Today, we are moving things up a notch by using LED lights for wedding photography. If you’ve ever photographed a wedding, there is a good chance you used a strobe to capture the event. Maybe it was a hot shoe strobe, or maybe you set up strobes on light stands in strategic places on the floor. But you can do better with LED video lights.

I started experimenting with LED lights for weddings a while back, but I was always missing on some power. Now, I am using a couple of Zhiyun x100 LEDs (those), and let me tell you, 100 Watts makes a big difference.

Why move to LED for wedding photography

LEDs have come a long way since they first appeared. And looking at the current market offering, it has some real advantages over some other setups with strobes. There are still cases where strobes win, specifically when a ton of power is needed, but LEDs are now at a place where they have some real advantages.

Obviously, you get all the benefits of using continuous lights. LEDs have no recycle time, like you have with strobes. You can shoot at higher FPS. Or alternatively, be able to catch a good moment without worrying about flash availability. Another big advantage is the ability to control the temperature of the light and make sure it fits the atmosphere in the venue.

LED video lights are small and light

I was quite surprised at this, but in fact, a couple of Zhiyun X100 lights are not significantly bigger than three or four iPhones stacked together. This is partly because the technology has advanced, and partly because the Zhiyun x100 have a unique form factor. They are flat.

This means that they are easily packed in my wedding photography bag. But it also means that they have a low footprint when mounted on a stand. Combine this with the low weight of LEDs, and LEDs suddenly look like a very enticing option.

You don’t need cables for LED video lights

This is another thing I love about new tech. It is becoming battery-powered. You can run the lights on an internal battery, so no cables are going to the wall. (You could if you wanted to, but you don’t have to). This is particularly critical with wedding photography, because there is usually quite a bit of crowd next to the lights, and any cable going from the light to the wall is a light stand accident waiting to happen. If you’ve never had a person trip on a cable you are either very careful, very lucky, or have not ben in the business long enough.

The fan on the Zhiyun x100 is silent

I’ll admit that one of my concerns going from 60-watt LED video lights with passive cooling to a full-fledged 100-watt light was the fan noise. My previous 60-watt lights had no fan, and obviously no fan noise. But the Molus X100 has a built-in fan, and I needed to make sure that they don’t interfere with the work of the videographers. (Unlike common thinking, we still photographers actually care about your video people). The happy news is that the fan is almost silent and not audible at a wedding ceremony.

Sharing is caring

I was serious when I said that I cared about the videographers shooting the wedding. By using LED lights for shooting the wedding ceremony, I am helping them twice.

For starters, they get extra light, which, if placed properly, can be a real lifesaver for the videographers. But a nice added bonus is that they don’t get flash pops, which can interfere with both videography and sound.

My setup using LED lights for wedding photography

In some ways, using LED lights is a lot like using strobes – you need a stand to position the lights in a three-dimensional space. I typically use two Zhiyun x100 lights mounted on light stands on each side of the ceremony. This gives me a nice and even light. I anchor the stands to the floor using weights.

The lights are small enough to get really high, and depending on the ceremony location, I can sometimes hide them all together.

Getting softer light

Just like strobes, COB LEDs generate light from a single point. The beam form is a bit different, but it is still a hard light. Depending on the distance from the newlywed, I go with one of these options:

• Go “bare bulb”, and use found elements to create diffusion. This can be bouncing off a white wall, or using a Chuppah “roof” or “walls” as makeshift diffusing scrims. You’d be amazed at the amount of options you have if you just look around.
• Another option is to use a small dome diffuser that you can get for the Zhiyun x100. Those are small and soft, and for many situations, they provide enough diffusion.
• The last option is to use the “good old” brolly. And if I need to get far enough from the ceremony. I’ll use those.

Combing LEDs with strobes

My setup is leaning more and more towards LED now. But sometimes there is no choice and you need to add a strobe. In those cases, I will use a bracket that mounts an AD200 along with the Molus x100.

Typically, you do not need a strobe if you are using an LED setup. That said, you may want to have a backup until you get comfortable with shooting using LEDs.

