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Zheng Xin, a fan of the Shanghai Rolex Masters for 18 years, said she developed an adoration for Roger Federer through her specialty in sports photography at Maqiao Qizhong Tennis Center in Minhang District.

Nine years ago she moved from the district’s Gumei Subdistrict to Maqiao Town with her daughter and began to shoot abstract photos to capture the essence of her new dwelling.

“I’ve been learning photography for more than four decades,” said Zheng, whose work has won awards in a number of international and domestic competitions, and been showcased in exhibitions.

In the past years the ancient culture of Maqiao nourished her greatly.

In 2014 her photo album “Vision: Art Photography Collection” contained around 500 images. Around a third were abstracts.

In July last year, she presented her first abstract photography exhibition in the Maqiao Villa neighborhood. The 70 pictures on display were selected from tens of thousands of abstract works. Among them, 70 percent were inspired by the cultural elements of Maqiao.

“Humans seem to be born with a sense of aesthetics toward abstract beauty, which is a lifestyle they can’t part with,” said Zheng.

The pleasing nature and culture in Zheng’s neighborhood around the Qizhong tennis center inspired her multiple abstract photography works: the Camphor forest along Guanghua and Shuguang roads, the gingko tree corridor around the tennis center, the grand golf court of Qizhong, the lotus pond of Maqiao Sports Park and the Anhui-style architecture in the Aman Hotel.

Her photographic skills showed in pictures that were amazing, interesting and even weird, but all demonstrating the charm of abstract art.

The Maqiao ruins site, to the east of Yutang Village, indicates a history back to the Neolithic Age some 3,200-3,900 years ago. The site was discovered in 1959 and was followed by the unearthing of animal bones and many pieces of ancient stoneware and pottery.

“It is my great pleasure to study its pictographic and abstract cultures while practicing innovative abstract photography,” said Zheng.

The “Relics from Gangshen (ancient ridge)” is a representative work of Zheng’s that captured shell sand layer, terracotta patterns, primeval porcelain and bronze wares, all being essential cultural elements recording the history of Shanghai’s coastal line receding and changing into land.

“I tried to express the plain, chaotic and ambivalent beauty from those primeval cultural elements,” said Zheng.

Other abstract photos record the beauty of daily life lived in the peaceful and eco-friendly Maqiao.

“The Shaxi River of Maqiao, after cleansing and dredging for about two years since 2018, was selected as a well-preserved river in Shanghai. I felt honored for this, and used simplified structure to record the river, sky and some shadows of trees,” said Zheng .

About six years ago, Zheng founded her abstract photography team.

Through six years of practice, the members have been able to use abstract photography to record their hometown Maqiao. Their works were displayed in an exhibition at Maqiao Cultural Exhibition Hall.

In 2005, photographer Hemi Kerem traveled to Pushkar in Northwestern India and captured an image of a little girl named Mamta, whose striking green eyes left a lasting impression; 19 years later, he returned to reestablish contact with the now-adult woman

By the end of September, PhotoEspaña, Madrid’s yearly photography festival, will have hosted more than 80 exhibitions featuring the work of nearly 300 photographers and visual artists. Shows by established figures such as Elliott Erwitt, Paloma Navares, David Goldblatt and Erwin Olaf lead a roster that also includes less familiar names, Lúa Ribeira, the Widline Cadet and Consuelo Kanaga among them.

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The exhibition venues and staging can be as impressive as the photography itself. Erwin Olaf’s pictures are lavishly installed with curatorial aplomb in the subterranean and cavernous Fernan Gomez cultural centre; Boris Savelev’s urban visions occupy the Serrería Belga, an industrial heritage site and former sawmill; and Gonzalo Juanes’s work is displayed over four floors that ascend a 1907 water tower. Elliot Erwitt’s work prints are elegantly displayed at the Canal Foundation.

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Ribeira’s Agony in the Garden explores the rap subgenre drill scene in post-pandemic Spain as her way of addressing the relationships between a contemporary youth movement and job insecurity, environmental crisis, violence and migration.

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The project is enhanced by its ambiguity and its use of different modes of storytelling including reportage, vernacular images, screen captures, religious imagery, along with sketches and discarded photographs. “Well, it is a time of contradictions, of growing up in a very soulless world much of the time, with financial crises, and all of that is a little present in the images,” Ribeira says.

