Photography

when björk met spike jonze — unseen photographs of the iconic 1995 encounter

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when björk met spike jonze — unseen photographs of the iconic 1995 encounter

wetransfer presents the day I met björk as a show & online zine

WeTransfer announces The Day I Met Björk, an exhibition and a free, downloadable zine of unseen photographs of Icelandic singer-songwriter Björk, captured by Spike Jonze and curated by fashion designer Humberto Leon. The series unveils over 25 previously unseen images taken by the American filmmaker in the summer of 1995 at the Chateau Marmont in the days prior to shooting Björk’s seminal music video ‘It’s Oh So Quiet.’ Of the thousands of photos taken that day, only six were published, becoming classics in the Björk canon. 

when björk met spike jonze — unseen photographs of the iconic 1995 encounter
all images © Spike Jonze

a rare glimpse into spike jonze’s iconic meet with the singer

The Day I Met Björk launched on February 15, 2024, at Humberto Leon‘s LA restaurant and gallery space Arroz & Fun. The fashion designer discovered the outtakes long treasured by the singer’s fans, while helping Spike Jonze organize his archive. ‘When I came across these photos at Spike’s I knew, as a longtime fan of both he and Björk, that they were special and needed to be seen. I remember being a college kid and seeing the originals in Detour, they were instantly iconic to me. It’s an honor to help bring these photos out from the archive for fans everywhere to see for the first time,’ Leon shares. 

when björk met spike jonze — unseen photographs of the iconic 1995 encounter
The Day I Met Björk, announced by WeTransfer and curated by Humberto Leon

WeTransfer’s support of The Day I Met Björk is one in a series of collaborations initiated via its arts platform, WePresent — fostering a sense of community among creators by offering its platform as a hub where they can distribute content to their fans. ‘The meeting of Spike Jonze and Björk almost 30 years ago resulted in now iconic photography and one of the most referential music videos of the 90s. The fact that we now get to revisit that meeting and share never-before-seen images with people around the world is so exciting,’ comments Holly Fraser, VP, Content at WeTransfer. To bring the images to fans around the world, a limited edition commemorative zine featuring never-before-seen contact sheets and a conversation between Jonze and Leon is available to download now globally for free here. Limited physical copies are available at the exhibition.

when björk met spike jonze — unseen photographs of the iconic 1995 encounter
25 previously unseen images taken by Spike Jonze in the summer of 1995 at the Chateau Marmont

when björk met spike jonze — unseen photographs of the iconic 1995 encounter
revisiting an iconic duo’s encounter

when björk met spike jonze — unseen photographs of the iconic 1995 encounter
The Day I Met Björk is also available as an online zine

In pictures: an ode to girlhood, friendship and Y2K fashion

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In pictures: an ode to girlhood, friendship and Y2K fashion
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Slingbacks, asymmetrical hems, capris, thick winged eyeliner, two strands of hair slicked down the side of each cheek… since the revival of Y2K aesthetics, a lot of these things have made a riotous comeback. We’re seeing Tumblr angst all over Tiktok, Instagram feeds being tinted with Valencia and Sierra filters, and the need for nostalgia seeping into the desires of both Gen Z and millennials alike. The same can be said for Dean Davies and James Perolls, two long-term friends born in 80s, who have brought their teenage experiences of the era into their collaborative photobook, Lost and Found. 

The pair – who both explore the dynamics of relationships in their work – decided to embark on their first collaboration last summer. Davies, an image-maker born in 1989 in Wirral, in the northwest of England, has built a portfolio replete with straight-up, familiar documentations of youth inspired by his years growing up in Merseyside. Perolls, a photographer and director based in London, and a child of the 1990s, has an archive filled with cinematic storytelling, shooting models in sunkissed dreamscapes and complex worlds. With Davies on the styling and Perolls on photography, they merged their perspectives to document coming-of-age between a group of four. “This was an opportunity to create a story that focused on something universal – friendship in the formative years of adolescence,” Davies tells Dazed. 

To illustrate this tale, casting director Lucy Howell found London-based models Miriam, Ruby, Sashuana and Sibilla, a group of strangers who would perform the role of close friends. Reenacting the dreams, fears and self-discovery of girlhood, they’re photographed listening to music on the floor, snapped mid-pout as they apply their makeup – brushes, polish and reference material from a teen mag splayed on the bed – and getting dressed up to perch on the wall outside (the adolescent equivalent of the pub). 

