photographers – Photo 2000 http://photo2000.co.uk/ Fri, 11 Jun 2021 08:03:45 +0000 en-US hourly 1 https://wordpress.org/?v=5.7.2 https://photo2000.co.uk/wp-content/uploads/2021/05/cropped-icon-32x32.png photographers – Photo 2000 http://photo2000.co.uk/ 32 32 The leopard was so perfectly hidden in the hills that the photographer couldn’t see it pictured at first – World News https://photo2000.co.uk/the-leopard-was-so-perfectly-hidden-in-the-hills-that-the-photographer-couldnt-see-it-pictured-at-first-world-news/ https://photo2000.co.uk/the-leopard-was-so-perfectly-hidden-in-the-hills-that-the-photographer-couldnt-see-it-pictured-at-first-world-news/#respond Fri, 11 Jun 2021 04:48:24 +0000 https://photo2000.co.uk/the-leopard-was-so-perfectly-hidden-in-the-hills-that-the-photographer-couldnt-see-it-pictured-at-first-world-news/ A perfectly synchronized photo of an elusive leopard amazed the photographer who took the photo when he only later realized what he had caught. Abhinav Garg, 34, had no idea he had successfully captured the leopard in his shots on June 5 until he returned home. He had waited hours for a sighting after locals […]]]>


A perfectly synchronized photo of an elusive leopard amazed the photographer who took the photo when he only later realized what he had caught.

Abhinav Garg, 34, had no idea he had successfully captured the leopard in his shots on June 5 until he returned home.

He had waited hours for a sighting after locals told him about the leopard as he visited the Aravali Hills in Jaipur, western Rajasthan state, India,

The amateur photographer, from New Delhi, said: “It was truly the best camouflaged animal I have seen in my life.”

Abhinav, a web engineer, was visiting a temple when locals told him about a leopard sighting.



He took random pictures of the hills before leaving as it started to get dark

He added, “The weather was wonderful on a Saturday night and we reached the temple around 5 pm This temple is surrounded by the hills of Aravali and the temple priest told us many stories of leopard sightings.

“Coming back from the temple, few of the villagers were discussing the leopard sitting on the rock in the hills in front of the temple.”

Excited, he placed his camera facing the rocky slab on the hill, but to his dismay he couldn’t spot the leopard after several hours of waiting.

It was only after transferring the photos to his computer that he realized that the leopard was in the photos.

Abhinav said: “We also tried to see the leopard but couldn’t spot it despite waiting for a while. We decided to leave as it was getting dark and I clicked a few random shots of hills without noticing it [the] leopard.

“After I got home, I transferred all the photos to my laptop and started [to] zoom in on them.

“To my surprise, I found a leopard resting on a rock that was not visible to the naked eye earlier.

“I had never seen a leopard before and was really excited to spot it.”



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Photographer captures ‘bird trail’ against solar eclipse https://photo2000.co.uk/photographer-captures-bird-trail-against-solar-eclipse/ https://photo2000.co.uk/photographer-captures-bird-trail-against-solar-eclipse/#respond Thu, 10 Jun 2021 18:28:39 +0000 https://photo2000.co.uk/photographer-captures-bird-trail-against-solar-eclipse/ Photographer Zev Hoover was filming the solar eclipse early this morning when a bird flew over the frame. He then decided to create this unusual image showing the trail of the dark-silhouetted bird against the partial annular eclipse. Hoover, a Boston-based imaging engineer and photographer, got up at 3:30 a.m. and drove to Quincy Beach […]]]>


Photographer Zev Hoover was filming the solar eclipse early this morning when a bird flew over the frame. He then decided to create this unusual image showing the trail of the dark-silhouetted bird against the partial annular eclipse.

Hoover, a Boston-based imaging engineer and photographer, got up at 3:30 a.m. and drove to Quincy Beach with his girlfriend, Zoe Chakoian, and coworker, Christian Lockwood, to set up his camera gear. He was taking both still photos and 4K videos with his Sony a7S III and a 1000mm refracting telescope at f / 13, and the group’s goal was to get images of the eclipsed sunrise with a Boston lighthouse in the foreground.

“Unfortunately for us in Boston, there was a dense cloud cover near the horizon,” Hoover said. PetaPixel. “We set up our equipment on the Quincy shore overlooking Boston Harbor and waited for the first light. As the sun rose, the clouds started to clear up and the sun actually made its appearance just as the eclipse was reaching its climax.

“A creepy gull has passed through my frame [at 5:35am] perfectly cut out of the Sun and Moon at that point, and I started recording on my telescope just as it passed. “

A crop of Zev Hoover’s photo showing details of the bird’s flight.

To create this “trail of birds” image, Hoover stacked footage from the video he shot.

“The processing of the image was fairly straightforward,” explains the photographer. “The consecutive video frames were statistically combined as one might do to reduce noise, but instead of averaging, I used a minimal function.

