Tuesday, April 15, 2014 / Labels: , ,

TeraBella Media Presents: The Human Hand Photography Competition

Photo: Linda Golob
April 15, 2014 /Photography News/ Our hands reveal so much about us and can expose so much about our lives. Our hands can reveal our race, gender, age, and our occupation. We work with our hands, communicate with our hands and help others with our hands. Hands can create works of beauty, and they can be instruments of destruction. Whether they are the young, unblemished hands of a child or the aged and weathered hands of an elder, TeraBella Media invites you to submit your best representations of the human hand.


First Place: $400 (USD) cash prize
Second Place: $200 (USD) cash prize
Third Place: $100 (USD) cash prize
Three (3) Honorable Mentions & three (3) Merit Winners will also be chosen.
All finalist receive recognition in on line gallery display and social media exposure via Facebook, Twitter and Pinterest. All finalists are announced in the TBMPN newsletter and on Photography News.

Copyright: All submitted images remain sole property of artist/photographer.

Entry Fee(s):

$20 (USD) for first 4 images
(Up to 8 image entries may be submitted for additional fees)
Color and/or Black and White images will be accepted.

Eligibility: Contest is open to all individuals 18 years and older, worldwide.

Entry Deadline: May 26, 2014 (11:59PM CST)

To view all current call for entries listed at Photography News, visit

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Monday, April 14, 2014 / Labels: ,

2014 Women's Initiative Grant for photographers, photojournalists

April 14, 2014 /Photography News/ The Alexia Foundation is pleased to announce the call for entries for the 2014 Women's Initiative Grant which will provide a $25,000 grant for a project to be produced on a significant issue involving and affecting women anywhere in the world.

The Alexia Foundation's main purpose is to encourage and help photojournalists create stories that drive change. While the traditional grant guidelines put no limits on the subject matter for grant proposals, a number of proposals about women's rights in the last few years have been so powerful that we have been compelled to create a grant specifically on issues relating to women.

Unlike the first Women's Initiative grant, which specifically focused on abuse of women in the United States, this call for entries is open to photographers any where in the world and is intended to permit the photographer to produce a serious documentary photographic project encompassing any issue involving women anywhere in the world.

While considering the idea of women's issues, several themes that have been suggested, including: femininity and the culture of abuse; women making a difference, leading, changing things for the better; gender inequality; the direct connection to women and education, and the impact on birth rates, health of children and the productivity of the women; gender discrimination, women in leadership, women in the military, mental health issues. They are by no means intended to influence your proposal, but they may help you start thinking about this topic. They are, in fact, just general themes.


Photographers and visual journalists from any country may apply for this Grant. Proposals for projects that have already received grants or awards of more than $1,000 in the previous calendar year are not eligible. The Grant is made to an individual photographer; project proposals that involve multiple content producers will not be accepted.

Judging Criteria:

The Grant was established to help promote greater awareness of issues surrounding and impacting women. The strength of your proposal will be judged equally to your photographic skills. The Grant goes to those who clearly and concisely propose significant projects that share in the Foundation’s mission and who demonstrate the ability to accomplish their proposals by showing photographs of the highest caliber. Photographs you submit with your proposal may be about your proposal’s subject or of past work that is of a similar type.
A well-written statement of purpose proposal is required. This is not a portfolio competition. The grant will be awarded to a photojournalist who can write a concise, focused, and meaningful story proposal concerning women’s abuse and who can demonstrate the ability to visually execute that story with compelling images. 
Applications will be judged in two rounds. First, members of the Alexia photojournalism advisory board, the Alexia Board and its executive advisors will review portfolios and move those demonstrating strongest visual storytelling skills to a second round. 
In the second round, judges first read and rank the story proposals for all those portfolios brought forward. If no judge thinks the proposal is worth considering, the portfolio will not be reviewed in the second round. A winner is chosen based on the judges' determination of the combination of the strongest proposal and photography.

All applications are expected to adhere to photojournalism ethical standards. 

Deadline: June 30, 2014 at 2p.m. EST

The winner will have six months or until March 1, 2015 to complete the project.

To view all current call for entries listed at Photography News, visit

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Monday, April 7, 2014 / Labels: , ,

PhotoStack: Learn, share and win

April 7, 2014 /Photography News/ PhotoStack will teach the basics.  You'll share on their forum and compete to win awesome rewards  with increasing prize levels.

