Ordinary angels exist. Etienne Renzo has seen and photographed them. His angels are both feminine and masculine, earthly and celestial.They are part of a little-seen photography that needs to be discovered.

Etienne Renzo has been photographing body and soul since the mid-70s. He has developed a singular practice while working as a professional photographer, farmer, airplane pilot, mechanic and company director. He has also worked as a foundryman and local councillor.

This atypical background has enabled him to develop photography of real technical and aesthetic quality, both in silver and digital, particularly for portraits. A photography that touches the deepest essence of bodies and souls. Particularly with nudes in nature, where the human merges with the non-human animal, mineral or plant.

Etienne Renzo is also interested in muses, nature spirits and people’s auras. In this way, he has become a photographer of the dual visible and invisible nature of things.

Invisible, too, because his career has taken place in relative artistic isolation.This has enabled him to create a singular, sincere and native poetics in contact with the earth, animals and the air.This is reflected in the two series of images of shepherdesses and angels, which he has chosen to present in conjunction.

The photographs of bodies immersed in a natural environment, and of nude shepherdesses accompanying their flocks of sheep or pigs, originate from agricultural and land-based experiences. Captured in their simplest form, like their naked, naked animals, the shepherdesses are equals with their flock.There’s something bucolic and mythical about these images, but also ecological and erotic in their femininity. For Etienne Renzo, shepherdesses are also «to be seen as muses and intermediaries with the invisible of mythological space, through their closeness to their animals».

In the photographer’s work, as in his exhibition, shepherdesses pave the way for angels. But Etienne Renzo’s levitating angels are very real, and fly less high than those of Wim Wenders. They are also portraits of human beings who, above all, make «good people» sacred. Or fair- minded souls. Ordinary angels, as it were.

Through these two portrait series, which bridge the earthly and the celestial, Etienne Renzo’s photography reveals itself to be particularly emblematic of the challenges of reconnecting with nature and the human being, to which civilization must respond without further delay.That’s why it has a rightful place in today’s image landscape, as a means of reconnecting with the profound nature of things, bodies and souls.

Pascal Pique, Le Musée de l’Invisible

More informations

www.etiennerenzo.com

Yesterday was National Camera Day celebrating the device that has captured memories and moments throughout history, but what is the camera without the vision of the photographer behind it? I thought I would take the opportunity to feature some of Owensboro’s own fabulous visual artists who have taken “Kodak Moment” to the next level.

The variety of subjects represented here is amazing. Delicious food photography, weddings, family, travel, seniors, events, architecture, and so much more! Be sure to click on each name to follow them on Facebook, and fill your social media feed with beauty.

Chosen Creations

Josh Murphy has loved photography since childhood watching his father take nature pictures with a film camera.  Ever since, he has grown his hobby into a full-blown family affair with the help of his lovely wife Laura and even bringing their talented kiddos into the mix.  They take some of the most creative senior pictures I have ever seen and are set to capture special memories at 23 weddings this year. Their 13-year-old son, Jonah, loves to shoot from above with the use of a drone.

This led to a collaboration with area drone photographers for a calendar project called Eyes to the Skies.  If you missed out on 2023, be sure to follow them for 2024! Laura says “Photography should be about collaboration and not competition.” They live this mantra out through their partnership with another amazing creative, Jesse James Ayers. Here are some of their gorgeous drone photos!

Dream Copy Photography

Dream Copy is a full-time professional photography studio creating unforgettable images thanks to the dynamic duo Kenny and Debra King. Kenny got his start taking photos for websites he built for clients. Folks started requesting other types of photography and for the past 18 years, they have been making magic!  “Photography is my way of creating something that will be here when I am gone, but more importantly, for the families of my clients when they are gone,” Kenny said. That gave me goosebumps! What an incredibly thoughtful way to look at this unique art form.