“It’s a way to include the dark-silhouetted bird in each frame against the eclipse, without doing individual masking which is both tedious and a little less authentic.”

Hoover says he feels lucky that he was able to get away from the beach with this lucky shot given that the trip initially seemed like a wasted effort due to inclement weather.

“Something about seeing the sinusoidal motion of the gull’s wings cut directly through the intersecting orbital paths of the Sun, Moon, and Earth that makes an eclipse image like this possible… strikes me as poetic. “says Hoover.

You can find more of Hoover’s work on his website, Facebook, Flickr, 500px, and Instagram.


Image credits: Photograph by Zev Hoover, Christian Lockwood and Zoe Chakoian and used with permission





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RongRong & inri’s photographic journey https://photo2000.co.uk/rongrong-inris-photographic-journey/ https://photo2000.co.uk/rongrong-inris-photographic-journey/#respond Thu, 10 Jun 2021 02:00:43 +0000 https://photo2000.co.uk/rongrong-inris-photographic-journey/ Chengdu Contemporary Image Museum presents an exhibition of artists RongRong & inri, the curator is Wu hung. The exhibition presents the works created by these two photographers for more than twenty years, and their latest works which will be presented to the public for the first time. This year marks the 20th anniversary of the […]]]>


Chengdu Contemporary Image Museum presents an exhibition of artists RongRong & inri, the curator is Wu hung. The exhibition presents the works created by these two photographers for more than twenty years, and their latest works which will be presented to the public for the first time.

This year marks the 20th anniversary of the joint creation of RongRong & inri, it also coincides with the opening of the Chengdu Contemporary Image Museum for two years. On this special day, we will celebrate together and step into the creative world of RongRong & inri to see the charm of image art.

Trace the photographic journey of RongRong & inri

by Wu Hung

Photography records traces of light; the photographs bear the vestiges of the life of the photographers.

This exhibition presents works created by two exceptional contemporary photographers over more than twenty years, from the mid-1990s to the present day. Filled with feeling and emotion, these images compose an epic of two intimate lives.

One of them was born in Fujian, China; the other in Kanagawa, Japan. Without knowing each other, they simultaneously let go of the ubiquitous pretense of ’90s photography, instead focusing their lenses on crumbling environments and damaged bodies, men and women in the shadows, performances in life and life. in performances.

They finally met, not through language but through photography. What followed was a coalition of their photographic vocabulary, technique and subject matter. Two rows of footprints merged into a single track; they appeared in front of and behind the same camera.

Their artistic activities began to cross national borders; their mission also extended from the production of images to the creation of photographic centers and the promotion of international exchanges. But they are always artists at heart, and must therefore discover themselves in the art of photography.

The structure of this exhibition echoes this journey: the two galleries correspond to China and Japan, the two places where they live and work. The “China” section begins with the first series of RongRong and continues to present the collaborative work of the two photographers in China. The “Japan” section begins with the first works of Inri, then presents several series that they created together in Japan. While reflecting on how these images merge life and art, audiences can also reflect on how the wave of internationalization since the 1990s has generated new opportunities for contemporary art.

Wu hung

Conservative

RongRong & inri’s photographic journey

April 27 – October 31, 2021

Chengdu Contemporary Image Museum

Room B&C

No. 889 Jinfu Street

Jinniu District, Sichuan, China

http://www.cdcim.cn/



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Rhino-saw us! Terrifying moment, a rhino charges directly at a photographer https://photo2000.co.uk/rhino-saw-us-terrifying-moment-a-rhino-charges-directly-at-a-photographer/ https://photo2000.co.uk/rhino-saw-us-terrifying-moment-a-rhino-charges-directly-at-a-photographer/#respond Wed, 09 Jun 2021 09:01:08 +0000 https://photo2000.co.uk/rhino-saw-us-terrifying-moment-a-rhino-charges-directly-at-a-photographer/ Rhino-saw us! Terrifying moment a rhino charges directly at a photographer The stunning photos were taken in Nairobi National Park in Kenya by photographer Gurcharan Roopra Mr Roopra said two female white rhinos fought before taking turns charging against him Keeping his cool, he stayed in the way of the three-ton beast and was able […]]]>


Rhino-saw us! Terrifying moment a rhino charges directly at a photographer

  • The stunning photos were taken in Nairobi National Park in Kenya by photographer Gurcharan Roopra
  • Mr Roopra said two female white rhinos fought before taking turns charging against him
  • Keeping his cool, he stayed in the way of the three-ton beast and was able to capture its charge on him.
  • The stunning photo of the endangered animal shows all of its feet above the ground, making it appear as if it is flying

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An angry white rhino has been photographed hurtling down a dirt road in Kenya on a brave photographer who managed to hang on and take rare photos of the huge, endangered animal.