The other reason to have a strobe is to mitigate bad lighting from the venue. If the venue has horrible LEDs or fluorescents, you may not be able to use LEDs at all. A badly lit venue may create banding effects on your photos. This usually happens if the venue has low quality or old technology) LEDs that are poorly dimmed.

Controlling LED video lights at a wedding

If you are a wedding photographer, you know this. Sometimes, you need to control your lights’ output. With Strobes, you typically do that with a remote mounted on the camera. With LEDs, you use an App.

The Zhiyun app lets you turn the brightness up or down, and control the temperature. It also gives you the option to set the lights to zero brightness. This is extremely useful to save battery when the lights are not in use. You can place the lights, turn them on, and then set them to zero power until you need them.

PRO TIP: If you are indeed using an app to control the lights, make sure you set your phone to exclude the app from power management. It will reconnect to the x100s faster this way

Powering LED lights at weddings

The Zhiyun Molus x100 Pro and Combo kits come with an attachable battery. (The “bare “standard” kit has no battery, so get one of the other kits ). This is a medium-sized battery that would last about 30 minutes on full power. Of course, if you are only using 50% brightness, it would last an hour.

If most of your ceremonies last this long, you are good. But if you want more power (or more time), the Zhiyun x100 takes USBC power, which means you can use a power bank to power your wedding lights.

The setup that works for me is using the Tether Tools PD battery ($179.99) strapped to the light stand. This battery can deliver 100W continuously so that I can use the lights at full power. It is slim in shape so I can put a couple of those in my bag. Lastly, the capacity on this battery is 100 Watts, so at full power (which is also 100 watts), it adds a full hour of runtime to my kit. That puts the total runtime at 90 minutes. Now, if your wedding ceremony lasts over 90 minutes, you probably have other things to worry about, like getting hydrated. Just kidding. You can swap batteries if needed.

Conclusion

I started my migration from strobes to LED lights for wedding photography almost a year ago, and I could not be happier. Using a light that is relatively tiny, needs no cables, and never fails to trigger is a big improvement. The only issue that I had was power, and that was solved with the x100 delivering 100 watts of continuous lights. If I am counting advantages vs. strobes, let me also add temperature control and videography fellowship to the mix.

The move costs about $500 per unit (light + extra battery) and is well worth it. I would love to know if you are considering using LEDs for your wedding photography.

Untitled [woman with hand on head], Paris, France, 1931

Entrepreneur Condé Nast discovered Miller aged 20 and she worked as a model for Vogue and Vanity Fair. That career came to an end when her image was used in an ad campaign for Kotex sanitary towels. As her son, Anthony Penrose, writes in the book’s essay: ‘Formerly no photograph of a woman had been used in this way and it outraged “respectable” society.’ Undeterred, Miller saw this as the start of a new career. ‘I would rather take a picture than be one,’ she announced, and booked her ticket to Paris.

LYTIA and OPPO Jointly Tunes Computational Photography

In a groundbreaking collaboration, Sony Semiconductor-LYTIA and OPPO have joined forces to usher in a new era of computational photography. This partnership promises to redefine the boundaries of what smartphone cameras can achieve, fusing Sony’s cutting-edge LYTIA image sensor technology with OPPO’s revolutionary Ultra Light Image Engine.

Sony Semiconductor-LYTIA, known for its innovation in image sensor development, has sent its formidable team to collaborate on this intriguing project. Together, they aim to harness the power of computational photography to create a sensor that will set new standards in the industry.

LYTIA and OPPO Jointly Tunes Computational Photography
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The highlight of this collaboration is the integration of LYTIA’s double-layer transistor pixel technology into OPPO’s Ultra Light Image Engine. By leveraging advanced computational techniques to manipulate light and shadow, this partnership aims to produce a new generation of sensors that promise to deliver stunning aesthetic improvements.

OPPO’s Ultra Light Image Engine has already marked a significant milestone in computational photography. Initially introduced in the Find X6 series, it has now found its way into the recently launched Find N3 Flip. This engine brings a level of natural light and shadow effects comparable to professional cameras, adding depth and dimensionality to two-dimensional photos.

