Following the success of the first edition launched last year, the Collater.al Photography event is back in September. Collater.al Photography 2023 is a contemporary photography event that will enliven the spaces of the Luciana Matalon Foundation at Foro Buonaparte 67 from September 22nd to 24th, with the opening on Friday, September 22nd at 6:00 PM. Over 150 photographers from around the world will participate with their own shots. The main objective of this event is to create a continuous and intimate dialogue between artists and visitors, offering the public the opportunity to fully immerse themselves in the diversity and beauty of contemporary photographic art, experiencing different styles and suggestions in an emotional and emotive journey.

The exhibition will be divided into three sections: ImageNation Milan, Just Women, and ICONIC Photo Show. These different sections will create an engaging and stimulating experience, allowing visitors to explore the various artistic expressions in the field of photography.

“For over 10 years, photography has held a special place in our Magazine. We are always curious to discover new projects by established photographers as well as emerging artists, and being able to provide them with a platform within a Collater.al-branded photography event fills us with pride. With Collater.al Photography 2023, we aim to continue bringing what lives in the digital realm into the real world, celebrating the present of photography while also exploring and pondering the future of this art.” – Alessandro Timpanaro, Gabriele Infranca, and Luca Di Marco, Founders of Collater.al.

On display, just to name a few, are the works of the following photographers: Brooke DiDonato, Damon Baker, Derrick Boateng, Henriette Sabroe Ebbesen, Mira Nedyalkova, Nanda Hagenaars, Simone Bramante, Marta Blue, Carla Sutera Sardo, Mirko Sperlonga, Yosigo.

Info

Vernissage on Friday, the 22nd, starting at 6:00 PM.
On Saturday, the 23rd, and Sunday, the 24th, from 10:00 AM to 1:00 PM and from 2:00 PM to 7:00 PM at the Matalon Foundation, Foro Buonaparte 67, Milan (between MM1 Cairoli and MM1 Cadorna).

Talk: On Saturday, the 23rd, at 5:30 PM, the curator Laura Tota, the photographer Andrea Baioni, and the author Chiara Bardelli-Nonino will discuss photography and Artificial Intelligence and explore the theme of artificial intelligence.

Free entry.

COLORADO SPRINGS, Colo. (KKTV) – A photographer hopes 11 News viewers can help connect them with a couple who was married 11 years ago during Labor Day Lift Off in Colorado Springs.

Sunday, Sept. 3, would have marked the couple’s 11-year anniversary based on information the photographer provided.

“I would like to see them get this photo,” the photographer wrote to 11 News. “If you can help share this as the Balloon festivals are going on they might see it.”

If you know the couple in the photo, please email TKeith@kktv.com so we can connect them with the photographer to get them the photo!

Copyright 2023 KKTV. All rights reserved.

Gallery: a selection of highly commended images

Sometimes, the best laid plans of mice and men do not pan out. Wanted to capture some new dragonfly photos. That didn’t quite work out. But I did put together a water lily image that I ended up liking. This is a theme I seem to revisit quite often in my photography practice.

The story

Heading to the next town over for my allergy shot, I had passed a water lily pond that I knew was starting to bloom. Aha! That will be a great opportunity to add to my dragonfly image collection.

I grabbed some gear before heading out: my Olympus OM-D E-M-1 Mark III. 40-150mm f/2.8 M.Zuiko lens. (80-150mm equivalent full frame view), my FotoPro Eagle E-6L gimbal head tripod and a 2X Teleconverter. Oh, and my wide-brim hat to keep the sun at bay while I wait and study the dragonflies.

Delay

Road construction ate up about 30 minutes of my time. Bummer. When photographing dragonflies, you need to slow down to watch and study where they land. Then, I set up the camera and focused on that spot. I waited as many species will tend to land back in the exact same spot. I realized I couldn’t spend as much time as I would like and will have to forego critter photography. Time to re-calibrate my brain. “Boy, do these lilies look lovely. New game plan.”

Photography and composition

As these water lilies are freshly in bloom, the flowers look beautiful. I look for different compositions. Single bloom. Single bloom off-center. Looking for multiple blooms with a group of three or five as odd numbers tend to give more movement to the eye in a photo. No luck there. Wait, there are two beautiful blooms side by side. Changing angles gives a lovely diagonal composition, and lots of shadow and highlight interest.

Okay, it looks good. But wait, there’s a bee working its way around the pond. Maybe it will stop here and give me just that little bit more interest. It lands on the far lily. Nope, no good. Here it comes to the front flower. I make multiple images, trying to make sure the bee ‘reads’ against its background. Time to get out and get my allergy shot.

