A world class line up is announced as part of SNAP, the UK's first ever photography festival aimed at wedding and lifestyle photographers
|Copyright © Alan Law|
November 21, 2014 /Photography News/ The launch of www.snapphotofestival.com today showcases the first ever festival of this kind in the UK. Held at the beautiful Fforest resort, in West Wales. The festival will run to the same format as a music festival, but is designed as an immersive learning and creative development experience for more than 100 photographers from all over the world.
Some of the world's most inspiring wedding photographers will be teaching alongside the UK's finest home grown talent, as well as photographers outside of the wedding genre.
“I attended Photo Field Trip in the US earlier this year and found it hugely inspiring” says Laura Babb, Snap Photography Festival's founder. “It was as far away from a corporate conference as you can get, with all of the teachers hanging out with the attendees, camp fires, parties and a completely unique, shared experience. I knew I had to bring something similar to the UK. As well as all of the amazing workshops and activities we're planning, we'll be having an epic closing party where campers can let off some steam before the start of the new wedding season”.
|Copyright © Conor MacNeill|
To celebrate the launch of the website Snap Photography Festival has a number of offers and incentives available.
The first is an early bird discount combined with a donation to charity on behalf of the ticket purchaser: http://www.snapphotofestival.com/blog/2014/10/19/the-early-bird-catches-the-worm
They also have 6 opportunities to attend the festival on a free or discounted basis: http://www.snapphotofestival.com/blog/2014/10/15/snap-needs-you
We are keen to hear from organisations who may wish to partner with us. A range of sponsorship opportunities are available so please get in touch for a media pack.
|Copyright © Ross Harvey|
Speakers – Andria Lindquist, Alan Law, Andy Gaines, Cathy Haynes, Conor MacNeill, Dylan and Sara, Emma Case and Pete Smyth, India Hobson, Karl Grupe, Lomo Kev, Marianne Taylor, Paula O'Hara and Sam Hurd
November 20, 2014 /Photography News/ Born 213 years ago today, on 20 November 1801, Mungo Ponton was a Scotish inventor who in created a method of permanent photography based on sodium dichromate.
In 1839, while experimenting with early photographic processes developed that year by William Henry Fox Talbot, Ponton discovered the light-sensitive quality of sodium dichromate. He presented his findings to the Society of Arts for Scotland, but did not attempt to patent the photographic process. However, he published his findings in the Edinburgh New Philosophical Journal. Others experimented with his discovery including Talbot, Edmund Becquerel, Alphonse Poitevin, and John Pouncey, all of whom patented their photographic techniques. Mungo Ponton's findings were vitally important to the development of photography, paving the way for nearly all the photomechanical processes that later came into standard use.
Mungo continued to work on photography and in 1845 the Society again awarded him a silver medal for his process for measuring the hourly variation in temperature of photographic paper. That year he also developed a variation on the calotype process to allow for shorter exposure times.
Mungo Ponton died on 3 August 1880.
|Photographs of pollen. Plate O, from Mungo Ponton, The Beginning: Its When and Its How, 1871|
November 3, 2014 /Photography News/ A prestigious jury, 3 international exhibitions and $7000 in prizes…
Life Framer is an international photography prize designed to source and showcase outstanding photography from amateur, emerging and established photographers. Its aim is to bring exposure to talented photographers from all over the world: their talent, their art, their lives.
The first edition of the award was an overwhelming success, with 24 winning photographers discovered and showcased in exhibitions in London and Switzerland. Edition 2 builds on this success - more ambitious and truly global.
Every month there is a call for entries with a new theme exploring Life. In it for the entrant is the chance to win some cash prizes, professional feedback and their image exhibited in London, Paris and Los Angeles.
There is no rights grabbing. Photographers retain full and exclusive rights to their submitted work through and beyond the award.
The judging panel is comprised of 12 world-renowned photographers and industry leader with a wealth of awards, experience and expertise to their names. They'll provide a critique of their favourite images, giving the winners valuable feedback from a top professional.
This month’s theme is ’Urban Life’: Urbanscapes, observational photography, accidental revelations, street encounters, city scenes...