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The South African David Goldblatt once commented that “events in themselves are not so interesting to me as the conditions that led to the events”. A magisterial survey of his work at Fundación Mapfre builds a quietly devastating indictment of apartheid. Goldblatt’s status as a white man no doubt opened doors that otherwise would have remained firmly shut, but so too did his aspiration to objectivity, honesty and deadpan impartiality even while documenting the cruelties, absurdities and outrages of his country’s social structure, where even the built environment could be expressive of the “needs, conceits, longings and fears of those who built and used them” and the “vital beliefs and ideologies upon which lives here were contingent”.

Throughout he maintained an attitude of distance and apparent impartiality, testimony to his belief that “my own feeling was that if you wanted to be a photographer – in South Africa, certainly – you had to be able to look at things at arm’s length.”

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A group exhibition, Perpetuum mobile, celebrates the work of 27 Spanish photographers who have emerged since the millennium. Many of the group are women, working in a sector previously inhabited mainly by men. The subject matter, themes and techniques employed vary widely. Perhaps the group is united only by time and a dissatisfaction with the ambitions, modes and forms of address used by their predecessors. Elena de la Rúa’s photographs of animal corpses against painted backdrops discard traditional distinctions between fact and fiction. Irene Zottola tests the limits of analogue photography in the project Icaro. And María Cañas’s photomontages play havoc with photos and postcards from the Hollywood era.

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Fundación Mapfre hosts surely the definitive overview of six decades of work by the one-time San Francisco Chronicle staff photographer Consuelo Kanaga, of whom Dorothea Lange once said: “She was the first newspaper photographer I’d ever met. She was a person way ahead of her time.” Despite her early commitment to photojournalism and social justice, and her familiarity with California’s f/64 group and New York’s Photo League, her photography was always deemed secondary to her partner’s work (she married three times). Perhaps this exhibition will go some way towards redressing that neglect.

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There is an irony to Widline Cadet’s inability to attend the display of her own work at Casa de América. Take this with you explores the experience of diaspora, absence, longing and separation. Haitian-born Cadet, who is now living in the United States, is without a green card and is unable to travel.

“When moving to the United States,” she has said, “I felt like I was disappearing into someone else.” The project is multilayered, and besides her own photographs she includes video recordings, archival family photos and a recreated living room replete with Haitian iconography, including a plastic-covered sofa and exuberant flower displays. It’s worth checking the number of limbs in her pictures – she can sometimes use Photoshop trickery to hint at the fictional content of memory.

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An Uncertain Light showcases the neglected output of the Asturias photographer Gonzalo Juanes by focusing primarily on the 1960s and 70s, everyday life shot in rich Kodachrome. The exhibition refers to his preference for working in the changing and subdued conditions of a northern twilight: “I don’t usually take photos in sunlight … it is a question of psychological and even physiological need; it is pure authenticity.”

He was modest and shy, abandoning portraiture when he found interacting with sitters too stressful.

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Most extraordinarily, despite all evidence to the contrary, he remained convinced of the unimportance of his own work, which he repeatedly refused to exhibit. “I understand that this photography is too intimate, lacking in the punch and impact so fashionable today. It is not on the cutting edge; it intentionally refuses to shock or amaze.”

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The Human Comedy presents 135 of Elliott Erwitt’s own work prints (and a handful of full-scale pictures), divided into three categories: people, animals and shapes. As the title implies, a gentle humour and an untroubled outlook were the hallmarks of his storytelling, enlivened by wit, timing and juxtaposition.

No wonder his pictures can be so readily divided into “people” and “animals” sections. After all, he did write that “dogs are like people, just with more hair.. Viewers less inclined to anthropomorphism might enjoy his photograph of a fly, forcefully silhouetted against a window screen and the ring of a blind.

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Beyond Madrid the festival has exhibitions in Almería, Barcelona, ​​Cartagena, and Valladolid. If that were not enough three shows are planned for Mexico City in September.

• Guy Lane traveled to Madrid as a guest of PhotoEspana.

The Royal Horticultural Society (RHS) has announced the winners of the 2024 photographic competition revealing a beautifully eclectic selection of images from amateur and professional photographers alike from around the globe. 

The annual RHS Botanical Art and Photography Show brings together artists and photographers – with entries being given Gold, Silver Gilt, and Bronze medals – just like at the famous Chelsea Flower Show. 

This year the overall Best in Show prizes went to Andrea Jones for best portfolio, and to Christine Adams for the best individual photo.

