Kate Middleton Photographs Prince Louis’s Sixth Birthday Portrait

Apr 23, 2024 By Admin in Photography

Today, the Prince and Princess of Wales shared a new photograph of Prince Louis for his sixth birthday. It shows the young royal smiling, in a blue and yellow chequered shirt, while lying outside on a blanket. The photograph was taken in Berkshire, near the family’s home of Adelaide Cottage, this month. “Happy 6th Birthday, Prince Louis!” reads the caption. “Thank you for all the kind wishes today.”

The photo comes, of course, in the wake of the recent hysteria around the family’s Mother’s Day snap, which received a kill notice from AP Images. “Like many amateur photographers, I do occasionally experiment with editing,” the Princess subsequently said in a statement. “I wanted to express my apologies for any confusion… I hope everyone celebrating had a very happy Mother’s Day.”

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While the Waleses have consistently released photographs of Prince George, Princess Charlotte and Prince Louis on their birthdays over the last few years, there was debate about whether Kensington Palace would issue an official picture of Louis this spring. In March, Kate announced she was undergoing preventative treatment for cancer. In an emotional video, she discussed taking time away from the spotlight to heal and spend time with her three young children as they grapple with her diagnosis.

Above all, she asked for privacy, meaning it would have been more than understandable if she declined to take a portrait this year. Yet, despite it all, it seems that the Waleses have decided to keep up the status quo as much as possible.

Bennington College sculpture exhibit opens Sunday

Apr 23, 2024 By Admin in Sculpture

NORTH BENNINGTON — A sculpture exhibition by a Bennington College sculpture class opens Sunday from 4 to 6 p.m. at the North Bennington Train Station.

Official opening of the Yacht Racing Image Award 2024

Apr 23, 2024 By Admin in Photography

Official opening of the Yacht Racing Image Award 2024

by Yacht Racing Image Award 23 Apr 05:15 PDT
20 November 2024

The prize giving 2023 with the winners Samo Vidic, Sam Cade and Craig Greenhill celebrated by METSTRADE Director Niels Klarenbeek (2nd from the left) and olympic champion Marit Bouwmeester (right) © Yacht Racing Image Award

The 15th edition of the international photography competition dedicated to the sport of sailing will once again reassemble the world’s best marine photographers from all over the world.

The prize-giving will take place during the Yacht Racing Forum, held in Amsterdam alongside METSTRADE, where the best images will be exhibited, on November 20.

Initiated in 2010, the international photo competition dedicated to competitive sailing is proud to launch its 15th edition. Professional photographers from all over the world are invited to submit their best image, taken between October 14, 2023 and October 13, 2024.

“A new era is beginning for the Yacht Racing Image award,” explains Bernard Schopfer, organiser of the competition. “After 15 years of loyal support, Mirabaud is giving way to a new lead partner, whom we are actively seeking. The format of the event is not affected by this change and we are proud to be organising this competition, much appreciated throughout the world, with the same passion and enthusiasm for the fifteenth year running.”

The 80 best images selected by the international jury will be published on the event website on October 17, allowing the public to vote for the Public Award. The top 20 images will be exhibited in hall 13, the central hub for METSTRADE visitors at the show floor, allowing visitors to vote for the Delegates Award.

Niels Klarenbeek, Show Director METSTRADE, said: “The METSTRADE team is honored to support the celebration of excellence in sailing photography. We eagerly anticipate showcasing the top 20 images to our audience and paying tribute to the remarkable talent behind each photograph.”

The prize-giving will take place during the Yacht Racing Forum, alongside METSTRADE, on November 20 in front of members of the international marine industry and yacht racing photographers from all over the world.

Detailed rules here.

Playful Systems: A Review of “Variety Show” by Tom Burtonwood at Material

Apr 23, 2024 By Admin in Sculpture

A delightful, imaginative and playful respite, “Variety Show” is as exciting and fun as it is steeped in compelling consideration of systematic thinking.

Lt. Gov. Peggy Flanagan hits the runway at Native Nations Fashion Night

Apr 23, 2024 By Admin in Native

Native Nations Fashion Night is the largest showcase of its kind in the Upper Midwest, and this year, longtime supporter Lt. Gov. Peggy Flanagan, of the White Earth Band of Ojibwe, will be one of the models.

The fourth-annual runway show and artisan market, taking place this Thursday at Quincy Hall in Minneapolis, is spearheaded by Delina White, the designer behind IamAnishinaabe, who dressed the state’s most stylish politician for her 2023 inauguration.

