About

Posts by :

A Guide To December 2023 and January 2024 Photography Festivals

PhotoNOLA, Jimei x Arles International Photo Festival, PhotoBrussels and Photo Phnom Penh are among the highlighted photo events opening in the coming weeks.

New Orleans, United States / 13 December – 17 December

Produced by the New Orleans Photo Alliance in partnership with museums, galleries, and alternative venues citywide, PhotoNOLA holds a condensed line up of portfolio reviews, talks, seminars and workshops all in proximity to the PhotoBOOK Fair, along with a rich program of exhibitions (many are open during the whole month of December) with authors such as Lila Barth, Orejarena Stein, Debbie Fleming Caffery, Daniella Zalcman, Rene Broussard and Michael Young. Reviewers include experts like Jacob Moscovitch (The New York Times), Geoffrey Koslov (Foto Relevance), Brian Piper (New Orleans Museum of Art), Maria L. Kelly (High Museum of Art), Michelle Schulte (LSU Museum of Art). Another highlight is Still/Motion: The Festival of Photography in Film, which celebrates photography’s intersection with cinema. This year’s program includes films featuring photographic works of Sebastião Salgado, Robert Capa, Gerda Taro, David “Chim” Seymour, Joel-Peter Witkin and Ben Depp.

Discover more on their website.

Xiamen, China / 15 December – 21 January

The collaboration between Three Shadows Photography Art Centre in Xiamen, China, and the French photography festival Les Rencontres d’Arles evolved into the 9th edition. This year, the annual Jimei x Arles International Photo Festival presents 31 exhibitions, featuring works by over a hundred artists from France, Germany, the United States, Italy, Denmark, Finland, Iceland, Norway, Sweden, the Philippines, Malaysia, Singapore, Thailand, Bangladesh, Cambodia, Mainland China, Taiwan, and Hong Kong. During the opening week, a series of engaging activities takes place, including the opening ceremony, portfolio reviews, lectures, workshops, artist-guided tours, performances, symposiums, a photobook market, and educational tours. In addition, the Jimei x Arles Discovery Award and Curatorial Award for Photography and Moving Image will be announced, together with the new established Dummy Book Award. Centered around the main venue, the new project Isles Project radiates and collaborates with diverse cultural, artistic, and living spaces, inviting the audience to embark on an urban art stroll.

Explore the full program on their website.

Brussels, Belgium / 25 January – 25 February

Created in 2016 at the initiative of Hangar, with a coordinating committee — composed of: Atelier Contraste, Box Galerie, Contretype, L’Enfant Sauvage, Fondation A Stichting, Hangar, La Nombreuse, Stieglitz19 and Tipi Bookshop — established to manage the organization of the festival, PhotoBrussels Festival is an event that establishes the Belgian capital as part of the European Month of Photography (EMOP). For its 8th edition, the program includes several solo and collective shows, with artists including René Bertrand, Emma Hardy, Vincen Beeckman, Joëlle Van Autreve, Daria Svertilova. The Centre Culturel Espace Magh, 254 Forest, Archiraar Gallery, Centre Tour à Plomb, Galerie Emilie Dujat, V/MSP Gallery, Galerie Gomis are among the participating venues across the city.

Read the full exhibitions program on the PhotoBrussels’ website.

Phnom Penh, Cambodia / 7 December – 7 February

Founded and directed by Christian Caujolle and Alain Arnaudet, and organized by Photo Phnom Penh Association – an independent Cambodian NGO – the festival reached its 15th edition this year. The rich program includes round tables, screenings evenings, portfolio reviews, outdoor and indoor exhibitions in different venues such as IFC gallery, Bophana center, Sra’Art Gallery and Phnom Penh Airports. Not to be missed is the famous traveling exhibition on tuk-tuks as well as a tuk-tuk tour which will take visitors to exhibitions around the city. Kanha Hul, Chen Chun-Lu, Alan Crumlish, Nhean Lyda and Chhen Kimhong are among the artists exhibited.

Find out more on their website.

————————

Other festivals still open:

Fotograf Festival 2023 / Prague, Czech Republic / 21 September – 11 February

The 13th edition of the Fotograf Festival, named Hypertension23 and curated by Monika Čejková, deals with the tension caused by technologies that expose our attention to the constant visual pressure to notice something, experience it emotionally, and react. The theme is also treated in an exhibition at the Fotograf Gallery by curator Tina Poliačková. Furthermore, the festival is extended to the public space, where a visual essay by Shumon Basar, Hans Ulrich Obrist, and Douglas Coupland is presented in an underpass of a metro line and on the facade of the Trade Fair Palace. A series of discussions, artist talks, site-specific events, projections, and guided tours accompany the main exhibition program from September to February.

Photaumnales 2023 / Hauts-de-France, France / 16 September – 31 December

Celebrating its 20th edition, the festival is focusing its exhibition programme under the theme Hors Jeux, displaying photographers who deal with the subject of sports through offbeat approaches, exploring a wide range of themes such as events, sociology of practices, sporting landscapes, and exaltation of the body. The 40 exhibitions of this year’s event are part of the Cultural Olympiad in the Hauts-de-France region. Guest of the 2023 edition include Guillaume Martial, Théo Saffroy, Sarah Makharine, Denis Darzacq, Luisa Dörr, René-Jacques, Céline Villegas, Sabi Singh, Brice Krummenacker, Erik Kessels, Lavinia Parlamenti & Manfredi Pantanella, Ken Grant, Charles Thiefaine, Studio Kima, Thomas Sauvin and more.

