Dogus. Non-Professional Overall Runner-up and Non-Professional Domestic Animals Winner.
“Every day in the Tatvan district of Bitlis, hundreds of sheep make a dusty journey to reach the pasture. Joining the dusty journey and photographing them was an indescribable feeling.”

The organization has just announced the 2024 One Shot Photo Contest.

“Silk hat” by Alberto Colognato. Non-Professional Fashion & Beauty Winner.
“The details of a female body can reveal aspects of a woman’s life and history. A hand, an arm, the neck can narrate the work, the fatigue, the sweet and beautiful moments or the offenses they have witnessed. It is precisely these details that I look for and photograph.”

“Calla Lily” by Maria Marriott. Professional Minimalism Winner.

“Tuscany in the Fog” by Alberto Fornasari. Professional Landscape Winner.
“Between October and December I have been in Val d’Orcia, in Tuscany, to create impressive images using the fog and the light of dawn, a typical phenomenon of this period.”

“Walker II” by Jozef Danyi. Non-Professional Conceptual Winner.
“It is the story of a walker’s journey across a striped black and white world. It is a game of colors black and white. A little traveler in the middle of the magical scenery of the black and white strips that create this imaginary world. We wish him the best of luck in his travels​​​​​​.​​​”

“Living In Geometry” by Dorota Yamadag. Non-Professional Abstract Winner.

“Shadow of the Jungle” by Brice Tribollet. Non-Professional Wildlife Winner.
“As the shadow of the jungle, the orangutan becomes a guardian of the secrets held within the heart of the wilderness. It is a custodian of the wisdom embedded in the ancient trees and a living testament to the delicate balance between nature and its inhabitants.”

“The Mennonites” by Jorge Mónaco. Professional Portrait Winner.

“The city” by Antonio Coelho. Professional Still-Life Winner.
“Conceptual still-life image with a touch of fine art photo , made with screws that reminds a city skyline.”

“One step beyond” by Laurence Bouchard. Professional Street Winner.

“Diving” by Maxim Korotchenko. Professional People Winner.
“People enjoy diving in the diving pool of Zvezdny sports center in Astrakhan, Russia.”

Here are some of the exceptional winners of the professional and non-professional divisions.

“The Mane Man” by Gary Cox. Professional Wildlife Photography.
“Khari the lion giving his beautiful mane a good shake. Taken at Blackpool zoo, UK.”

“Assumption” by Luis Henry Agudelo Cano. Professional Event Winner.
“Hundreds of young people enter competitions every end of each month, they practice outdoors since they do not have stages for their events.”

“Perspective” by Ahmad Badr. Non-Professional Fine Art Winner.

“Souk Light” by Tim Jamieson. Non-Professional Event Winner and Non-Professional Travel Winner.
“A man pushes his bike through the winding lanes of a souk in Marrakesh at sunset. There are few places I’ve been quite as mysterious as the ancient souks of Morocco’s most beguiling city.”

“Mourning Ceremony” by Emrah Karakoç. Professional Travel Winner.
“The photo is from Iran, where we went for a trip. It is the mourning ceremonies held by Shiites to commemorate the events of Karbala. Thousands of people are in the squares dressed in black for the mourning ceremony, and different mourning ceremonies are held in every neighborhood and city.”

“1994&1999: Our Portrait” by Man Zhu. Professional Conceptual Winner.
“The superimposed films are from 1994 and 1999 respectively, which are the year my boyfriend and I were born. Age differences may lead to cognitive differences. We love each other, but we are still two independent individuals.”

“Great White Egret Preening Ballet” by Caroline Peppiatt. Non-Professional Nature Winner.

“Montreal’s Olympic Stadium” by Sebastien Arbour. Professional Architecture Winner.
“A detail of the retractable soft roof of the Stadium.”

“Balinese Kids playing” by Asep Setiawan. Non-Professional Photojournalism Winner.

“Made Ready” by Larry Bean. Non-Professional Landscape Winner.

“One Man Power” by Andriy Stepanov. Non-Professional Minimalism Winner.

Exposure One Awards: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Exposure One Awards.

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BANFF – Hovering over peaks and mountain ranges, the open doors of the floating helicopter leave Paul Zizka unprotected against the elements.

The wind is howling way up there and everything and everyone is bouncing around inside the compact metal box with swirling blades. 

Zizka, meanwhile, sits attached to a harness that’s clipped into an anchor in the middle of the helicopter. He points a camera out and shoots the landscape below while trying not to think about whatever people avoid thinking about when they’re more or less hanging around thousands of feet up in the air.