I love how involved they are in the community as well. Local events and non-profits have amazing photos of their events thanks to the Kings! This helps them promote throughout the year and raise money for worthy causes.

Mindi Addington Photography

Mindi has been taking photos since she was a little girl. Once she reached high school, her dad bought her a film camera.  She still owns that camera, but now mainly uses digital equipment she has invested in her talents over the years. As a full-time teacher, she makes time to capture moments for people to look back on.

I personally think that what makes Mindi special is her ability to make her clients feel comfortable. She is so patient and kind with crazy kiddos which makes for some incredible shots.  Weddings, family photos, baby photos, and holiday minis are some of her offerings.

Jamie Plain

Looking back, Jamie recalls her passion for photography actually started in the early 2000s when she got her first camera phone, the legendary flip Razr.  She took pictures of anything and everything she saw that spoke to her with that grainy 2-megapixel lens! This is so hilarious to me because her pictures are of infinitely better quality now.

It just goes to show that if you have an eye, you can capture the beauty of the world around you with any device. She later took film classes in college.

Now she works as a professional photographer for Owensboro Living/Owensboro Parent magazines and assists in culinary photoshoots throughout the United States.

Jacqueline Jordan Photography

Jacqueline got started with portrait photography working for the McLean County News after earning her college degree in photography. Taking pictures for the newspaper, she met kids around town who asked her to take their senior photos. Then those same kids started getting married and asked her to take their wedding photos.

Ten years and lots of training and experience later, Jacqueline still loves capturing people on their happiest days.  Another perk she says is “There’s usually cake!”  Her work is as colorful as her personality.  Every photo she takes is glowing with joy.

AP Imagery

AP stands for Adam Paris, the extraordinary eye behind the camera lens. For over a decade, he has been capturing the essence of Owensboro through stunning images of landscapes, architecture, and photojournalism.  Adam has a passion for local history which is evident in his mission to document old structures. He also restores old photos and moderates the super-popular Facebook group “History of Owensboro” which has grown to almost 26,000 members.

It’s one of my favorites! Adam is also an FAA-certified drone pilot providing a unique perspective from aerial photography.  You can find his work in homes and businesses around the area or in Abandoned Kentucky, a book he co-released which features beautiful buildings across the state that have been forgotten.

Absolutely incredible right?

I know this is just scratching the surface of talented photographers here in the area.  I wish I had the time to feature them all!  Do you know someone with an amazing eye for pictures? Feel free to share them with me!

James Katsipis’ newest series of work and exhibition entitled ‘Graintauk’ at The Lucore Art at 87 S Euclid Ave in Montauk Opens this Saturday, July 1st from 5pm – 8pm. The show will run through Tuesday, July 25th. ‘Graintauk’ captures Montauk’s essence through analogue photography shot on 35mm and 120mm film. Katsipis’ photographs showcase Montauk’s natural landscape, vibrant community and coastal charm. You will be treated to a visual journey through Montauk’s hidden gems. Shooting on film allows Katsipis to capture a scene’s unique texture, tones, and nuances. 

James Katsips shared “With the way the world is advancing with Artificially Intelligence (A.I.)  I thought it would be a good time for me to slow down and look back at where I came from – which is Film Photography. While the emergence of artificial intelligence (A.I.) has revolutionized the world of digital photography, there remains a profound appreciation for the distinct qualities that make film photography an irreplaceable medium.

Film photography is renowned for its ability to produce images that possess a genuine, organic quality. The grain, subtle imperfections, and natural color rendition of film lend an authentic and nostalgic feel to photographs. These characteristics contribute to the uniqueness of each image, adding an element of unpredictability that cannot be replicated by A.I.

In the digital age, where instant gratification is the norm, film photography demands a patient and deliberate approach. The limited number of exposures per roll requires photographers to carefully consider each shot, leading to a more thoughtful and deliberate creative process. This mindful approach enhances skills such as composition, exposure, and manual camera control, fostering a deeper understanding of the art of photography. Film photography is not a competition against A.I., but rather a medium that offers a distinct and timeless experience.”