Post production

All images need some extra work to finish them off. Or, to paraphrase Ansel Adams, the digital negative is the score, and the final image is the performance of that score. Turns out there are lots of distractions in this scene not immediately visible during capture. Lots of black dots. Imperfections in the leaves. Blown-out hot spots scattered as this was photographed in full sun. This will be a labor of love to complete.

First stop was Aurora HDR 1998. I processed the file as a single HDR image. When you photograph under full sun, white subjects and contrasty conditions, this is a great way to get started. It is not perfect but it gave me a big head start on processing. Adobe Camera RAW is the second stop. Overall color and tone adjustments were made. Before leaving ACR, there was a visit to the Mask area. I applied various masks with additional adjustments to specific highlights and deep shadows.

Next, I opened the file in Photoshop and added a copy of the original layer. First, I used the Spot Healing Brush to take out some of the distractions. Man! This is going to take forever. New plan. I made a new copy of the layer and set Filter>Noise>Dust and Scratches. Balancing between the Radius which sets the amount of blur and the threshold sliders, I found the combination that took out most of the problems without the image becoming too soft. I added a mask bring back detail in certain areas.

Final tweaks

I used NIK Collection to give the image some softness using the Glamour Glow in Color EFX 5. I often use the Tonal Contrast filter in conjunction with the glow to keep the image from becoming too soft.

I added a sharpening layer with a mask. Sharpening is a way to help move a viewer’s eye around an image. It is more subtle than color, contrast and composition, but no less important.

A Soft Light Photoshop layer was the final step bringing tonal values into line with each other. Dodging and burning one final time can almost always help. I usually let an image rest for a day or two before applying final touches so as not to overdo it.

Yours in Creative Photography, Bob

Katsu Naito, an 18-year-old chef, arrived in New York in 1983 from his native Japan. By 1988 he had settled in Manhattan’s Harlem neighbourhood, an area only just recovering from the brutal economic devastation of the 1970s, before the drastic dislocation brought upon longtime residents of this historically black community in the 1990s.

• Clockwise from top left: Harlem Parking Lot, 1993, Gangs Home Deli, 1991, Bob’s News Shack on 5th Avenue, 1992, Street Stage, 1993.

“In 1986, I visited Harlem to photograph, but it didn’t feel right as a mere visitor. To truly capture the essence, I knew I had to be part of the community. In April 1988, I moved to Harlem, residing at 109 W 112th Street, #37. Every day felt like watching a movie from my third-floor apartment on St Nicholas Avenue.”

An outsider in all but residence, Naito walked the neighbourhood, camera in hand, for two years before shooting his first frame. Slowly, he became familiar with the people and community around him, and they with him. In time he was welcomed in as a member of his Harlem neighbourhood.

• Top left: Harlem Girl, 1992. Top right: Boombox Girl, 1992. Above: Welcome to Harlem, 1992

“It took nearly two years to integrate and become part of the community. There was a corner store on my block, which I later discovered was associated with a monitored ‘gang’; they stocked only dry canned goods, and it was common to witness them wielding guns at night, shooting at abandoned buildings or into the air. I grew accustomed to the smell of gunpowder and finding bullet shells on my rooftop. Once they realised I meant no harm, Harlem showed me its various faces. I became a part of the community, roaming the neighbourhood with my camera.”

Naito’s work includes landscape photography, urban documentary, and makeshift plein air studio portraits (reminiscent of Richard Avedon’s outdoor staging). The Harlem pictures are both historical documents and part of an American photographic tradition of foreign-born artists chronicling American peoples and customs.

• Clockwise from top left: Radio Cassette Player Man, Lady Holding Newspaper and Grocery Bag, Mr. Harman, Art Student, all 1992.

“Encountering familiar faces daily, we acknowledged each other organically. Mr Gwen, also known as Mr Bob, sold newspapers in a shack on 119th Street and 5th Avenue, where broken chairs sat in front. This became my daily gathering spot with neighbours and elders, where I discovered the beauty of Harlem.

• Left: So Close, Yet So Far, 1992. Right: 122nd Street, 1992.

“My pictures from this series capture moments and places with a significance. The Harlem tree, for instance, is a tree located right in front of the public school on 131th street. This tree still exists today but all the sneakers have been gone since the late 90s. I just hope this decoration is celebratory or for an artistic purpose, and not gang-related.

• Harlem Tree, 1998

“I always loved to watch the street scenes from the 3rd floor window. The RIP STINKER and supermarket and deli pictures speak a lot about this neighbourhood. This deli was where people kept their guns, machine guns, shotguns and drugs. As the night progresses and kids are no longer playing on the street, another face of Harlem can be seen.