Internationales Festival Fotografischer Bilder 2023 / Regensburg, Germany / 23 November – 4 February

Questioning the ubiquity of photographic images, the festival offers a screening session dedicated to photography and cinema, lectures, a three-day symposium and exhibitions, with Darktaxa project: the Regensburg Constellation as main show. The name darktaxa is borrowed from taxonomy, referring to animals that exist but do not yet have a name or have not been assigned to a species. In the show, the audience has the opportunity to see artists responding to the theme by experimenting with digital photography, CGI, motion capture, 2D/3D/4D softwares, 3D scanning, AI, deep learning, GANs, photogrammetry, 3D printing, and augmented reality. The programme also includes the award ceremony for the German Photo Book Prize, several partner exhibitions, and two special events about media literacy/media education, and about photography and depression.

Photo Marseille / Marseille, France / 12 October – 24 December

Photojournalism is taking over the French city with a rich programme of events in the 13th edition of the festival, showcasing the work of more than 100 photographers throughout 22 venues. Individual and collective exhibitions, including the one showcasing the results of the Prix Maison Blanche, as well as projections, talks, and masterclasses. This edition also includes an outdoor collective exhibition dedicated to the theme of migrations, bringing together ten different projects. Plus, multidisciplinary artist Anita Pouchard Serra presents a report exploring the complexity of transnational identities, starting from her own multicultural family history between France and Algeria.

Thessaloniki Photobiennale 2023 / Thessaloniki, Greece / 10 October – 11 February

Organised by MOMus and curated by the MOMus-Thessaloniki Museum of Photography, the festival presents more than 100 photographers and artists from 18 countries in a multi-thematic programme of 25 exhibitions, open public events, and educational activities hosted in 19 museums, cultural venues, and art venues in Thessaloniki and Athens. This year, the main exhibition The Spectre of the People is curated by the art historian, photographer, and curator Julian Stallabrass and explores populism through photography and video. The programme also includes group and individual shows and a selection of the Greek photobook scene in the last twenty years, in addition to parallel events, educational activities, and guided tours.

————–

Check out our festivals page to get a complete view of what’s coming up on the photography calendar over the next few months.

Sebastian Foster Announces 30 Artists for Their Eclectic Fall Print Set

Sebastian Foster Announces 30 Artists for Their Eclectic Fall Print Set

Amy Dury. All images courtesy of Sebastian Foster, shared with permission

Austin-based gallery Sebastian Foster continues its 2023 Fall Print Set, marking the 11th anniversary of the collection since it launched in 2012. The new release features 30 works by well-established illustrators, printmakers, and painters from across the U.S., Canada, the U.K., Japan, and Europe. Half of the artists have worked with the gallery for years, while the other half are guests who joined just for this collection.

This set features 30 works all published as relatively small editions, hand-signed and numbered by the artists. Encompassing an eclectic array of mediums and themes, the collection showcases work from artists previously featured on Colossal, including Jeremy Miranda’s vibrant oil paintings, Jay Ryan’s playful illustrations, and Mia Bergeron’s dreamy dualism.

Now online-only, Sebastian Foster focuses on original works and prints, publishing over 1,000 editions since opening in the late 2000s. Whether you’re looking for the next piece to add to your collection or for meaningful holiday gifts, head to the gallery’s site to shop the Fall Print Set today.

 

Graham Franciose

Grant Haffner

Left: Caroline Ji. Right: Hiroki Kawanabe

Heather Sundquist Hall

Jeremy Miranda

Kevin Yaun

Michelle Morin

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Sebastian Foster Announces 30 Artists for Their Eclectic Fall Print Set appeared first on Colossal.

Wildlife photographer and conservationist Kirsten Hines brings her ‘Wild Odyssey’ to Tampa this weekend

Wildlife photographer and conservationist Kirsten Hines brings her ‘Wild Odyssey’ to Tampa this weekend

The list of the very best Florida books to come out in 2023 includes a pair of must-haves for lovers of Sunshine State wildlife.

In one of them, Kirsten Hines—author of “Wild Florida: An Animal Odyssey”—has set her camera on more than 100 different animals in a 304-page hardcover that is not just a celebration of our animal neighbors, but an opportunity to get into her brain and feel inspired to do more to preserve local ecosystems.

“I’ve learned to accept that not everyone will become a staunch advocate for the environment, but I’ve also learned that most people are willing to make at least a few small changes if they’re aware of what those changes are and how they might help, and cumulatively, those changes can matter,” Hines, a photographer, biologist and conservationist, told Creative Loafing Tampa Bay.

Hines—who appears at Oxford Exchange in Tampa this Sunday—added that while politicians play a part (like when state lawmakers unanimously voted to create the Florida wildlife corridor), but that there is not one sole solution in the effort to save native species from extinction.

“To truly make a difference, we also need to develop wisely and sustainably everywhere in Florida,” she said.

Honestly evaluating the environmental sensitivity of lands, and protecting areas of ecological importance is part of the equation in her eyes, and so is ecologically-friendly development in appropriate places.

“…such as preserving areas of natural habitat rather than clear-cutting entire lots, utilizing native plants in landscaping, and incorporating wetland areas for stormwater retention and water purification,” Hines added. “Habitat preservation,creation, and finding ways to coexist with nature should be a top priority for the future of Florida’s wilds.”