For submission and guidelines: www.life-framer.com
Submission deadline: 30th November 2014
|Mary Steen, self-portrait 1889|
October 28, 2014 /Photography News/ Born 158 years ago today, on 28 October 1856, Mary Dorothea Frederica Steen was a Danish photographer and feminist. In 1884, at the age of 28, she opened a studio in Copenhagen where she specialized in indoor photography, a difficult art at a time when electricity was not widespread. The photographs she took at the Flerons' house on Copenhagen's Vesterbrogade are among the first showing people inside their own homes. She later became Denmark's first female court photographer, working not only with the Danish royals but with the British royal family too. Around 1895, Princess Alexandra invited her to London where she photographed members of the royal family, including Queen Victoria at Windsor Castle.
|Photograph of Queen Victoria and Princess Beatrice inside Windsor Castle taken by Danish photographer Mary Steen in 1895|
Mary Steen also played an important part in improving conditions for female workers and encouraging women to take up the profession of photography. In 1891, she was the first woman on the board of the Danish Photographers Association. She was also active in the Danish Women's Society (Dansk Kvindesamfund) where she sat on the board from 1889–1892. Together with Julie Laurberg, she photographed the leading figures in the Danish women's movement. In 1891, she received a grant from the Reiersenske Fond, a trade association, which allowed her to travel to Germany and Vienna.
She campaigned for better working conditions for women including eight days holiday and a half day off on Sundays. She treated her own staff well, paying good wages. Her example was widely followed.
As a result of growing deafness, she closed her studio in 1918. She died on 7 April 1939.
October 28, 2014 /Photography News/ 128 years ago today, the Statue of Liberty was unveiled in New York Harbor, when France dedicated the monument to celebrate "the Alliance of the two Nations in achieving the Independence of the United States of America and attests their abiding friendship."
Here is a wonderful collection of photos showing the Statue of Liberty under construction:
Album de la construction de la Statue de la Liberté. 1883. Photographs by Albert Fernique (1841-1898)
|Model of the Statue of Liberty. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Men in a workshop hammering sheets of copper for the construction of the Statue of Liberty.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Construction of the skeleton and plaster surface of the left arm and hand of the Statue of Liberty.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|Men at work at the construction of the Statue of Liberty. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[View of the workshop, with models of the Statue of Liberty in the background.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Men in a workshop shaping sheets of copper for the construction of the Statue of Liberty.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Head of the Statue of Liberty on display in a park in Paris.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[View of the external area of the workshop in Paris, showing construction materials, the head of the Statue of Liberty, and a group of men gathered in front of the left foot of the statue.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Assemblage of the Statue of Liberty in Paris, showing the bottom half of the statue erect under scaffolding, the head and torch at its feet.]. Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.|
|[Assemblage of the Statue of Liberty in Paris.]
Fernique, Albert -- Photographer. 1883. Source: Album de la construction de la Statue de la Liberte. Repository:
The New York Public Library. Photography Collection, Miriam
and Ira D. Wallach Division of Art, Prints and Photographs|
|Love conquers all. Photo by Benedetta Polignone|
October 15, 2014 /Photography News/ With the support of The Royal Photographic Society, and under the patronage of Amnesty International, the European Commission and the British Council, Accademia Apulia UK now welcomes submissions for their 2014 Photography Award. This award is open worldwide and is designed to promote photographers of all nationalities whose work explores the FREEDOM TO LOVE.
FREEDOM TO LOVE aims to raise awareness on the difficulties many people endure every day worldwide, as they try to express the most powerful and constructive human quality - love.
The judges are looking for photographs that testify that love is universal. Participants are invited to submit images of love, communion and friendship that cross established social boundaries, be they racial, religious, gender, age, or any other identifiable boundary.
Entries are free.
Deadline: December 7, 2014
Finalists Announcement: December 22, 2014
Winner Announcement: January 12, 2015
Accademia Apulia offers the winner and the three runner ups a group exhibition to be held at the London College of Communication between 12-17 January 2015. The winner will receive a gold medal from the Director-General of the Royal Photographic Society.
Download the terms & conditions HERE.
To view all current call for entries listed at Photography News, visit http://www.photography-news.com/2009/12/photography-competitions.html
|Photo: Russ Rowland|
October 7, 2014 /Photography News/ The eyes are said to be the windows of the soul. They tell so much about ourselves. Feelings of joy, sadness or fear radiate from the eyes. Truth or betrayal can be discovered from one glance. The eyes are a defining part of us. PictureCompete is seeking those images that best display the human eyes.