“Whenever my mind wanders to how exposed we are and how vulnerable it feels to be up there, I just kind of get my mind into the photography world again,” said Zizka. 

“I sort of try to focus on the task at hand and that kind of allows me to really focus on what I’m doing … and making sure you get the image that you need kind of helps with that, but it’s always exhilarating, for sure.”

The renowned mountain and landscape photographer from Banff has gained international recognition for capturing iconic shots in the Canadian Rockies. However, that’s mostly been when both of his feet are firmly planted on the ground where he gets last say on the photograph. For aerial photography, at the mercy of other factors including a changing weather pattern, it’s a chance for Zizka to see the world he’s immersed in much differently. 

It also means the public gets that rare opportunity, too.

The award-winning photographer’s book Aloft: Canadian Rockies Aerial Photography, published through Rocky Mountain Books, is available on paperback for the first time. It offers a bird’s-eye view of summits, lakes, glaciers and valley bottoms in locations such as Canmore and Banff and Jasper national parks in all seasons.

The inspiration for capturing the Rockies from a unique angle came while Zizka was hiking Castle Mountain in Banff National Park in 2009. His hiking partner suffered an unfortunate leg injury, which forced the pair to call for help and be heli-rescued. 

When everyone was safe and secured and the helicopter went airborne, the adventure photographer quickly realized how differently the famous mountain appeared from how he was used to seeing it. New angles, characteristics, shadows and the vast diversity were suddenly seen in a new light.

“Flying over the mountains is always so memorable,” said Zizka. “Living in a place that is so dynamic, you never know what you’re gonna get, and you have to make the best of it.”

Captured over a six-year span between 2013 and 2019, Zizka and a small team with keen eyes, including his wife and writer Meghan J. Ward, started out with thousands of photographs to look over, but only 135 made the cut for Aloft.

About half of the photos in the book were taken while he was shooting commercially. For the other half, Zizka arranged to be taken up in the sky to fill in the gaps of areas he missed shooting.

“There’s definitely something to be said for when you put in the physical work to get an image,” said Zizka. “You’re forced to put more intention into what you do and you’re less likely to cut corners, you’re more likely to do it right, I think, and just really try to capitalize on what Mother Nature sort of hands out to you.”

For more on Aloft and Zizka, visit www.zizka.ca.

“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”

One of the most fascinating elements of Naked Ambition is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like Playboy. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)

Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including Marcia Valibus and Nani Maka. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for Interview magazine.

As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of Penthouse magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.

Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in Naked Ambition. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.

Ernest Cole is renowned as one of the most important documentary photographers in history, chronicling the reality and brutality of Apartheid in South Africa. 

This summer Ernest Cole: House of Bondage will go on show at The Photographers’ Gallery, displaying a curated selection of images from the extensive body of work House of Bondage. Cole’s most important work was published as a photo book and showcased to the world the violence and injustices of Apartheid. 

Ernest Cole was born in 1940 in a township in South Africa named Transvaal. He experienced many of the oppressive injustices forced upon his people famously saying, “Three hundred years of white supremacy in South Africa have placed us in bondage, stripped us of our dignity, robbed us of our self-esteem, and surrounded us with hate.”

Cole was one of the first Black freelance photographers in South Africa and was commissioned to work on assignments for Drum Magazine and the New York Times where he would document the struggles of daily life throughout the country. 

Cole documented the vicarious living conditions of the Black population, from mine workers to domestic workers in white households. He paid particular interest in documenting the youth, in particular the young children who were denied a proper education under the Bantu Education Act – a provision that enforced racially separated educational facilities.

In 1966 Cole fled his home nation and settled in New York, where he was able to smuggle out hundreds of his photographs. In 1967 the first edition of House of Bondage was published which showed the world the realities of the violence and repression enforced by the apartheid system. The resulting publication turned out to be one of the most important photobooks of the twentieth century. 

It is the publication where the exhibition gets its structure, featuring over 100 photographs across the 15 thematic chapters featured in the original edition of the book. It also includes works from the chapter ‘Black Ingenuity’, which was not published in the original edition but featured in the re-editioned version in 2022. The exhibition will also feature early original prints, personal documents, original editions, ephemera, and filmed interviews with Cole.

The exhibition has been expertly adapted for exhibition at The Photographers’ Gallery by Karen McQuaid, and I was able to ask a few questions about the upcoming showcase. 