Hines’ book from the University Press of Florida follows her travels from the panhandle and into the Dry Tortugas over and again in her quest to bring light to the state’s unique biodiversity, and the photos in her book dance a thin line between educational and fine art.

Tickets to hear Kirsten Hines talk about and sign her new book at Tampa;s Oxford Exchange on Sunday, Dec. 17 start at $5.

Subscribe to Creative Loafing newsletters.

Follow us: Apple News | Google News | NewsBreak | Reddit | Instagram | Facebook | Twitter | Or sign up for our RSS Feed

Basking in the Sunshine With Picasso and Friends Before the Deluge

Basking in the Sunshine With Picasso and Friends Before the Deluge
image

A show about Lee Miller focuses on her personal life, as wife, consort of Man Ray, muse to Picasso. She awaits wider recognition for her artistry.

With as many avatars as a Hindu god, Lee Miller appeared in her lifetime as a gorgeous fashion model, daring war photojournalist, and Man Ray’s photographic assistant and lover. “Seeing Is Believing: Lee Miller and Friends,” an exhibition at Gagosian in Manhattan through Dec. 22, explores an overlooked aspect of this intriguing woman, as the longtime wife of Roland Penrose, the English Surrealist painter, scholar and collector.

Drawn largely from the Penrose family’s holdings at their farmhouse in East Sussex, England, where Miller lived from 1949 until her death in 1977, the show downplays the photographs Miller made alongside Man Ray in Paris in the 30s, as well as the fascinating Surrealist-tinged landscapes she captured in Egypt later in that decade when she was married to her first husband, the wealthy businessman Aziz Eloui Bey. And except for two prints, it omits her most consequential work: the harrowing World War II photographs she took as a correspondent for Vogue, particularly of bombed-out buildings in London and the revenge killings, suicides, concentration camp corpses and other horrors in Germany in the aftermath of defeat.

Roland Penrose, left, and Picasso reading the first edition of Penrose’s book “Portrait of Picasso” in Villa la Californie, Cannes, France,” 1957.Lee Miller Archives, England; via Gagosian

Explaining his focus, Jason Ysenburg, who organized the show with Richard Calvocoressi, an art historian, said, “I thought the relationship with Roland Penrose was a very interesting one, and a lot of people didn’t know about it.” Amusing and gregarious, Miller also interacted with a broad network of artists, including Pablo Picasso, Henry Moore, Joseph Cornell and Dora Maar, all of whom appear in the exhibition.

“She wasn’t really a muse or a patron, but she did bring these people together,” Ysenburg said. “I admire her for the way she got things done and for what she achieved.” However, it can be argued that it’s a little premature to focus on Miller’s personal accomplishments. Unlike Picasso and Man Ray, she awaits wider recognition for her artistry.

Lee Miller’s “Picnic, Île Saint-Marguerite, Cannes, France, 1937.” From left, Nusch Éluard, Paul Éluard, Roland Penrose, Man Ray and Adrienne Fidelin. Penrose, a British surrealist painter, had met Lee a few weeks previously and fell madly in love with her.Lee Miller Archives, England; via Gagosian

Photos that Miller and Penrose took with their friends and then pasted into scrapbooks are featured in the book and the exhibition. Most evocative are those made in the summer of 1937. Having just begun their romance, the couple vacationed in the South of France with Picasso and Maar, his lover at the time, and Man Ray and Adrienne Fidelin, his first serious girlfriend after the breakup with Miller. Ominous clouds of war were gathering on the horizon, and it feels like they are basking in the last sunshine before the deluge. Picasso was close to both Penrose, who would later write his biography, and Miller. For reasons known only to him, in the six portraits of Miller that he painted, he chose to color her blond hair green. Penrose bought one of the paintings, still owned by the family and included in the exhibition.

In her youth, Miller was so beautiful and charismatic that her artistic talent could easily be overlooked. Once she was older, drinking too much and often depressed, she avoided all discussion of her achievements as a photographer. As evidenced by Whitney Scharer’s “The Age of Light,” a widely reviewed fictionalized treatment of her life published in 2019, she is firstly remembered even today as the consort of Man Ray, a romantic relationship that lasted only three years.

Picasso’s “A L’Arlesienne — Portrait of Lee Miller,” 1937. In the six portraits of Miller that Picasso painted, he chose to color her blond hair green.state of Pablo Picasso/Artists Rights Society (ARS), New York; via Lee Miller Estate

That may be changing. A new movie, “Lee,” which was screened this year at the Toronto Film Festival, stars Kate Winslet, who also co-produced. Based on “The Lives of Lee Miller,” a biography written by Miller’s son, Antony Penrose, the film more fully explores Miller’s career as a wartime photographer. It testifies to the growing interest, in the nearly half century since her death, in her convention-defying photography. “If she saw a frontier, she wanted to be on the other side of it, whether it was the frontier in Germany or the exclusion of women photojournalists,” Antony Penrose said in an interview last month.

His appreciation of his mother came late. As a child and young man, he could only see her difficulties. “The slightest provocation would cause her to throw a scene and embarrass everyone, fully realizing she was alienating herself from the people whose affection she craved,” he wrote in “The Lives of Lee Miller.”