• 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
Copyright: All submitted images remain sole property of artist/photographer.
Eligibility: Contest is open to all individuals 18 years and older, worldwide.
Entry Fee(s): $15 (USD) - up to 4 images
Entry Deadline: November 10, 2014
To Enter: http://picturecompete.com/
To view all current call for entries listed at Photography News, visit http://www.photography-news.com/2009/12/photography-competitions.html
October 4, 2014 /Photography News/ World Animal Day is celebrated each year on October 4, since 1931 when a group of ecologists hoping to get attention for the plight of endangered species introduced it at a convention in Florence, Italy. October 4 was originally chosen for World Animal Day because it is the feast day of Francis of Assisi, the patron saint of animals and the environment. The day is now set aside as a time to reflect on all of the animals we share this world with, and our involvement with them - and to spur action to commemorate that respectful relationship. Below is a collection of old photos of animals around the world (17 photos).
|Yawning koala bear. Fox Photos. The Daily Herald Archive, National Media Museum|
|Kangaroo & girls, ca. 1925 - ca. 1945, by Sam Hood.|
|Suckling, Shackleton - Rowett Expedition, Antarctica, 1921 - 1922. From the collection of the State Library of New South Wales.|
|Dog riding a trycicle, photographer unknown. National Media Museum|
|Boy with pigeons at [Circular] Quay, Sydney, 22 June 1935, by Sam Hood. From the collection of the State Library of New South Wales.|
|Cat in the window, 1930s, by Sam Hood. From the collection of the State Library of New South Wales|
|Wreck of the "Gratitude", Macquarie Island, 1911. Notes: First Australasian Antarctic Expedition, 1911-1914. From the collections of the Mitchell Library, State Library of New South Wales|
|"Christening of bears" at Koala Park, September 1938, by Sam Hood. Notes: Koala Park is a small zoo in the Sydney suburb of West Pennant Hills.From the collection of the State Library of New South Wales|
|Two exhibitors eye eachother's charges, Sheep Show, ca. 1945, Jeff Carter, Walkabout photograph. Notes: This photograph is from a collection of images taken for Walkabout magazine, between 1934 and 1974. From the collection of the State Library of New South Wales|
|Police dog, Tess, 29 January 1935, by Sam Hood|
|Margaret Shaffhauser with bull terrier at the Canine Association Show, 3 Nov 1934|
|Cat sitting on a radio, 1930s, Sydney, by Sam Hood|
|Study of a girl with ringlets teaching her dog to sit up, 1930s, by Sam Hood|
|Yap Yap (dog) in cart pulled by Achong - Trundle, NSW, n.d., unknown photographer|
|A group of Dalmatians and their owners before the judges, 1920s or 30s, by Sam Hood|
|Girl photographing a dog, photographer unknown. Collection of the National Media Museum|
|Ninely and Nine, by Joseph Gale (1830-1906). Collection of the National Media Museum|
|Enemy. Michael Hill self-portrait|
September 24, 2014 /Photography News/ World Photography Network (WPN) is very pleased to sponsor the popular segment: "Photographer Spotlight.” In this part of their newsletter they interview various fellow photographers and learn more about what motivates them, what their goals are and what direction they wish to take with their art. This edition's spotlight focuses on the talents of photographer Michael Hill.
WPN: Please give us a little background info about yourself.
M.H: I’m a “son” of New Orleans, a photographer, a wannabe writer, a peaceful warrior and a borderline pet hoarder. Actually, I’m not really the last one. That just seems like too much effort, but I would love to have my own zoo. I’ve been living in Florida for the past 5 years with my fiancé and our four legged family. I first began studying photography around the age of 15 and have loved it ever since. I’ve taken it from a hobby to a hopeful career.
|Tasha, by Michael Hill|
M.H: Back in my freshmen year of high school I signed up for a photography class because I thought it would be an “easy” grade. (This was back in the film days.) After a couple of weeks, I became more interested in photography. The grade wasn’t as important as the experience. That was a turning point for me. After that I pretty much carried a camera with me everywhere I went. I talked about new lenses, took pictures of everything and annoyed my friends. I’ve always liked art, but I can’t draw or paint, but I still want to be able to show people the ideas and images in my head. Being behind a lens made that possible.
|The Chair, by Michael Hill|
WPN: What do you see and feel when looking through your lens?