This is your opportunity to become a member in April and share in some great rewards.  Sign up now to get first pick of PhotoStack's limited, pre-launch rewards.

Building your photography skills and stacking the odds of winning in your favour.

Cash prizes:

  • First place: $500+
  • Every 1 in 100 entries: $50

Deadline: ongoing


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Wednesday, April 2, 2014 / Labels: ,

2014 "Abandoned" photo contest deadline extended

The deadline of "Abandoned" photo contest has been extended until April 18, 2014.

Photo: Cindy Vasko
April 2, 2014 /Photography News/ PictureCompete presents “Abandoned.” There is something terribly intriguing with deserted structures. Perhaps we are drawn to the mystery of the past purpose and function of these buildings. Perhaps we wonder about the individuals who once occupied these dwellings. Possibly, as photographers, we are drawn to capturing the “bare bones” and the essence of a subject and allowing our viewers to use their imaginations. PictureCompete invites you to submit your best representations of what “Abandoned” means to you.

Cash prizes:

• First Place: $250 (USD)
• Second Place: $100 (USD)
• Third Place: $75 (USD)

All winners will receive:

• Winner's gallery exhibition
• Social media exposure
• PictureCompete™ newsletter exposure

Entry Deadline: April 18, 2014

To view all current call for entries listed at Photography News, visit

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Monday, March 24, 2014 / Labels: ,

Wordsworth Donisthorpe and the first motion picture of London

Wordsworth Donisthorpe filmed London's Trafalgar Square traffic in 1890; these are the surviving 10 frames

March 24, 2014 /Photography News/ Born on March 24, 1847 in Leeds, Wordsworth Donisthorpe was an English individualist anarchist and inventor, pioneer of cinematography and chess enthusiast.

On 9 November 1876 Donisthorpe applied for a patent for the Kinesigraph, an apparatus 'to facilitate the taking of a succession of photographs at equal intervals of time, in order to record the changes taking place in or the movements of the object being photographed, and also by means of a succession of pictures so taken ... to give to the eye a representation of the object in continuous movement ...' 

Donisthorpe's Kinesigraph camera was evidently inspired by the 'square motion' wool-combing machine designed by his father, with the 'falling combs' replaced with falling photographic plates. The camera was built, but how well it worked is not recorded. 

On 24 January 1878, a letter from Donisthorpe, 'Talking Photographs', appeared in Nature, in which he suggested that his Kinesigraph, used in conjunction with Edison's recent invention the Phonograph, could produce a talking picture of Prime Minister William Gladstone. 

Each individual photograph was to be illuminated by an electric spark and projected in sequence onto a magic lantern screen. The materials available for photography at that time did not lend themselves to motion picture work, and nothing else is heard from Donisthorpe on this subject until 1889, when he patented a film camera and projector. Louis Le Prince was living in Donisthorpe's home town of Leeds, and it may be that word of Le Prince's 1888 experiments revived Donisthorpe's interest in the problem.

The patent for Donisthorpe's new camera, also called the Kinesigraph, was taken out jointly with William Crofts. It was a unique camera mechanism, which again had more in common with textile machinery than with other photographic devices. A shuttle carrying the film moved upwards as the film itself was pulled down, resulting in the film being stationary relative to the lens during each exposure. Development was entrusted to Crofts, and it was perhaps at a Camera Club lecture that he became aware of Eastman celluloid roll film. The new medium was ideal for their camera. 

Some time between late 1889 and early 1891, Donisthorpe and Crofts set up their Kinesigraph in a building overlooking London's Trafalgar Square, and shot at least one short film. It is an evocative, multi-layered view. Foaming water from one of the famous fountains is framed against a sooty background of the domed National Gallery building, with the bustling traffic of pedestrians and horse-drawn omnibuses; ten frames survive.
This footage has not been contested as the first motion picture ever taken of the city of London

In 1894 William Crofts died, and any hope that might have remained for the eventual success of the Kinesigraph project died with him, Donisthorpe never being able to acquire backing for the project of moving pictures. 

Donisthorpe later invented a new language (Uropa), and assisted his sons in experiments with colour and sound motion pictures. He died on 30 January 1914.