• RIP STINKER, 1992

“On an opposite side of the deli was an abandoned building, an easy target for target practice. The gangs were a part of our community, but despite their bold actions they never liked to have their pictures taken, never.

• Wall Message, 1992

“One of the newest works in this series is Gone Vibes at Lenox Lounge, which was actually taken more than 10 years after I moved out of Harlem in October 2016. Within six months the building was demolished; it had stood there for 78 years and it felt like a sign that all the vibes were gone from Harlem.

• Gone Vibes at Lenox Lounge, 2016

“For nearly six years I had lived in Harlem, experiencing time at its own pace. This profound journey granted me a glimpse into people’s souls and fostered deep connections. Harlem served as the perfect backdrop for personal growth. I am sincerely grateful to Harlem for the invaluable opportunity to capture these beautiful images.”

• Katsu Naito’s Once in Harlem series, including previously unseen pictures, is exhibited by the Fridge, 8-10 September, as part of PHOTOFAIRS New York

Although we’ve often spoken to ‘official’ sporting photographers about the challenges of capturing professional sport, the pathway for many enthusiastic sports shooters is to start out first by freelancing.

Fresh from capturing the Women’s World Cup, we spoke to Sydney photographer Danish Ravi about how he overcame the odds to capture world class shots at one of the biggest sporting events of 2023.

Australian Photography: What do you look for in a successful sports photo?

A good sports shot captures a scene that conveys a tale or stirs up feelings. It should tell the story of the event or give the spectator a sense of being a part of the action. The best sports images frequently show the athletes’ feelings, such as willpower, excitement, disappointment, or even suffering.

It can be effective to record eye contact, body language, and facial expressions. I think a distinct viewpoint is a crucial component. An exciting moment in play should also be captured in a fantastic sports photograph. To record a pivotal play, a dramatic movement, or an athlete’s peak performance, calls for exact timing.

AP: What are some of the challenges that come with capturing events like the World Cup?

The competition in the media is the first and biggest obstacle for me as obtaining FIFA approval for media accreditation is difficult. Many media from all over the world attended the World Cup, and I had a lot of formidable [photographic] agencies to contend with!

Unfortunately for me, priorities were given to their photographers so they could choose the ideal locations on the pitch.

Time constraints are the second challenge. There are frequently strict deadlines for photographers covering the World Cup for news organisations or publications to provide photos for publication.

Quick photo editing and transmission are needed. Last but not least, World Cup matches might occur at different times of the day, and the weather can change quickly. As a photographer, you must be able to adjust to a variety of lighting situations, such as direct sunlight, cloudy sky, or synthetic stadium lighting.

AP: Can you briefly share your gear setup?

I used Nikon Z9 mirrorless, Nikon DSLR D6, and Nikon D5 camera bodies. Six lenses were also used: AF 14-24mm, AF 24-70mm, AF 70-200mm, AF 300mm, 400mm 2.8 and an 500mm F4. In addition, I also used an SB910 speed light, a card reader, and I also have a backup in case the first one breaks for whatever reason.

Finally, I carry plenty of additional camera batteries, memory cards, lens cleaning kits, and a raincoat, along with a laptop and monopod.

AP: Can you explain your workflow at an event like the World Cup? How are images shot, edited, and finally shared?

Certainly! Before the event, I ensure that all my camera gear, lenses, and accessories are in working order and have sufficient battery life and memory card capacity.

I often come two hours early to prepare for the match. In order to predict critical events and storylines, I did some research to familiarise myself with the teams, players, and event schedule.

Once the game begins, I continuously capture images by tracking the action, focusing on key players, and anticipating crucial moments like goals, saves, and celebrations. I immediately edited my photographs in Photoshop after selecting my finest shots, then I sent them to photo agencies.

To reach a global audience, images are frequently posted on news websites, in print publications, or on social media platforms.

Due to the fast-paced nature of sporting events like the World Cup and the frequent presence of tight delivery dates for images, this workflow helps ensure accuracy, speed, and adaptability.

AP: How do you create images that are different from other photographers with the same access as you?

There are limited shots for the Women’s World Cup due to the pitch zones being fixed by FIFA. As a photographer, you are not permitted to move around until the game is over, and as such you have relatively few opportunities to use your creativity when compared to other sporting events. 

One thing I do is attempt to envision the story I want to tell with my photographs before the event. I pay close attention to how the lights and shadows interact in the stadium or other space. Images can be breathtaking and one-of-a-kind when lighting is used creatively, particularly during dawn or dusk events.

I planned my shot at noon to take advantage of the dramatic contrast between light and shade in the sky, and I thought about photographing from a tribune’s height.

