As you probably know by now, after receiving a gazillion emails advising you of the fact, last month saw the introduction of the GDRP, the EU’s General Data Protection Regulation. And in an article on his website, German photographer and journalist, Hendrik Wieduwilt, is worried. Very worried.
They’re back! Nature’s comedians are giving us humans a run for our money with some pretty knee-slapping performances. The 2018 Wildlife Comedy Awards competition, organised by the Born Free Foundation, is already in full swing, and the entries are just hilarious.
Unseen Images of 1930s America
Until 26 August 2018
Imagine a moustache being drawn onto the face of Da Vinci’s Mona Lisa, or a hole being punched into Salvador Dali’s $24 million portrait of Paul Eluard. If you are not a photographer, you may not feel the same about a piece of negative as we do, but trust me, when it was shot by legends such as Walker Evan’s and Dorothea Lange only to be vandalised by some bureaucrat, I personally turn into the Hulk.
We’ve all heard the saying that a camera adds ten pounds, and to an extent that’s true. Choosing the right lens for your portrait photography really depends on the effect you want to give. The same portrait of a person shot with different lenses shows how much a lens, and the distance you are from the subject, affects the way the person looks in the photograph.
“[O]ne is writing with light, and the other is drawing with light,” the photographer once said. “The school of Henri Cartier-Bresson, they draw with light, they sketch with light. The single picture is paramount for them.
“For me, that was never the point. My pictures are always part of a series, an essay. Each picture should be good enough to stand on its own but its value is a part of something larger.” – Abbas, 1944-2018
The ninth edition of the International URBAN photography awards competition, organised by Italian cultural association dotART together with media partner Photographers.it and Sprea Photography, is open for submissions.
A photo editor once told me that the difference between a good photo and great photo can be measured in a fraction of a second. Having hopefully mastered your ISO and aperture settings in these past few months, we can now focus on what is for most, the most fun setting in photography; The shutter speed.
Entries are open for the 4th annual LensCulture Street Photography awards, where you are invited to share your perspective on the world’s streets.
TJ Boulting and Trolley Books are hosting an exhibition by renowned photographer Philip Jones Griffiths to mark the tenth anniversary of his death, on 19th March 2008.
According to the gallery website, PJGX presents photographs from the two important bodies of work that represent Philip’s archive – the Viet Nam war and Britain in the 1950s to 70s.
Griffiths was born in 1936 in Wales and was famous for his coverage of the Viet Nam War. He started work as a full-time freelance photographer in 1961 for The Oberver, and then covered the vietnam war for Magnum agency.
Henri Cartier-Bresson said of Griffiths: “Not since Goya has anyone portrayed war like Philip Jones Griffiths.” In 1980, Griffiths became the president of Magnum, a position he held for five years. He died aged 72 in London, on March 19, 2008.
In 1971 he published his first book, the ground-breaking Viet Nam Inc, which cemented his reputation as both a fiercely intelligent and astute photojournalist.
The book had a huge impact in turning people’s opinion against the war and the US involvement in Viet Nam. Carefully considered and captioned with a scathing dry commentary, this was ‘war photography’ but in a very different sense, as the journalist and film-maker John Pilger wrote on Philip’s death in 2008: “No photographer produced such finely subversive work, knowing that truth in war is always subversive.”
Griffith’s book, Agent Orange: Collateral Damage in Viet Nam was even more vehemently ‘war photography’ of a different sense. The toxic chemical in Agent Orange that had been dropped by the US on Vietnamese and Cambodian soil to defoliate the landscape and reveal the enemy, was also responsible for horrific congenital deformities, still affecting children born today.
Viet Nam Inc. had been republished in 2001 with a foreword by Noam Chomsky, who observed: “If anybody in Washington had read that book, we wouldn’t have had these wars in Iraq or Afghanistan.”
But who would publish these disturbing new images from Viet Nam, a generation after the war had ended? It was around this time that Philip met Gigi Giannuzzi, the founder of Trolley Books, and he discovered not only a publisher but a kindred spirit, someone who was not afraid to make a book of such difficult-to-look-at work. T
wo more books followed, Viet Nam at Peace in 2005 and Recollections in 2008, published a few months after Philip’s death. Despite his seminal book on the Vietnam War, Philip hated to be described as a war photographer.
His 50–year archive is rich with stunning photojournalism from over 100 countries around the world. As well as his images, Philip’s words always gave a crucial insight, and showing in the exhibition is a filmed interview that Philip gave in Aberystwyth in 2007 at the University of Wales. It is followed by a recent award-winning documentary (a co-production between Welsh company Rondo Media, S4C and South Korean production company, JTV, Jeonju T
PJGX Philip Jones Griffiths Exhibition
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