An aerial view shows Muslim worshippers belonging to the Mouride Brotherhood listening to teachings during the ‘prayer preformed at sea’ ceremony. Followers of the brotherhood gather for a ceremony celebrating the prayer that founder, Cheikh Ahmadou Bamba, preformed at sea when exiled towards Gabon by the French
Photograph: John Wessels/AFP/Getty Images
With exquisite precision, he used costumes and sets in staging many of his pictures, letting his subjects, whatever their social status, express themselves.
Erwin Olaf, a contemporary Dutch photographer known for the precision of his staged photographs of both countercultural figures and Dutch royalty, died on Wednesday in Groningen, the Netherlands. He was 64.
Shirley den Hartog, his business partner, said the death, in a hospital, was caused by complications of a recent lung transplant. Mr. Olaf had struggled for years with hereditary emphysema, she said.
Mr. Olaf began his career as a photojournalist documenting the gay liberation movement in the 1980s before becoming one of the first photographers in the Netherlands to stage photos using theatrical costuming and sets. His subjects were often nonconforming to both gender stereotypes and cultural norms — people with unusual bodies, alternative lifestyles or a penchant for bondage gear.
“He made explicit images or very suggestive images that became iconic,” said Taco Dibbits, director of the Rijksmuseum, which owns and displays Mr. Olaf’s work. The photographs, he added, “showed to a larger public how important it is to let people be who they are, and to let them express themselves.”
Mr. Olaf’s work evolved over 40 years to embrace high-end studio and fashion photography as well as formal portraiture. The Dutch royal family commissioned him to shoot their portraits several times.
He became recognized internationally as one of the Netherlands’ three most important contemporary photographers — along with Rineke Dijkstra and Anton Corbijn. To the Dutch he was seen as a national treasure.
“We consider him a ‘Hollandse meester,’” a Dutch master, said Mattie Boom, photography curator at the Rijksmuseum, the national museum in Amsterdam. “He was making paintings with the camera.”
Erwin Olaf Springveld was born on July 2, 1959, to Simon Jacobus Springveld, a sales manager for an office supplies company, and Lydia van ’t Hoff, a homemaker, in Hilversum, about 20 miles west of Amsterdam. He graduated from the School for Journalism in Utrecht, intending to become a documentary photographer.
He moved to Amsterdam when he was 19 and lived in a squat, a building taken over by artists, while volunteering for the Dutch magazine Sek, the official publication of the gay and lesbian activist organization COC Nederland.
He got his first paid job as a photographer in 1984 chronicling Amsterdam nightlife and the gay community with his Nikon 35-millimeter camera for Vinyl, a new wave music magazine. He jettisoned his last name, Springveld, and went by Erwin Olaf thereafter.
“He started off being a major photographer of the gay scene, but that was too limited for Erwin,” said Wim van Sinderen, his former editor at Vinyl who later became a curator of the Fotomuseum Den Haag, in The Hague, where he exhibited Mr. Olaf’s work. “He was hot then, and he continued to be very hot for a long time. He managed to keep up his reputation throughout 40 years.”
In 1983, Sek magazine assigned Mr. Olaf to shoot portraits of Hans van Manen, a leading Dutch choreographer who was also a photographer. The two men developed a close friendship that would last for decades.
Mr. van Manen broadened Mr. Olaf’s artistic horizons, introducing him to artists such as the designer Benno Premsela and the art photographer Paul Blanca. “In those years, our relationship was like a master and a pupil,” Mr. Olaf said of Mr. van Manen in a 2021 interview for a book of dance photographs the two produced together, “Dance in Close-Up.”
The most important influence on Mr. Olaf’s work was Robert Mapplethorpe, the paragon of studio photography, whom Mr. Olaf met while Mr. Mapplethorpe was visiting Amsterdam. He was especially taken with Mr. Mapplethorpe’s use of square format images, a technique also employed by Peter Hujar and Diane Arbus for their portrait work.