When asked to elaborate on his favorite photograph from the collection, James chose Slaters and said, “Slaters is named because growing up in Montauk, this storefront was its original name. And I still refer to it as that at times, depending on who I’m taking to. I spent my all quarters on matchbox race cars there any chance I could get. It was about 4:45am and only a few workers were up and on the road. The stillness of town and the glow of the street lamps set for a moody scene out of an Edward Hopper painting. I set up my tripod and loaded my FujiGWS69ii Medium format camera with some 120 Portra800 and metered for the lights in the windows. I took 3 shots. One at 3 seconds, 5 seconds and another at 8 seconds. I had it right the first time – but can never be too careful and wanted to make sure I got what I was looking for.”

This upcoming exhibit promises to be a celebration of the enduring allure of film photography and a testament to Katsipis’ exceptional talent. Whether you are an avid photography enthusiast or simply appreciate the beauty of Montauk, this exhibit is not to be missed. Prepare to be transported to a world where film reigns supreme, capturing the soul of a place like no other.

In the world of photography, artists constantly strive to capture unique perspectives and evoke emotions through their work. And I, Karen Jerzyk, have gained significant attention in recent years for renowned stunning astronaut-themed photographs that I started creating back in 2017. Combining elements of surrealism, storytelling, and a touch of mystery, my astronaut photos transport viewers to otherworldly realms while provoking contemplation about the human experience. In this article, you will delve into the fascinating world of my astronaut photos, exploring the themes, techniques, and impact of my extraordinary body of work.

My astronaut photos stand out for their captivating visuals, intriguing narratives, and thought-provoking symbolism. By incorporating the imagery of astronauts, I skillfully blend science fiction with the human psyche. Each photograph tells a unique story, often portraying solitary astronauts in desolate landscapes, emphasizing themes of isolation, exploration, and the quest for meaning.

More info: karenjerzykphoto.com | Instagram | Facebook | twitter.com

WAPAKONETA, OH (WLIO) – Some of the best photographers in Auglaize County and the surrounding communities were recognized Thursday night at an awards reception.

The winners of Riverside Art Center’s photography show were announced at the reception. This year’s show had more entries than the last three years, with photographers of all ages, some as young as sixteen. 

This year, the submitted photos were all high quality, and everyone who entered was accepted into the show. 

Photography is increasingly popular because it’s more financially accessible and less time consuming than other mediums like sculpture or painting.

“I think anyone can take a picture. I mean, now everyone’s using their cellphones to take pictures, don’t have to have a really expensive camera and phones are taking great pictures now. And a lot of people have entered through their cellphone art, you know, it’s art, it’s all art,” said Deborah Fischer, who is in charge of the treasury and special projects for the Riverside Art Center.

Best of Show went to Claire Meyer, a professional photographer, for one of her pieces from a newborn photoshoot. 

“I had a beautiful newborn session, and the couple is very Catholic, beautiful family, so we had him hold his newborn daughter and we just draped the rosary around her and then just happened to get this gorgeous rainbow naturally coming in through the window behind them,” Meyer said. 

The photography exhibit will be on display at Riverside Art Center through July 29th.

It’s been 37 years since Lorie Shelley first began snapping pictures in California’s Capitol building. In her office, you’ll find evidence of her nearly four-decade career as the Capitol’s Senate photographer pinned up along the walls — photos of politicians and celebrities, like Joe Kennedy, Jane Goodall and Kendrick Lamar.

When she first started in 1985, Shelley wasn’t a full-time photographer. She says she initially started working at the Capitol as a legislative assistant. Taking black-and-white photos of notable moments was just one of her many duties. 

California Capitol’s Senate photographer Lorie Shelley.Courtesy of Lorie Shelley

But over time, her position evolved; for a while, she was the Senate photographer for Democrats. Eventually, she became the Capitol’s first nonpartisan photographer. That’s the position she holds to this day. 