LYTIA, introduced by Sony Semiconductor towards the end of 2022, is their new brand dedicated to cell phone image sensors, with product offerings like LYT900, LYT800, LYT700, LYT600, and LYT500. For this partnership, OPPO has chosen the LYT800 sensor, boasting an impressive 1/1.43″ size and 53MP resolution, which will serve as the main camera sensor for the upcoming OPPO Find N3. Additionally, reports are suggesting that the Vivo X100 series may also adopt this innovative sensor.

With this collaboration, the future of smartphone photography appears exceptionally promising. Sony Semiconductor-LYTIA and OPPO are poised to push the boundaries of what is possible, ushering in a new era of computational photography that promises to delight photography enthusiasts and smartphone users alike. Welcome to the next era of imaging innovation.

Source

Prepare to be awestruck as world-renowned photographer Blair Bunting takes us on an incredible journey beyond the confines of Earth’s atmosphere.

Join us as he shares his remarkable career photographing space, including his latest photo series captured from aboard the U-2 S Dragon Lady, perched an astonishing 70,000 feet above our planet’s surface.

On September 5th, Blair unveiled this mesmerizing collection, and now he’s ready to delve into the creative process behind these otherworldly images.

Don’t miss this opportunity to hear firsthand about his adventures in space photography and his mission to capture the mysteries of the universe.

Landscape photography is a captivating art form that allows us as photographers to capture the beauty of the natural world. Among the many composition techniques employed by landscape photographers, the Rule of Thirds has long been considered a fundamental guideline for creating visually appealing and balanced shots. However, in this article, we will explore a less conventional viewpoint: why you should consider ignoring the Rule of Thirds in landscape photography. We will delve into the limitations of this rule and uncover situations where breaking away from it can lead to more unique, compelling, and creatively satisfying landscape photographs.

The Rule of Thirds: A Brief Overview

The Rule of Thirds is a well-known compositional guideline that divides an image into nine equal parts using two equally spaced horizontal lines and two equally spaced vertical lines. According to this rule, important elements of the scene should be placed along these lines or at their intersections, creating a balanced and harmonious composition. While the Rule of Thirds can undoubtedly yield aesthetically pleasing results, its ubiquity in landscape photography has led to a certain predictability in the genre.

The Power of Breaking Conventions

Before we even dive into why you should consider ignoring the Rule of Thirds, let’s examine the idea that breaking away from conventional guidelines can be a powerful tool in any creative pursuit, including photography. Here are some reasons why.

Uniqueness and Originality

By deliberately ignoring the Rule of Thirds, you open the door to more unique and original compositions. When you break free from the expected patterns, your images can stand out in a sea of conformity. Us landscape photography enthusiasts are constantly seeking fresh and innovative perspectives, and unconventional compositions can be a breath of fresh air. After all when we arrive at a location, it is easy to take that bucket shot, and I would recommend doing this, as you don’t have your version of a well-known shot. However, perhaps it’s time to break the mould and find something unique?

Creative Freedom

Rules can sometimes stifle creativity. When you feel bound by the Rule of Thirds, you may limit your creative potential. Ignoring this rule grants you the freedom to experiment with alternative compositions and allows your artistic instincts to take the lead. Some of the greatest discoveries were made when the rules were bent slightly or even broken totally, and the beauty of landscape photography is these rules should really only be tools in the end.

Highlighting Neglected Elements

The Rule of Thirds tends to emphasize certain elements in a scene while relegating others to the background. By ignoring this rule, you can bring neglected or unexpected features to the forefront, giving them the attention they deserve and offering viewers a new way to perceive the landscape. This can be particularly true when it comes to seascape photography as the flowing water can form part of your composition and in fact has the potential to be the best part of your frame should you nail that exposure time.

When to Break Away From the Rule of Thirds

Now that we’ve explored the advantages of defying conventional composition guidelines, let’s discuss specific scenarios in landscape photography where ignoring the Rule of Thirds can yield exceptional results.

Symmetry and Reflections

Symmetrical landscapes, such as perfectly mirrored reflections in calm waters, are prime candidates for disregarding the Rule of Thirds. Placing the horizon line dead center in the frame can accentuate the symmetrical beauty of the scene, creating a striking and balanced composition. If you are forced to stick to these best practice rules then you may end up with a shot that isnt as good as it could have been. The key here is to assess the acene and see what works best.

