BRATTLEBORO — In-Sight Photography will announce the winners of its first youth photo contest at an award ceremony and photo fair on Saturday, Sept. 30, from 4 to 7 p.m., in The Latchis’ Main Theater. The contest includes five categories: Analog/Film, Artistic, People, Places, and The New England Experience. A total of 89 images were submitted by 31 youth, ages 11 to 18, from Brattleboro and neighboring towns including Dummerston, Guilford, Marlboro, Putney, and Vernon as well as Bennington, Florence, Mass., and Keene, N.H.

“Our goal for the event is to recognize and celebrate our community’s young artists and we look forward to welcoming the community to commemorate this experience for them,” said Emily Wagner, executive director, In-Sight Photography Project.

Working with honorary chair, photographer Cathy Cone, In-Sight’s jury includes influential local and national artists: Analog/ Film, Michael Kirchoff (Analog Forever Magazine) and Vaune Trachtman (Olcott Family Award/The Print Center’s Annual International Competition); Artistic, Cathy Cone (Cone Editions Press and InkjetMall) and Aline Smithson (Lenscratch Magazine); People, Rachel Portesi (photographer) and Geoffrey Peckham (Tusen Takk Foundation); Places, Joan O’Beirne (Greenfield Community College) and Dale Rio (The Halide Project); and The New England Experience, Jon Gitelson (Keene State College) and Tim Trelease (Deerfield Academy).

Along with the jury’s picks, community members are invited to vote for a “People’s Choice” award. Voting ends on Sept. 29. To vote, go to: https://woobox.com/koufgd

Contest winners will be announced from the main stage at The Latchis at 6 p.m. with prizes ranging from Canon DSLR cameras, Polaroid cameras, gift certificates, and more. Each participant will also receive a gift bag from In-Sight in recognition of having been a part of the contest.

Beginning at 4 p.m., enjoy a photo fair with the contest images on display, food, face painting, balloon art, along with photo games created by In-Sight staff. Come test your film tank loading skills, try to capture the right action shot, or play with light painting.

Lead sponsors include: 802 Credit Union, C&S Wholesale Grocers, Cone Editions Press, Guilford Sound, InkjetMall, and Vermont Center for Photography. Brattleboro Savings & Loan, Members’ First Credit Union, The Richards Group, and Trust Company of Vermont, also supported the contest. Media sponsors included the Brattleboro Reformer and Vermont Independent Media/The Commons.

Participating Artists

Adnan Hussainzada, 16, Brattleboro

Antonio Andrew-Moore, 17, Williamsville

Atticus Haskins Rogers, 12, Florence, Mass.

Aubrey Hallock, 12, Brattleboro

Ava Einig, 14, Guilford

Azzan Yahya, 16, Brattleboro

Blake Trubridge, 13, Newfane

Blue Berenguel, 16, Brattleboro

Callie Burch, 13, Brattleboro

Charlie Latham, 15, Keene, N.H.

Eisa Hiam, 14, Putney

Emma Paris, 17, Putney

Eowyn Jakub, 13, Leyden, Mass.

Ezat Yahya, 17, Brattleboro

Ezra Hemphill, 14, Northfield, Mass.

Genevieve Taggart, 15, Hinsdale, N.H.

Jasmine Thibault, 15, Dummerston

Kota Rayne, 18, Jacksonville

Leo Mousseau, 16, Marlboro

Lily Arnold, 11, Dummerston

Matrix Balsley-Patraska, 13, Guilford

Milo Latham, 12, Keene, N.H.

Navaeh Sheldon, 13, Brattleboro.

Nico Conathan-Leach, 16, Guilford

Nova Stroble, 17, Vernon

Otto Morlock, 17, Brattleboro

Ronen Carnes, 11, Vernon

Roxanne Burt, 17, Marlboro

Ruby Schlatter, 17, Bennington

Thaddeus Taggart, 15, Hinsdale

Vivian Elliot, 16, Brattleboro

For more information, visit Visit insightphotography.org.

Washington, DC (September 26, 2023) A formally trained biologist, now renowned photographer, National Geographic Explorer Anand Varma has founded WonderLab, a physical space in Berkeley, California where he will develop innovative storytelling techniques to create images and videos that push the boundaries of how we understand the invisible world. 