“It’s a love letter to the people and places I grew up around – particularly women and outer-city fashion of that era” – Dean Davies

These undeniably joyful times are contrasted with more earnest moments. There’s discord in one image, for example, as one of the girls is slightly at a distance from the rest, a solemn expression on her face as she gazes to the floor. In another, they’re bickering in the hallway. “We wanted to show togetherness within friendship but also moments of friction and indifference at this formative moment of adolescence,” says Perolls. “It was important for us that the interactions between the models felt genuine, so on the shoot day we explained the storyline for each scene, provided some light direction and allowed the models to play out the scenes in a way that felt natural to them. The girls initiated interactions amongst themselves for a lot of the shots and assumed different roles and characters […] Observing them embody the roles and engage with each other was exactly what we were looking to capture.”

Friendships can often be identified by the certain uniform worn by its participants – the subtle repetition of brands, colours or cuts, each customised and tweaked to suit the individual personality of the wearer (Jane Norman bags, perfectly coiffed side-parts and UGG boots are an old-time, personal favourite). “These similarities of dress allowed people to associate and present themselves within a group, but even more interesting to me were the slight differences from outfit to outfit and person to person,” says Davies. “When developing the styling for this project I established ‘group outfits’ to communicate a sense of belonging within the friendship group and from there developed each girl’s outfits individually to allow their personality to shine through.” The clothing is a pastiche of vintage, high street and designer from the 2000s up until the present day, chosen “to achieve a sense of timelessness”, says Davies. Rebecca Chang was enrolled for the hair, and Linda Johansson for the make-up, who each brought their own vision and interpretation of the references from that era to the project. 

Perolls juxtaposes these louder fashion choices from the noughties with softer, quieter moments between the girls: lazing about the kitchen, waiting at the bus stop, idly wandering the poolside of the family home, a chat by the beach hut in Kent. Shot in his signature style, the images exude a sense of vitality and theatricality; they’re gentle but equally speak to the experiences of countless girls who sought out friendships and fashion growing up. Lost and Found is for friends – and girls – everywhere, the millennials who grew up in this era and everyone else who’s embracing it now. “It’s a love letter to the people and places I grew up around – particularly women and outer-city fashion of that era,” says Davies. “We hope that those who view this project will be able to connect with it through their own experiences and associations, whether that is through its depiction of friendship in the formative years of adolescence or through the sense of time, place and fashion.”

Lost and Found by James Perolls and Dean Davies is available now. 

The lens through which we view and shape our world

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The lens through which we view and shape our world

There are 30,000 photographs lurking on my computer, all of them from the last few years. If you know me, you are not surprised by that number. If you are like me, you might have even more on your computer. But this throng of images makes me wonder what drives my greedy stockpiling of fleeting moments, most of them not particularly momentous.

It started early. One of my stand-out childhood memories of Christmas is of unwrapping a boxy Polaroid Land camera, my “big gift” one year in the late 1960s. In that moment, I felt as if my parents really did know who I was and who I hoped to become. No number of pixels in my phone will ever compare to the eerie magic of watching my first Polaroid image slowly come into being — a blurry close-up of our dog Chrissie, if I remember right.

I’ve been taking photographs ever since. It has, at times, been part of my job. But mostly it’s been a reflexive way to mark time and change. Sometimes it’s a mediation, and sometimes it’s a way to transform a dull moment into a fun game.



icephoto1

Ice clings to a branch in Windsor’s winter weather.


SUSAN PHILLIPS — EAGLE COLUMNIST


Since moving back to this area, the bleak expanse of January and February has become my favorite time for taking pictures. It’s easier to stay close to home and look more intently at a familiar world transformed. Snow turns the landscape into an etching. The play of ice and water in the creek is infinitely varied. Winter sunlight is so pure, and the shadows so sharp.

A couple of weeks ago, my friend Abby and I spent a day wandering around Holyoke in that crispy winter sunshine taking photographs of empty paper mills stretched out along the canals, their brick walls turned into canvases for graffiti art, barely another pedestrian to be seen but still the occasional hopeful art gallery or coffee shop or row of curtained windows hinting at lives inside.

My favorite images from that day are of the windows in an empty old brick building. They’d been covered with warped plexiglass, and in the sharp winter sunshine reflected a wildly distorted image of the boxy modern gray-and-white building across the street.



HolyokeWindow

A building in Holyoke covered in warped plexiglass reflects the building across the street.


SUSAN PHILLIPS — EAGLE COLUMNIST


Why are so many of us devoted to this particular form of memorializing daily experience? Photographic images have become so ubiquitous that one might assume they have lost their power to surprise us or shift our perceptions. (According to researchers, we humans are taking an estimated 5 billion photos every day, and about 93 million of them are selfies.)