Minimalist Landscapes

In minimalist landscapes, where simplicity and minimal elements are key, centered compositions can be highly effective. A solitary tree in a vast desert or a lone rock formation against an expansive sky can make a powerful statement when placed at the center of the frame. Using the negative space to your advantage here provides you with the opportunity to make your image more striking too. 

Emphasizing Depth

Landscape photographs often aim to convey a sense of depth and dimension. Placing prominent foreground elements, such as a rocky outcrop or wildflowers, at the center of the frame can draw viewers into the scene, inviting them to explore the layers of the landscape. You can, of course, use the rule to add supporting characters to your shot in this case if the scene permits, but the star of the show is dead center.

Astronomical and Celestial Events

When photographing astronomical phenomena like meteor showers, eclipses, or the Milky Way, the Rule of Thirds may not apply. Centering the celestial event in the frame can provide a sense of balance and focus, allowing viewers to fully appreciate the cosmic spectacle. However, should you have a strong foreground that can be used for these shots, then of course, use it to your advantage to draw the eye into the scene. 

Abstraction and Artistry

For photographers seeking to create abstract or artistic interpretations of landscapes, ignoring the Rule of Thirds can be liberating. Play with unconventional compositions to evoke emotion or provoke thought rather than adhering to traditional guidelines. In this form of photography, there are zero rules as such, just the ones that work for you more so. 

Alternative Composition Techniques

Now that you’ve considered scenarios where breaking the Rule of Thirds can be advantageous, let’s explore alternative composition techniques to experiment with in landscape photography. Remember, if we consider these “rules” more as “tools,” then we can allow out creativity to flow and potentially capture those banger shots.

Centered Composition

As mentioned earlier, centering your subject or horizon can create a powerful and balanced composition. This approach can work well in scenes with strong symmetry, reflections, or a single dominant subject. I find in this situation I take all sorts of shots while in the field, some using the “rules” and others where I throw them out the window and concentrate on experimenting more so than being steadfast in my approach.

Leading Lines

Leading lines can be used creatively to guide the viewer’s eye through the frame. Experiment with leading lines that converge at the center of the image, drawing attention to a focal point. Starting at one side of the frame and ending in the middle can work well. One word of advice, however, is to avoid leading lines that lead you up and out of the frame, as this will take the viewers eye out and on to the next image. Instead, aim to have the eye start, move, and return back into the frame where possible. 

Frame Within a Frame

Create intrigue and depth by framing your subject within the landscape. This technique can draw attention to the center of the frame while adding context and layers to your composition. Overhanging trees can work well here, or even clouds, which act as a stopper for the example mentioned in the previous point.

Diagonal Lines and Patterns

Consider incorporating diagonal lines or patterns into your compositions. These elements can disrupt the traditional Rule of Thirds grid and introduce dynamic tension into your photographs. The more the eye explores the image, the better, and this method can work fantastically. A key point here is of course that you need these diagonal elements in your frame. However, when you are looking for them, you stand a better chance of actually finding some to make it work. Large rocks can work well, and branches in trees or fallen logs in waterfalls can work well also. 

Negative Space

Leverage negative space to emphasize your subject or convey a sense of solitude. Placing your subject at the center of the frame within a vast expanse of negative space can potentially evoke powerful emotions for your viewer. Look for lone subjects in the scene to help with this method, and if not, then either try to remove the distracting elements while at the location (where possible, of course) or wait until you get back to base and use your clone tool to remove and simplify the scene.

Post-Processing and Rule Breaking

Now, as mentioned in the last point about removing items when in post, in today’s digital age, post-processing plays a significant role in photography. When intentionally ignoring the Rule of Thirds, post-processing can become a valuable tool for fine-tuning your compositions. Here are some post-processing techniques to enhance your rule-breaking images:

Crop and Recompose

After capturing your image, you can use post-processing software to adjust the composition further. Cropping and recomposing your photo can help you fine-tune the placement of elements within the frame. There is a risk here of reducing the quality of your image, as you are effectively removing quite a lot of pixels and then stretching the result. However, given the quality we now have in out cameras, this shouldn’t pose too much of a risk, unless, of course, you are only wanting to take one single flower from a large scene as your entire photo.