Ernest Cole: House of Bondage will be exhibited at The Photographers’ Gallery in London from June 14 to September 22, 2024. If you are able, I highly recommend visiting this important work, as it is not only a documentation of photography history but human history.

Renowned photographer, veteran journalist and businessman Shan Pillay has died.

Pillay died on Tuesday morning in Pietermaritzburg.

Pillay was known both locally and internationally for his photography skills which he used to capture multiple politicians, local and international actors, and community members.

ALSO READ | A fitting tribute to canoeing legend John Oliver

Pillay’s love for writing and politics took him to the All In Africa Conference in 1961, where former late President Nelson Mandela delivered that last speech at the Arya Samaj Hall (now the Manaye Hall).

Pillay sat in the front row of the audience, where he listened to Mandela’s speech.

Pillay had the honour of meeting Mandela and narrating his experience to Mandela when he visited Pietermaritzburg in 1995 at the city hall.

ALSO READ | Tributes for Pietermaritzburg advocate

Pillay was also known for his promotion of cultural values in the local community. By Tuesday afternoon, multiple messages were posted in honour of Pillay.

*See tomorrow’s Witness for full tribute



Nature
Photography

#100 for the Ocean
#animals
#climate crisis
#ocean
#Paul Nicklen
#wildlife

Kori Burkhardt, “Between Two Worlds” (2022), Moorea, French Polynesia. All images © the photographers, courtesy of 100 for the Ocean, shared with permission

In 2023, the inaugural 100 for the Ocean event raised more than half a million dollars toward ocean conservation, and this year it’s back with 100 world-renowned photographers and artists making a global difference. From June 1 to 30, you can purchase prints for $100, with 100% of the net proceeds supporting three under-funded and under-recognized nonprofit organizations focused on ocean advocacy and action.

This year, recipients of funding include Coral Gardeners, focused on coral restoration; New Zealand-based Young Ocean Explorers, inspiring school-age children to protect and cherish the world’s marine environments; and Oceans Initiative, which communicates data and urgency around threats to British Columbia’s Salish Sea.

Founded by Paul Nicklen, Cristina Mittermeier, and Chase Teron, 100 for the Ocean dovetails with the work of SeaLegacy, an organization illuminating stories about the earth’s vast watery expanses through photography and filmmaking. SeaLegacy partners with countless scientists, artists, and nonprofits around the world to make tangible, lasting progress toward protecting the planet’s delicate ecosystems.

The diverse collection of images for 2024 includes playful polar bears captured by Daisy Gilardini in Manitoba; a curious humpback whale dancing in circles around Kori Burkhardt in French Polynesia; and reef sharks glowing in the sun against a backdrop of a double rainbow, photographed by Emmett Sparling.

“What is so great about 100 for the Ocean is that it is accessible to many people who want to help protect our planet but aren’t sure where to start,” says Cristina Mittermeier. “Our goal isn’t just to raise funds for ocean initiatives; it’s to start the conversation between those behind the lens and those at home. We want to share the stories of our planet with you, create that connection, and make a lasting impact for the collective good of our planet.”

The print shop opens at 12 a.m. EST on June 1, and true to the theme, only 100 editions of each photograph are available. See all available prints and select your favorites in advance by downloading the digital catalog.

Emmett Sparling, “A Slice of Heaven in the Tuamotus” (2024), Tahanea, Tuamotus, French Polynesia

Claudio Contreras Koob, “Beak to Beak” (2014), Ria Lagartos Biosphere Reserve, Yucatan Peninsula, Mexico

Lewis Burnett, “Nyinggulu Blue” (2022), Nyinggulu Coast, Western Australia

Lucas Bustamante, “Pumas of Patagonia” (2019), Torres del Paine, Patagonia, Chile

Chris Byrne, “Web of Water” (2022), Iceland

Daisy Gilardini, “Brotherhood” (2017), Wapuks National Park, Manitoba, Canada

Bertie Gregory, “The Wave Washers” (2022), Antarctic Peninsula, Antarctica

Chris Schmid, “Golden Fur” (2022), Tarangire, Tanzania

#100 for the Ocean
#animals
#climate crisis
#ocean
#Paul Nicklen
#wildlife

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Posted 2:06 p.m. Tuesday, May 28, 2024

Alumnus Greg Anderson, ’83, on his career in photography

Behind the lens of Wisconsin’s political stage stands UWL alumnus Greg Anderson. 

Anderson’s photography portfolio spans over 40 years, which began after graduating from UW-La Crosse in 1983 with a degree in mass communications. After capturing countless subjects, primarily in his role as a staff photographer for the Wisconsin Legislature, he is set to retire later this year. 