“When I decided to pursue photography, I thought I had to abandon my childhood dream of becoming a scientist,” says Varma. “As I began to document the life cycles of bees, bats, jellyfish, and other insects I realized that science and photography are not mutually exclusive efforts. Science provides structured systems for observing the world while photography gives us tools for extending our visual perception.”

Composed of 23 digitally merged photographs, this image depicts a new honeybee emerging from a brood cell. In her six-week life span, this worker bee will forage for food, make honey and raise the next generation. Photo Credit: Anand Varma/National Geographic

Within WonderLab, Anand will develop breakthrough photography and filmmaking techniques that capture details and patterns often hidden or overlooked, culminating in his upcoming lifecycle visualization project: Metamorphosis.

“Wonder expands and challenges our understanding of the world,” says Varma. “Wonder leaves people ready to explore the world with fresh eyes. Evoking this feeling is the central goal of my work. With WonderLab, I can harness the power of wonder to develop novel ways of telling stories about the natural world.“

WonderLab also serves as an incubator for ideas and talent by offering mentorship and education opportunities for aspiring scientists and storytellers to cultivate their skills in visual communication. 

Recently, Anand facilitated a technical and immersive, storytelling training with the Second Assistant cohort of storytelling Explorers where he demonstrated his methodology for taking captivating visuals and invited the Explorers to experiment with different photography techniques.

Photo Credit: Mark Unger 

National Geographic Society has also launched a digital collection of online educational resources inspired by Anand’s work, that invites educators and youth to cultivate the mindset of an Explorer which includes curiosity, empathy, empowerment, problem-solving, and storytelling.

Anand and the National Geographic Society aim to explore the mysteries of our world hidden in plain sight, demonstrating how science coupled with stunning visual storytelling sparks curiosity and creates a deeper connection our natural world. 

“A compelling photograph can change us, it can challenge assumptions, make room for new ideas, and expand our curiosity,” says Kaitlin Yarnall, Chief Storytelling Officer at National Geographic Society. “Through WonderLab and Anand’s expertise, we can use stunning visuals to expand the way we see the world and evoke wonder and awe for the overlooked things around us.“ 

Additionally, today, September 26, 2023, National Geographic Books published Anand’s book, “Invisible Wonders: Photographs of the Hidden World.” Anand guides readers through an eye-popping collection of fascinating images—his own and those of many others—that reveal patterns and details within nature unseen by the naked eye but revealed by the photographer.

A selection of images and videos from Anand’s portfolio are available in this Press Kit. 

To learn more about Anand and WonderLab visit www.natgeo.org/wonderlab 

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Whether you’re hiring a photographer for your wedding, getting a headshot, or even hiring a second shooter as a photographer yourself, it can be daunting. So, what are the worst red flags you ought to be wary of when hiring a photographer?

Photography can feel like an incredibly unimportant job at times. Sometimes, as I’m framing a shot, I do wonder if I should be doing something more impactful, but then I’ll refocus my attention. Yes, most shoots won’t change the world, and some shoots aren’t going to make much of a difference to anyone, but plenty of shoots will yield results that will be cherished long after you’ve shuffled off the mortal coil. In fact, the most common reasons the average person will hire a photographer all fit nicely in that camp of memories. But, whether you’re hiring your wedding photographer or hiring a photographer to work with on a wedding, we all need to look out for warning signs.

Photography as a craft is more accessible than it has ever been, which is a double-edged sword. On the one hand, that means there are far more people to choose from. On the other, there is less effort required to get started and it’s cheaper than it has ever been, too!

A Lack of a Professional Portfolio

Now, a photographer doesn’t need to have an award-winning website with cutting-edge design, but they do need something. If we take a wedding photographer as an example, generally, I would expect to see a selection of their best images with a logo, some galleries with past work, an “about” section of some description, and a contact page.

I have very occasionally seen photographers with no digital portfolio, which is archaic. The more common red flag is a dreadful portfolio without much information, no reviews or testimonials (if it’s relevant to have them), no wedding galleries, and so on. It doesn’t mean they can’t be trusted, but it isn’t difficult to put together a decent portfolio even if you are not remotely “techy.” It worries me when a photographer hasn’t bothered to do the basics, and that’s before I look at the quality of the images.