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Saturday, March 22, 2014 / Labels: , ,

Photographer Spotlight: Lori Pond

Lori Pond, Self-portrait
March 22, 2014 /Photography News/ World Photography Network (WPN) is very pleased to announce its popular segment: "Photographer Spotlight.” In this part of their newsletter they will be interviewing various fellow photographers and learning more about what motivates them, what their goals are and what direction they wish to take with their art. 

WPN is extremely excited to announce that this week’s interview will be exposing the creative sources and forces behind the works of the talented photographer Lori Pond.

WPN: At what age or stage of your life were you drawn to photography?

LP: As a young girl I was interested in anything and everything that held my father’s attention. Whether it was making clocks, mowing the lawn, or even constructing a shuffleboard court, I was captivated. So, when he began learning how to make his own black and white photographs, I began doing that also. We would go out to the desert in the early spring and photograph the tiny, ephemeral flowers that sprung up from the sand after a rain. Then, we would go home and develop the film. We would load the negatives into the enlarger and create a photograph with light. I thought that to be so amazing!

WPN: Can your style be classified by any genre?

LP: Paradoxically, I wish to be classified in some genre, and yet I do not wish to be classified. I think Groucho Marx said it best: “I refuse to join any club that would have me for a member.” I like my photography to be all about the viewer and allow him or her make up his or her own mind with regard to my images. I think my genre could be summarized like this: “There’s an interesting image to be made every twenty feet.”

Maleficent, by Lori Pond
WPN: What is involved in your process of creating your images, and from where is the inspiration drawn?

LP: I use many tool palettes when making photographs. When I’m working in the digital world of “ones and zeroes” I like to use what Jerry Uelsmann elegantly refers to as a “post-visualization” technique. I make an image with my camera and bring it into Photoshop where it transforms before my eyes into something I had no idea I could create. With some “groovy” plug-ins, a digitizing tablet and my stylus, I paint in light, texture, noise and parts of other images at will. For my tintype images I use the wet plate collodion process. This wet process was invented in the 1850s as an easier alternative to making a daguerreotype. It involves coating an aluminum plate with collodion and next bathing the plate in silver nitrate before the plate is exposed to light in the camera. The plate is then developed and fixed with (ideally) potassium cyanide. I enjoy making portraits with this method, as the subjects take on an otherworldly presence before the camera. This process is never boring, and each image is truly one of a kind. Serendipity has become my muse with this technique.

Teacup, by Lori Pond
WPN: Any particular or special equipment you favor?

LP: I will use any equipment that will allow me to capture light. I use a Nikon D800 for my digital work. It has such deep sub-menus I have to leave breadcrumbs to find my way out of them. I take many images with my iPhone as the often repeated maxim, “The best camera is the one with you,” is actually true. For my tintype work I use a Calumet 8x10 camera and a 4x5 Speed Graphic camera with a Graphex lens.

WPN: Your portfolio entitled "Divorce" is extremely personal. Did your use of photography help as therapy to move you past this painful period in your life?

LP: My series “Divorce” began before I was even aware of what I was making. I started to take self-portraits in 2010, and at that time I was experimenting with a composite technique. I would ask myself, “What would it look like if I merge my torso with stone, a tree or asphalt?” I photographed myself sitting in a round sculpture in my backyard. I blended myself into my home in another image, photographed myself with a mother figure and as an abstract form. It wasn’t until my husband moved out of our house did I realize I had spent the prior two years preparing for the dissolution of my marriage by making these self-portraits. After he left, (with a lot of the furniture) I wandered the now-empty rooms stunned and with no purpose. This was the physical manifestation of the hole I had in my heart. To fill that hole and the empty spaces I decided to use my body as the new “furniture.” I needed to inhabit these rooms with my own newfound lonely soul. I made myself into a tea cart with “Teacup.” I stretched myself along a wall where the armoire used to be, and I huddled in my former husband’s closet. I stumbled from one room to the next in my attempts to find myself.

Bear, by Lori Pond
WPN: A sense of decadence is felt in the images of your "Tintypes" series. Was this the original intent?