Color Grading

Experiment with color grading to enhance the mood and impact of your image. By adjusting colors and tones, you can draw attention to the center of the frame and create visual harmony. This was something that I did recently when the conditions weren’t ideal and I wanted to convey a moodier scene that it actually was. It felt moody while there, so I did the same when editing. 

Dodge and Burn

Selective dodging and burning can be employed to subtly emphasize the center of the frame or specific subjects within it. This technique can help maintain balance and visual interest. I find the key here is to once again ignore the rules and see what works for you. Of course, you don’t want to send that slider up to 11, but 8 might actually work. Again, I employed this method on a recent shoot when I wanted to portray some fine art style of photos. Given that I hadn’t done it before, I wanted to challenge myself.

Vignetting

Vignetting, when applied thoughtfully, can draw the viewer’s eye toward the center of the frame, reinforcing the central focus of your composition. The word of caution here is to not over do it. Less is more, otherwise you will end up with a shot that looks totally unnatural, unless that’s what you were aiming for.

Conclusion

In the world of landscape photography, the Rule of Thirds has long been a trusted guide for creating balanced and visually pleasing compositions. However, breaking away from this conventional guideline can unlock a world of creative possibilities, allowing you to capture unique, original, and emotionally resonant landscapes.

As you embark on your journey to explore the art of landscape photography, remember that photography is ultimately an expression of your creativity and perspective. While the Rule of Thirds remains a valuable tool, don’t be afraid to embrace the freedom of rule-breaking when the situation calls for it. By doing so, you’ll discover new ways to convey the beauty and wonder of the natural world through your lens, creating images that are truly your own.

What are your own thoughts on this topic? Are you a rule-breaker?

WICHITA, Kan. (KAKE/Gray News) – A community in Wichita, Kansas, is mourning the death of a well-known sports photographer.

Linda Gregory was the photographer for the Northwest High School football team.

Last Monday night, she was on the sidelines of a J.V. football game when she fell and hit her head on the concrete during a collision. On Friday night, her husband, Mel Gregory, honored her by showing up at the varsity game and taking photos.

“The most generous and loving person I’ve ever known,” he said of his wife.

Mel Gregory shared the news of his wife’s passing on Facebook Friday.

During the game, the Northwest High School football players embraced Mel Gregory as he stood on the sidelines taking photos. The couple would normally be taking photos under the field’s lights on Fridays.

“Number one she doesn’t blame any of the kids. Number two this was her school …,” Mel Gregory said. “She was from Iowa, she didn’t go to any school [here]. But she loved these people. She would like everybody to know the kids are her primary concern.”

Mel Gregory said taking back to the field after his wife was hit on the sidelines was not easy.

“It’s going to be difficult. Going to be difficult,” he said. “I’ve got her camera that she was using that night. And I just want to try to do as best as I can. I may not shoot a lot, but I want to do what I can.”

The photos his wife took are worth a thousand words, just like how Mel Gregory will have a thousand memories of when his wife took photos at Northwest High School games.

“I can’t tell you what she says. But I think she would love it that I was carrying on our tradition,” he said.

Family members were also on the sidelines with Mel Gregory Friday night, and a moment of silence was held for Linda Gregory before the game was played.

Copyright 2023 CNN Newsource. All rights reserved.

A Kansas high school sports photographer has died after she was accidentally hit by football players on the sidelines of a game and suffered a concussion. 

Linda Gregory, 69, died Friday, four days after she fell and hit her head on concrete while photographing a junior varsity game between Wichita Northwest High School and Bishop Carroll High on Sept. 4, her husband Mel Gregory announced on Facebook. 

Linda Gregory was a longtime supporter and photographer for Wichita Northwest High School, the school said in a Facebook tribute. 

While snapping photos of the match up, she was “ran into” when players fell out of bounds, Wichita Northwest’s football team coach Steve Martin said in a Facebook post.

“Linda hit her head on the concrete apron of the track and was taken into observation to a local hospital. As the evening went on her conditions have gotten worse,” Martin said.

Her husband, who shared a photography business with Linda, shared updates on Facebook stating that she was in the ICU, suffered brain bleeding, and later placed on life support.