While never particularly trustworthy — the camera has always been an accomplished liar — photographs in the age of artificial intelligence seem to be rapidly becoming both more “realistic” and less “true.”

There’s a phrase that pops up over and over again in serious-minded conversations about the “why” of making photographs: “Every photograph is a self-portrait.” The first time I encountered it, I didn’t think much of it. But then I heard it in a photography class, read it in a book and then in another book. Then I saw it in a photo blog.

Oddly, almost every time I come across this quote it is attributed to a different well-known photographer. Some attribute it to Minor White, a master of the black-and-white print with an interest in Zen philosophy; others cite Sally Mann, known for large-format photographs of her family and domestic surroundings; and still others reference the great Depression-era photographer Dorothea Lange.

I can’t argue with that bunch, so there must be something to it. Perhaps it is the intensity with which a photographer sees and in that moment responds to what she or he sees. It can certainly be a way of projecting yourself onto the world while also standing back, and of capturing not just what you see but how you see it.

On the other hand, sometimes we push the shutter for the sheer fun of it — to catch the way a rising winter sun can turn my mare Maizie into a balloon animal, and turn me into Gumby’s giant stretchy sister. Yes, this photo is a self-portrait. But that is certainly not the point.

Saul Leiter’s experimental work celebrated in UK retrospective

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Saul Leiter’s experimental work celebrated in UK retrospective

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.

Photograph by Saul Leiter showing two people standing in a snowy city street seen through a damp window
Top: Ana, 1950s; Above: Pull, circa 1960; All images by Saul Leiter © Saul Leiter Foundation

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.

Black and white photograph by Saul Leiter showing a person with short hair wearing a dress and bending over backwards leaning up to the sky
Marianne, 1947

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.

Photograph by Saul Leiter showing a man standing in front of a red vehicle wearing a camel coloured hat and suit with a cigarette in his mouth
Harlem, 1960

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.

Photograph by Saul Leiter showing a sliver of a city street visible through a horizontal gap in a structure
Through Boards, 1957

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.”

Photograph by Saul Leiter of two women standing next to luggage cases on a pavement
Untitled, undated
Photograph by Saul Leiter of a rainy city street with a blurred figure crossing the road in front of a green car
Untitled, undated

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

Canon and MindMe International Illuminate Futures with Youth Photo…

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Canon and MindMe International Illuminate Futures with Youth Photo…
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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.

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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

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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.

Writer Annie Ernaux’s works are brought to photographic life in Paris

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Writer Annie Ernaux’s works are brought to photographic life in Paris

‘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

photo of people walking past undressed shop dummies

Bernard Pierre Wolff, Shinjuku, Tokyo, 1981. Gelatin silver print. 

(Image credit: MEP Collection, Paris. Bequest from the artist in 1985. © MEP, Paris)

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.

photo of man with trolley in supermarket

Jean-Philippe Charbonnier, «Où qu’c’est qu’elle est passée », Carrefour, Villiers-en-Bière (“Where on earth did she go?”, Carrefour, Villiers-en-Bière), 1973, Gelatin silver print

(Image credit: MEP Collection, Paris. Gift of the author in 1984. © Estate of Jean-Philippe Charbonnier)

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. 

woman on escalator

Dolorès Marat, La femme aux gants (Woman with gloves), 1987,
Fresson four-colour pigment print

(Image credit: MEP Collection, Paris. Acquired in 2001. © Dolorès Marat.)

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

Mother and child in window of flat on French estate

Janine Niepce, H.L.M. à Vitry. Une mère et son enfant (Council estate in Vitry. A mother and her child), 1965. Gelatin silver print 

(Image credit: MEP Collection, Paris. Acquired in 1983. © Janine Niepce / Roger Viollet)

Youths and burnt-out car

Mohamed Bourouissa, L’impasse (The impasse), 2007, from the series Périphérique. C-type print

(Image credit: MEP Collection, Paris. Acquired in 2008 thanks to the support of the Neuflize Vie Fondation. © Mohamed Bourouissa. Courtesy of the artist and Mennour, Paris)

Cosmin Gârleșteanu’s Bucharest street photography

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Cosmin Gârleșteanu’s Bucharest street photography
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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

From Australia’s wild frontiers to the US White House, 400 legendary photographers take centre stage at Xposure 2024 in UAE

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From Australia’s wild frontiers to the US White House, 400 legendary photographers take centre stage at Xposure 2024 in UAE
Clockwise, from top left: Ali Takes a Hit, 1971 by David Hume Kennerly; The Family by Angela and Jonathan Scott; a scene from the previous (7th) edition of the Xposure; and Hat Man, New Guinea by Eric Meola.
Image Credit: David Hume Kennerly | Eric Meola | Angela and Jonathan Scott | Archive

Sharjah: Get ready for a visual treat. More than 400 globally-acclaimed photographers and over 90 solo and group exhibitions featuring over 2,500 prints will beon display here for a weeklong visual festival.