Mr. Olaf soon bought a secondhand Hasselblad camera that, as Mr. van Manen said, made these “nice 6-by-6 neat format images, with no grittiness, very clear and very informative.”
Other influences included the raw New York street photography of Weegee and the staged grotesque tableaus of Joel-Peter Witkin.
Not long afterward, Mr. Olaf found a small studio in another art squat, hung up a curtain and began to shoot his first staged photographs, using people in his immediate circle, such as disco queens and punks. He favored gender-bending costumes reflecting the queer, S&M and drag culture of his era. The Hasselblad gave a “classical touch to his very nonclassical imagery,” Mr. van Sinderen said.
“We call it visual activism,” Ms. den Hartog said. “Erwin always tried to express his anger and his criticisms of society through his work.”
Ms. Boom, of the Rijksmuseum, said that staged photography was atypical of the era, especially in the Netherlands, where documentary photography was in vogue.
Mr. Olaf achieved international attention for the first time in 1988, when he won the Young European Photographer of the Year award for his series “Chessmen,” black-and-white images of humans transformed into baroque chess pieces. An exhibition for “Chessmen” followed at the Museum Ludwig in Cologne, Germany, his first major solo exhibition.
In the mid-1990s, Mr. Olaf switched to digital photography, producing a number of photographic series. During that time he also established a career as a commercial photographer, making ads for fashion brands like Diesel and Bottega Veneta and the companies Heineken and Nokia.
Mr. Olaf’s main work was always portraiture, even if his subjects were positioned in elaborate sets and wearing fantastical costumes. The Dutch author Arthur Japin, whom Mr. Olaf photographed as a lion, said sitting for him could feel liberating.
“When you were with him you were aware that he saw absolutely everything about you, but that he did not judge,” Mr. Japin said. “That’s why people opened up to him. Some people would really go far when they were photographed by him.”
Mr. van Sinderen said that in the early 2000s Mr. Olaf’s noncommercial photography took on “a kind of uber-kitch made possible by Photoshop,” but that he changed direction after an American museum curator criticized his work as “Eurotrash.”
He began to explore the works of Norman Rockwell and contemporary painters, especially Lucien Freud, as well as the cinematic realism of the Italian filmmaker Luchino Visconti, whom he admired for the “incredible sadness” of his movies, Ms. den Hartog said.
Ultimately, Mr. Olaf became known for a kind of exquisite stillness and perfectionist polish, traits that were highlighted in a double exhibition in The Hague on the occasion of his 60th birthday in 2019.
That same year, the Rijksmuseum exhibited a dozen of his works in conversation with an equal number of Golden Age master paintings by Rembrandt, Gerard ter Borch and others. They were selected from more than 500 photographs of Mr. Olaf’s that the Rijksmuseum acquired the previous year.
Over the years Mr. Olaf made friends from a broad range of social circles, including that of King Willem-Alexander and Queen Máxima of the Netherlands, who in a statement said they mourned the loss of a “quirky, exceptionally talented photographer and a great artist.”
Mr. Olaf is survived by his husband, Kevin Edwards, whom he married in 2016, and his two brothers, Jos and Ron Springveld.
Mr. Olaf was hopeful that his lung transplant last month would add years to his life, said Ms. Boom. “We talked quite recently, during the summer, and he was full of plans,” she said. “After the operation, he though he would continue for another 10 years, and he had lots of ideas.”
LACONIA — On Thursday, Sept. 28, from 6 to 7:30 p.m., the Laconia Public Library presents author John Doelman, sharing his newly published book of poetry and nature photography, “Quetico Connection.”
Doelman crafted this beautiful and deeply personal collection of poems and nature photography while traveling by canoe in Ontario’s Quetico Provincial Park.
The new iPhone 15 is here, and it brings with it some major camera upgrades that should be quite exciting for photographers and filmmakers alike. How do all these improvements and new features perform in practice? This fantastic video takes a look at how the phone performs for photography work.