In a post Wednesday, he wrote that Linda was surrounded by her kids, family friends and colleagues. He announced her passing just two days later. 

Friday evening, Mel Gregory and his family attended the Northwest High School football game where Linda was honored for her dedication to the school and “her boys,” as she fondly called the athletes.

“As far as Linda’s passing. It was peaceful and as she wished took little time,” Mel Gregory wrote on Facebook. “We had a family honor ceremony in her room and she will be transported tonight to Kansas City for the necessary preparation for donation. Unfortunately, some of her organs were not capable of being harvested but they will still be much for helping others to live.”

He shared his gratitude for the outpouring of support to his family.

“I want you to know that Linda would have been surprised and overwhelmed by the support and publicity of her tragic death. We are trying to set up a foundation to fund a scholarship for prospective photographers and will keep you posted,” he wrote.

“I also want you to know that she would want you to place no blame on anybody, schools, sports, or players for her accident. I know that the players are traumatized and on her behalf, I want to show them support,” he continued. “Having said that I will end with what Linda would say tonight: Go Grizzlies!!!”

The high school honored Linda’s legacy by having a moment of silence for her at the Friday game where players wore Linda’s initials “LG” on their helmets.

“Linda’s sideline presence and constant support of our students will be sorely missed at Northwest High school,” the school said.

Tributes poured in on social media for Linda, remembering her as a gracious soul passionate about photography.

New York Jets running back Breece Hall, an alum of Wichita Northwest High, asked for prayers on Tuesday. 

“These are the most genuine, polite, kind, giving, whole hearted people. Prayers out to you and your wonderful wife Mel Gregory,” he wrote on Facebook.

Family-friend Joanna Chadwick told NBC affiliate KSN of Wichita Linda and Mel were like a third set of grandparents to her sons. 

“Frankly, I think we all need to have a Linda in us. We all need to be that person that does something good for nothing in return,” Chadwick said.

The high school football coach Martin wrote on Facebook to Mel: ” I wanted to let our boys that didn’t know Linda that long how much Linda and you meant to our program and my family! She will live forever in this program! We will honor her everytime we step foot on that field!”

The 2024 Pirelli calendar focuses on the idea of timelessness and stars iconic figures such as Naomi Campbell, Angela Bassett, Idris Elba, Teyana Taylor, Amanda Gorman, and, most significantly, King Otumfuo Osei Tutu II. The year marks the 25th anniversary of the Ashanti Kingdom, and the King’s image reflects the celebration of his reign. With all photos taken by artist Prince Gyasi in London and Ghana, Gyasi’s hometown, each shoot grew increasingly exciting for him — especially since he looks up to so many of the celebrities he worked with on set, some of whom are old friends. As a self-taught visual artist who shot his first photographs on an old iPhone at 16, Gyasi’s signature work is personal, powerful, and revolves around the idea of community. His unique aesthetic is described as a “journey into color,” and he’s worked with impactful brands and publications like Balmain, Converse, GQ, and Vanity Fair.

When Gyasi talked to POPSUGAR about the Pirelli experience, he explained that he settled on a theme for the renowned calendar by looking within himself. “I used to look up to these people. I can never deny the fact that they helped me take out the roof above me and escape any limitations,” he said, continuing, “When I approached this, I was thinking about people who defy time, like basically those who don’t exist in time, because they are timeless. They have this God-given gift that they’re able to maneuver through this earth at a different speed. You would think that they’re not normal human beings, but they are because of the consistency, hard work, determination, and passion they have for what they do. That’s why they are where they are.”

Ahead, Gyasi dives into specific instances of camaraderie he experienced on set and discusses his own bucket list for his career. Enjoy behind-the-scenes photos from the 2024 Pirelli shoot as you read about Gyasi’s perspective on the project and wait patiently for the official imagery to launch ahead of the new calendar year.

Landscape photographers often find themselves hiking longer distances or on routes with significant elevation changes. Decisions about what camera gear to carry can influence the hike’s success, both in reaching the destination and photography results. Is there a one lens solution for these hikes?