White, a member of the Leech Lake Band of Ojibwe, who lives on the reservation near Walker, Minn., will be showing her own contemporary looks, which are infused with Indigenous traditions, such as elaborate beadwork. Indigenous models will showcase everything from fur clothing by an Alaskan Native Tlingit designer to modern ribbon skirts by a Dakota dressmaker. All will riff on the theme of “Messengers, Protectors and Great Mysteries.”

In addition to the fashion show, the evening will have a marketplace for shopping the wares of Native artists, including clothing, jewelry and beauty products. There will also be Indigenous foods and music by Native Son/DJ AO.

White created the event to showcase the talent of Indigenous fashion designers, models, hairstylists and makeup artists. It’s intended to celebrate the community’s creativity and skill and share it with a broader audience. (The date of the event was selected to coincide with “Native Nations Fashion Night” Day, a proclamation made last year by Flanagan, on behalf of Gov. Tim Walz.)

While White recently exhibited her work at the Textile Center as a McKnight Fiber Artist Fellow, she says clothing and accessories are best displayed on the runway. “It has to be worn,” she said. “You have to see it in motion.”

Native Nations Fashion Night: “Messengers, Protectors and Great Mysteries”

When: April 25, 5-10 p.m.

Where: Quincy Hall, 1325 Quincy St. NE., Mpls.

Tickets: $50 general admission, $150 VIP, nativenationsfashion.com

André Josselin on the power of picdrop for commercial photographers

Apr 23, 2024 By Admin in Photography

©André Josselin

Europe’s most popular professional photo sharing software eases the collaboration between artist and brand

Commercial photographer André Josselin is all about authenticity – or at least creating the feel of it for clients. One week he might be taking pictures of FC Bayern Munich players away from the pitch, or following the musical production duo The Chainsmokers on tour; the next, he’s on location with models for Cartier, BMW or Tommy Hilfiger. Whether or not the shoot is staged, Josselin’s soft documentary style reverberates with realness; the images are not ‘polished’. As he says: “They can’t be too perfect. It’s almost like it looks like a picture that everybody could take – just with a twist.”

When Josselin became a Leica ambassador in 2018, and the camera manufacturer posted his images on their social media, he noticed criticism from other photographers in the comments for exactly this reason. “Some people were like, ‘You don’t need a Leica to take pictures like this, I could do this on my phone,’” he laughs. But that’s precisely why brands are drawn to him.

The rise of cameraphones and social media over the last 15 years has put a more authentic aesthetic on the global stage (AKA our newsfeeds) – and, of course, brands soon caught on. A far cry from the traditional, contrived, overtly retouched imagery of advertising eras gone by, there is now a movement to sell things differently: to sculpt campaigns into human stories that live, breathe and connect with consumers – particularly younger ones – on a rawer level. Enter Josselin and his contemporaries.

It helps that the Cologne native never formally learned how to take a ‘good’ or ‘proper’ photograph. He belongs to the wave of younger photographers who have benefited from social media’s creative democratisation, allowing them to bypass the need for established networks and expensive training. After buying his first camera in 2008 – which he had to finance over three years to afford – Josselin began taking photos of road trips with friends, posting them on Facebook and Instagram. As his following grew, the prolific German photographer Paul Ripke took notice and began to support him within the industry. Josselin soon landed his first commercial job with Nike, and his second with Mercedes-Benz.

“I let [models] pose, but I don’t use those images. I like to capture the next moment, as they’re leaving the pose”

Fast forward to today, and Josselin has found a groove that allows him to maintain that early edge of imperfection in his commercial work while staying within the parameters of prescribed creative treatments. In his words, a brand director may “lay the base” with their brief, but Josselin will “add the spice”. From there, nailing a result that everyone is happy with is a collaborative process, a dance of sorts.

Firstly, he aims to connect with his subjects on set, encouraging them to behave more authentically: “I talk them to death,” Josselin jokes. At the same time, a killer playlist helps to inject some dynamism into the room (“My dream job, besides being a photographer, is actually being a production DJ,” he confesses). As he shoots, Josselin tries to work around the straight-up posing. “I let [models] pose,” he says. “But I don’t use those images. I like to capture the next moment, as they’re leaving the pose.”

As someone who is intent on taking risks, Josselin’s back-and-forth with the client post-shoot is a crucial moment for identifying where they paid off. He cites picdrop – Europe’s most popular photo sharing software for professionals – as his go-to sharing platform. After a simple drag-and-drop of files, picdrop allows his clients to browse, vote, comment, proof – even draw and annotate directly on images.

“It’s so simple, the client just knows what to do. Even without me telling them”

20230715-20230715-DSCF4625_zerone230817 — ©André Josselin

“I’ve been using picdrop since 2016. Paul [Ripke] told me about it,” Josselin says. “It’s so easy to use and so different from [other platforms]… People can just click on the link and see the pictures immediately – they don’t have to download anything or make an account or navigate any clumsy interfaces. Then they can flag and comment on the pictures; I can see which are their favourites or where I need to retouch… And it’s so simple, the client just knows what to do. Even without me telling them.”