Kate Winslet as Lee Miller in a new movie, “Lee,” which explores Miller’s career as a wartime photographer.via TIFF

Only after she died did Antony acquaint himself with Miller’s war reportage. His wife, Suzanna Penrose, found in the attic a dispatch Miller sent from the battle of Saint-Malo in 1944. “At first, I couldn’t believe she had written it,” he recalled. “Then Roland went and pulled out the copy of Vogue with her byline on it. In that moment I suddenly realized that I had gotten her wrong. I had thought of her as a useless drunk and hysterical figure. She was in fact a very accomplished and courageous woman.”

Researching the biography, which was published in 1985, led him to another startling discovery. In Los Angeles he interviewed his mother’s younger brother, Erik, who excused himself at one point to consult with his wife. On his return, he said, “There is something we think you should know.” When she was 7, he told his nephew, Miller was raped by a babysitter and infected with gonorrhea. Before antibiotics, treatment for the venereal disease was clumsy, intrusive and only partially successful. Miller kept the secret throughout her life, not even telling Roland.

“Now I could understand why it was so difficult for her to allow herself to be in a loving relationship,” Antony said.

Lee Miller’s photograph of the Museum of Modern Art director Alfred Barr Jr. feeding the hogs in her farmhouse, Farleys, in Sussex, England, in 1953.Lee Miller Archives, England; via Gagosian

In her later years, Miller turned away from professional photography and embraced cooking. Studying at the Cordon Bleu and elaborately entertaining guests at her farmhouse, Farleys, she also published some of her recipes in Vogue. When she used her camera, it was mainly to portray visitors: Picasso dandling Antony on his knee or the Museum of Modern Art director Alfred Barr Jr. feeding the hogs.

Although her decline is usually attributed to the hideous sights she witnessed in Germany, her sexual violation may have been at the root of it, according to her son. “We all know now that a trauma, particularly a childhood one, never goes away,” Penrose remarked. “All that happens is it gets repressed and frozen.”

Further exploring his parents’ relationship (Roland died in 1984), Penrose has just compiled and published a heavily illustrated book of their correspondence, “Love Letters: Bound in Gold Handcuffs.” (The title alludes to a set of handcuffs by Cartier that Roland gave to Lee during their courtship.) Although reading the love letters of other people can be as stultifying as listening to them recount their dreams, the volume also offers a generous sampling of Miller’s photographs, including her underappreciated Egyptian landscapes.

Both “Seeing Is Believing” and “Love Letters” present the private side of Miller. The exhibition, in particular, amplifies the later life of a figure far better known for her glamorous youth: the launching of her modeling career when, incredibly, a passer-by who saved her from being hit by a car on a Manhattan street turned out to be the fashion magazine magnate Condé Nast; flicking on a light for a few seconds in Man Ray’s darkroom in Paris because a mouse ran over her foot and accidentally introducing her mentor to the highlighting effect known as solarization; and taking a bath in Hitler’s Munich apartment in April 1945 once American troops occupied the city.

Lee Miller “Burgermeister of Leipzig’s daughter after suicide, Germany 1945.” Miller took devastating photographs during World War II as a correspondent for Vogue, including those of suicides, concentration camp corpses and other horrors in the aftermath of Germany’s defeat.Lee Miller Archives, England; via Gagosian

But is Miller’s reputation really enhanced by regarding her as a wife, muse and friend of the famous? Sometimes the challenge when considering an artist is appreciating the work unclouded by personal myths: van Gogh without the mutilated ear, Pollock without the drunken fatal car crash. After visiting the exhibition, seeing the movie and reading the love letters, you should go back to the photographs, which constitute the achievement for which Miller is deservedly best remembered.

“Seeing Is Believing: Lee Miller and Friends”

Through Dec. 22, Gagosian, 976 Madison Avenue, Manhattan; 212 744-2313; Gagosian.com.

Guangzhou’s art hub ambitions in doubt with sales slow at Moordn Art Fair

Guangzhou’s art hub ambitions in doubt with sales slow at Moordn Art Fair

“All these hint at a great potential, and the local audience are studious and well-mannered,” says Sophia Wang of Beijing’s Pifo Gallery, who brought work by eight artists to sell at the fair, the prices for which ranged from 40,000 yuan (US$5,600) to 900,000 yuan.

This was not the first Moordn Art Fair. It was first staged online in 2022, when Covid-19 pandemic social-distancing precautions were still in effect.

image
Some of the art on show at Moordn Art Fair 2023. Photo: Cheung Hon-hang

Moordn is a four-year-old art-industry consulting and marketing business whose quirky spelling comes from its Chinese name – a pun on the words for magic lantern and modern, which are homophones in Mandarin.

The company’s founder Tim Lee, a graduate of the Academy of Art in Guangzhou, set up a collectors’ club in collaboration with high-end lifestyle brand K11 in Guangzhou in 2020, followed by an art space in the nearby city of Foshan in 2022.

image
Tim Lee, founder of the Moordn Art Fair. Photo: Moordn Art Fair

Lee says the art fair is his latest venture to engage with the thriving art scene in China’s Greater Bay Area, which comprises nine cities in southern China plus Hong Kong and Macau.

But does the Greater Bay Area need another art fair?

Beyond Hong Kong’s well-established art fairs, another of those nine cities, neighbouring Shenzhen, has Art Shenzhen – a government-sponsored fair that has just celebrated its 10th anniversary, and DnA Shenzhen – the third art fair put on by Shanghai-based ART021; staged for second time this year, it was well attended.

We believe that the art market in Guangdong will develop rapidly

Zhang Yong, director of the Shanghai branch of Arario Gallery, present at Moordn Art Fair 2023

Guangzhou itself isn’t without art fairs, but their impact remains limited.