Coming to you from Ted Forbes of The Art of Photography, this excellent video takes a look at the new iPhone 15 for photography work. There are certainly some other banner upgrades and new features, such as the new USB-C connection and increased processing power, but arguably, the camera features got some of the most ntable upgrades, including:
The iPhone has proven itself to be a legitimate creative tool for professionals in its last few iterations, and you can find it in the hands of a lot of photographers and filmmakers, and it looks like the new models offer some major steps forward that should further ingrain them in workflows. Check out the video above for Forbes’ full thoughts.
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JEFFERSONVILLE – Thursday evening at the Jeffersonville Township Public Library, an art reception was held for local photographer and artist, Larry J. Basham, displaying items from his Momenti exhibition.
His work will be featured in the upper-level art gallery space until Nov. 12. Despite the rising popularity of AI techniques, Basham does little artificial processing and manipulation on his photos. They are mostly natural, biographical portraits of the life and scenes he captures.
Unexpectedly, Basham is currently in the hospital, was able to talk via Facetime, and he described part of his artistic journey.
His wife, Arlene Basham, was in attendance at the reception.
“Larry has always loved art. He started his current method of photography in 2018,” she said of her husband’s work. “He began taking art courses at Ivy Tech in Sellersburg, and that is where the whole thing got started.”
Those courses helped Basham rekindle his love for photography, and he hasn’t looked back.
Larry began his love of photography decades ago, and he mentioned how he got back into doing what he loves.
“Upon my semi-retirement, I wanted to do something artistic. I wanted to do a dual approach of poetry and photography,” he said.
Basham already had his degree in general studies from Indiana University Southeast and wanted to try something different.
“I also thought I would return to journalism, like I did when I was in the Navy. At least, that was the original plan,” he said.
Basham had exhibits at the New Albany Library and at IU Southeast.
“I started doing art exhibits so I could get word about my work out there, and those exhibits turned out to be very successful,” he said. “I was glad I listened to the advice of my family and friends who encouraged me to expand on my horizons.”
Basham then talked about his experience with the Louisville Photo Biannual Exhibit and how pleased he was to be a part of it. Those who attended the reception could pick up a program of the Louisville Photo Biennial featuring gallery events at several locations in the Kenuckiana area through Nov. 12.
Because of his love of poetry, Basham has published his first book of poems, “The Journeyman Verses,” which is currently available on Amazon and other online retailers. He’s also done documentaries for his church, Second Baptist Church, in New Albany.
“As far as a second book is concerned, I am getting my ideas together as we speak,” he said.
He then talked briefly about his hospitalization for infection, as well as what it means to be an artist.
“I am very lucky to be alive. My family has been around to support me, as well as some of my friends. As artists, we need to support each other so we can spread awareness about each other’s work,” he said.
For those who would like to know more about the local artist, or view some of his photographs and documentaries, please visit his Bēhance page at: https://www.behance.net/LarryJBasham?locale=en_US.
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The life of a photographer, professional or hobbyist, has a lot of ups and downs. The creative process is a complicated thing that draws on experience, technique, intuition, and more, and understanding its ebbs and flows can be beneficial not only in maximizing your output but weathering the lulls. This fantastic video interview features a pair of experienced landscape photographers discussing a wide range of meaningful wisdom and advice sure to make you a better creative.
Coming to you from Alister Benn of Expressive Photography and William Neill, this excellent video interview discusses a huge range of topics, including the creative process, confidence as a photographer, and much more. I think Benn and Neill have some particularly good experience with regards to how the life of a photographer has evolved as our relationship with the internet has continued to change, and it is well worth listening to. Finding personal meaning in your photographs instead of relying too heavily on external validation is tremendously important. After all, at the end of the day, you picked up a camera because you enjoyed the creative process, so do not fall into the trap of seeking out those dopamine hits from social media and the like. Check out the video above for the full rundown.
When 22-year-old Iranian woman Mahsa Amini died at the hands of mortality police who deemed she was wearing her head covering improperly, it sparked a wave of unrest in the country — A country that is difficult to document.
Journalists had to decide the best way to publish imagery from inside a country that is goverened by a regime that is hostile to foreign press. At the recent Visa Pour l’Image photojournalism festival in France, there was the first-ever anonymous photographer exhibit.