The event will host leading international photographers to inspire and enlighten visitors via 200 events including exhibitions, discussions, debates, workshops and focus groups at the 8th edition of Xposure International Photography Festival.

8th XPOSURE
Event: Xposure International Photography Festival, 8th edition

Main feature: 2,500 unique stories through the lenses of 400 of the world’s most renowned photographers

Date: February 28 to March 5, 2024
Venue: Expo Centre Sharjah

Organiser: Sharjah Government Media Bureau (SGMB)

From former Chief White House and Obama administration photographer, Pete Souza, to distinguished winners of the ‘Wildlife Photographer of the Year’, a New York Times bestselling author, a Pulitzer Prize-winning photographer, and the creative mind behind the iconic 1971 Time Magazine cover featuring Beverly Sills – these legends have chronicled global conflicts and humanitarian crises, captured exclusive images of the world’s most notable leaders, and created photographs that have profoundly impacted the global narrative.

This is just a glimpse of the incredible talent that will be featured at the 8th edition of Xposure International Photography Festival, organised by the Sharjah Government Media Bureau (SGMB), and taking place from February 28 to March 5, 2024, at Expo Centre Sharjah.

Agenda

Through a comprehensive agenda, held over 7 days, the festival will feature 200 events presented by 150 of the world’s most skilled visual storytellers, including more than 45 inspiring talks and panel discussions, 90 solo and group exhibitions that will display 2,500 unique stories through the lenses of 400 of the world’s most renowned photographers.

The festival is set to extend its acclaim of being the largest celebration of photography and visual arts in the world.

It will showcase 16 genres and niches in professional photography – including people and portraiture; documentary and photojournalism; nature and wildlife; travel and adventure; fine art and creative expression; urban and street life; sports and action; as well as technical and experimental photography.

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The upcoming Xposure International Photography Festival (8th edition) in Sharjah is set to extend its acclaim of being the largest celebration of photography and visual arts in the world.

People & portraiture

In existence for close to two centuries, these two photography genres have only become more popular and talent-intensive in the past few decades.

The fresh perspectives and unique approaches developing globally in the fields of people and portraiture photography are being highlighted on the Xposure 2024 platform with 5 exhibitions by leading industry names, including Mark Edwards’ ‘Faces of Mallorca’; Ayed Tadros’s ‘Simplicity in Joy’; ‘Solar Portraits’ by Rubén Salgado Escudero; Adel Al Quraishi’s ‘The Two Holy Mosques’; and ‘Where Do I Go? Fifty Years Later’ by Rania Matar.

Ali takes a hit by David Hume Kennerly

Ali Takes a Hit, 1971.
Image Credit: David Hume Kennerly

Opportunities for further exploration and learning will be provided on vibrant discussion platforms. To name a few, Joel Grimes will lead ‘Navajo: Portrait of a Nation’; while Mark Julian Edwards will explore the role of conditioning in human perception during a talk titled ‘The Lenses of Perception: Seeing the Potential in Others’.

The talented portrait photographer, Rania Matar, will offer an intimate account of her personal journey and vast expertise at ‘From Personal to Universal: the Photography of Rania Matar’.

Documentary & photojournalism

As one of the most arguably important fields within professional photography, whose relevance continues to grow with the rising uncertainties of our time, Xposure 2024 will place a strong emphasis on photojournalism and documentaries through the coverage of pressing global narratives, critical moments, and untold stories by industry greats who have a gift of capturing the essence of the human spirit through their visual storytelling.

Attendees will be enriched by Rick Smolan, who will lead a discussion titled “Against All Odds,” and Nicole Tung with her talk “What is Left,” both highlighting their profound contributions to photojournalism.

Outback Drainpipe by Rick Smolan

Outback Drainpipe.
Image Credit: Rick Smolan

Pulitzer Prize-winning photographer, David Hume Kennerly, will enlighten audiences at “Behind the Scenes of History”, while Pete Souza, renowned for his tenure as the Chief Official White House Photographer during the Obama administration, will lead the talk “Documenting for History”.

Zed Nelson’s “Guns, Beauty and the Anthropocene: A journey to the dark side of modern culture” will explore the complexities of contemporary society.