The Guangzhou International Art Fair focuses primarily on traditional Lingnan-style ink paintings, while the fourth staging of the Guangzhou Contemporary Art Fair was reduced to just 10 exhibitors this year, compared to over 30 galleries before.

Lee says the time is ripe for an art fair that caters to local collectors’ tastes, and that his experience in organising gallery and artist studio visits for members of his collectors’ club gives Moordn Art Fair a competitive edge.

First solo exhibition in Hong Kong of ‘rainbow artist’ Ay-O’s work

Forty-five galleries took part in the fair, which ended on December 11. They ranged from established names like Tang Contemporary Art and Galerie Urs Meile to emerging galleries from beyond the major art hubs of Beijing and Shanghai.

The works exhibited by the galleries were largely at the affordable end of the spectrum, with prices starting from thousands of yuan. Arario Gallery and Tang Contemporary were exceptions, both offering works in the 1 million to 6 million yuan range.

Kenna Xu’s eponymous art gallery attended the fair with works by artists from America, Africa and elsewhere at prices ranging from 45,000 yuan to 800,000 yuan. The Shenzhen gallerist says he was drawn to the high quality of the fair and the potential of Guangzhou.

image
The Moordn Art Fair drew 45 art galleries, both well-established and emerging. Photo: Cheung Hon-hang

“There is not only young but also old money here [compared to Shenzhen],” he says.

Despite the potential of Guangzhou’s art market it remains small, a fact which limited the success of the fair.

Representatives of many of the galleries the Post spoke to, including Arario, Tokyo Gallery + BTAP and Tang Contemporary, said they had not closed any deals at the time of writing.

Christie’s Hong Kong auctions see strong demand for Asian masterpieces

Galerie Urs Meile sold an abstract painting by Zhang Xuerui for 300,000 yuan, as well as a few other paintings. The gallery said it sold to existing clients rather than new ones at the fair.

So will galleries come back next year?

“We believe that the art market in Guangdong will develop rapidly and therefore we are willing to come back with works more attuned to the local taste,” said Zhang Yong, the director of Arario Gallery in Shanghai.

But others are not so sure.

“We will focus on fairs outside Guangdong,” said Aaron Chen, the owner of ATTN Gallery, a Guangzhou gallery with a second space in Guizhou province, southwest China. There simply wasn’t any “home advantage” that warranted his gallery’s return, he said.

Camera photos & videos Christmas gift guide 2023: Capture the cosmos

Camera photos & videos Christmas gift guide 2023: Capture the cosmos

Christmas Gift Guide for Photographers: Jump Menu

Various photography items on a coloured background

(Image credit: Getty, Nikon, Sigma, Peak Design, Benro, Sandisk, LaCie, COOWOO, BioLite, K&F Concept, Anker, JJC)

1. Gifts for beginners
2. Gifts for intermediate users
3. Gifts for advanced users
4. Christmas Gift Guide FAQ

If you’ve been tasked with buying a Christmas gift for a photographer and have no idea what to get them, you’ve come to the right place. Chances are the person you’re buying for either seems to have everything already, or you don’t know a single thing about photography and have no idea what to buy for them — this is usually how every single photographer ends up receiving the dreaded lens coffee mug at some point in their life.

In this guide, we’ve rounded up some of the best equipment and accessories to buy a photographer, and we’ve split it up into sections for what to buy a beginner, intermediate and advanced user, then provided three different price tiers for each section.

You’ll find an affordable sub-$20 option, which is great if you’re looking for a cheap stocking filler or you’re buying a Secret Santa gift and don’t have much knowledge about cameras and photography. Then there’s a sub-$100 price tier for great quality gifts that don’t break the bank, and finally, a $100+ category for if you really want to splurge.

These gift ideas are primarily geared toward astrophotographers in particular, but many of them will also suit other styles of photography as well.

Beginner

Beginner gift advice

It can be really fun and exciting being a beginner photographer discovering all the different styles of photography with a world of camera and lens options (not to mention all the accessories) at your feet, but it can also be a very expensive time because you need to invest in, well, everything — especially if you want to get into astrophotography specifically.

Beginner photographers usually only have one (typically more affordable) camera with one or maybe two accompanying lenses and not much else, so there’s a whole host of helpful extras and accessories you could gift them to help them along with their photography journey. Or perhaps they’ve been using their smartphone and want to make the jump to a proper camera but don’t want to spend too much — one of the best budget cameras or best beginner cameras would be a great place to start.

Understandably, you may not want to spend a lot on a gift for a beginner if they aren’t sure whether photography will be a long-term hobby, so we’ve given various price options below to give you some choices depending on your budget. From memory cards, spare batteries, lens warmers, star filters and astronomy software to bags, tripods and astro-specific lenses, you’re sure to find the perfect gift for any beginner astrophotographer.

If you want to spend a bit more, or if you’re buying a gift for yourself (no judgment here!), this could be a great time to invest in one of the best lenses for astrophotography. The kit lenses that come with starter cameras are fine but usually don’t have the large aperture or wide focal length required for dedicated astrophotography. 

There are two routes you can take here: Prime lenses (fixed focal length) or Zoom lenses (variable focal length). Prime lenses are generally favored for astrophotography as they can let in a lot more light than a zoom lens can, but they’re less versatile and can be more expensive than zoom lenses. A zoom lens can still produce great astro results though, and you can use it for other styles of photography as well. 

