Saul Leiter, whose beginnings in photography date back to the 1940s, is recognised as a pioneer of colour photography and one of the most important artists working in the post-war period.

MK Gallery in Milton Keynes is playing host to the largest ever UK retrospective of the American photographer’s work in an exhibition named An Unfinished World, which will present over 170 of his photographs and more than 40 of his lesser-known paintings.

After moving from Pittsburgh to New York City in 1946, he quickly became a known figure in the local art scene, forming a group called The New York School of Photography, which included Diane Arbus, Richard Avedon and Robert Frank, among others.

From this period, right up until his death in 2013, Leiter worked feverishly, photographing every single day and eventually amassing a stunning collection of around 15,000 black and white prints, 40,000 colour slides, and over 4,000 paintings.

His lifelong interest in beauty and aestheticism saw him wander the streets of New York City night and day, rain and shine, in search of beautiful scenes. “Photographs are often treated as important moments but really they are fragments and souvenirs of an unfinished world,” Leiter has said of his practice.

In particular, his work from the 1950s and 1960s garnered international acclaim. Though at the time he was mostly known as a fashion photographer, shooting for publications such as Harper’s Bazaar, Elle, and British Vogue, it was his street photography that would become his most enduring contribution to the field.

This was in part because of his embrace of colour photography, which in the early 1960s was not a common feature in the medium’s mainstream. However, Leiter was instinctively drawn to colour, and became one of the first practitioners to truly experiment with this style.

He was known to occasionally use damaged or aged film, and had an eye for atmospheric details like smoke and wet surfaces, all of which allowed him to transform light and colour.

His photographs of New York streets, often shot in a cinematic fashion using a telephoto lens, are renowned for their splashes of red, green and yellow. Throughout his extensive portfolio of work, this way of composing shots remains prominent, and has since become a signifier of his unique approach to photography that celebrates the everyday.

As Leiter himself said, “A photographer’s gift to the viewer is sometimes beauty in the overlooked ordinary.”

An Unfinished World is on show at the MK Gallery, Milton Keynes until June 2; mkgallery.org

In an era where the power of imagery transcends borders, a groundbreaking partnership between Canon Central and North Africa and MindMe International is set to ignite the flames of creativity and advocacy among Kenya’s youth. On February 8, 2024, the Young People Programme (YPP) was launched in the serene environs of Woodcreek School, Kiambu County, embarking on a mission to harness the untapped potential of marginalized youngsters through the lens of photography and storytelling.

Empowering Voices Through Visual Narratives

The YPP initiative is more than just a photography workshop; it’s a beacon of hope for young individuals aged 11 to 17, providing them with a unique platform to voice their stories and aspirations. Armed with cameras and guided by seasoned mentors, these budding photographers are diving deep into the art of visual storytelling, learning to capture the essence of their experiences and dreams. Canon’s commitment to equipping them with the necessary skills and tools is a testament to the belief in the transformative power of creativity as a force for positive change.

A Symphony of Goals and Aspirations

Aligned with the United Nations Sustainable Development Goals, the collaboration between Canon and MindMe International aims to pave pathways to empowerment, education, and employment for the participants. The program is designed to act as a springboard, launching these young advocates into a world where their stories not only matter but also influence and inspire. Opportunities for scholarships, jobs, and internships are on the horizon, promising a brighter future for the youth involved. The initiative is a vivid illustration of how partnerships can amplify impact, driving societal progress through the empowerment of its younger generation.

From Learning to Legacy: The Culmination of Creativity

The journey of the YPP participants will culminate in an exhibition showcasing their creative images, offering a window into their worlds and perspectives. This event is not just a display of photographs; it’s a testament to the resilience, dreams, and voices of Kenya’s youth. Canon and MindMe International envision this exhibition as the first step towards creating more success stories, a ripple effect empowering more young individuals to emerge as leaders and advocates for change in their communities.

In the heart of Kiambu County, a movement is underway, with the power of photography and storytelling at its core. The Young People Programme, through the alliance of Canon Central and North Africa and MindMe International, is lighting the way for Kenya’s next generation of storytellers, proving that even the smallest voices, when given the right tools and platform, can echo across the globe, advocating for a world of inclusion, opportunity, and positive transformation.

‘I felt the urge to transcribe the scenes,’ writes French author Annie Ernaux in her 2021 book Exteriors, which takes the form of random journal entries and won the Nobel Prize in Literature the following year. ‘Words and gestures of unknown people, who are never to be seen again, graffiti scribbled on walls, no sooner dry than hastily erased; sentences overheard on the radio and news items read in the papers. Anything that, in some way or another, moved me, upset me or angered me.’

The product of an April 2022 research residency by curator and writer Lou Stoppard, the new photography exhibition ‘Exteriors’ at Maison Européenne de la Photographie in Paris (until 25 May 2024) offers a considered exploration of the relationship between Ernaux’s written works and photographic mediums. Spanning from the 1940s to 2021 and countries including France, the USA, Italy, Japan, Singapore and the UK, the showcased images bring to life the universal themes prevalent in Ernaux’s writing and the juxtaposition between public façades and private realities. 

‘Exteriors’ explores Annie Ernaux’s writing through photography

Through the work of renowned photographers including Harry Callahan, Claude Dityvon, Dolorès Marat, Daido Moriyama, Janine Niepce, Issei Suda, Henry Wessel, and Bernard Pierre Wolff, the exhibition vividly emboldens Ernaux’s experiments in describing ‘reality as through the eyes of a photographer’, preserving ‘the mystery and opacity of the lives’ she encounters. 