Taken in Nairobi National Park in Kenya, the terrifying photos show the three-ton beast charging straight at the camera with all of its feet above the ground, making it appear as if it is flying through the air.

Gurcharan Roopra, 42, said he took the photo following a scuffle between a pair of female white rhinos, which their two respective calves also joined.

But as the dust settled, Mr Roopra said one of the rhinos started charging towards him.

The photographer said he saw the perfect opportunity for a photo, and rather than getting to safety, he stayed in the path of the huge animal, which thankfully swerved around him at the last second.

An angry white rhino has been photographed hurtling down a dirt road in Kenya on a brave photographer who managed to hang on and take rare photos of the huge, endangered animal.

An angry white rhino was pictured hurtling down a dirt road in Kenya on a brave photographer who managed to hang on and capture rare footage of the huge endangered animal at full speed

“At first I thought the rhinos were playing fighting, but when I looked at the pictures they had bloodstains so it must have been intense,” said Mr Gurcharan from Nairobi, Kenya.

“We watched them for about 30 minutes and they moved around a lot while fighting.

“One of the moms turned around at one point and ran towards us and the guy who was with me was absolutely terrified.

“I’ve photographed this rhino family for the past five years and know they aren’t aggressive characters, so I was pretty calm – quite the opposite!

“When one of the rhino mothers came to charge us, it was the perfect opportunity for a photo and I’m really happy with the result.

The four rhinos ran towards the photographers one by one – but luckily they jumped to the left and passed them during the close shave encounter.

Gurcharan Roopra said the four rhinos he photographed took turns charging towards him

Gurcharan Roopra said the four rhinos he photographed took turns charging towards him

Gurcharan added, “I have a full sequence of her feet up and down on the ground, but the best is where she looks like she is flying with all feet above the ground.

“People are always quite shocked when they see this photo. I always get questions about the backstory and if it was charging me.

“Photography gives me the best form of relaxation and every time I come home from the park I immediately fall asleep without worry.

“It’s even relaxing when a rhino rushes straight at you!” “

Gurcharan Roopra, 42, (pictured) said he took the photo following a scuffle between a pair of female white rhinos, which their respective two calves also joined.

Gurcharan Roopra, 42, (pictured) said he took the photo following a scuffle between a pair of female white rhinos, which their respective two calves also joined.

The white rhino consists of two subspecies: the southern white rhino, of which there are an estimated 19,682 to 21,077 living in the wild (as of 2015) and the much rarer northern subspecies. , of which there are only two living – both females and both in captivity.

Rhinos are a common target for poachers who hunt them for their ivory tusks, with uncontrolled poaching in colonial times being seen as the major factor in the decline of white rhinos.

Animals are easy targets for poachers due to their size, poor eyesight, and tendency to travel in herds.

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Snapshot: Art in Brazil in the Mid-Century | Magazine https://photo2000.co.uk/snapshot-art-in-brazil-in-the-mid-century-magazine/ https://photo2000.co.uk/snapshot-art-in-brazil-in-the-mid-century-magazine/#respond Tue, 08 Jun 2021 23:36:58 +0000 https://photo2000.co.uk/snapshot-art-in-brazil-in-the-mid-century-magazine/ Seventy years ago, the very idea of ​​a museum exhibiting modern art was a challenge for most audiences. To refer to MoMA, or any other museum of comparable focus, as an “institution” at that time would have been to suggest a sense of permanence that belied the precariousness of its circumstances. Until 1953, for example, […]]]>


Seventy years ago, the very idea of ​​a museum exhibiting modern art was a challenge for most audiences. To refer to MoMA, or any other museum of comparable focus, as an “institution” at that time would have been to suggest a sense of permanence that belied the precariousness of its circumstances. Until 1953, for example, within the framework of the policy of the Museum, the paintings of Cézanne, Matisse and Picasso, once the artists were considered “established” (and therefore, arguably, more “modern”), would be transferred by a cooperation agreement. from MoMA to the venerable Metropolitan Museum of Art.[1] Such was the cost that a museum such as MoMA had to pay to secure, even temporarily, remarkable canvas donations from generous donors.

Equally tenuous was the status of photography as an art form. Although the founding director of MoMA, Alfred H. Barr Jr., envisioned a museum that takes a versatile approach to modernism, encompassing film, architecture, design, photography, etc., it will take him a decade to persuade the museum administrators to create a Department of Photography (which they did, in December 1940). That the city of São Paulo created not one but two large museums attentive to modern art in the years following the Second World War, and that in January 1951 each of them mounted individual exhibitions of works by young experimental photographers is, frankly, remarkable.[2]

Installation view of Thomaz Farkas, Estudos fotográficos (Photographic studies), Museu de Arte Moderna de São Paulo, July 1949. Above, left: Miguel Forte and Jacob Ruchti; in the center: Thomaz Farkas

On July 21, 1949, the recently inaugurated Museu de Arte Moderna de São Paulo (MAM) opened its doors Estudos fotográficos (Photographic studies), an exhibition of 60 prints by Thomaz Farkas. Although the exhibition was installed in the Salo Pequeno (the smaller of the museum’s two galleries) – paintings by Brazilian modernist Cícero Dias filled the larger space – the exhibition design, developed in collaboration with architects Miguel Forte and Jacob Ruchti, expressed the ambition and daring of the artist whose work was featured.[3] The focal point of the exhibition was a long wall against which leaned 24 parallel white supports.