LP: I discovered the power of the portrait while making tintypes. The wet plate collodion process is lugubrious, old and toxic. It does, though, impart a sense of history, tradition and respect for our photographic forefathers. The photographer and the models are transported to another era where, among other things, it mattered to have hand-eye coordination. There’s a seriousness and even a freedom that is felt by all persons involved. When creating tintypes there are no guarantees that anything will come out as you might expect. With my series, "Strange Paradise," I am attempting to create a moment in time that exists inside an imaginary, parallel universe. I’m mixing metaphors and playing with stereotypes while having a lot of fun inventing an alternate “present” that both I and my models are creating together. So, if decadence seems to be felt while looking at these images, then I’m sure that’s also in there subconsciously, subcutaneously, and subverted somewhere in the serendipitous nature of the whole project.

WPN: What works have you recently launched or will be pursuing?

LP: I recently launched a body of work I have titled “Menace.” I photograph taxidermied animals and cover them in darkness. Only patches of their fur and the whites of their eyes and teeth are revealed. I am appealing to the viewer’s “fight or flight” mechanism as they look at something unknown. What does the brain’s amygdala tell us about these images? There are so many questions to ask. Is it alive or dead? Is it going to kill me? What is it? I think it’s important to experience the edges of our comfort zones. I am also working on a body of work called “The Wiccans,” which explores crone energy, its people and its rituals. My next tintype series will be based on Aesop’s Fables and Greek mythology.

Phone: 323-630-3311

Wish to be considered for the next Spotlight interview?
Please contact WPN's staff at

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Friday, March 21, 2014 / Labels: ,

Remembering expedition photographer Herbert George Ponting

March 21, 2014 /Photography News/ Born 144 years ago, Herbert George Ponting was a professional photographer best known as the expedition photographer and cinematographer for Robert Falcon Scott's Terra Nova Expedition to the Ross Sea and South Pole (1910–1913).  He captured some of the most enduring images of the Heroic Age of Antarctic Exploration.

See some of his photography here: Remembering the Terra Nova Expedition

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Wednesday, March 19, 2014 / Labels: , ,

In photos: Seminole Indians and Missionary Harriet Bedell

Deaconess Bedell with Mary Osceola Huff and Fanny Stuart, between 1933 and 1960
March 19, 2014 /Photography News/ These images reflect the lives of Florida's Seminole Indians and the missionary activities of Deaconess Harriet Bedell among them. The photographs include group portraits of Seminole men, women, and children, as well as images of the Seminoles engaged in a variety of daily work and recreational activities.

Ruby - Charlie Tigertail's Sister, ca. 1910
Harriet Bedell, missionary and friend to the Seminole Indians of Florida, was born in Buffalo, New York on March 19, 1875. She was trained as a schoolteacher but was inspired several years later by an Episcopalian missionary who spoke at her church describing the many needs of missionary work. In 1906 she applied to, and was accepted by, the New York Training School for Deaconesses, where her one-year course of study included instruction in religious matters, missions, teaching, hygiene, and hospital nursing. Following her training she was sent as a missionary-teacher to the Cheyenne Indians at Whirlwind Mission in Oklahoma. 

Miccosukee mother rocks her baby in a hammock, between 1033 and 1960
Because of her experience in both teaching and working with Indians, in 1916 an Episcopal bishop requested that she consider an assignment in a remote area of Alaska. 

Ruby Jumper Billie holding her infant Billie L. Cypress, 1948
Through speaking engagements following her service in Alaska, Bedell was invited to visit a Seminole Indian reservation in southern Florida. Appalled by their living conditions, she began her campaign to improve the quality of life among the Mikasuki-Seminole Indians by living and working with them, not merely teaching them. She sought to revive the doll making and basket weaving skills which had become nearly extinct. She encouraged the incorporation of the intricate patchwork designs made by Indian women into articles of clothing for both women and men. Sales from the arts and crafts store at Blades Cross Mission helped to provide improved income for the Mikasuki-Seminoles.

Bedell emphasized health and education rather than religious conversion in her work with the Seminoles; their spiritual and physical comfort was more important to her than religious conversion, and her work and friendship with the Seminoles of Florida reflected those values.

Deaconess Bedell on the porch of the Mission of Our Savior : Collier City, Florida,  between 1933 and 1960
Nation's smallest Post Office in Ochopee, Florida, 194-
Courtesy of the State Archives of Florida 

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Monday, March 17, 2014 / Labels: , ,

STEP Beyond travel grants for artists

March 17, 2014 /Photography News/ STEP Beyond Travel grants fund up and coming artists and cultural workers - giving priority to individuals up to 35 years and/or in the first 10 years of their career - to travel between EU and countries bordering the EU.