Two journalists from the prestigious Le Monde curated the anonymous exhibit, as they painstakingly authenticated each image for the exhibition Uprising in Iran.
“From September 16 2022, the day Mahsa Amini died, the reality of what was happening in the streets was visible on social networks,” Marie Sumalla, a Le Monde journalist, tells RFI.
“It was important to think about how we were going to collect these images in order to verify them, publish them, and give them to our readers.”
The French journalist brought in Iranian experts to confirm the images by geolocating them, checking sources, and verifying dates.
“From then on, the videos and photos began to appear on social networks, but with great difficulty,” adds Le Monde journalist Ghazal Golshiri.
“In Iran, WhatsApp and Instagram have been blocked since September 2022. Facebook and Twitter have been blocked since 2009, and Telegram since 2019. So the Iranians need anti-filtering software.”
Uprising in Iran also includes a powerful photo by Ahmad Halabisaz of a young Iranian woman sitting in a busy square in the Iranian capital Tehran with her hair uncovered, defying the mandatory hijab law in the strict Islamic country. The photo has received multiple awards, including an honorable mention at the World Press Photo awards.
“We felt it was important to show Ahmad Halabisaz’s photograph. Ahmad is someone we have worked with on several occasions,” says Sumalla.
“The fact that this photograph won a World Press award was an important sign for the journalism community.”
For more, head to the Visa Pour l’Image website.
Image credits: Photographs by Darafsh
So, you want to start film photography. I completely understand you: it’s a beautiful process, and the wait before you see the images is incredibly exciting! But alas, if you’re new to film, it may feel overwhelming. I mean, where do you even start? Don’t worry, Isaac Abner‘s got you covered. In his recent video, he shares everything you need to know before you start film photography.
In the video, Isaac discusses everything from film formats, film choices, camera options, and the development process. He also shares some valuable tips for anyone considering exploring this medium.
If you’re switching to film from digital photography, let’s go through some key differences first:
Film photography is slower and more deliberate. The images are stored on film, obviously, and you get a limited number of exposures. You also can’t review the image instantly, but that’s part of film photography’s charm.
Digital photography is faster and more convenient. Your images are stored on memory cards, and you can get thousands of photos on a single card. You can review images instantly, which is certainly convenient if you’re still learning.
Isaac also guides you through various film formats. This includes the most common 35mm film, which is definitely a recommendation if you’re new to the medium. There are also 110mm, 120mm (medium format), and large formats like 4×5 and 8×10. Finally, there’s the instant film, coming in all sorts of sizes and formats. It develops instantly, as the name suggests, and Isaac doesn’t discuss it much in the video.
As I mentioned, definitely start with the 35mm. It’s the most affordable and the easiest to find, and you can have it developed in any lab. Not all labs develop medium and large formats (ask me how I know), so your new adventure can turn into an unnecessary hassle.
There are two groups of film types, so to say. First, there are slow-speed Films vs. high-speed films. This refers to light sensitivity, aka ISO. Films with lower ISO (like 100, 200, 400) have smaller grain and they’re ideal for daylight shots. High-speed films like Kodak Portra 800, Ilford Delta 1600 have a larger grain size, and you’ll use them for low-light situations like night photography or concerts, for example.
The other group of film types depends on the colors and the process used to develop them. There’s the black and white film, which you can easily develop on your own. But don’t go there just yet. 🙂 There’s the color negative film, typically with better dynamic range, allowing more recovery of highlights and shadows. Finally, there’s the slide film. it produces a positive image but typically has less dynamic range. I haven’t seen slide film sold here in Serbia in ages, and most of us do color photography on color negative film. Here are some most common films, easy to find and almost every lab develops them:
Now that you’ve got the idea which film to get, it’s time to discuss cameras. Isaac recommends 35 mm film cameras for beginners, and I agree. The choice is huge: from disposable cameras and point-and-shoots to more serious SLRs and even premium rangefinders like Leica.