Farkas’ photographs have been affixed in irregular patterns to this scaffolding, with a handful of non-image substitutes (light and dark panels of similar scale). Deliberately resisting the characteristics of traditional screens, the frameless panels and photos were installed without a mat or frame, often well above or below the optimal viewing height, their shadows forming asymmetrical echoes against the wall. Photographs from the Farkas series of dancers from the Monte Carlo Russian Ballet (published in Rio magazine, also in July 1949) were mounted on two hollow triangular brackets, one white, one black, each suspended between the floor and the ceiling, in a manner reminiscent of figures twirling on a stage. Some photographs were set on freestanding panels forming geometric patterns in dialogue with the architecture depicted in the images, while other high-contrast rectangular images of varying sizes unfolded along a wall, their top edges aligned. It was apparently an exhibition of photographs, but the viewer’s approach to the individual prints was everywhere encompassed in tense and immersive graphic arrangements.[4] Farkas’ daring was admired if not fully understood by his comrades Bandeirantes, who reported in the Boletim photo-cine:

View of Thomaz Farkas' installation, Estudos fotográficos (Photographic Studies), Museu de Arte Moderna de São Paulo, July 1949

Installation view of Thomaz Farkas, Estudos fotográficos (Photographic studies), Museu de Arte Moderna de São Paulo, July 1949

We are delighted to announce that the exhibition of the famous amateur “Bandeirante” Thomaz J. Farkas of his Estudos fotograficos open at the Museu de Arte Moderna on the 21st of this month. It seems that it was only yesterday that fifteen-year-old Thomaz came to us at the FCCB club house, with written parental permission granted so that he could join our ranks. Young Farkas trained at the club, and his promising future in Brazilian fine art photography was evident from the start.

He never conformed to conventions, breaking the shackles of tradition, boldly focusing on the investigation of dynamic and luminous rhythms, his temperament taking him away from the surrounding romanticism. From the start, he boldly broke classical canons to favor substance over form … Not always understood, he was nevertheless admired as an art photographer here and abroad, having established himself as a striking personality and distinctive.

His solo exhibition arouses considerable interest and attracts a large crowd of photography enthusiasts to the Salão Pequeno of the Museu de Arte Moderna.[5]

A generous suite of installation views, presumably staged by Farkas, allows us to fully appreciate the innovation and intentionality of this display. And while it may be immediately obvious that the exhibition design represents a radical departure from the regular grids of matted and framed photos that were standard methods of photographic display, it should be noted that Estudos fotográficos required active viewer engagement and attention to voids and shadows long before these became part of the expectations of the art experience.

Installation view by Geraldo de Barros, Fotoforma, Museu de Arte Moderna de São Paulo, January 1951

Installation view of Geraldo de Barros, Fotoforma, Museu de Arte Moderna de São Paulo, January 1951

MAM had opened to the public in March 1949 with the exhibition Dosimo ao abstracionismo (From figurativism to abstraction), organized by the Belgian art critic Léon Degand. Although the strict geometries of concrete art are starting to gain traction in South America, especially Argentina, it will be several years before this commitment is also evident in Brazil.[6] Farkas found his abstractions in the architecture and industry of post-war Brazil, and the geometric design of his exhibition at MAM underscored his formal interests.

That it was a photographer and not a painter who anticipated the abstract turn in Brazilian art begins to explain why Farkas’ early work rarely takes into account the scholarship of postwar geometric abstraction.[7] A year and a half later Estudos fotográficos, an attentive audience would have encountered another solo exhibition by a photographer whose work presented an even greater challenge to the status quo, in the same building on Rua Sete de Abril in downtown São Paulo. On January 2, 1951, Geraldo de Barros Fotoforma opened at the Museu de Arte de São Paulo (MASP), with some 25 photographs that rested on plinths or were attached to floor-to-ceiling aluminum poles around the perimeter of the museum’s temporary exhibition space.[8] MASP had been in operation for a little over three years, and de Barros, who supported himself through a day job at Banco de Brasil, was not quite twenty-eight.[9]

Read the entire exhibition catalog.

Fotoclubismo is curated by Sarah Hermanson Meister, Curator, with Dana Ostrander, Curatorial Assistant, Robert B. Menschel Department of Photography, and is on view at the Museum of Modern Art until September 26.