The travel grants support individual artists and cultural workers travelling across borders in a wider European space, to explore, network and set up new collaborations. They also see the travel scheme as a tool for professional development, ranging from planning, fundraising and application to payment procedures.


STEP Beyond Travel Grants are only meant for contributing towards international travel ticket expenses. Grants range from €250 to €700 depending on the country you are departing from and the country you will travel to.


The grant is opent to artists and cultural workers based in one of the following countries: Albania, Algeria, Andorra, Armenia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Israel, Italy, Jordan, Kosovo, Latvia, Lebanon, Libya, Liechtenstein, Lithuania, Luxembourg, Macedonia (FYROM), Malta, Moldova, Monaco, Montenegro, Morocco, The Netherlands, Norway, Palestinian Territories, Poland, Portugal, Romania, Russian Federation, San Marino, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Syria, Tunisia, Turkey, Ukraine, and the United Kingdom.

Eligible travelers should present a well-prepared travel itinerary and have a clear plan of activities, with at least one committed partner or host in the destination country. Funded travel should represent a starting point for continued collaboration and the resulting projects should have some impact on the local/regional arts and culture scene and/or policy-making.


There is no deadline for this grant scheme, so you can apply at any time but at least one month before your planned travel. The selection process takes up to one month.

For more information go to

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Friday, March 14, 2014 / Labels: , ,

In photos: Remembering Diane Arbus and her profound world

March 14, 2014 /Photography News/ Born into a wealthy Jewish family in New York 91 years ago on March 14, 1923, Diane Arbus made her reputation photographing people on the margins of society: losers, misfits, nudists, transvestites, prostitutes, the mentally retarded, sideshow freaks, and almost anyone who seemed not to fit in easily with her upper middle class background. And occasionally she photographed celebrities, sometimes to their dismay.

Diane Arbus, Untitled (3), 1970-71, © The Estate of Diane Arbus. Courtesy of Masters of Photography
At age 18 Diane married Allan Arbus (divorced 1969), an employee at her family’s store. Before separating, they worked collaboratively, first taking photographs and creating advertisements for the store, then creating commercial fashion photography for Harper’s Bazaar, Show, Esquire, Glamour, The New York Times, and Vogue.

Eddie Carmel, Jewish Giant, taken at
Home with His Parents in the Bronx, NY, 1970
After taking a brief photography course with Berenice Abbott, Arbus met Lisette Model, an Austrian-born documentary photographer, and studied with her from about 1955 to 1957. With Model’s encouragement Arbus gave up commercial work to concentrate on fine-art photography. In 1960 Esquire published Arbus’s first photo-essay, in which she effectively juxtaposed privilege and squalor in New York City. Thereafter she made a living as a freelance photographer and photography instructor.

Unlike many photographers with whom she overlapped, like Henri Cartier Bresson and Robert Frank, Arbus would often meet a subject and form a long relationship, the diaries and date books show. It could take 10 years for her to produce her best photographs of that subject.

Identical Twins, Roselle, New Jersey, 1967
Arbus' best-known single work is her haunting photograph of side-by-side twin girls, whose identical faces are just enough different that they seem like a paradigm of good and evil, darkness and light. Stanley Kubrick liked them so much he alluded to the pair with the creepy children who haunt the giant hotel in his movie "The Shining."

Toward the end of her life, she explicitly described her work in those terms. "I do feel I have some slight corner on something about the quality of things. I mean it's very subtle and a little embarrassing to me, but I really believe there are things which nobody would see unless I photographed them."

Arbus experienced "depressive episodes" during her life similar to those experienced by her mother, and the episodes may have been worsened by symptoms of hepatitis. Arbus wrote in 1968 "I go up and down a lot," and her ex-husband noted that she had "violent changes of mood." On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus took her own life by ingesting barbiturates and slashing her wrists with a razor. Her good friend Marvin Israel found her body in the bathtub two days later; she was 48 years old.

Diane Arbus, Teenager with a Baseball Bat, NYC, 196
Today Arbus, who once said her pictures sought to capture “the space between who someone is and who they think they are,” has become one of America’s best-known photographers and one of its most controversial.