M.H: Everything. I don’t really know. I take it all in. I guess I’ve never really given it much thought. I see something I like, and I snap a few pics of it and then move on. Usually, I do not get overly involved in why I liked it in the first place. I guess I like to keep it simple.
|Till Death, by Michael Hill|
WPN: What are the messages or thoughts you wish to impart with your viewers?
M.H: I try not to ponder too deeply. I leave it up to my viewer to interpret for themselves after the photo is edited. Honestly, they usually come up with better narratives than I would have intended. Somehow it just works. I only do what comes naturally and never try and force anything. If I see an interesting subject that I just can’t seem to capture right, I leave it alone for someone else to do better. I like to “go with the flow.”
|Best Friends, by Michael Hill. Winner of TeraBella Media 2014 Human Hands Photography Competition.|
WPN: Explain more about your use of color overlay on your black and white images.
M.H: For me, creating a photograph is like trying to show someone my memory of a place and just how I remember it. Later, when I recall the scene, there’s always something that stood out. It could be a red chair, pastel colored carnival rides with glowing bulbs, or just how blue the ocean was that day. So, I’ll use a combination of selective coloring and blurs to draw the viewer’s attention to whatever my focus was. I remember the whole scene in detail, but for some reason my thoughts drift back to a particular subject which will always stand out in my mind. I will always think of that most in the scene and associate with it. By using the overlay process the images become like windows into my memories.
WPN: Any current projects or future projects in the works?
M.H: I will be part of an upcoming show in Kansas City opening on September 5th at the Main Street Gallery. Lately, I’ve been working on a unique way to mount and show a series I’ve done. This involves working with my hands more, and I’m pretty excited about that. More info coming soon!
Wish to be considered for the next Spotlight interview?
Please contact WPN's staff at firstname.lastname@example.org
Understanding the Impact of Megapixels, Pixel Dimensions, and Resolution on Print Size
Photographers sometimes struggle with how to determine the ideal print size or preferred print dimensions depending upon the resolution and pixel dimensions of the camera or device (smart phone or tablet) used to shoot their photo.
Fortunately, there is a way to answer these questions yourself. You simply need to understand the connection between the image in its digital form and in its printed form.
To start, it is helpful to understand the image, itself. Using image manipulation software, such as Photoshop, it is easy to determine the image size of a file. For the purposes of this explanation, the example of an iPhone 5s image will be used. That device shoots at 8 megapixels and produces a 1.5 MB JPG physical file size.
When looking at the pixel dimensions of an image, you will learn a great deal about what you can do with your file. For example, for our example, the image will be 3264 pixels wide, and it will be 2448 pixels high. Software will be able to use that size in order to determine the size you would like to print. For example, if your goal is to print a 25 inch by 18.75 inch picture, then it would have a 130 pixels per inch resolution, which is sufficient to get a good result in print.
By taking images at the largest possible sizes for your device (camera, smartphone, etc.), you will also obtain its best possible quality of images.
Without software, it is still possible to determine these sizes as long as you have the image file properties and use the right math. Working with the same example of a picture that has a width of 3264 pixels and a height of 2448 pixels, you can use the following for your calculation:
Width (measured in pixels) ÷ Desired Width (measured in inches for the photo size you want) = the Picture Resolution (of the image measured in PPI at that size). So for our example:
3264 pixels ÷ 25 inches = 130.56 resolution. Therefore, this file will create a printed image of 25 inches wide that has a resolution of about 130 PPI.
With that resolution, you can then determine what the height of the image will be in inches. Use the following:
Height (measured in pixels) ÷ Resolution (as determined in the last step) = Desired Height (measured in inches). So for our example:
2448 pixels ÷ 130.56 resolution = 18.75 inches
Now that you understand the math, it’s time to take a closer look at resolution and what it is in terms of what you will require for your printed image. There is no fixed proper resolution for every purpose. The resolution that you require greatly depends on how you want your image to look and how it will be printed. For example, the typical website image needs around 72 PPI. The reason is that most online images are displayed at a relatively small size in order to ensure that the page can load quickly as the file size will be kept low.
On the other hand, printed images will require a greater amount of resolution as they will typically be printed at a bigger size than they would be if viewed on a device screen. Understanding the difference between media in the digital and physical world requires you to know two terms. The first is pixels per inch (PPI) and the second is dot per inch (DPI).