I also seek out unique and candid moments. I look for moments of emotion, surprise, or unusual occurrences that others might miss.

As an example, I tried to get a diving shot of the Colombian goalkeeper. The final image has both the player’s intense concentration, as well as being a great action moment.

AP: What’s your most memorable image you’ve captured so far?

Since this was my first experience photographing the FIFA World Cup, I don’t have any special memories of any particular shot. All the images are memorable to me!

AP: What’s your advice for people who want to take better sports images?

Examine the work of seasoned sports photographers to gain inspiration and discover fresh methods and concepts. Attend regional sporting events, practice frequently, and progressively expand your portfolio.

In sports photography, experience is one of the best teachers. Keep in mind that developing your sports photography talents requires patience and commitment. As a photographer, keep improving your skills, learning from your mistakes, and developing your personal aesthetic.

There are going to be so many obstacles coming your way. You should stay firm and keep on going; never give up.

You can see more of Danish’s work on his website and instagram. 

2023 World Press Photo global winners show the cost of war and of peace.

This year’s World Press Photo Contest global winners, chosen from thousands of entrants, highlight the climate crisis, community, war’s impact on civilians, and the importance of press photography around the world.

The four World Press Photo Contest global winners are:

With Russia’s war in Ukraine constantly in the news, the Photo of the Year goes to Evgeniy Maloletka for his confronting image from the siege of Mariupol for perfectly capturing the human suffering caused by Russia’s invasion of Ukraine in a single image.

The Story of the Year, nine haunting but beautiful photos by Mads Nissen, refuses to let us forget the people of Afghanistan living now under the Taliban and with a lack of international aid.

The Long-Term Project Award goes to Anush Babajanyan, for her work spanning years to highlight a story not often covered outside Central Asia about water management impacts after the end of the Soviet Union made worse by the climate crisis – but most importantly, showing the powerful spirit of people forced to adapt to new realities.

The Open Format Award goes to Mohamed Mahdy, who is collaborating with neighborhood residents of Al Max, in Alexandria, Egypt, to preserve the memory of their fast-disappearing fishing village and has invited the whole world to participate through an interactive website.

The four global winners were selected from 24 regional winners, which were chosen from more than 60,000 entries (still images and multimedia) submitted by 3,752 entrants from 127 countries. The entries were judged first by six regional juries and all winners chosen by a global jury consisting of the regional jury chairs plus the global jury chair.

Global jury chair, The New York Times photo editor and co-founder of Diversify Photo, Brent Lewis said:

“Our four global winners represent the best photos and stories from the most important and urgent topics of 2022. They also help to continue the tradition of what it is possible to do with photography, and how photography helps us to see the universality of the human condition.

The haunting image from the siege of Mariupol was unanimously chosen as the winner of the World Press Photo of the Year. With the vote being decided on the first anniversary of the beginning of the war in Ukraine, the jury mentioned the power of the image and the story behind it, as well as the atrocities it shows. The death of both the pregnant woman and her child summarized so much of the war, as well as the possible intent of Russia. As one juror put it: “It’s like they are trying to kill the future of Ukraine.”

Executive Director of the World Press Photo Foundation, Joumana El Zein Khoury, said:

“Millions of people around the world will look at these photos and see death, despair, loss, and crisis. My wish is that they also see what I see. The hope that through documentation there is a chance of justice and a better future, through remembering we honor what is lost, and through the courage and dedication of these photographers we are inspired.  

By highlighting these global winners, we hope to help people understand the world we all share a little bit more. I find myself thinking about how the people in these photos are not so much different from myself, bringing me to care more about what is happening to them. That is the indispensable benefit of photojournalism and documentary photography that I hope everyone who views these stories will also appreciate.”

These stories, alongside the other winners, will be shown to millions of people as part of our annual exhibition in over 60 cities around the world – including Amsterdam, Rome, Berlin, Barcelona, Zurich, Tel Aviv, Taipei, Singapore, Mexico City, Jakarta, Sydney, and Toronto, and will be seen by millions more online.

About the World Press Photo Foundation

Connecting the world to the stories that matter.

We are a global platform connecting photojournalists, documentary photographers and our worldwide audiences through trustworthy storytelling.

World Press Photo was founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then, our mission has expanded. Our contest has grown into one of the world’s most prestigious competitions, rewarding the best in photojournalism and documentary photography from around the world. Through our successful worldwide exhibition program, we present to millions of people the stories that matter.

The World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, The Netherlands. We appreciate the support of our strategic partners, the Dutch Postcode Lottery and PwC.

https://www.worldpressphoto.org/