Before you make a choice, think about the level of automation and features you want. If you’re already familiar with photography, digital cameras, and manual settings, you can choose a more complex camera or one with no automatic settings. If not, you can start with a point-and-shoot or an SLR that offers more automatic options.
Then, think about whether you need autofocus. Some film cameras offer it, and if you can’t imagine focusing manually or just don’t see well, this is another thing to consider. Vintage cameras have less automation, and newer film cameras have more electronic conveniences. You can find manuals for many cameras online so that you can familiarize yourself with the controls and functionality.
Remember that understanding exposure is crucial, as you might already know from doing digital photography. But redoing a shot with a film camera literally costs money, so think about the exposure triangle, accounting for the film speed, aperture, and shutter speed. Also, learn to focus accurately, whether through manual focusing scales or modern autofocus functionality.
Now that you’ve taken your photos with your film and your camera – of course, it’s time to develop the film. Honestly, the easiest way to do it is just to send your film to a lab. This is especially recommended if you’re just starting. Developing film yourself can be cost-effective, but it requires lots of learning, access to specific chemicals, a dark room, and frankly – a whole bunch of mistakes before you get it right.
You can also post-process film. In fact, terms like “dodge” and “burn” actually originate from film techniques. After all, you can edit developed and scanned film photos in Photoshop, Lightroom, or any other editing software you use for digital photos. However, excessive post-processing isn’t something I’d recommend. After all, you want to keep that authentic film look, don’t you?
To sum it all up, Isaac recommends that you start with smaller, cost-effective film formats like 35mm. Also, begin with user-friendly 35mm cameras with automatic features, and learn the essential functionalities and controls of the camera. At first, send films to professional labs for development… You can learn to do it yourself later. And once your film is developed and scanned, tread lightly with post-processing to maintain the inherent film look.
[Everything You NEED To Know When Starting Film Photography via FStoppers]
Dozens of brides and grooms fear they’ll never get their wedding photos after their photographer left the country.
Numerous couples had booked well-known Sydney brand, Phao Photography, for their big day, only to be left in the lurch.
Monika and John had booked Phao Photography for their big day in September.
They paid Sam Ansari a $6000 deposit, but just weeks out from their wedding, they couldn’t get in touch with him.
“He was not responsive by email, I couldn’t get in touch with him through phone calls, he was just you know, off the grid,” Monika said.
Just days after, the couple received an email from Ansari telling them and his clients he’d sold off Phao Photography to fellow Sydney photographer Ellie Kalajian and his business NYC Films.
The email stated the sale included all previous and current bookings, along with copies and hard drives of albums.
With their wedding just three weeks away, a panicked Monika and John contacted NYC Films, only to be told by owner Kalajian that he wouldn’t be shooting their wedding and had only bought the business name, not the assets or bookings.
Laith Jabro from A2Z Weddings was able to come in and save the day for Monika and John and capture their wedding day.
He says he’s been contacted by more than 10 couples who have been left in the lurch by Phao Photography after paying large deposits.
“It’s extremely stressful, extremely stressful. I mean, if people (booked) a year ahead and they lost some money, maybe there’s plenty of time to reorganise things, but two to three weeks, four weeks. It’s very hard,” Jabro said.
We got in contact with Kalajian at his studio for NYC Films to ask him about his acquisition of Phao Photography, but he maintained he just bought the name, not the entire business, instead turning us away to speak with his lawyer.
“I don’t have a comment, you can deal with our lawyer,” Kalajian said.
“We’re taking it to court and things like that.”
Kalajian’s lawyer said his client is an innocent third party, taken for a ride.
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He said his client bought the name Phao Photography for $20,000 but has already dropped it from his ABN.
Ansari is believed to be living in Dubai after the alleged sale of his business and didn’t respond to any of our attempts to contact him.
It’s still unclear whether Phao or NYC are at fault.
But it’s clear there are many clients who booked with Ansari who are now thousands of dollars out of pocket.
“We deserve an answer, we don’t deserve to be left in the dark. I want my money back,” Monika said.