Remarks
1) For a fascinating account of these plans and their eventual dismantling (but not before the transfer of several major works), see Kirk Varnedoe, “The Evolving Torpedo: Changing Ideas of the Collection of Painting and Sculpture of The Museum of Modern Art, “in The Museum of Modern Art in the Mid-Century: Continuity and Change, Modern Art Studies 5 (New York: The Museum of Modern Art, 1995), 12-73.
2) To learn more about these museums and the circumstances of their foundation, see Zeuler RMA Lima, “Nelson A. Rockefeller and Art Patronage in Brazil after World War II: Assis Chateaubriand, the Museu de Arte de São Paulo (MASP) and the Museu de Arte Moderna (MAM) ”, Rockefeller Archive Center Research Reports Online (2010), np, and Adrian Anagnost, “Limitless Museum: PM Bardi’s Aesthetic Reeducation”, Modernism / modernity 4, cycle 4 (December 13, 2019): np
3) Helouise Costa’s exceptional scholarship is the basis of my understanding of the FCCB. His original research and astute observations concerning Farkas and this exhibition are recorded in “The Photographic Studies by Thomaz Farkas: 70 years of a singular exhibition”, in Estudos fotográficos, Thomaz Farkas, 36-61.
4) Among the exhibits that Farkas saw at MoMA the previous fall that foreshadow some of these display strategies are Art in the neighborhood: Focus on the unity of the world (10-28 November 1948) and Photographs by Bill Brandt, Harry Callahan, Ted Croner, Lisette Model (November 30, 1948 – February 10, 1949). Costa notes that Forte and Ruchti had traveled to the United States in 1947, where they saw exhibitions at MoMA and at Peggy Guggenheim’s The Art of This Century gallery.
5) Boletim 39 (July 1949): 14.
6) Aleca Le Blanc warns: “It should be noted that if geometric abstraction would occupy the dominant critical position at the end of the decade and continue to dominate the historiography of the period, at the beginning of the 1950s, it is It was a fluid debate, and even in 1953 that position had not yet solidified. The supposed transition from figuration to abstraction in the critical foreground was neither immediate, nor direct, nor totalizing. In fact, what is most important is that a debate like this had a forum in which to exist, and people who wanted to engage in it, in large part through the creation of new spaces for exhibition, art publications and reviews, which together provided a more robust context that could support prolonged public debate. Extract from “Serpa, Portinari, Palatnik and Pedrosa: the drama of an ‘artistic moment’ in Rio de Janeiro, 1951”, Dialogue 20, no. 1 (Spring 2017): 15.
7) The Steichen exhibition Abstraction in photography (MoMA, May 1 – July 4, 1951) is an important point of reference discussed later in this essay.
8) This exhibit design, and in particular the aluminum poles, was typical of Lina Bo Bardi’s work at MASP in its original location. See Lima, “Nelson A. Rockefeller and Art Patronage in Brazil after WWII”.
9) The most comprehensive consideration of de Barros’ work (in Portuguese only) is that of Heloisa Espada Geraldo de Barros and photographs, ex. cat. (São Paulo: Instituto Moreira Salles / Edições Sesc São Paulo, 2014). “Geraldo de Barros: photography as a construction” by Danielle Stewart H-ART Revista de historia, teoría y crítica de arte 2 (2018): 73-92, is valuable both for his research and his analyzes, taken from the first chapter of his thesis at the Graduate Center, CUNY, “Framing the City: Photography and the Construction of São Paulo, 1930-1955 . “See also Geraldo de Barros Fotoformas – Sobras (bilingual edition) (Lausanne: Idpure éditions / Musée de l’Elysée, 2013).



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Photographer builds street camera that has been used in Afghanistan for 100 years https://photo2000.co.uk/photographer-builds-street-camera-that-has-been-used-in-afghanistan-for-100-years/ https://photo2000.co.uk/photographer-builds-street-camera-that-has-been-used-in-afghanistan-for-100-years/#respond Tue, 08 Jun 2021 02:42:00 +0000 https://photo2000.co.uk/photographer-builds-street-camera-that-has-been-used-in-afghanistan-for-100-years/ It prints black and white photos in minutes applying an ancient artistic principle of photography Cameras have evolved considerably over the years, from the 16th century coin-sized camera obscure (Latin for darkroom) to the current miniature camera on smartphones. With the desire of mankind to capture images of reality in an instant, many models with […]]]>


It prints black and white photos in minutes applying an ancient artistic principle of photography

Cameras have evolved considerably over the years, from the 16th century coin-sized camera obscure (Latin for darkroom) to the current miniature camera on smartphones. With the desire of mankind to capture images of reality in an instant, many models with different technologies have been developed. One of them is the street camera, or what is known as the Afghan box.