Poor Communication

It doesn’t matter what industry I’m working in, whether I’m the client or the business, or how skewed the “power” dynamic between me and another person is, poor communication is something I cannot stand. If you’re looking to hire a photographer and the responses take far too long, lack clarity, or don’t answer all of your questions, perhaps it’s worth moving on. If communication is difficult when things are easy, they’ll be a nightmare if there are any problems.

A Lack of Transparency

This is a related point to “poor communication” in many ways. Sometimes, poor communication is merely a result of carelessness, or something similar. But, on occasion, it’s a sign of something more sinister. If you are asking clear, well-structured questions (I usually put them in a numbered list), and the photographer is dodging some of them — particularly around the topic of prices — it could be a large red flag. Not only could it indicate that they are trying to bury fees until you’re in a position where you feel you don’t have a choice but to pay them, but it could also mean they treat their prices as somewhat dynamic and want to gauge your situation.

In the same vein, be careful of a lack of contracts, terms and conditions, clear deliverables, explanations of image ownership, timelines, and so on.

No Obvious Areas of Specialty

As far as professional photographers go, I am less of a one-track guy than most. In fact, I have been criticized over this before because I make my money in photography in two distinct genres (that share some overlap). Nevertheless, if I was looking for a photographer for something specific — let’s stick with weddings — and their portfolio had product photography, macro, automotive, pets, and so on, then even if they seemed a strong wedding photographer, I’d have doubts.

With regards to this being a red flag, it’s the least red on the list, but it can be indicative that who you’re hiring isn’t as experienced as you’d like with the task you’re going to set for them.

They Advertise as a ‘Natural Light Photographer’

I am sure there are “natural light photographers” out there who are incredible, put most other ‘togs to shame, and don’t even own a strobe. The issue is, they’re unicorns, and you’re probably not looking at one. There’s an argument, perhaps, that it depends on what you’re hiring them for. If we’re still staying with weddings, then I suggest you flee.

A High Percentage of Negative Reviews

It is important to start this section with the following caveat: a negative review or two does not mean a photographer cannot be trusted. The more clients a photographer has, the more likely they will meet someone where it all goes wrong, whether that’s poor luck or because the client is a Karen/Kevin.

Nevertheless, if a photographer has 100 reviews and 20 of them are negative, I would consider that a large warning sign. The average person is pretty reluctant to leave a negative review on a small business — at least here in the U.K. — and if a sizable portion of clients are, I would at least check their grievances for trends and fairness.

They Use a Nikon Camera

The Nikon brand is synonymous with poor photographers and—

Relax, I’m almost certainly joking.

Final Thoughts

Perhaps seeing this many red flags listed in a row has made you more apprehensive about hiring a photographer than before you opened the article, but I should add that these red flags are far less common than you might think. Generally speaking, as long as a photographer has a good body of work and is transparent, you’ll likely be in safe hands. Nevertheless, it’s important to do a few routine checks to ensure there isn’t any glaring concern hiding somewhere!

If you hire photographers or have worked with enough to have a good sense of some red flags, why not share your advice in the comments section below? You never know who you might be saving from a mistake!

Behind her lens, Carmel Valley photographer Jessica Napier Faehnle finds the art in every body, in every strong or graceful or purposeful movement.

“The Movement Project”, her portrait celebration of athletes, dancers, and movers of all kinds of body types and abilities, will be on display on Tuesday, Oct. 10 at AleSmith Brewing Company from 6-9 p.m.

“It is a project that shows appreciation for the human within the body and the great things the body is capable of,” Napier Faehnle said. “I want to pay tribute to the incredible humans that have made this project possible. They are the true stars and have such beautiful stories. I just happened to have captured their images in their most active and wonderful form.”

Jessica Napier Faehnle

( Jessica Napier Faehnle)

While her career has taken her in a few different directions, Napier Faehnle has always had a love for photography, “I picked up a camera when I was five years old and never stopped,” she said.

With her business, Napier J Photography, she specializes in portraits and headshots but sports and movement are her true passions. A former professional dancer in New York City for many years, she has been an athlete and a mover her entire life.

“I move every day,” said Napier Faehnle, who still dances, does CrossFit and performs with a Zumba dance group.