Andrea Jones has been photographing gardens professionally for 25 years, but she had never entered this competition before. Her trio of images, entitled Gardens Illuminated, show beautifully backlit scenes shot on location at Les Jardins de Marqueyssac in France, James Golden’s Federal Twist Garden in the USA, and Melbourne Hall in the UK.

Christine Adams’ black-and-white image was shot at the Amanjena hotel resort in Morocco, entitled Earthly Paradise Garden II, and depicting an ornate archway flanked by a pair of date palms.

The RHS Botanical Art & Photography Show will be open to the public until July 7 2024 at the Saatchi Gallery, London.

Mumbai: Satya School has announced a unique initiative aimed at nurturing the perspective of the young minds with their new campaign #IgnitingImagination #BeyondTheObvious. For the campaign, the school has onboarded an internationally acclaimed photographer, Vicky Roy for organising a captivating photography workshop for the students.

From a tearful runaway in Delhi to capturing dreams, Vicky is full of inspiration and aspiration. From getting recognition for documenting the World Trade Center’s reconstruction in New York to being invited by Prince Edward at Buckingham Palace in UK, he has come a long way. He was also a part of the Forbes Asia 30 under 30 list in 2016.

Indiantelevision.com caught up with Roy where he shared his thoughts on the initiative and his personal journey in photography.

Edited excerpts

On the concept of #IgnitingImagination #BeyondTheObvious

Photography is not just about capturing moments; it’s about telling stories through a visual medium. This form of storytelling allows students to express themselves, explore their creativity, and build their cognitive skills in unique and engaging ways. This workshop at Satya School demonstrated the power of visual storytelling and its potential to revolutionize teaching methods.

The concept of #BeyondTheObvious at Satya School encourages students to look deeper and see more than what meets the eye. It’s about finding meaning and beauty in everyday moments. The workshop demonstrated that every photograph has a story, and often, the most compelling stories are found in the most unexpected places. The practice of looking beyond the obvious fosters a mindset of curiosity and inquiry, essential for cognitive development.

Photography is more than a profession; it’s a journey of self-expression and discovery. My personal story of using photography to rise above challenging circumstances resonates deeply with the themes of #IgnitingImagination and #BeyondTheObvious. If you will look through my lens, I have been able to capture the resilience and beauty of human experiences, shedding light on stories that often go unnoticed.

My journey is a testament to the transformative power of visual storytelling. By sharing my experiences with the students at Satya School, I tried inspiring students to use photography as a tool for self-expression and social change. With a camera, students can tell their stories, share their perspectives, and contribute to a larger narrative that goes beyond the obvious.

On igniting the imagination of young minds through the photography workshop

In the workshop at Satya School, students were not just taking pictures; they were learning to see the world with new eyes. They were developing empathy by capturing human emotions and experiences, enhancing their emotional intelligence. They were telling stories, building narrative, skills that are crucial for communication.

Visual storytelling through photography is a powerful educational tool that aligns perfectly with the concepts of #IgnitingImagination and #BeyondTheObvious. It encourages students to explore their creativity, think critically, and express themselves in ways that traditional methods may not allow. The workshop at Satya School exemplified how photography can be used to foster a love for learning, build cognitive skills, and inspire students to see the world through a new lens.

For instance, a simple photograph of a playground can spark a story about adventures, friendships, and dreams. Each click of the camera becomes an act of imagination, transforming ordinary scenes into extraordinary tales. By engaging with their environment creatively, students learn to think beyond the obvious, developing a rich inner world of ideas and stories.

On capturing the essence of a moment through your lens

Photography, as a form of visual storytelling, has the power to ignite the imagination in ways that traditional methods may not. When students are given a camera and encouraged to capture the world around them, they start seeing their surroundings from a new perspective. They begin to notice details, patterns, and stories that were previously overlooked. This process of discovery fuels their imagination, allowing them to create narratives that are deeply personal and innovative.

On techniques you teach young photographers to help them convey emotions effectively through their images

Capturing the essence of a moment through photography requires a deep connection with the scene and subjects you’re photographing. It starts with immersing yourself emotionally, truly feeling and understanding the atmosphere. This connection allows you to anticipate and recognize genuine expressions and interactions. Observance is crucial; by being patient and attentive, you can catch subtle gestures and fleeting expressions that convey powerful emotions.

Patience and observation are key. Spend time watching your subjects, noticing subtle gestures, expressions, and interactions. Pay attention to the context and surroundings, as these can add depth to the story you’re trying to tell.