She retired at the end of June. CapRadio visited her office at the Capitol before her retirement to ask her what she’s learned over the years and what it’s like to be a fly-on-the-wall in California’s Senate. 

This interview has been edited for length and clarity.

Interview highlights

What was the landscape of photography like at the Capitol when you first arrived? 

When I started, the photography was done by caucus photographers, so there was a Democratic photographer and a Republican photographer. They were really interested in kind of spying on each other and really making it a political thing. I lobbied to make this a position that’s nonpartisan, that has more emphasis on the historical record. 

I made it my goal to collect everything. I spent years in the libraries collecting all the pictures that I didn’t have, bringing back all the photos so that we could have a historical record ourselves. 

Photography has evolved so much since you started. How did that influence the way you did your job? 

During the film days, you didn’t shoot much because you’re limited. Everything was so intentional. But then when digital came, you’re taking 600 pictures. This job became a full-time job, mostly because of digital, but also because I had to figure out a way to archive the 14,000 black-and-white film photos that I took. 

Now, when you see a story about one of the members, they’re going to show an action shot. They’re going to show a shot of a member on the floor. They’re going to put it into place. But in the ’80s, they just put a headshot [in the newspaper] because that’s all there was. There were no action shots because you didn’t burn film watching people talk. It just wasn’t a thing. 

Former President Pro Tem of the Senate David Roberti (right) and former state Attorney General Dan Lungren (left) at a press conference about an assault weapons ban, taken by Lorie Shelley.Courtesy of Lorie Shelley

A Keep Fair Wages labor rally in the early to mid-90s, photographed by Shelley. She said it was her first large-scale rally at the Capitol.Courtesy of Lorie Shelley

When I first got digital, it felt weird and strange and very space age-y. I was really excited, but I was never happy with the quality. And even when the major companies started making DSLRs, I carried a film camera with me for probably five years because even the DSLRs couldn’t match film. 

How do you feel about it now? 

I thought at one point in my career that this job took the fun out of photography for me because I loved taking pictures as a hobby and then all of a sudden I didn’t love it as a hobby anymore. It was before digital — it was still film. It was grip and grins — the nature of the job then wasn’t interesting. Take a picture of me smiling at the camera, then shaking someone’s hand. It wasn’t creative.

Digital made it interesting and fun because I could do so much more. I wasn’t tied to those 24 frames. If I took a picture [on film], if I had 24 shots in my camera and God himself showed up [for] the 25th and a senator said, ‘Can you get a picture?’ I’d say, ‘Oh, sorry, I’m out of film.’ I mean, that’s just the way it was. 

You’ve witnessed a lot of change at the Capitol, but you’ve also met a ton of interesting people. I see photos of celebrities and politicians all around your office. Anyone that sticks out to you? 

(Shelley gets up and begins to show me around her office, pointing at different photos.)

Paul Reiser — the nicest guy in the world. Just in love with the [Capitol], respect for the building. Kevin Hart, same thing. While everybody was gawking over them, they were gawking over this [building]. And I loved how excited they were to be in the presence of greatness — because it was such a different world for them. Kendrick Lamar was like that. They really respect the institution. 

Some aren’t so gracious — Steven Seagal. Oh, you can tell him that. Just so difficult.

When I took this picture of Ted Danson — this was years ago — he [didn’t have] gray [hair] yet, you know, he wasn’t publicly gray. So he came [to the Capitol] as himself but for TV, he was still dying his hair. That was wild, getting to see that first. 

Several of Shelley’s photos are printed out and attached to the walls of her office.Manola Secaira/CapRadio

I will tell you a funny story about that corgi up there next to [Jeff Bridges]. 

Please tell me about the corgi. 