Does Josselin ever run into conflict in terms of what he wants versus the client? “Sometimes,” he muses. “There are so many opinions involved, and sometimes maybe what I want is too ‘authentic’ in a commercial sense. Or maybe the client just needs their bosses to be happy.” The beauty of picdrop is how much smoother it becomes to take these different voices into account. Photographers receive real-time notifications as people interact with the gallery – no back-and-forth over email needed – and can then filter images according to which ones have the most votes.

“But most of the time, I feel like clients book me especially to have these edgy, more indie pictures – this style that I bring,” he adds. “I’m lucky with that.” For any commercial photographers looking to foster the same kind of trust and freedom from clients – perhaps those who are feeling creatively unfulfilled by their current work – Josselin’s advice is to keep going. The more you shoot, the more you grow. And the more you grow, the stronger your visual outlook will become.

Flossie Skelton

Flossie Skelton joined British Journal of Photography in 2019, where until 2021 she served as commissioning editor. She writes, edits and runs campaigns across arts, culture and feminism, and has worked with BBC Arts, Belfast Photo Festival and Time’s Up.

Idaho photographer reimagines iconic ski photographs to boost representation

Apr 23, 2024 By Admin in Photography

An artist from the Wood River Valley is re-envisioning iconic skiing photographs as a way to challenge stereotypes in winter sports.

The project, “A New Winter,” by Sofía Jaramillo, is a work-in-progress, it involves recreating old-time photos with models wearing historically accurate clothing and gear. Many of the photoshoots have taken place in Sun Valley during the past two winters.

Jaramillo, a Colombian-American filmmaker and a National Geographic photographer, will speak about her project at the Community Library in Ketchum on April 23 at 5:30 p.m. The talk will also be available via livestream. The Sun Valley Museum of Art will be exhibiting the work from Jan.-March 2025.

Rachel Cohen spoke with Jaramillo about “A New Winter.” This interview has been edited for length and clarity.

On growing up in Sun Valley

I was really lucky to grow up skiing all around Idaho because my parents lived in different places, but I learned to ski [in Sun Valley] first. As a young Latina, I didn’t see many other Latinos on the slopes or represented in outdoor media. So that has greatly influenced this project, but all of the work that I do. I really try to create the work that I wished I’d seen as a kid.

On the goal of the project

In this project, I’m recreating iconic ski images from the beginning of skiing, except centering folks of color as a way of inviting conversation about who we see on the slopes today.

Sun Valley is the location of the first ski resort destination in the US, the first ski lift in the US. So, consequently, the images that came out of here were some of the first ski images that went out to the U.S. and said, this is what skiing is going to be, this is what you’re going to get. A lot of those images centered a Eurocentric idea of skiing that was centered around whiteness, luxury, exclusivity. So the project is really about reimagining those photos as a way of reimagining history.

Working with historic photographs and props

Many of the images from that era, they’re really beautiful. I’m fascinated with the historic photos. They depict people in pleasure and joy, like laying in the snow, sipping on cocktails or having a charcuterie board. And I thought it would be really powerful to not only show folks of color in those scenarios, but also because there aren’t that many images from the early 1930s at all of people of color enjoying themselves and expressing joy.

There’s a few challenges. I can think of an image from last year. It’s this really classic image of a woman in her bikini laying in front of Baldy. My friend Vanessa Chavarriaga was the model for that, and it was a negative degree wind chill that day, like -10 degrees. And she was in a swimsuit. In between shots, we were running up to her and covering her in sleeping bags and puffy coats just so we could get the shot. We had like ten minutes to do it.

Another factor with shooting outside is that we’re working with the [Jeanne Rodger Lane Center for Regional History] here. They lend us clothing and ski gear from the era that can’t touch the snow, it can’t get wet, it can’t get damaged at all. So we have to lay down plastic and be really careful about what is touching the snow and we can’t shoot if it’s raining or snowing.

The power of photographs

In 2019, I was walking through the Sun Valley Lodge, and the Sun Valley Lodge has this hallway full of iconic ski photos, all from the beginning of skiing. There’s probably a hundred or more images there. And it really struck me that out of all of those images, only one of the images included a person of color, and that was Louis Armstrong. That’s what got me thinking; that’s where the idea started for this project.

And I thought, hmm, I wonder if there were people of color at the beginning of skiing. So I went to the Sun Valley Library, and I sat with an archivist for almost a full day, and I looked through all the old scans and out of thousands of images here, but also in other archives across the West, I could only find a couple images of folks of color.