Although these terms are often used interchangeably, they are not actually identical. PPI is the term that is refers to a measurement of monitors, scanners, digital cameras, and other media that use a file in its digital form. On the other hand, DPI is a measurement of the physical form of the image. Therefore, devices such as printers would use image measurements in DPI.
When it comes to resolution, choosing the ideal for printing would require a considerable amount of math – more than is convenient or comfortable for the majority of people, so at American Frame, we simply recommend that you use a minimum 130 PPI as your print size. That said, we will lower image resolution requirements upon request. On the other hand, there is no maximum resolution for printing, though we do have a maximum allowable 100 MB file size. This helps to make certain that we will be capable of serving the widest spectrum of customer needs.
Therefore, if you want to print a 360 PPI image at its print size, we can do so as long as you have a file size of under 100 MB. For added assistance, use the chart available at the following link as your guide. We recommend that you stick to the range of “better” to “superb” for the best results:
If your image is not large enough, then there are some things that you can do to resolve this issue. American Frame can simply print the picture at a lower resolution than is recommended. This will create the image, but it will likely result in more visible pixilation or artifacts.
Pixilation occurs when an image size is increased to the point that the individual pixels that make it up are actually visible. That same image will look smooth when it is reduced in size to the point that the eye can no longer spot the individual pixels that lead to jagged edges instead of smooth ones.
To avoid this problem, we offer the ability to order a “resolution proof” of the print you are ordering with us. Here we take a section of your image shown at resolution of your full size print, which will allow you to determine whether or not pixilation will be visible in your image at its full size. If it looks too jagged for your purposes, you can opt to either choose a smaller print size or, if you have access to image editing and manipulation software, you can boost the resolution of your image to minimize this issue. This process is known as ressing or up-ressing. It provides additional resolution to a digital image that wasn’t actually in its original.
This process should be used with caution and is typically considered to be a last resort as it involves forming pixels where none had previously existed. Using this effect can reduce the crispness of the original image, causing an overall blur that is greater than what it would have been had the image been taken and printed at the quality at which it was taken and printed at its recommended size. Consequently, “upsampling” is best for images that will be viewed from a distance, where the loss of detail will not be noticed by the viewer.
For this reason, it is always easier for you to create a smaller picture size than to try to increase the size of the picture and “create” pixels” during the editing process.
So, the takeaway from this article is this: The more pictures you can capture in your original image, the larger you will be able to print. We always recommend that you use the highest possible settings allowed by your device.
When all is said and done, there is no set resolution or size for a digital image. It is all based on the original pixel dimensions at which it was taken. This will give you far more size options for printing, as it is always easier to start with a larger picture and work your way down, instead of attempting to work in the other direction.
Read more about megapixels, pixel dimensions and printing at AmericanFrame.com.
This article was written by the American Frame Print Department Team for the Ask Mike blog. Mike is the man behind the mission of getting your picture frames produced and out the door quickly, correctly, with custom frame shop quality. Once your order is placed, it is in the hands of Mike and the many people he has trained over his 35+ years at American Frame. Read more framing tips from the team and Mike on his blog – Ask Mike.
|Kevin Carter's Pulitzer Prize-winning photograph|
September 13, 2014 /Photography News/ Born 54 years ago, on 13 September 1960 (d. 27 July 1994), Kevin Carter was an award-winning South African photojournalist and member of the Bang-Bang Club. He was the recipient of a Pulitzer Prize for his photograph depicting the 1993 famine in Sudan. Following the winning of the Pulitzer Prize he committed suicide at the age of 33.
In March 1993, while on a trip to Sudan, Carter was preparing to photograph a starving toddler trying to reach a feeding center when a hooded vulture landed nearby. Carter reported taking the picture, because it was his "job title", and leaving.
Sold to the New York Times, the photograph first appeared on 26 March 1993 and was carried in many other newspapers around the world. Hundreds of people contacted the Times to ask the fate of the girl. The paper reported that it was unknown whether she had managed to reach the feeding center. On May 23, 14 months after capturing that memorable scene, Carter walked up to the platform in the classical rotunda of Columbia University's Low Memorial Library and received the Pulitzer Prize for feature photography.