Popularly called in Afghanistan as kamra-e-faoree, which means “instant camera”, this 19th century photographic camera found mainly on the streets of Afghanistan, used primarily for portraiture and identification, is both a camera and a darkroom that produces black and white prints in minutes. As he faces extinction in Afghanistan due to the influx of digital cameras, lifestyle photographer Jovel Lorenzo had an interest in building one in the Philippines during the quarantine months from October to December. from last year.

Photographer Jovel Lorenzo and his street box camera.

After extensive research online, designing his own model, and researching affordable parts in the electronic marketplace, Jovel was able to assemble a 12 inch x 21 inch Afghan box. “I put a lot of effort into making the camera,” says Jovel, who has been a freelance photographer for 20 years now, in Filipino. “He also went through trial and error. But it’s a product of my love for photography. I’m glad I was able to build one that works perfectly. And it fills me up every time I see the footprints.

A positive result of the lockdown, the heavy handmade device brought out in it once again basic technique, advanced skills, as well as deep imagination and creativity in photography as an art form.

Since creating his street camera housing, Jovel has tried different ways to produce the best results. To familiarize himself with the equipment, he takes portraits of people interested in having black and white photographs outside his wife’s ceramic shop, Home Love Point, in Pasig City. He also came up with a project, dubbed the “Island Quarantine Series,” following his two-week quarantine when he visited his hometown of Tingloy Batangas in December. Portraits of its 14 chosen subjects represent island life and how the pandemic has affected them.

The black and white photos he took for the ‘Quarantine Island Series’ project.

Although using the camera involves a tedious method, Jovel made handling the tool so easy during our photoshoot. “It took a lot of practice to master the manual mechanism. But the real challenges here are: how you pose your subject, read available light, calculate aperture and speed, operate the camera, and compose the shot in your mind. And these are the things that make this art exceptional, ”he explains.

The classic camera is already a sight to see and it makes you feel excited once it’s in front of you. As a subject, led by a veteran of the lens, holding the pose is the only hard part you’ll do. But while you feel like a model, witnessing how Jovel works is definitely a treat. After releasing the shutter, the excitement builds even more. And when you get the black and white photography, it gives you the surprise of a priceless masterpiece.

One of Jovel’s subjects for the project ‘Artist Series’, well-known theater and film actor and his brother Jojit Lorenzo.

Currently, Jovel has an ongoing project, the “Artist Series”, where he aims to take portraits of people from various art forms such as theater actors, painters, sculptors and fellow photographers, among others. . Apart from that, he will be holding a private photoshoot using the street box camera every Wednesday throughout June at the Photo kitchen. As a photography enthusiast, he wants people to own a portrait of a craftsman and see how photo shoots were a hundred years ago

You can visit https://www.jojitlorenzo.com/learn-more-box-camera for reservations. | IG: @ boxcamera.ph



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Photographer captures shooting star falling into volcano https://photo2000.co.uk/photographer-captures-shooting-star-falling-into-volcano/ https://photo2000.co.uk/photographer-captures-shooting-star-falling-into-volcano/#respond Mon, 07 Jun 2021 18:55:14 +0000 https://photo2000.co.uk/photographer-captures-shooting-star-falling-into-volcano/ An Indonesian photographer took a remarkable photo of a meteor falling “into” a volcano, and the resulting photo looks like there is a beam of green light bursting out of the crater. Photographer Gunarto song has spent the past few weeks photographing Mount Merapi, his country’s most active volcano which has erupted regularly since 1548. […]]]>


An Indonesian photographer took a remarkable photo of a meteor falling “into” a volcano, and the resulting photo looks like there is a beam of green light bursting out of the crater.

Photographer Gunarto song has spent the past few weeks photographing Mount Merapi, his country’s most active volcano which has erupted regularly since 1548.

While photographing the stratovolcano on May 27, Song managed to capture a flash of green light that lit up the sky. Then he shared the photo on Instagram with the caption “Meteor fell in the top of Mount Merapi? And the photo has since gone viral.

At least two CCTV cameras pointed at the volcano also captured the flash at the same time:


Gunarto says he was working to take panoramas of Merapi at night when the phenomenon occurred. He was shooting a few final shots before packing for the night when the light appeared in the sky.

“What’s for sure is that when I took this photo, I really see a white light and it’s pretty bright,” Gunarto said. tell CNN Indonesia. “It fell from above, I just knew it was only a second or two, yes very quickly, fell from top to bottom.”

His camera’s shutter speed recorded exposures of 4 seconds, allowing him to capture the shooting star as a trail of green light.

A crop showing a closer look at the green streak of light.

the The National Institute of Aeronautics and Space (LAPAN) estimates what was captured was a meteor, and the blue-green color was due to the magnesium content.