They hate cameras. This corgi was ready to jump on my face. It’s really easy to take it personally because you’re the only person they’re screaming at. I don’t know what they think you’re going to do with the camera, but he went crazy on me in that room.

Jerry Brown, he had two corgis, and one of them hated me. And I remember running — there was a really long hallway from his office, and I was being chased by [the corgi], but I needed to follow the governor coming out. I was running backwards so fast, just trying to get away from this corgi. I didn’t get many good shots.

You’ve had a lot of influence over what your job has become. What’s been your main goal in this position? 

It’s important to me that we know who all these people are, because in 40 years, when I’m gone, somebody is going to care. Somebody is going to want to know what happened when you passed this certain bill, what was going on on the Senate floor. What was it like? Crazy? Was it wild? Was it calm? 

Most of the calls I get are kids whose grandparents are old and they want to find the pictures of them when they were young, when they were fancy little senators. I get calls from documentarians, historians and textbook writers, often because they’re writing a textbook on some part of California history or California policymaking. 

Most people don’t even know I have all of this. But I know it’s here for historians someday and I’m sure they want it. 

Courtesy of Lorie Shelley

It sounds like photography has made you really aware of how easy it is to lose these memories. Any advice on keeping track of it all?  

Print your keepers. Don’t think you’re going to remember things.

Once you put it on paper, except for fire, then you’re going to have it. And I’ll tell you that a couple of weeks ago, I found a box of photographs in one of my kid’s rooms. I went through it, and it was memories that I had forgotten and I never would have recalled again — college memories and people that I loved and people that I didn’t love, but moments that had completely escaped me.

I’m so sad to think that today’s kids will never have that box, because their moms are shooting with digital. Grandma’s not going to give you a thumb drive of your childhood and kids aren’t going to see their mom’s childhood. You have to treat these pictures as a treasure. 

What’s on your mind as you approach your final day in the job? 

If somebody had told me I was going to retire as a photographer, I would have been incredulous. I wouldn’t have believed it. I would have laughed in their face. It was so far from what I had planned to do. I loved government and I loved politics, and I had every expectation I’d be moving to Washington, D.C. and getting involved somehow politically. But never in my wildest dreams would I have thought I’d end up taking pictures for a living as my job.  

Every single day, bar none, in my entire 37 years here — when I walk up to that building, I am filled with awe. I feel so privileged to have spent my adult life here. I’ve never gotten tired of this institution, ever. 

I have been practicing various forms of photography since 2007. These forms include black and white, full color, high dynamic range, and infrared. But recently, I wanted to try something new. Something I have never tried or seen before. So I customized one of my lenses to create natural rainbows in-camera. No Photoshop is required, just the right angle and a healthy dose of sunlight.

I am still very much in the practice stage but I have to admit to being pleased with the results thus far. I call this style my ‘Vibrational Photography’. My aim is to create beautiful, uplifting, dreamy photography with a twist. 

More info: alamy.com

When talking about improvement in photography, we often hear a lot of nonsense answers, such as upgrading equipment, hiring more staff, trying to find a niche, and so on. This isn’t bad advice, and I give it as well. The thing is, it is so generic and so common that it has lost its meaning. Here are some real tips on how to become a better photographer.

Patience

This is not a sprint; this is a marathon, an Ironman challenge if you will. You need to have endurance and passion if you want to become a photographer. Naturally, you may wonder, how do I know? After all, I’m only in my early twenties, so it’s an expected question. The thing is, at this age, there are plenty of much easier paths to go down than art fashion photography. While there are people my age who do it as a hobby, very few would call themselves full-time. Photography is my 24/7 job from which I make my living. There were plenty of times when quitting seemed like the more logical and easier option. I even tried quitting it for a few months in 2021. I soon realized that my passion for the craft lies very deep, and it is something that is simply impossible to forget or beat.