Diane Arbus, Untitled (1), 1970-71, © The Estate of Diane Arbus. Courtesy of Masters of Photography
A collection of her photos was published in 1972 in connection with a successful major exhibition of her work at the Museum of Modern Art in New York City. That same year her work was shown at the Venice Biennale, marking the first time that an American photographer received that distinction. In 2003 an extensive exhibition of her work opened at the San Francisco Museum of Modern Art and later traveled throughout the United States and Europe. An accompanying book, Diane Arbus Revelations (2003), contained some 200 photographs as well as excerpts from her letters and notebooks. In 2007 Arbus’s estate gifted her complete archives - including photographic equipment, diary pages, and the negatives of some 7,500 rolls of film - to the Metropolitan Museum of Art in New York City.

Diane Arbus, Mexican dwarf in his hotel room in N.Y.C., 1970, © The Estate of Diane Arbus. Courtesy of Masters of Photography
Diane Arbus, Untitled (7), 1970-71, © The Estate of Diane Arbus. Courtesy of Masters of Photography
Diane Arbus, A young man with curlers at home on West 20th Street, N.Y.C., 1966, © The Estate of Diane Arbus. Courtesy of Masters of Photography
Child with Toy Hand Grenade in Central Park, New York City (1962)

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Wednesday, March 12, 2014 / Labels: , ,

Alex Koddrip's 'K.Reatures - Battle with dichotomy' exhibition opens in Paris on April 3

March 12, 2014 /Photography News/ Press release

Alex Koddrip 
K.Reatures - Battle with dichotomy 

Opening 3 April 
Alex Koddrip will be present 

Opening Cocktail Reception 
Galerie Planète Rouge, Paris 

World Tour 
New York – Paris - Los Angeles – Tokyo – Zurich 

@Alex Koddrip

Galerie Planète Rouge 
from 3 to 12 Avril 2014 
25 Rue Duvivier 
75007 Paris 

This year, after a highly successful launch in New York City in October 2013, visual artist Alex Koddrip prepares to exhibit “K.Reatures—battle with dichotomy” in Paris, Los Angeles, Zurich and Tokyo. 

K.REATURES is a series of movie-like still imagery telling a story of a human battle with dichotomy. The characters in these artworks represent conflicting elements of human nature that coexist in each one of us, and they evolve through emotional life experiences with the ultimate purpose of “knowing thyself.” 

In subconscious of bright personalities lie dark spots of edgy fantasies. Equally, dangerous characters have spiritual light concealed within their defensive shells. 

Alex Koddrip explores the dark spots that lie at the edges of bright personalities. Also, dark characters conceal light within their own defensive shells. Forgiveness is the essential component to K.Reatures. It is what enables these characters to see their everlasting duality—respect its presence—and finally to accept the intrinsic asymmetry of human nature. 

@Alex Koddrip
Here and now: black or white, good or bad, damaging or constructive, sober or drunk, artificial or authentic, sweet or bitter, cold or warm - it is all within us. Human behavior is not necessarily representative of what is happening deep inside our psychic. Society dictates certain norms of acceptable behavior, but who defines the norm, especially when it comes to individual freedom of self-expression? Morality and universally agreed upon ethics are crucial pillars of any well functioning civilization but when the light goes off and individuals go back to their secluded private habitat, when they take off masks of acceptable behavior and remove all clothes and accessories that portrayed a certain image of their inner selves during the day, - what is left?Who is the judge of what's accepted and what is not? 
Alex is emerging as a visual artist intended on dismantling societal clichés and exposing unique identities. His projects convey the complicated nature of the urban lifestyle using intentionally symbolic photographs. Alex finds inspiration in dissimilarities between and within mainstream and subcultures, the conflicting drives of the human subconscious, multi-layered thinking, increasing sophistication, eccentricity, intensity, and most of all - moderation. 

@Alex Koddrip
Press Office 

Please RSVP to attend the opening: 

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Tuesday, March 11, 2014 / Labels: , ,

Professional Women Photographers (PWP) Call for Entry

March 11, 2014 /Photography News/ Professional Women Photographers (PWP) announces its SPRING 2014 INTERNATIONAL WOMEN’S PHOTOGRAPHY CALL FOR ENTRY. Andrea Meislin, Owner and Director of Chelsea’s Andrea Meislin Gallery, will award $5,000 in cash, an article in IMPRINTS Magazine, a one-year online exhibition, and valuable prizes from Datacolor, global leader in color calibration technology. 