While the photo may give the impression that the shooting star fell directly into the crater of the volcano, it is not known whether this actually happened or whether it fell somewhere behind the mountain. From what is seen in the security camera footage, however, it appears that the meteor fell from a very close distance.

In 2016, photographer Daniel Kordan also accidentally captured a stunning photo of a shooting star hovering over an active volcano (Klyuchevskaya Sopka on the Kamchatka Peninsula in northeast Russia).

You can find more of Gunarto’s work on his Instagram and 1 time.


Image credits: Photographs by Gunarto Song and used with permission





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Nationally Recognized “Not So Heavenly Bodies” Calendar of Bismarck Photographers Continues to Raise Funding for North Dakota Organizations https://photo2000.co.uk/nationally-recognized-not-so-heavenly-bodies-calendar-of-bismarck-photographers-continues-to-raise-funding-for-north-dakota-organizations/ https://photo2000.co.uk/nationally-recognized-not-so-heavenly-bodies-calendar-of-bismarck-photographers-continues-to-raise-funding-for-north-dakota-organizations/#respond Sun, 06 Jun 2021 21:52:00 +0000 https://photo2000.co.uk/nationally-recognized-not-so-heavenly-bodies-calendar-of-bismarck-photographers-continues-to-raise-funding-for-north-dakota-organizations/ BISMARCK, ND (KFYR) – Bikers are known for their motorcycles, rallies, and tattoos, but most aren’t scary. “Okay, give me a little daring,” said Beth Nielsen, creator of the Not So Heavenly Bodies calendar. Beth Nielsen is in her element. This secret photoshoot at Hermanson Ranch is for her upcoming nationally-acclaimed calendar, Not So Heavenly […]]]>


BISMARCK, ND (KFYR) – Bikers are known for their motorcycles, rallies, and tattoos, but most aren’t scary.

“Okay, give me a little daring,” said Beth Nielsen, creator of the Not So Heavenly Bodies calendar.

Beth Nielsen is in her element.

This secret photoshoot at Hermanson Ranch is for her upcoming nationally-acclaimed calendar, Not So Heavenly Bodies. We were asked to hide the identity of the model so that his audience would be surprised.

“It was literally a joke. We were sitting in a bar, and I was bored, and I said, “You guys, wouldn’t it be fun if we did? [a calendar]? ‘ Here we are three years later and a third timeline, ”Nielsen said.

The model, which we will call ‘Mr. May 2022, ”Beth contacted with ideas for the annual tradition.

“I said, ‘I’m just going to run something through you.’ I said, ‘How about a sombrero and a live donkey’ and she said, ‘Oh my god, yeah,’ ”Mr May 2022 said.

Each rider models his own month. This year, money raised by Not So Heavenly Bodies will go to Sporting Chance, an organization that helps people with disabilities experience the outdoors.

“Guys always show up 110%. So it doesn’t really matter what I do, they always go for it, ”Nielsen said.

Dave said he looks forward to having fun and hopes they will come back for another photo op.

“There has been a lot of crazy stuff here, but this could be the best of the cake,” Hermanson said.

Beth and her models will continue to create new image themes. However, the idea of ​​next year is a secret.

Nielsen said she was almost halfway through designing the calendar. It should be available for sale in August.

Copyright 2021 KFYR. All rights reserved.



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The Boneyard becomes a photographer’s dream setting in Eastern Ontario https://photo2000.co.uk/the-boneyard-becomes-a-photographers-dream-setting-in-eastern-ontario/ https://photo2000.co.uk/the-boneyard-becomes-a-photographers-dream-setting-in-eastern-ontario/#respond Sat, 05 Jun 2021 22:47:00 +0000 https://photo2000.co.uk/the-boneyard-becomes-a-photographers-dream-setting-in-eastern-ontario/ CARDINAL, ONT. – A junkyard in eastern Ontario is gaining popularity among photographers, with rusty classics providing the perfect backdrop for stunning photos. Called The Boneyard, owner Joe Martelle loves to take you on the trails, contemplate the vestiges of the past. “It’s a 68 ranchero,” Martelle said, as he passed a car along one […]]]>


CARDINAL, ONT. – A junkyard in eastern Ontario is gaining popularity among photographers, with rusty classics providing the perfect backdrop for stunning photos.

Called The Boneyard, owner Joe Martelle loves to take you on the trails, contemplate the vestiges of the past.

“It’s a 68 ranchero,” Martelle said, as he passed a car along one of the trails.

“We never intended it to be an art center, it just developed organically.”

Over 400 cars can be found on approximately 40 acres of land at The Boneyard in Cardinal, Ontario, 90 kilometers south of Ottawa. Some missing parts, others swallowed up by their environment.