The idea for “The Movement Project” came when she moved to Carmel Valley four and half years ago. New in town and soon followed by a global pandemic, she didn’t know many people so she began a quest to find possible portrait subjects, those interested in building their model portfolios or showcasing an amazing weight loss transformation. It began rolling from there.

As the project progressed, she began asking to photograph her friends, many of whom were reluctant at first, saying they weren’t a model or an athlete. But Napier Faehnle sees something inside of everyone and wanted to celebrate their body for being able to play tennis or walk a mile every day.

“Everybody is worthy and everybody is an athlete and a mover,” she said.

Jessica Napier Faehnle photographs a dancer for “The Movement Project”

( Jessica Napier Faehnle)

For the project, she photographed over 40 people, subjects from ages two to 75 years old, including her two young daughters. Many of her subjects were nervous at first but at the end of the no-frills, relaxed sessions, she said people would hold their heads up with pride and smile. When seeing the finished product, often people would look at their body with surprise, “That’s me?”

“There is a special light inside of people that they don’t recognize,” says Napier Faehnle. It’s her job to bring it out.

The exhibit will be in the large event space at AleSmith with food, beverages and a raffle, a way to build community and celebrate all of the participants. Napier Faehnle did one exhibition many years ago in New York City but this will be her first art show really stepping into her power as a photographer: “It’s a great way to step into who I really am,” she said.

Tickets to “The Movement Project” are $10. AleSmith is located at 9990 AleSmith Court, San Diego, 92126. Learn more about Napier J Photography at napierjphotography.com/

Ranging anywhere from the common iPhone cameras to drone photography, there are many different methods people can use to take photos.

Here are five different photography methods that are commonly used by non-professional photographers.

Cell Phone Cameras

There’s one thing that has been constantly developing since the creation of the first smartphone — the camera quality.

Phone cameras started out as simple as snapping pictures and taking videos, migrating to phone cameras that now include features such as multi-cameras, panoramas, portrait mode, live photos, 0.5 selfies and multiple photo editing features.

There are also about a million different photo apps that can make pictures look a certain way and give users the ability to edit the photos after they’re shot.

Huji Cam and Dispo are two popular ones, to name a few.

Huji Cam acts as an instant disposable film camera that even looks like the classic green disposable ones seen in stores. In addition, users can magnify the camera lens, which can’t be done on an actual disposable camera.

Dispo is another camera app that mimics a disposable film camera yet develops the photos people take at a delayed rate — just as actual disposable cameras do.

It has several different types of disposable cameras included on the app. Dispo leaves photos with that grainy disposable feel and the date the photo was taken plastered in the corner of the picture.

Digital Camera

While digital photos nowadays are mainly taken on a cell phone, many people who enjoy taking pictures have gone ahead and bought themselves a little digital camera to take with them on the go.

Digital cameras are starting to make a comeback in the world of photography, from football games to fraternity parties.

These cameras allow people the joy of using an actual camera with the efficiency of the image developing immediately after it’s taken, whereas photos taken with film-based cameras have a longer development period.

Disposable Camera

Disposable cameras are also making a real comeback for everything from concerts to everyday hangouts with friends.

Disposable photo accounts have become very popular on social media sites such as Instagram, with many people making a separate account dedicated to their disposable photography.

Even though there are several different apps that mimic the style of a physical disposable camera, nothing quite beats that classic green and black camera.

Polaroid Camera

A polaroid camera, otherwise known as a self-developing film camera, takes photos and develops them almost instantly.

A little shake and a minute or two wait and a user has their very own polaroid frame with a cute little photo in it.

The polaroid camera trend, although it might be dated, has never gone out of style and remains a very popular way to take pictures.

While it might cost a bit more money than the average photography method due to purchasing film, polaroid cameras are a fun, instant and fresh way of snapshotting memories.

Drones

While this is a different one, drone pictures are so cool. They can take bird’s-eye view pictures and videos of an entire landscape in one fell swoop.

Drone photography is commonly used to capture cityscapes and landscapes but has also been used for weddings and real estate. I’ve also seen some cool drone-based photography from people’s vacations on Instagram.

Users would never have to worry about timer pics or awkward angle selfies ever again.

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Police on Sunday arrested at least ten people who were accused of taking photos in malls.

Some were arrested at the GTC Mall while others were at a poolside within a restaurant at the GTC taking photos including selfies.

They were escorted to Parklands police station for questioning before being released.