Winners will be selected in each of the following four categories:

  • Portraiture
  • Black and White
  • The Environment (Nature, Cityscapes, Street Photography, etc.)
  • IPhonography (any image created on an IPhone or other mobile device)

  • Grand Prize: One photographer will receive $1,000, plus a Datacolor Spyder4PRO color calibration system and SpyderCube raw calibration tool ($225 value.) Her image will appear in the 2014 IMPRINTS Magazine and the online exhibition.
  • First Prizes: 4 photographers (one in each category) will receive $500, plus a Datacolor SpyderCHECKR PRO camera calibration system ($139 value.) Their selected images will appear in the 2014 IMPRINTS Magazine and the online exhibition.
  • Second Prizes: 4 photographers (one in each category) will receive $300. Their selected images will appear in the 2014 IMPRINTS Magazine and the online exhibition.
  • Third Prizes: 4 photographers (one in each category) will receive $200. Their selected images will appear in the 2014 IMPRINTS Magazine and the online exhibition.
  • Jurors’ Selections: These12 images will appear in the IMPRINTS Magazine and online exhibition.
  • Honorable Mention: 50 additional images will appear in the online exhibition.


This Call for Entry is open worldwide to ALL WOMEN PHOTOGRAPHERS; NON-MEMBERS AND MEMBERS OF PWP, AMATEUR AND PROFESSIONAL., working in any photography medium or style.

Entry fee:

PWP Members: $25 for the first 3 images.  
Non-Members: $35 for the first 3 images. 
Additional images may be submitted for $10 each. 

Important dates:

  • Entries due: April 15, 2014
  • Notice of Acceptance: May 5, 2014
  • Online Exhibition: October 1, 2014 - September 30, 2015

Andrea Meislin opened the Andrea Meislin Gallery, one of New York’s premier photography galleries, in March 2004. She is an art historian, writer, and independent curator. Meislin was formerly the associate curator of photography at the Israel Museum (Jerusalem), and an independent research associate at the Phoenix Art Museum. 

For a complete prospectus, and to submit images, please go to: 

To view all current call for entries listed at Photography News, visit

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Monday, March 10, 2014 / Labels: , ,

Remembering Toni Frissell: "I'd Rather Stalk with a Camera Than a Gun"

"I'd Rather Stalk with a Camera Than a Gun", photo of American photographer Toni Frissell, c. 1935
March 10, 2014 /Photography News/ Born on March 10, 1907, Toni Frissell (or Antoinette Frissell Bacon) was an American photographer, known for her fashion photography, World War II photographs, portraits of famous Americans and Europeans, children, and women from all walks of life.

Underwater view of a woman, wearing a long gown, floating in water. Photograph by Toni Frissell at Weeki Wachee Springs, Florida (1947). This image was later used as the cover for the album Undercurrent by Bill Evans and Jim Hall, the album Tears in Rain by This Ascension and Osvaldo Golijov's "Oceana," and also for the album Whispering Sin by the Beauvilles.
Frissell worked with many famous photographers of the day, as an apprentice to Cecil Beaton, and with advice from Edward Steichen. She initially worked for Vogue in 1931 as a fashion photographer for Vogue in 1931, and later took photographs for Harper's Bazaar. Her fashion photos, even of evening gowns and such, were often notable for their outdoor settings, emphasizing active women.

German actress Lilli Palmer (1914-1986), with husband Rex Harrison (1908-1990) in the background, photographed by Toni Frissell (1907-1988) in 1950
In 1941, Frissell volunteered her photographic services to the American Red Cross. Later she worked for the Eighth Army Air Force and became the official photographer of the Women's Army Corps. On their behalf, she took thousands of images of nurses, front-line soldiers, WACs, African-American airmen, and orphaned children. She traveled to the European front twice. Her moving photographs of military women and African American fighter pilots in the elite 332d Fighter Group (the "Tuskegee Airmen") were used to encourage public support for women and African Americans in the military.