If you’re buying a lens as a gift, make sure it’ll fit the recipient’s camera, and look for a fixed or minimum focal length of 20mm or lower (14mm or 16mm are great), and an aperture of no more than f/2.8 — f/1.8 and f/1.4 are perfect for astro, but f/2.8 will still give great results.

Intermediate

Intermediate users can be a bit more tricky to buy for (unless they’ve outright told you what bits they want to upgrade!), as they already have a bunch of gear and know how to use it to a reasonable degree, but buying the best of the best could well be overkill (and expensive). There’s a fine line to balance, and we’ve provided some options below that can certainly work for anyone who wants to level up and take astrophotography more seriously, plus some ideas they may not have thought of if they’re only just branching out into astrophotography.

Let’s assume they’ve already got a camera, a lens or two and a tripod — what’s next? It’s likely they’ll have made their way through all the entry-level gear and are now looking to invest in more specialized gear or better quality upgrades of what they already have. This is where some of the best accessories can come into their own, as they’ve already bought all the basics and can now start collecting extras to help advance their chosen photographic style. 

If you want to spend a bit more or are buying a gift for yourself (again, no judgment!), perhaps it’s time to level up by investing in one of the best cameras for astrophotography — we named the powerhouse Nikon Z8 as the best mirrorless camera overall for astrophotography.

While the focus for astrophotography is usually more on what the lens can do, it’s still important to have a camera that can handle low light effectively. If you’re buying a camera as a gift, you want to take the camera’s ISO range into account, as well as the autofocus detection range and number of megapixels. Some cameras even have dedicated night modes, check out our best cameras for low light photography guide for some ideas.

Advanced

Advanced gift advice

Advanced users usually already have all the gear they need and then some, so it can be a nightmare buying a gift for an advanced photographer — what do you buy someone who has everything? Not to mention, the kind of gear advanced and professional users are investing in is usually on the more expensive end of the spectrum, which not everyone can afford to buy as a gift. Advanced users are more likely to be using some of the best cameras for astrophotography alongside the best star trackers and best lenses for astrophotography.

You may think you need to know a lot about cameras and photography when buying a gift for a user at this level, but this isn’t always the case. We’ve listed some options below that are suitable for any and every type of advanced photographer, plus a ‘best of the best’ option to really knock their socks off.

If you want to spend a bit more or you’re buying a gift for yourself (still no judgment!), why not consider attaching your camera to one of the best telescopes to really level up your astrophotography?

We named the Sky-Watcher Skymax 150 PRO as the best telescope for astrophotography as it covers a wide selection of celestial objects from planets to nebulas, has excellent optics and a high-quality build. It’s lightweight enough to take with you to dark sky sites, and it’s user-friendly and easy to accessorize. We think you can’t go wrong with this telescope for astrophotography.

Christmas Gift Guide FAQ

What should I get a photographer for Christmas?

But here’s a quick rundown of some ideas for a great Christmas gift for a photographer:

– Camera: Photographers usually already have a camera, unless they’re complete beginners and have told you specifically which one they’d like, so most of the time you’re off the hook here. Buying a camera is a very personal decision, so make sure you know exactly what they’re looking for if you’re looking to gift them one. Check out our best cameras for astrophotography guide to give you some ideas. Or if you’re buying a ‘first camera’ for someone, you’re sure to find something in our best beginner cameras guide.

– Lens: A lens is a great gift if you know what camera they have and whether there’s a specific focal length they’re missing in their lens lineup (or one they want to upgrade). If you’re buying for someone who wants to take up astrophotography, the best lenses for astrophotography are prime lenses with a focal length of 20mm or lower, and an aperture of f/1.8 or f/1.4. 

– Tripod: A tripod is a brilliant gift for an aspiring astrophotographer, and there are tons available that all do different things at different price levels. The best tripods are reliable, sturdy and lightweight to carry.

– Camera bag: One of the best camera backpacks can make a great gift if the person you’re buying for is growing their kit list and not only needs somewhere safe to store their gear at home but something comfortable that can accommodate all their equipment when they’re out in the field.

– Star tracker: Star trackers are primarily used by more serious astrophotographers, so it’s a great gift idea if you know they focus on shooting the night sky. The best star trackers move your camera in line with the Earth’s rotation to avoid capturing star trails, so it really opens you up to shooting those super long exposures to capture stunningly detailed shots.

– Storage: Photographers always appreciate storage! It’s not the sexiest gift in the world, but it is incredibly useful. This can be in the form of memory cards and card holders, or even an external hard drive to back their images up on. 

– Filters: Filters are a great gift for any photographer, but they all do different things. Astrophotographers will love a light pollution filter (especially if they live in urban areas), or you could also opt for some ND (Neutral Density) filters, a polarizer or some UV filters for more general photography. 

You’ll need to know the size of the filter thread of the lens they’ll be using it on, so make a note of the lens they use so you can look on the manufacturer’s website to find out the size of the filter thread (or look on the front of the lens, it’ll have this symbol Ø with a number (eg Ø67) — that means the filter size is 67mm).

– Power bank: Another practical gift for a photographer, the best power banks can hold a lot of charge to help astrophotographers on a long night of shooting. Make sure you get one that has a large capacity, suitable ports and isn’t too big and bulky to carry around.

– Headlamp: Another helpful inexpensive gift is one of the best headlamps. Astrophotographers need to be able to see what they’re doing when out on a shoot, so having a hands-free headlamp is super useful. Make sure you get one that has a good battery life and has a red light to preserve night vision.