Police were also called to the nearby Westgate Mall where they detained other visitors who were taking photos. Some of them were foreigners.

Taking photos at the sites is not deemed criminal as they are not gazetted as security installations but the security at the sites complained some of the visitors there were taking suspicious photos.

This came in the wake of the marking ten years of the Westgate Mall attack that left at least 71 dead and dozens injured.

Police say they have increased surveillance and patrols as part of efforts to tame terror-related attacks.

A senior officer said the move by the guards at the malls to call the police was a sign of alertness and vigilance.

“Some may see it as harassment but whatever they did was part of efforts to ensure our safety at large,” an officer said.

Areas where photos are prohibited

The areas where taking photos is prohibited include military installations, airports and government buildings, national parks, private property and sensitive government buildings including police stations, prisons, and other government facilities.

Some of the existing laws that regulate the taking of photographs include the Official Secrets Act, Cap 187 which prohibits the taking of photographs or making of sketches or plans of specified areas, such as military installations, government buildings, and other sensitive areas.

This law is intended to protect national security and prevent the disclosure of state secrets.

The Protected Areas and Wildlife Conservation Act, Cap 376 prohibits the use of photography in certain protected areas, such as national parks and wildlife reserves, without a permit. This is to prevent disturbance to wildlife and to protect the natural habitat.

The Antiquities and Monuments Act, Cap 215 prohibits the taking of photographs or filming in certain archaeological sites, monuments, and heritage buildings without a permit. This is to protect the cultural heritage of the country and prevent damage to these important sites.

The Children Act, 2001 prohibits the taking of photographs or filming of children in certain situations without the consent of their parent or guardian.

This is to protect the privacy and welfare of children.

The Photography and Film Regulations, 2019 require photographers and filmmakers to obtain permits before taking photographs or filming in public spaces, such as streets, parks, and beaches.

They also provide for restrictions on the use of drones for photography and film.

Of her debut photography book, Like Someone Alive, published with Art Paper Editions, Dorothy Sing Zhang explains her unusual process: ‘I set the scene in the bedrooms of others. One is asked to be asleep, a squeeze cable release is placed under the pillow. The chance of one’s unconscious body rolling over and triggering the camera results in an exposure.’ 

The results are somewhere between haunting and peaceful, as unconscious figures are illuminated in various states of cocooning, or limbs sprawling. In a thoughtful accompanying dialogue with Nanda van den Berg, director of Huis Marseille museum for photography, Zhang describes this state as the ‘ultimate surrender’. 

While these are all consensual subjects, it’s complex because they’re consenting to a release of control over their image, in a way perhaps all photographic subjects do, but to be asleep is a step further. Layer on further the complex question of what it means to observe our own unconscious self, whether that goes against nature, and you can begin to understand Zhang’s interrogatory approach of pushing the boundaries of what imaging making means. 

‘About five years ago I was trying to realise a way where the approach towards the trigger would somehow be directly reflected in the image. How can the pressure craft the physicality upon the trigger that generates the exposure? I had this old exercise pull-up bar. I would physically pull myself up while squeezing the cable release to make an image. A step further was to somehow dismiss the awareness of the approach, so sleep became the plot but photography is the story.’ 

As Zhang notes, everybody needs to sleep, so other than a bedroom and bed that fits the physical requirements of her scaffold-like camera set-up, the subjects have no common thread. They are young and old, couples and singles, and some feline companions even make appearances. ‘The bed is a sort of uniform, it gave a certain strictness that I liked. Of course, it says a lot about one’s identity while retaining it as a sort of communist spectacle.’ 

For those observing these typologies of slumber, it’s unnerving. The abandonment of consciousness jars with the put-together sense of self we all seek in our waking hours. While undoubtedly an interesting photographic investigation, Like Someone Alive perhaps has its broadest impact as a reminder that each night, we all drop the performance as we share in the essential ritual of rest.

artpapereditions.org

The spellbinding winning images from the world’s biggest space photography competition have been revealed by the Royal Observatory Greenwich.

Now in its 15th year, the Astronomy Photographer of the Year competition aims to highlight amateur space photographers from around the globe.

This year’s winning image was taken by Germany’s Marcel Drechsler, France’s Xavier Strottner, and Yann Sainty.