Lighting plays a pivotal role in setting the mood. Natural light, whether soft and diffused or harsh and dramatic, can enhance the emotional tone of the photograph. Composition techniques, such as the rule of thirds, leading lines, and framing, help draw attention to the emotional core of the image, guiding the viewer’s eye to what’s most important.

Focusing on details can often capture the raw essence of a moment more effectively than a wide shot. Zooming in on a tear, a smile, or a hand gesture can tell a deeply emotional story. Candid photography, where subjects are unaware of the camera, often reveals the most genuine emotions, providing an authentic portrayal that posed shots cannot.

Engaging with your subjects helps them relax and display their true selves. By creating a comfortable environment, you encourage genuine expressions and interactions, allowing the true essence of the moment to shine through your lens.

On balancing technical proficiency and emotional depth in your photographs

After capturing your images, take the time to review and reflect on them. Evaluate not just the technical quality but also the emotional impact. Are the emotions conveyed effectively? Does the photograph tell a story? This reflection helps you improve and find the right balance in future shoots.

By merging technical skills with emotional sensitivity, you create photographs that are not only visually striking but also deeply moving. This balance allows you to produce work that resonates with viewers on multiple levels, combining the best of both worlds.

Once you’ve mastered the technical skills, you can use them to enhance emotional expression. For example, using a shallow depth of field can isolate a subject, drawing attention to their emotions, while a well-timed burst mode can capture fleeting moments of joy, sorrow, or surprise. Lighting can dramatically alter the mood of a photograph, so understanding how to use natural and artificial light to your advantage is key.

On sharing some key moments that defined your path in photography

My journey has indeed been filled with defining moments that have shaped my path in photography. When I first ran away from home, I was very young—only eleven or twelve years old—and had to navigate the harsh realities of life on the streets. At that time, I had no room for emotions. I was sitting on a platform, crying and unsure of what to do next until I met friends who provided me with emotional support. Despite missing home, I was determined to make something of myself and knew there was no going back empty-handed.

The turning point in my photography career came when my mentor advised me to visit exhibitions. I noticed that other artists’ works had distinct themes, which inspired me to shoot my own story.

I began recreating moments from my street life, sometimes asking children to pose as I did during my childhood. When real scenes were available, I captured them; when they weren’t, I recreated them. My emotions naturally found their way into my work. A particularly defining moment was when the police confiscated my film while I was shooting at a station, saying it wasn’t allowed. Such experiences, although challenging, became integral to my work and storytelling.

Each of these moments, from the struggles of my early life to the challenges faced while pursuing photography, has significantly contributed to my journey and the authenticity of my work. They have shaped not only my path as a photographer but also my perspective on life and art.

On being part of the Forbes Asia 30 under 30 list impacting your career and personal life

Being named in the Forbes Asia 30 under 30 list in 2016 was transformative for my career and personal life. It significantly elevated my profile, opening doors to international platforms and prestigious speaking engagements at Harvard, Facebook, Google, the Pentagon, and the World Bank. This recognition validated my journey from the streets to the global stage, reinforcing the power of perseverance and storytelling. It also inspired me to continue pushing boundaries and using my platform to empower others. The acknowledgment affirmed my belief in capturing authentic stories and motivated me to keep documenting overlooked narratives, enriching both my career and personal growth.

On the future of photography in India, especially with the advent of new technologies and platforms?

New technology makes things easier. AI will definitely not end photography but will simplify tasks, like enhancing images with filters.

Wildlife photography often captures moments that leave us in awe, but a recent video from Tadoba National Park – Andhari Tiger Reserve in Maharashtra has left the internet surprised. Photographer Nikhil Giri managed to capture a moment that seems almost too magical to be real, the famous tigress Maya appearing to ‘wave’ at tourists.

In the captivating video, the majestic tigress is seen near a water body, quenching her thirst before turning towards the camera and raising her paw in a gesture that resembles a wave.

“Quenching her thirst and giving us a royal wave. Captured this majestic moment at Tadoba Andhari Tiger Reserve,” reads the caption.

Watch the clip here:

Giri shared the video on social media, and it quickly went viral, amassing over 1.6 million views and a flood of reactions. Comments poured in from all corners of the internet, with users expressing their amazement and delight. “Absolutely incredible! What a magnificent creature,” one user wrote. Another commented, “This is why I love wildlife photography – it brings such rare and beautiful moments to the world.”