"Victoria Station, London". Fashion model (identified as Lisa Fonssagrives with English bobby on platform at London's Victoria Station. Photograph by Toni Frissell (one of the most celebrated female photographers of the 20th Century), published by Harper's Bazaar in 1951. Part of a collection gifted to the Library of Congress by Frissell. Very poor scan of a very beautiful picture. I tried my best to bring out the contrasts and remove the various artifacts, but I wish they'd clean it up and scan it again. Note, the location of this picture has been mistaken by United States Library of Congress the actual location is Paddington station.
In the 1950s, she took informal portraits of the famous and powerful in the United States and Europe, including Winston Churchill, Eleanor Roosevelt, and John F. and Jacqueline Kennedy, and worked for Sports Illustrated and Life magazines. Continuing her interest in active women and sports, she was the first woman on the staff of Sports Illustrated in 1953, and continued to be one of very few female sport photographers for several decades.

Nuns clamming on Long Island
In later work she concentrated on photographing women from all walks of life, often as a commentary on the human condition.

Toni Frissell died of Alzheimer's disease on April 17, 1988

Abandoned boy holding a stuffed toy animal amid ruins following German aerial bombing of London, England, 1945
Her photographs illustrated the following books:
  • A Child's Garden of Verses (1944)
  • Bermuda:The Happy Island (1946)
  • Mother Goose (1948)
  • The King Ranch, 1939-1944 (1965)
  • Tethered, by Amy MacKinnon (August 2008)

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Friday, March 7, 2014 / Labels: ,

Remembering Nicéphore Niépce, Author of World's First Known Photograph

March 7, 2014 /Photography News/ Born 249 years ago on March 7, 1765, Joseph Nicéphore Niépce was a French inventor, most noted for producing the world's first known photograph in 1825.

By the age of thirty, Niépce had been a professor at an Oratorian college, a staff officer in the French army, and the Administrator of the district of Nice, France. In 1795, Niepce resigned from his position as administrator of Nice to returned to Chalon-sur-Saône --his birthplace-- and pursue research with his brother Claude.

Never one to stick with one pursuit for too long, he had become fascinated with popular art of lithography by 1813. Since Niepce himself had no artistic talent, his son Isadore would make the designs for his lithographs. Niepce would place engravings (which he made transparent) on plates coated with light-sensitive varnishes and expose them to sunlight through a process he called heliography, which literally means "sun writing".

Niépce took what is believed to be the world’s first photogravure etching, in 1822, of an engraving of Pope Pius VII, but the original was later destroyed when he attempted to duplicate it. The earliest surviving photogravure etchings by Niépce are of a 17th century engraving of a man with a horse and of an engraving of a woman with a spinning wheel.

The oldest heliographic engraving known in the world. Reproduction of a 17th century Flemish engraving, showing a man leading a horse. Made by the French inventor Nicéphore Niépce in 1825, with an heliography technical process. The Bibliothèque nationale de France bought it 450,000 € in 2002, deeming it as a "national treasure".
When his son Isadore was called up for military service, Niépce decided to find a way to produce images directly from nature.

Niépce sterted experimenting with silver chloride, which darkens when exposed to light, but eventually looked to bitumen, which he used in his first successful attempt at capturing nature photographically. He dissolved bitumen in lavender oil, a solvent often used in varnishes, and coated the sheet of pewter with this light capturing mixture. He placed the sheet inside a camera obscura to capture the picture, and eight hours later removed it and washed it with lavender oil to remove the unexposed bitumen. He began experimenting to set optical images in 1793. Some of his early experiments made images, but they faded very fast. The earliest known, surviving example of a Niépce photograph was created in 1825.

View from the Window at Le Gras, the first successful permanent photograph created by Nicéphore Niépce in 1825, Saint-Loup-de-Varennes. Captured on 20 × 25 cm oil-treated bitumen. Due to the 8-hour exposure, the buildings are illuminated by the sun from both right and left.
Starting in 1829 he began collaborating on improved photographic processes with Louis Daguerre, and together they developed the physautotype, a process that used lavender oil. The partnership lasted until Niépce’s death in 1833. Daguerre continued with experimentation, eventually developing a process that little resembled that of Niépce and naming it  the "Daguerréotype".

The Niépce Prize has been awarded annually since 1955 to a professional photographer who has lived and worked in France for over 3 years. It was introduced in honour of Nièpce by Albert Plécy of the l'Association Gens d'Images.

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