– Lens warmer: One accessory that’s often overlooked is a lens warmer — particularly if your area gets very cold at night. A lens warmer can be plugged into a USB device (often a power bank) and has a few different heat settings to keep your lens (drinks, hands etc) toasty warm, and it’ll help prevent permanent damage to the lens due to condensation.

– Camera strap: Most cameras come with straps, but you can buy some stylish and incredibly comfortable camera straps separately — this is a particularly good gift if they have a heavy setup and need a wide strap to prevent neckache.

– Spare batteries: A useful gift, sure, but not the most exciting one. This would definitely work as a stocking filler, just make sure you buy the right ones depending on their camera.

How does astrophotography gear differ from regular photography gear?

Photography is all about capturing light, and dedicated astrophotography equipment is designed specifically to let as much light in as it possibly can. The cameras need to have good noise handling, the lenses need to have a wide focal length and big aperture, and you may even want to invest in a star tracker to help counteract the movement of the Earth in long-exposure astrophotography. While you can get away with basic astrophotography with most photography gear, dedicated astrophotographers will want to invest in gear that will produce the best results.

Do I need to spend loads on a christmas gift for a photographer?

Not necessarily. Photography can be an expensive hobby and career, but there are certainly more affordable bits of kit out there that you don’t need to be spending a huge amount on. While a photographer will certainly want to invest in their camera and lenses, you can still find affordable tripods, bags, power banks and other accessories that won’t break the bank.

What if I don’t know what camera setup they have?

This won’t matter too much unless you’re planning on buying them a camera, lens, spare batteries, lens filter or possibly a memory card. There are still plenty of options, such as a bag, tripod, strap, flashlight or hard drive that you can buy for them without knowing what camera they have. If in doubt, you can always try to bring it up in conversation and ask them what they have without giving away that it’s for a gift.

In photos: the new zine chronicles grime’s glory days

In photos: the new zine chronicles grime’s glory days

Simon Wheatley has spent a career capturing the key players of grime. Bound, his new exhibition and zine, explores the spirit of resistance vital to the genre

14December 2023

If there’s one photographer who really knows grime, that person is Simon Wheatley. He’s been on the ground since the beginning, capturing unguarded moments from the key players of the scene – but doesn’t always like to call it that. “I’ve never really been interested in any ‘scene’”, he tells Dazed. “I actually find the whole concept of ‘scenes’ limiting. They end up being uncreative places once everyone jumps on.” Instead, Wheatley prefers to think of grime as a ‘moment in time’, one where political expressions of angst were not only as important as the music, but the reason the music exists in the first place.

Political currents have always run through Wheatley’s work. His 2011 photo book Don’t Call Me Urban! The Time of Grime acted as an antidote to the glamorisation of “urban” life, while his 2016 documentary film Goldenboys charted grime’s second wave, away from the commercialisation that had erupted in recent years. Now, for 2023, the photographer continues that political mission, presenting a collection of photographs that capture grime’s spirit of resistance. Taken between the years of 1998 and 2015, Boundis a zine that chronicles the behind-the-scenes moments of London’s grime heartlands, from the nappy changes, to the dog walks, and the tower blocks that no longer exist.

In the conversation below, we chat to Wheatley about his artistic practice, the commercialisation of grime, and why political resistance is a key component of the genre.

Hi Simon. Congratulations on the publication of Bound. How long have you been capturing the Grime scene, and what led you to becoming involved?

Simon Wheatley: I’ve never really been interested in any ‘scene’. I actually find the whole concept of ‘scenes’ limiting. They end up being uncreative places once everyone jumps on. Grime struck me as a moment in time. I had been photographing the youth on London’s council estates for five years when this new sound emerged like a soundtrack to pictures I had been making. So I saw it as something on a sociological level, a powerful expression of alienation and angst. 

Fortuitously, I started to work for Rewind magazine and obtained a lot of access. I came across most of the prominent crews and as I was living in east London I was just about, rolling with the younger kids who frequented the youth clubs – which were the original grime underground. The kids interested me far more than whoever was becoming famous.

Did you also photograph grime’s second wave?

Simon Wheatley: I was also around when it had its resurgence around 2014, but that wasn’t anywhere near as interesting as the original grime days. For me, what I had known as grime didn’t really exist anymore. Most of the youth clubs had closed, there was no pirate radio and some of the iconic estates had been demolished or transformed. Brands and their PR companies had taken over the scene, and the audience was more Dalston and Shoreditch than Bow and Plaistow – more middle-class and white.

I was making a film about The Square – the most instrumental crew in that resurgence – and was fascinated by the contrast between the shallowness of mainstream hype and the way the roots of the music were still in that raw and vulnerable social place. Sometimes I would take a break from filming and take a few pictures, and in Bound there are some shots of The Square and also a touching moment when Elf Kid is at home with his brother and sister, checking Twitter reactions of his smash hit ‘Goldenboy’, which had dropped a few minutes earlier. And I’m still around photographing, whatever the genre might be called.

Was there an exact moment of inspiration that led you to create Bound

Simon Wheatley: Bound came about from a session with the curator after I was approached by Bernie Grants Arts Centre to exhibit there. I showed him a wide edit of pictures for a big book I had in mind, covering the long years of my involvement on London’s council estates. I liked the way he was honing in on pictures where people come together and hold on. He went for the outtake from my famous Crazy Titch shoot because of the manner in which Titch was grasping the dog.