Being an artist, a photographer is not a get-rich-quick scheme. If you’re my age and are reading this, get prepared for sleepless nights, baked beans on bread, and dry months. No sane person would choose that, and the only thing that will help you through these periods is patience and passion for what you do. Be in it for the long run. I know people who started after I did and quit already, saying that there is nothing in it.

Lighting Skills

One thing that is often overlooked by a lot of photographers is the need for lighting skills. It is fairly difficult to understand light, and I won’t lie, the more I dive into this, the less I know. Quite ironic, but still, I notice that my lighting has become better and better. This correlates with the clientele you can get and budgets. A photographer who knows how to set up a softbox will get stuck as soon as the client asks for the shadow to be brighter, moved to the left, and the light on the face to be harder, more specular, and contrasted.

Lighting is an art; much of your style is your lighting and editing. Importantly, to edit in an authentic way, you need to light in an authentic way. It is fairly hard to take an image already taken and edit it to look like something in your style. Not impossible, but hard. Familiarizing yourself with as many modifiers as possible, renting modifiers to see how they perform, and seeing beyond the softbox is a slog every photographer must go through to understand how light works. While it sounds a lot like the skills required to use flash, it really isn’t. I shoot some of my work on location with no extra lighting. Being able to position your subject at the right angle with regard to sunlight is another important skill. Landscape photographers will know very well how important the time of day and weather conditions (hence light) is to how the work looks.

Authenticity

It is hard to be original. It is often said that everything has been done before and we are just repeating it now. While I agree with this statement to some degree, it is still worth highlighting that originality is being true to yourself. Another difficult concept to comprehend, so let’s break it down. Authentic work isn’t something that is visually different from what everyone does. It is far deeper than that. It is about the aesthetic and your way of working. Two photographers may photograph the same model in the same setting but are bound to achieve somewhat different results. This is much more personal; it is not about the technique that you use.

Most photographers are familiar with things such as softboxes, etc., and have used them on occasion. There are also plenty of tutorials on lighting and so on. Yet, each photographer finds their own way of using the same equipment. Another factor worth considering is your approach to photography. I take a very impersonal approach and work with my subjects from an aesthetic point of view, expecting models to be more like actors and subjects of my art. Others may want to take a more personal approach and strive to capture real feelings and emotions. Neither is better or worse; they are simply different approaches that we take, which form an authenticity around our work.

Soft Skills

Soft skills are something that I am working on at the moment, so it is worth touching upon them as it’s something that is rarely taught. Soft skills are almost as important as your technical ability. Very few photographers are able to make it without being good communicators who are likable as well as memorable. Don’t go out of your way and develop a fake personality that conforms with everything; that is everybody else already.

In an industry where it is about your opinion and point of view on things, you must have one. Developing a finessed, clever way of being a likable, memorable person with an opinion, sometimes a contrarian one, is something I am working on as well. Speaking of likability, when I interviewed Rankin, he mentioned that he burned a few more bridges than he should’ve in his early days. Burning bridges is sometimes inevitable; however, you are likely to need that bridge later on. Leaving on good terms is advised.

Good Education

Photography education is all over the place these days. There is far too much random information on the internet that is coming from people who barely know what they’re talking about. An option would be to go to a photography school and get a degree in the craft. While you will get better information, something that will likely be missing from the syllabus is business skills, vital to being a profitable freelancer. I’m talking about everything from how to set up your company to how to file taxes to how to market yourself. Being just an artist is good enough if you have other streams of income, but it won’t cut it if you’re looking to level up your photography business. A lot of the time, we learn by doing or by having a mentor. A good education can also come from video courses, such as the ones sold at Fstoppers. Filmed by leading industry professionals, they provide the necessary insight and depth into this tough industry.

Closing Thoughts

Technical knowledge aside, here are some important skills that will help you develop your photography career. If you’ve ever wondered why somebody who produces worse work has more clients, it’s probably one of those things. I want to finish off by saying that patience is a virtue. Pair it with perseverance, and you are bound to be a successful photographer.