As much of the book Exteriors is observed from trains, the photographs in the exhibition focus on those fleeting, transitory moments between coming and going. Hiro’s Shinjuku Station, Tokyo (1962) shows commuters packed on a train like sardines, pressed against one another, their gaze turned outwards. Schulz-Dornburg’s Ploshchad Vosstaniya – Uprising Square, Saint-Petersbourg (2005) and Marat’s La femme aux gants (Woman with gloves) (1987) see figures going down an escalator at metro stations.

For Ernaux, these sites serve as meeting points for all walks of life to briefly intersect with one another. The work of photographers Garry Winogrand, Luigi Ghirri, Richard Kalvar, and William Klein similarly features supermarkets, hairdressers, and cafés, reconfiguring Ernaux’s observations of the everyday rituals of travel and consumption into a poignant inquiry into class and gender performance. 

Perhaps, though, the most compelling aspect of ‘Exteriors’ is the images’ ephemerality; how they capture people and places at pivotal points in time. Marguerite Bornhauser’s image of broken glass, for instance, shows the aftermath of the Paris terror attacks in 2015. This dark undercurrent echoes throughout the show – in the case of Mohamed Bourouissa’s L’impasse (2007), his work shows the strange dissonance between different urban spaces and Parisian suburbs. 

As with Ernaux’s book, the images of ‘Exteriors’ invoke a suggestion of comparison of ourselves through how we view others. We might best think of the curatorial interplay between word and image as the product of flâuner-ism. ‘It seems to me that within this work, photographs are not treated as a subject matter or prompt,’ says Stoppard. ‘Instead, the texts seem to actually become photographs; objects, within a frame, which the reader – or viewer – can both observe and step into. One is both distant and involved, seeing and imagining, present and recalling.’

‘Exteriors’ is at Maison Européenne de la Photographie, Paris, until until 25 May 2024

mep-fr.org

The butcher, October 2022

During my lunch break, I often go out to take photos. One day, I captured a man, most likely a butcher, putting pig carcasses into the elevator. The fact that the man’s face is not visible adds a touch of mystery.

Photograph: CG/Cosmin Gârleșteanu

In the rapidly evolving digital landscape of 2024, capturing the celestial beauty of the moon with just a smartphone has become the latest craze among photography enthusiasts. With the release of the iPhone 15, Apple has once again set new benchmarks in mobile photography, challenging even professional cameras in the quest for the perfect lunar photograph. But it’s not just about having the right tools; it’s about the artistry and technique behind capturing the elusive and mesmerizing moon shots. This article delves into the intricacies of moon photography with an iPhone, comparing it with its closest rival, Samsung, and offering a comprehensive guide to mastering this night-time photography feat.

The Evolution of iPhone Cameras: A Leap into Lunar Photography

Since the inception of the first iPhone, Apple has consistently pushed the boundaries of what mobile cameras can achieve. The iPhone 15 is no different, boasting an enhanced sensor and advanced software specifically designed to excel in low-light conditions, making it an ideal candidate for moon photography. The evolution of iPhone cameras from simple point-and-shoot devices to sophisticated photographic tools reflects a broader trend in smartphone technology, blurring the lines between professional and amateur photography. But capturing the moon, with its vast distance and luminous complexity, poses unique challenges that test the mettle of even the most advanced iPhone cameras.

Mastering Moon Shots: Techniques and Tips

Photographing the moon with an iPhone is an art as much as it is a science. It requires understanding the interplay between light, distance, and the camera’s capabilities. The first step is to find the right location, away from the glare of city lights and atmospheric pollution. The use of a tripod is recommended to stabilize the phone and avoid blurriness. Zoom capabilities on the iPhone 15 allow for a closer view of the moon’s surface, but overuse can lead to a loss in image quality. Instead, focusing on the composition and utilizing the advanced settings, like manual focus and exposure control, can yield better results. A step-by-step guide, from setting up to post-editing, can empower even amateurs to capture stunning moon photographs that rival those taken with professional gear.

Samsung vs. Apple: The Moon Photography Showdown

The rivalry between Samsung and Apple extends into the realm of moon photography, with both tech giants vying for the title of the best smartphone camera for capturing the moon. Samsung’s latest Galaxy models come equipped with their own set of advanced features, including high-resolution zoom and AI-powered camera software, making them formidable contenders. However, the iPhone 15’s sensor improvements and software optimization specifically for night photography give it an edge, especially in terms of image clarity and detail. The choice between Samsung and Apple may come down to personal preference and brand loyalty, but it’s clear that both companies are driving mobile photography to new heights, challenging photographers to look beyond the earth and towards the stars.

In the bustling world of Indian advertising, Tanmay Bhat has emerged as a rising star with his unique blend of humor and data-driven insights. His agency, Moonshot, has been behind some of the most viral campaigns for major brands like CRED, Disney Hotstar, and Lenskart. Bhat’s approach to advertising, which seamlessly marries entertainment with effective brand messaging, has caught the attention of industry insiders, with some predicting he could be the next Piyush Pandey, the legendary figure in Indian advertising. As we turn our lenses towards the moon, both literally with the iPhone 15 and metaphorically with innovative minds like Bhat’s shaping the future, it’s clear that the quest for capturing beauty and crafting compelling narratives remains an innate part of the human experience.