In Debo Amon’s introduction to the zine, he outlines the importance of ‘building communities of resistance’ and adds that grime is an ‘artistic act‘ of that resistance. How important is this concept to your artistic practice? 

Simon Wheatley: It’s fundamental. I first became interested in photography when I saw Sebastião Salgado’s pictures of the mines in Brazil – I’d just been at university there as part of my degree. I was searching for some purpose in life and I found it in those pictures and also in the character of Salgado himself, who had been exiled by Brazil’s military government as a young economist in the sixties. I also studied a lot about the American civil rights movement at university and my interest in rap came about through that, being black America’s voice of protest and discontent. All the books of my photography are very political.  

Do you prefer to set up the shots or capture the subjects as they are?

Simon Wheatley: The only set-up shots in the exhibition are the ones shot on a 6×7 medium format camera, the portraits of music personalities. I prefer not to set up pictures otherwise and be faithful to the truth of a situation, whatever it may be. I’ve always shot my reportage on 35mm cameras, so there’s been a fundamental distinction in my work based on what camera I use, certainly in this exhibition.

The photographs are at times extremely intimate and personal. Did you ever feel like you were intruding?

Simon Wheatley: Intimacy is important to me, I always search for it. I’m very emotional. I learned that a documentary photographer should have an antenna to feel out situations, to know when to go. There are no situations in the exhibition in which I felt unwelcome – I never felt I was intruding. Often we would be having deep conversations and I’d just make a few frames here and there.

If you could choose one image in the series, that is either your favourite image or representative of the project as a whole, which one would it be and why?

Simon Wheatley: There’s no one representative picture. I feel Bound is a collection of images. But looking through the fanzine, the picture that touches me most emotionally is the square black and white one of the guys standing on a walkway that was demolished the following winter. I don’t think it’s the best photograph necessarily, but it reminds me of a more innocent time – when ‘youth’ didn’t begin at the age of 12, when guys didn’t feel the need to look so tough like they do now with drill culture, before the corruption of smartphones and social media.

I didn’t know those guys so well, but there’s a warmth in the way they look at me. It’s like a prophetic welcome from those first days of my London work back in the early summer of 1998. In their smiles and grins I see now, perhaps, the secret to my success, the way people might find me amusing.

Is there anything about London specifically that inspires you?

Simon Wheatley: I find London overly materialistic and people can be cold. I always ran away from England in  search of somewhere else because of my teenage traumas. But finally, after a decade in India trying to find someone I might never be, I have come to accept London as my home, largely through the love I have had from those in my pictures and the people who have grown up with my work. I would say that inspires me, the love I now feel from the younger generation. It gives me the strength to continue, to find new paths ahead, to not just sit back in the glow of my previous work, but to use it as the basis for further endeavour. 

What would you say is the guiding principle behind the work? 

The search for truth, and having some fun along the way.

Bound exhibition is open at Bernie Grants Arts CentreTottenham, London, N15 4RX until January 31, 2024. The Bound zine launches at Claire de Rouen Books, Bethnal Green, London, E2 0JD at 6pm on December 13, and is available to purchase here via Backdoor Editions.

Join Dazed Club and be part of our world! You get exclusive access to events, parties, festivals and our editors, as well as a free subscription to Dazed for a year. Join for £5/month today.

Fashion photographer Paula Watts chases light

Fashion photographer Paula Watts chases light

Los Angeles-based editorial and advertising photographer Paula Watts turn to Profoto gear to create her spectacular images. Here she guides us through how she used the Profoto B10X and Profoto OCF Softbox 3′ Octa for a jaw-dropping fall fashion shoot.

Meet Paula Watts

“Lighting is the most crucial part of photography,” says photographer Paula Watts, who was honored in 2022 with an American Photography Artists award for her work in beauty and fashion. “In her work she uses light to imbue drama and tell a story to her viewers. For this reason, lighting is always her first priority, including for this fall fashion shoot in a Calabasas, CA, field.

Lighting the way

I’m always chasing light in outdoor photo shoots, assessing if I want the subject to be backlit, harshly lit, or in open shade. I ask myself what the story is. Do we want deep shadows to tell the viewer something or do we want it light and airy?

Soft and natural

I had a very short amount of time to capture four looks on the model for this shoot, during which the sun was ever-changing. I didn’t want to compete with the natural light, but rather create a softness using the OCF Softbox 3′ Octa for its range and versatility, and the Profoto B10X because of its portability. I could carry them all over the field, bouncing soft light in.

Following the sun

Outdoor settings are challenging because the sun is always moving. Once we were dealing with sunset, we had a lot of harsh light from the sun. We loved this, but we also wanted to open up the shadows in the field and on the model’s face. We relied on the Softbox Octa to bump in much-needed light as the environment went dim. We changed the setups as the sun moved. Sometimes you only have five minutes as the sun is setting. The B10X’s ease of use meant I was able to get in a multitude of shots in a small amount of time.

Setting the mood

Light helps create the artist’s point of view in any setup. I love that you can experiment and find new ways to relay different feelings and moods. You can create beautiful light with one head and no modifier or five heads and every different kind of modifier. To see more of my work and learn about my other lighting setups, visit my Share The Light profile.

Photographer: Paula Watts @pwattsphoto
Model: Kendall Harris @kendallharris
HMU: Lindsey Williams @crazypretty
Stylist: Jaclyn Eve @jacalynevestyle
Retoucher: Julia Kuryliuk