Before landing his current position with the Legislature, Anderson started as a photographer for the Photographic Media Center at UW-Madison, capturing scenes ranging from varsity sports to open-heart surgery. 

“The transition from student to professional was pretty easy, as my education at UWL prepared me sufficiently for the position,” Anderson says. “I was fairly confident in my abilities thanks to professors Ed Bardill and Roger Grant.” 

Anderson appreciated the range of assignments, including the different formats of photography: large and medium formats, plus 35-millimeter film. His time working at UW-Madison gave him the confidence to take any assignment that came along, which came in handy as he started freelance work in the ’90s. 

The Department of Natural Resources, the National Parks Service, the Madison Symphony Orchestra, the New Yorker Magazine, Trek Bicycles and The Smithsonian Institute are among the clients Anderson has collaborated with. 

“For each of my diverse clients, I felt confident I was able to accommodate their requests due to my experiences at the Photographic Media Center,” Anderson says. “Each relationship I’ve established as clients resulted from who I knew, word of mouth or being in the right place at the right time.”

Once Anderson transitioned to his role as a legislative photographer, his list of notable photograph subjects grew even larger. However, the most fulfilling aspect of his career remains with creating memories for families. 

“The aspects of my career that provided me with the most fulfillment was producing portraiture, both individuals and families,” Anderson explains. “They’re important to the subjects of the photographs, but more importantly, the grandchildren and great grandchildren of the subject of the portraits.”

Reflecting on his career, Anderson expresses his satisfaction with the education he received at UWL. 

“I am glad I chose a liberal arts program,” Anderson says. “Having access to courses outside of your discipline made for a well-rounded experience.” 

Although the photography industry has changed drastically since Anderson’s education, he is thankful that the digital shift has made photography available to more people, and that the public has become more “visually literate.”

As for advice to those wishing to cultivate a career like Anderson’s, he says, “Worry more about composition and less about equipment. You should photograph what is important to you.” 

While Anderson is retiring from his position as Wisconsin’s legislative photographer, the moments and memories he captured over his four-decade career will be enjoyed for generations to come. 

Wedding photography can be a rewarding yet challenging profession. Here’s what you need to know about navigating the world of wedding photography, based on valuable insights gained over a decade in the industry.

Coming to you from Luke Cleland, this insightful video highlights 15 crucial lessons learned from 10 years of experience as a wedding photographer. One key takeaway is that 99% of your current competition won’t be around in a decade. This fact can alleviate the pressure of comparing yourself to others, as many will drop out of the industry for various reasons. Understanding this can help you focus more on your journey rather than being distracted by the perceived competition.

Another significant point Cleland emphasizes is the importance of not playing the comparison game. While it might seem like everyone is succeeding faster than you, it’s vital to keep your head down and concentrate on your growth. He shares how ignorance of industry trends initially slowed his progress. However, a balanced approach of not obsessing over others while staying informed about industry standards can help you develop your unique style and business practices effectively.

Cleland also stresses the necessity of being organized and responsive. Early in his career, he lost potential clients due to slow response times and a lack of a clear pricing structure. By establishing a consistent system for handling inquiries and pricing, you can avoid missing out on business opportunities. Furthermore, he warns against falling for quick-fix solutions or promises of instant success. Genuine progress takes time and effort, and anyone offering a shortcut is likely not providing a sustainable path to success.

Learning from others and continuously improving your craft is another vital lesson. Cleland admits that his initial reluctance to learn from others and his arrogance in thinking he knew everything were significant setbacks. Embracing continuous learning and seeking feedback can propel your business forward. It’s important to stay open to new techniques and strategies to keep improving. Cleland found that when he prioritized making his work and client experience exceptional, he didn’t need to rely heavily on advertising. Quality work will speak for itself and drive word-of-mouth referrals. He also encourages bringing in outside perspectives to critique your work, as this can offer new insights and help you grow as a photographer.

Cleland’s advice extends to the practical aspects of running a business, such as the realization that you need less gear than you might think. The emphasis should be on client experience and delivering high-quality service rather than on accumulating the latest equipment. Understanding this can help you focus your resources more effectively. He also touches on the emotional rollercoaster that comes with running your own business. The highs and lows are part of the journey, and perseverance is key. Check out the video above for the full rundown from Cleland.

If you would like to continue to learn about wedding photography, be sure to check out “How To Become A Professional Commercial Wedding Photographer With Lee Morris and Patrick Hall!”

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