With the success of the image came a lot of controversy, and questions were raised about the ethics of taking such a photograph. An article printed in 1994 in the St Petersberg Times commented on the morality of Carters actions, ‘the man adjusting his lens to take just the right frame of her suffering might just as well be a predator, another vulture on the scene,’ (Stamets cited in Ricchiardi, 1999).
The National Press Photographers Association (NPPA) have a ‘Code of Ethics’ which sets out certain ethical responsibilities when carrying out journalistic work, one reads as thus, ‘while photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events’ (NPPA, 2010). Considering this, one can say Carter was objective and documented what he saw, capturing the severity of the situation in Sudan. But does this alleviate him from the responsibilities of being a good human being?
On 27 July 1994 Carter drove his way to the Braamfonte near the Field and Study Centre, an area where he used to play as a child, and took his own life by taping one end of a hose to his pickup truck’s exhaust pipe and running the other end to the driver's side window. He died of carbon monoxide poisoning, aged 33. Portions of Carter's suicide note read:
"I am depressed ... without phone ... money for rent ... money for child support ... money for debts ... money!!! ... I am haunted by the vivid memories of killings and corpses and anger and pain ... of starving or wounded children, of trigger-happy madmen, often police, of killer executioners ... I have gone to join Ken if I am that lucky."
Carter's story is depicted in the 2010 feature film, The Bang-Bang-Club in which he was played by Taylor Kitsch.
Related: New York Post Runs Pic of Man About to be Hit by Subway Train, Sparks Photojournalism Ethics Debate
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September 8, 2014 /Photography News/ Promoting The Beauty of Our World and Positive Changes. Annual photo salon supporting Artists' Bill of Rights, and under FIAP patronage.
- HAPPINESS (special theme)
This photography competition's goal is to promote fine, artistic photography with a positive message to the world. A good deed or act of kindness captured on a photo, a social change for better, a beautiful element of nature, a deeply moving portrait or a special moment in life, a pristine wildlife scene, or a conceptual art image created in studio, they all qualify as having a positive message.
The interpretation of contest themes belongs to you. Just keep in mind Ozone Zone Photo Salon jury looks for images bringing hope, showing compassion, love, and touching your mind with their artistry and beauty. The beauty can be shown in all of its forms, from a bare beauty of our planet, to an abstract or portrait, to surreal work of art.
You can win BIG! Up to massive $15,000 Grand Prix, up to $30,000 in total cash prizes, Special Awards, FIAP Medals and Awards, and the Ozone Zone Medals. On top of receiving an award, you will gain public exposure and prestige. Winning images will be presented on the organizer's website as a photo gallery, on their blog, and as an art shows presentation in Victoria, Canada. Press releases about winners will be published in various media and available on line.
Up to 4 images in any single category: fee $13 (US Dollars) per category.
A further 4 images in any additional category: $13 per category.
Open to all photographers, amateurs and professionals, young and old, from around the globe.
Deadline: October 30, 2014
“I challenged myself I would go down there just to see if I could grab a hunk of lightning.” - Dorothea Lange
August 29, 2014 /Photography News/ Iconic photographer Dorothea Lange is the subject of a new documentary - Dorthea Lange: Grab a Hunk of Lightning - that will premiere August 29 at 9-11 p.m. on Rocky Mountain PBS.
The personal documentary directed by Lange's granddaughter Dyanna Taylor uses family journals, photos and film footage, interviews and vérité sequences of Lange at her Bay Area home studio, circa 1962-1965, to convey a full picture of the photographer and her approach to art as a philosophy of life.
|Lange's 1936, Migrant Mother|
Taylor hopes the documentary will increase appreciation of her grandmother, who she believes has been unfairly pigeonholed as a Depression-era photographer. It is not generally known, she said, that Lange was a committed environmentalist in the 1950’s and 1960’s–before it was fashionable–working on a series of photographs on the Berryessa Valley in Napa County, Calif., which was flooded when a dam was built there in the mid-1950’s. Lange’s photographs documented a year and a half in the lives of people living there—some for generations—before the dam was built.
Noting that this series has had an impact on her “to this day,” Taylor said Lange “showed America to Americans and that’s still relevant today.”
Dyanna Taylor is a five-time Emmy award winning Cinematographer and Director of Photography whose prominent career in documentaries and features has also earned her a Peabody Award and the honored Muse Lifetime Achievement Award for Outstanding Vision and Achievement in Cinematography from New York Women in Film and Television.