A Rohingya woman - Copyrights to Nicole Tung

A Rohingya woman.
Image Credit: Nicole Tung

Around 25 exhibitions will cover photojournalism including the likes of Dalia Khamissy who confronts the past with ‘Missing of Lebanon’; Afshin Ismaeli who presents ‘Shadows & Resilience: Life Under the Taliban in Afghanistan’; Sharwar Hussain who addresses climate change with ‘Tears of Global Warming’; Hans Strand who navigates human impact on landscapes in ‘Man Made Lands’; and Daniella Zalcman who explores identity in ‘Signs of Your Identity’, to name a few.

Nature & Wildlife

One of Xposure’s biggest focuses has been to boost public awareness around the majesty and vulnerability of the natural world by bringing leading advocates who have dedicated their lives to protecting and preserving the natural environment and its inhabitants.

The Family - Copyrights to Angela and Jonathan Scott

The Family.
Image Credit: Angela and Jonathan Scott

Angela and Jonathan Scott, both overall winners of London Natural History Museum’s ‘Wildlife Photographers of the Year’, will be giving the talk The Sacred Nature Initiative (SNI): Reconnecting People to Our Planet. Julieanne Kost’s “The Art of Compositing in Photoshop” will offer insights into the creative process.

This year, the festival will curate close to 15 exhibitions, including ‘In the Heart of the Wild – A Photographic Journey into the Last Untouched Realms’ by Sandesh Vishwanath Kadur; Joachim Schmeisser will unveil the “Hall of Giants,” emphasising the profound connection between humans and animals.

‘Visions of the Arctic’ by Florian Schulz; ‘Wildlife or Commodity? Icons of a Ruthless Trade’ by Britta Jaschinski; and ‘Savannah Silhouettes’ by Dhir Jakharia, to name a few.

Travel & adventure, urban & street Life

Xposure 2024 will present a visual journey through the enchanting corners of the earth with captivating exhibitions by leading travel & adventure photographers. Alex Wides’ ‘Extreme Panoramic Landscapes: The Beauty of Nature’; Richard Wilding’s ‘Heart of Arabia’; Marco Grassi’s ‘Nature’s Enchantment’; and Esteban Toro in ‘Spirits of the Earth: An Artistic Voyage Through Hidden Realms’, are part of a curation dedicated to celebrate this fascinating genre.

The weeklong festival will also bring the exciting pulse of bustling cities of the world and the dynamism of ever-changing cityscapes with urban & street photography exhibitions by leading international talents, namely John McDermott’s ‘Le Strade di Napoli-The Streets of Naples’; Hassan Ragab’s ‘The City Will Haunt You’; and Selaru Ovidiu’s ‘Time Travellers’.

Fine Art and Creative Expression

Photography enthusiasts and budding professionals will witness the most tasteful and imaginative intersections of art and photography as envisioned and realised by leading maestros of these genres. More than 10 exhibitions will be featured, including acclaimed Zimbabwean fine art photographer Tamary Kudita, internationally recognized for her work that merges cultural exploration with artistic expression, showcasing her series titled ‘Liberty’.

Hat Man, New Guinea - Copyrights to Eric Meola

Hat Man, New Guinea, by Eric Meola.
Image Credit: Eric Meola

Legendary photographer Eric Meola, a multi-award-winning photographer famous for his Time magazine cover of Beverly Sills in 1971 and known for transforming moments into vibrant visual narratives, will demonstrate his technique in “Bending Light: The Moods of Color”.

Acclaimed Australian marine and adventure photographer Craig Parry, who chronicles the majesty of Earth’s oceans and wild frontiers, will offer a window into Wildlife Photography Fundamentals.

Sports and Action: Technical and Experimental

The thrill and energy of sports and action will be felt in the exhibitions by Darren Heath and Neil Leifer, who will be showcasing ‘The Art Of Formula 1’ and ‘In Pursuit of Gold’, respectively. Festival-goers will gain a unique window into the fields of technical and experimental photography with Claudio Dell’Osa’s ‘Emotion’ – an exhibition that is equally boundary-pushing and innovative.

To know more about the exhibitions, panel discussions and inspiring talks, and photographers who will be featured across all these photography niches, visit https://xposure.net/uae-exhibitions-2024/ and https://xposure.net/events-2024/.

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Photos Xposure-1708325846029

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Mastering Moon Photography with the iPhone 15: A Comprehensive Gui…

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Mastering Moon Photography with the iPhone 15: A Comprehensive Gui…
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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.

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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

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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.

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