Maya, often referred to as the queen of Tadoba, has been a favourite among visitors and photographers alike. This latest video only adds to her legendary status, reminding us of the grace and wonder of the natural world.

As the world eagerly anticipates the union of Mukesh Ambani’s son Anant Ambani and Viren A. Merchant’s daughter Radhika Merchant, the extravagant celebrations leading up to their wedding have captured the imagination of many. Amidst the opulence of a luxurious cruise ship in Europe, the couple’s pre-wedding bash has become a spectacle of grandeur, meticulously documented by the renowned photographer Joseph Radhik. Known for his adeptness at capturing the essence of such lavish affairs, Radhik has provided a stunning visual narrative of the festivities.

Who is Joseph Radhik?

Joseph Radhik

Joseph Radhik stands as the mastermind behind the lens, immortalising the moments of Anant Ambani and Radhika Merchant’s pre-wedding celebrations. With a daily fee ranging between Rs 1.25 lakh to Rs 1.50 lakh, not inclusive of travel and accommodation expenses, Radhik commands attention not only for his photography skills but also for his ability to encapsulate the grandeur of high-profile events. His portfolio boasts coverage of numerous celebrity weddings, solidifying his reputation as a top-tier photographer in India.

Also Read: From charter flights to silver jewellery: Gifts and services guests enjoyed on Anant Ambani & Radhika Merchant’s pre-wedding cruise

Capturing Grandeur: The Pre-Wedding Extravaganza

Anant Ambani-Radhika Merchant

The pre-wedding festivities spanned across four magnificent days aboard a luxury cruise liner docked in Italy’s Portofino. The events commenced with a warm Sicilian welcome lunch, setting the tone for the lavish affair that followed. Each day unfolded with a unique theme, including a starry-night-themed formal party that epitomised elegance against the backdrop of Italy’s scenic beauty.

Also Read: Anant Ambani, Radhika Merchant’s Wedding Venue ‘Jio World Centre’ Can Be Rented At This Price Per Day

Joseph Radhik: From Engineer to Celebrity Photographer

Joseph Radhik

Before becoming a household name in wedding photography, Joseph Radhik’s journey was one of diverse experiences. After pursuing engineering and management studies, and even exploring the corporate world briefly, Radhik found his calling in photography. His decision to pursue wedding photography full-time in 2010 marked a pivotal moment, as he shifted from traditional career paths to capturing moments of love and celebration for some of India’s biggest stars.

The Legacy of Joseph Radhik

Radhik’s lens has graced the weddings of Bollywood and cricket icons, including Katrina Kaif-Vicky Kaushal and Virat Kohli-Anushka Sharma. His ability to blend artistry with the emotion of each occasion has made him the photographer of choice for those seeking to immortalise their special moments in a spectacular fashion.

Also Read: From Gold Spoons To Handmade Beds: It’s Not Mukesh Ambani’s Antilia But Pakistan’s Most Expensive House, Check Pics

As Anant Ambani and Radhika Merchant prepare to embark on their lifelong journey together, Joseph Radhik’s photographic narrative stands as a testament to the splendor and magnificence that defined their pre-wedding celebrations. Through his lens, Radhik not only captures moments but creates enduring memories that will be cherished for generations to come. His role in documenting this opulent affair reinforces his status as a maestro in the realm of wedding photography, ensuring that each frame tells a story of love, luxury, and unparalleled beauty.

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YELLOWSTONE NATIONAL PARK, Wyo. – Officials from Yellowstone reached out Saturday to remind photographers how to safely get the best shots of the many wildlife encounters that can occur in the park, such as grizzlies and wolves fighting over food sources. 

The first step in capturing the moment, according to the park, is to zoom with the camera lens, not your feet. Park rules are to keep a distance of 100 yards (91 m) from bears and wolves, and 25 yards (23 m) from all other wildlife.

While some of Yellowstone’s wildlife can withstand crossing through geothermal features, humans cannot. It’s important to stay on the boardwalk and behind fences to capture any pictures as boiling water is often just below the thin surface. 

Using pullouts to stop and take pictures, rather than blocking the roadway, and carrying bear spray are more ways the park advises keeping safe while taking some memories home both from the roadway or in the backcountry. 

Lastly, cameras and cell phones are acceptable ways to take pictures in the park, but drones are still not permitted anywhere in Yellowstone, the park reminds.