Their image of a never-before-seen oxygen arc next to the Andromeda galaxy came up top among 4,000 submitted entries from 64 countries.

The photograph was taken in 2022 and — according to its authors — was an “absolute accident”.

“No one expected to see it and that’s why it’s called Andromeda, Unexpected, because we wanted to take a beautiful image of the Andromeda Galaxy,” Mr Drechsler said.

“And we looked at the first data and we spotted this hazy smudge on the edge of the image.

The image has captured the attention of scientists worldwide who are now investigating the giant object in a transnational collaboration.

Here’s the winning image alongside other category winners.

Galaxies and Overall Photographer of the Year

‘Andromeda, Unexpected’

Skyscapes Photographer of the Year

‘Grand Cosmic Fireworks’

Sun Photographer of the Year

‘A Sun Question’

Moon Photographer of the Year

‘Mars-Set’

Aurorae Photographer of the Year

‘Brushstroke’

Planets, Comets, and Asteroids Photographer of the Year

‘Suspended in a Sunbeam’

People and Space Photographer of the Year

‘Zeila’

Stars and Nebulae Photographer of the Year

‘New Class of Galactic Nebulae Around the Star YY Hya’

Sir Patrick Moore Prize for Best Newcomer

‘Sh2-132: Blinded by the Light’

Young Photographer of the Year

‘The Running Chicken Nebula’

The young photographer category is open to budding astrophotographers aged 16 and under. 

Annie Maunder Prize for Image Innovation

‘Black Echo’

The city of Ostend is organizing a Photo Biennal : (IN)FLUX until November 12, with more than 30 (inter)national photographers in 23 locations, chosen by curator Stephane Verheye. Thanks to Bart Ramakers who made this presentation.

(IN)FLUX – a true anthology of contemporary photography

The International Photobiennale in Ostend is hosting for the second time a series of renowned photographers from around the world in the Queen of the Beaches. In one way or another, they are all influenced by other forms of artistic expression – which is why this second edition of the biennial is titled (IN)FLUX – but their work couldn’t be more diverse. A true anthology!

Too much talent

Among them are two artists from the United States: Joel Peter Witkin and Peter Lippmann (although the latter lives and works in Paris). The other artists mainly come from Europe because, according to curator Stephane Verheye, there is simply too much talent here to be ignored. “This is already evident in the Belgian selection. It is truly world-class. There are veterans like Karel Fonteyne, Tony Le Duc and Diane Hendrikx, but also young talents like Athos Burez, Marie Wynants and Mous Lamrabat. If you look at the journey they have undertaken in recent years, it is truly impressive.”

(IN)FLUX

The theme of the second edition, (IN)FLUX, is as simple as it is astonishing. Verheye sought out photographers who have a strong connection to other forms of art: “Julia Fullerton-Batten clearly draws inspiration from cinema, Marie Wynants evidently comes from the world of dance, Tony Le Duc is heavily influenced by painting, and you wouldn’t believe how many photographers tell their stories using chiaroscuro or other painting techniques: Olivier Valsecchi, Bart Ramakers, Jenny Boot, Geert De Taeye…”
How is this possible? It surely has something to do with the fact that photography is still a young art form. But it is clear that a large number of these photographers were selected because the curator focused on staged photography. The invited photographers are already involved in art: they visit exhibitions and art fairs, their works are shown in museums, they know what’s going on and position themselves within a great tradition – or they question it.

Ingenious Set Designs

This ultimately led to a very strong selection of 32 photographers in 22 very diverse locations: a church, a fort, museums, but also in public places such as parks, the beach, the dike… no one can visit Ostend without catching a glimpse. It immediately becomes clear that the curator and his organization have paid a lot of attention to the set design of the exhibition: Julia Fullerton-Batten’s monumental paintings form a perfect symbiosis with the Anglican Church, Athos Burez’s still lifes and other works reference James Ensor’s works in the Ensor House. In MuZee, Aglaia Konrad presents her Kammerspiel, a work in dialogue with the exhibition space and its architecture, while Peruvian artist Giannina Urmeneta Ottiker takes the viewer into an obscure world between fiction and reality next to the works of Belgian photographer Karel Mus in the old church tower ‘De Peperbusse’.