Those images are still all over mountain towns everywhere, and they still have this message that bleeds into the culture we see today. This is what I’d like to encourage conversation around. How does photography inform and influence who belongs and how does it perpetuate stereotypes? With this project, we’re really trying to break down those stereotypes.

Representation can be so powerful because seeing is believing. And when folks of color see these images, they might feel more included in the sports.

Find reporter Rachel Cohen on Twitter @racheld_cohen

Sculpture lost for more than a century rediscovered by curator

Apr 23, 2024 By Admin in Sculpture

An exhibition will put the Bronze Head of Caligula, thought to be lost for 182 years, back on public display

Registration now open for Factory Works’ Intro to Film Photography & Darkroom Practices classes

Apr 23, 2024 By Admin in Photography

Williamsport, Pa. — Factory Works Photo Lab at the Pajama Factory is accepting registrations for an introduction to black and white film darkroom photography course with classes on the Tuesday nights of May 7, 14, 21, and 28 from 6 to 8 p.m.

There is a $100 fee to attend all four sessions, and the class size is limited to 4 students.

The class will cover the basics of film photography and darkroom practices from using a camera to processing film and ultimately making a finished print.

The lab has cameras available to borrow, but students must provide their own roll of 35mm Ilford 400 ISO film, which can be purchased from Hoyer’s Photo on Washington Boulevard, Williamsport. Students purchasing film from Hoyer’s can mention that they are in the Photo Lab course to ensure that the correct film is purchased, plus receive a 10% discount on the film.

All other materials are provided.

Online registration is available at the Factory Works website. For more information, send any questions to photolab@factoryworks.org.

Factory Works Photo Lab, located in Studio 9-206, is a community darkroom and photo lab specializing in black and white film photography, antiquarian techniques, and experimental processes. The lab offers workshops, classes, and drop in services. The lab is open to the public by appointment; contact the lab by telephone at 570-360-9321 ext 4, and leave a voicemail to arrange an appointment. The lab is also on Instagram @FactoryWorksPhotolab.

The Historical Surrealism of Phillip Toledano

Apr 23, 2024 By Admin in Photography

More than a year has passed since the two quakes of magnitude 6.4 and 5.8 that struck Turkey’s Hatay province. The spotlight has now died down but citizens continue to struggle for survival in inhumane conditions that strain their dignity. There is one photographer, Italian and very young, Giuseppe Scianna, class of ’99, who has decided to document the current situation to once again highlight the conditions of these people. Scianna is a photojournalist based in Sicily, and at the center of his work are often the most difficult social issues. From environmental pollution to life in the suburbs, Scianna has also worked with various NGOs and received the Sony World Photography Awards 2022. But let’s find out more about this project titled Limited Residency.

giuseppe scianna — Ahmed and Treves tries to salvage what he can from what remains of his home. There is often little time because the Turkish state is advancing in the demolition of unsafe buildings.. Ekinci 2023.

«These regions – those of Turkey affected by the earthquake – are inhabited by about four million people, displaced in the various municipalities and other parts of the country, who often live in makeshift settlements lacking any kind of health care,» explains Giuseppe Scianna who chose this area of Turkey – specifically the city of Hatay – to carry out his recent photographic project Limited Residence. «About 70 percent of the injured people have some form of disability,» Scianna continues, «as they do not have access to sanitation, they live in inadequate facilities, and their dignity and right to health are put at risk by the authorities and humanitarian aid.»

Testimony and empathy

What Giuseppe Scianna shows us in his shots is a Turkey still in pieces. His gaze is always gentle, still as a photojournalist but with an empathy that emerges. Women, children, men-everyone, no one excluded-are the protagonists of this misfortune and of his shots, which highlight on the one hand the strength and adaptability of human beings, and on the other hand the injustice and disregard of the authorities for a situation that goes against basic human rights. Giuseppe’s speech is touching, so we want to report it in full, hoping it will help bring attention to the problem.

People are psychologically broken in a precarious government situation. Monthly aid from the state does not guarantee a meal a day, also blamed on the drastically increased inflation of the Turkish lira. People continue uninterruptedly to salvage what is left of their homes, there is no more day and night due to the endless work of house demolition that amounts to about 300 thousand structures. There are endless expanses of debris fed by thousands of trucks that form veritable mountains of pulped houses. Many children have been traumatized by all this, many schools have collapsed and have been replaced by tents with many recreations because of the heat they give off. The government has sent the military engineer to inspect all structures that have apparently remained standing, but the tendency has been to underestimate the damage, this probably to reduce economic exposure regarding housing reconstruction grants. While everything is proceeding into an uncertain future, the people are responding with a great strength of humanity and sharing.

Giuseppe Scianna