In this video, Nigel Danson reviews the camera gear he is packing for a hike with a large amount of elevation change to reach the top of the peak. Keeping to a minimum amount of equipment, Danson packs his Nikon Z8 and the Nikon 24-200mm lens. 

Danson has several lenses at his disposal to select from, including the Nikon 24-120mm, but he chooses the 24-200mm lens for this particular hike. He acknowledges the lens is as sharp as the 24-120mm, but when in the mountains, he values the additional reach the 24-200mm lens provides.

During inclement weather, Danson leads the viewer into the mountains, which pays off with fantastic light on the higher peaks. He also discusses some photography techniques to help make the 24-200mm lens even more versatile for wide angle shots.

I often face similar decisions on what to carry for certain hikes. This video was an excellent insight into what other landscape photographers choose for longer and more rugged hikes while still providing stunning results.

Coming to The Photographers’ Gallery in October: the first UK retrospective of one of the world’s most innovative and influential artists and street photographers. If you are interested in documentary or street photography, Daido Moriyama’s work is definitely something you should familiarize yourself with.

This autumn, The Photographers’ Gallery presents the first UK retrospective of work by the acclaimed Japanese photographer, Daido Moriyama (b. 1938).  Featuring over 200 works, spanning from 1964 until the present day, Daido Moriyama: A Retrospective traverses different moments of Moriyama’s vast and productive career.

Taking over the whole Gallery, this exhibition celebrates one of the most innovative and influential artists and street photographers of our day. Championing photography as a democratic language, Moriyama inserted himself up close with Japanese society, capturing the clash of Japanese tradition with an accelerated Westernization in post-war Japan. With his non-conformist approach and desire to challenge the medium, his work is tirelessly unpretentious, raw, blurred, radical, and grainy and has defined the style of an entire generation.

Included in the exhibition is one of Moriyama’s most iconic images, Stray Dog (1971). This black-and-white image features a close-up of a stray dog’s face, its snarling teeth prominent. It’s a quintessential representation of Moriyama’s fascination with the gritty and often unsettling aspects of street life.

“Forget everything you’ve learned on the subject of photography for the moment, and just shoot. Take photographs of anything and everything, whatever catches your eye. Don’t pause to think.” – Daido Moriyama

Moriyama has spent his 60-year career asking a fundamental question: What is photography? He rejected the dogmatism of art and the veneration of vintage prints, making the accessible and reproducible aspects of photography its most radical asset. Over and over, he reused his photographs in different contexts, experimenting with enlargements, crops and printing. Most of his work was made for printed pages rather than gallery walls. Fittingly, Daido Moriyama: A Retrospective will be the first UK exhibition to showcase many of his rare photobooks and magazines.

These publications, dating from early rare editions and out-of-print Japanese magazines to more recent titles, will be on show alongside large-scale works and installations. The magazines and photobooks will give visitors unrivaled access to abundant archival and visual material to view, read and discover.

Presented in two phases of Moriyama’s work, Daido Moriyama: A Retrospective starts with Moriyama’s early work for Japanese magazines, his challenging of photojournalism, his experiments in Provoke magazine, and the conceptual radicalization of his photobook Farewell Photography (1972). During this period, he established his unique aesthetic, famously known as “buke, boke” (meaning “grainy, blurry, out of focus”).

The second part of the exhibition starts in the 1980s, when Moriyama overcame a creative and personal crisis. In the following decades, he explored the essence of photography and of his own self, developing a visual lyricism with which he reflected on reality, memory and history.

Moriyama renewed street photography inside and outside Japan. His wanderings led him to cover miles in Tokyo, Osaka, and Hokkaido, but also New York, Paris, São Paulo, and Cologne. His work and travels are showcased in Record magazine, which the photographer continues to publish today.

Daido Moriyama: A Retrospective is curated by Thyago Nogueira, Instituto Moreira Salles, São Paulo, Brazil.

Lead article images from left to right: From Letter to St-Loup, 1990/ Tokyo, 1967. Asahi Graph, Apr 1967/ Male actor playing a woman, Tokyo, 1966. From Japan, a Photo Theater. © Daido Moriyama/Daido Moriyama Photo Foundation. 

Images used with permission of Daido Moriyama Photo Foundation.