Galleries

Among the 22 locations are 6 galleries, each with a completely different approach. AHWNN showcases young Belgian photographers Hannah Moens, Jyoti Dresselaers, Luana Masala, Nick Verhaeghe and Neoza Goffin. Noir de Noir has a solo exhibition featuring the works of Norwegian artist Kjetil Karlsen, reflecting melancholy, solitude, and abandonment. CAS has given complete freedom to Lieven Lefere to install his work next to Guda Koster’s. Rami Hara – a young Somali with a remarkable body of work – is exhibiting at Oever, and Swedish-Rwandan photographer Luc Gatwa is featured at Theobalds Boothuisje. Finally, at Galerie Papillon, you will find the recent work of Bart Ramakers alongside his great inspiration Joel Peter Witkin (who also has a parallel exhibition in Fort Napoleon).

Open air

Even those who never enter a museum or gallery will still be surprised by photography: the poetic works of Stephano Bonazzi breathe the sea air on the ‘Small Beach’, the reflections of Bara Prasilova on the relationship between nature, culture and man speak vividly to us at the “Drie Gapers”… Jenny Ymker shows us works in the Royal Park, a place where some of them have been created, Luca Izzo questions the artistic structures and boundaries of the 20th century on Avenue de la Reine. Giorgia Bellotti (alias Giorgibel) shows her refreshing dialogue with the work of René Magritte on the dike near the Venetian Galleries.
In Central Park @ Sea, the highly architectural photographs of Soo Burnell (UK) offer a beautiful contrast with the new constructions around, as well as the delicate and Baudelairian still lifes of Peter Lipmann, which amaze on Place Princesse Stéphanie with their baroque complexity and ingenious luminosity.

Pleasant

You want to have an overview in a few minutes? Just walk through the New Galleries, where 29 panels show you all photographers and all locations.
With this second International Biennale of Photography, Ostend confirms its aspirations as a cultural city on the Belgian coast this autumn. There is nothing more pleasant than strolling, walking, visiting, admiring the exhibitions, the photographs, the sea, the restaurants, the terraces for a weekend or a midweek!

Practical information

The second edition of the International Biennale of Photography in Ostend takes place from September 16th to November 12th in over twenty indoor and outdoor locations in Ostend.
This edition emphasizes the connection with other forms of art. Each photographic work reflects the theme (IN)FLUX in a unique, contemporary, and insolent manner.

Locations: Fort Napoleon, Mu.ZEE, the James Ensor House, the Amandine, the Anglican Church, the Peperbusse, Leopold Park, the New Galleries, the Small Beach, Place Princesse Stéphanie, Royal Park, the Place de la Gare, Central Park @Sea, the Zeeheldenplein, the ‘Drie Gapers’, Avenue de la Reine, CAS (Contemporary Art Space), Theobalds Boothuisje, AHWNN (A Horse With No Name), Noir de Noir, Papillon gallery, Oever gallery, and the dike.
Except for the Amandine and the Peperbusse, all exhibitions are accessible to people with reduced mobility.

Tickets: €15 (all indoor locations, except for Mu.ZEE), €15 (Mu.ZEE), €26 (all indoor locations + Mu.ZEE)
Tickets are available at Fort Napoleon, the Ostend tourism office, or on the fotobiennale.be website. Children under fourteen years old have free admission (except for Mu.ZEE). Young people under twenty-six can benefit from a reduced rate.
Tickets for Mu.ZEE are only available at Mu.ZEE or on the fotobiennale.be website.
All outdoor locations and galleries are free for everyone.

Photographers:
Joel-Peter Witkin, Julia Fullerton-Batten, Mous Lamrabat, Marie Wynants, Stefano Bonazzi, Jenny Ymker, Athos Burez, Bara Prasilova, Aglaia Konrad, Karel Fonteyne, Jenny Boot, Tony Le Duc & Diane Hendrikx, Olivier Valsecchi, Luca Izzo, Giannina Urmeneta Ottiker, Karel Mus, Giorgibel, Geert De Taeye, Soo Burnell, Peter Lippmann, Bart Ramakers, Kjetil Karlsen, Lieven Lefere, Guda Koster, Hannah Moens, Jyoti Dresselaers, Luana Masala, Nick Verhaeghe, Neoza Goffin, Rami Hara and Luc Gatwa.

www.fotobiennale.be/fr