“We’re kind of like a steward of history here, but we’re doing it in a different way,” Martelle said. “It’s really interesting to see a 23 year old photographer come here and stand next to a 70 year old car, and actually get the lines, get the story and appreciate what happened before and the the way cars used to be. “

According to Martelle’s daughter, Kirsha Hutchcraft, social media and marketing manager at The Boneyard, it all started with her grandfather.

“It’s been in the family for several years,” Hutchcroft said. “It started, kind of happened organically, the old car guys come over to see the classic cars, take out parts, they took the pictures, and it kind of spread.”

The site is still a working junkyard, and open for people to come and pick up the parts they need on older vehicles.

“It has always been sort of set up in fields with trails, but now we have extended it further,” added Hutchcroft. “(We’ve) kept them better, adding new ones so you can see even more, because there are cars that have been around for decades that you couldn’t see before. It’s really neat.

“Some have trees growing inside and inside because they’ve been there for so long. And it’s really an interesting experience.”

For Ottawa photographer Garry Black, this is one of his favorite places.

“Most auto demolition sites, cars are crammed into parking lots. Here, it’s like Joe has them placed around and they’re on display like a work of art,” Black said. “It shows real beauty.”

Black’s ran photography classes on the site and even brought down models for photoshoots on and around the old clunkers.

“It depends on the workshop or the topic we are dealing with,” added Black. “Sometimes people go on their own and I’ll find them and other times all kinds of groups together and give composition and lighting lessons.

“I don’t think I even covered half of this area, but the number of times I’ve been here I’ve been stuck in the first field and it’s just amazing.”

Garry Black

“Some of the photos that come out of here are just phenomenal,” Martelle said. “The things that artists can find art in and lines in, and we walk past a rusty, broken old car and how they can take a very small part of it and approach it and just give this .. . piece of paint and metal just new life, new shape and new imagination. It’s just breathtaking. “

Once the word got out the phone kept ringing with photographers wanting to verify it. But being an active heist, the team had to check the dates of a few.

“We decided it would be best if we sort of had a single day, sort of a quarter throughout the year for the photographers to come in so everyone could come at the same time,” Hutchcraft said. .

The COVID-19 pandemic has interrupted these dates in 2020, and the team is preparing to welcome photographers again this summer.

“We don’t charge any entrance fees for the photography,” Martelle said. “We recommend and strongly suggest photographers bring non-perishable food or cash for the local food bank which we collect and deliver to the food bank.”

“The last event we did here (in 2019), we had an eight foot truck box full of food and we also had an envelope with a good amount of cash that we dropped off at the South Grenville food bank. », Added Martelle. .

Details on upcoming events are available at The Boneyard Facebook page or to http://www.Boneyard.ca/



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Baby photographer prepares healthy snacks for sale during pandemic https://photo2000.co.uk/baby-photographer-prepares-healthy-snacks-for-sale-during-pandemic/ https://photo2000.co.uk/baby-photographer-prepares-healthy-snacks-for-sale-during-pandemic/#respond Sat, 05 Jun 2021 02:00:00 +0000 https://photo2000.co.uk/baby-photographer-prepares-healthy-snacks-for-sale-during-pandemic/ When the pandemic started last year, baby and family photographer Asther Lau didn’t expect things to get so bad. “I thought if I was careful and had strict SOPs in place, I could still serve my clients,” says Lau, a Sarawakian who lives in Petaling Jaya. “Even though it was not possible to do my […]]]>


When the pandemic started last year, baby and family photographer Asther Lau didn’t expect things to get so bad.

“I thought if I was careful and had strict SOPs in place, I could still serve my clients,” says Lau, a Sarawakian who lives in Petaling Jaya.

“Even though it was not possible to do my shoots outdoors, I could still do them in the comfort and safety of my studio,” she says.

“But when the situation worsened and the number of cases increased, the management of my studio building completely banned visitors,” she says.

Lau reveals that she still had requests for consultations for maternity and newborn sessions throughout recovery and conditional OBS, although the numbers have dropped significantly from pre-pandemic days.

“But I had to be selective,” she says.

The health and safety of her family was a major concern and a priority.

“My mother has lupus, my husband has high blood pressure and episodes of irregular heartbeat, and my daughter is only 12 years old. I myself am a thyroid patient. So we’re sort of in the high risk category and can’t afford to succumb to what was then the unknown Covid disease, ”she said.

Lau, who has worked in the photography business for 13 years, reveals that she was only able to earn two months total of her usual income last year.

Her household income has also been affected as her husband, who runs a DIY business, was unable to make it to customers’ homes during the pandemic.

Lau knew she had to pivot. She decided to start selling homemade food, including Sarawak specialties cooked by her mother, in their neighborhood.

“It was a huge success with our neighbors and we could at least support our daily expenses with the winnings. But it was a lot of work, ”she says.

Lau even started baking and selling buttermilk cookies and banana cakes in his neighborhood.

But the profit margin was too low to survive, she said.

Lau’s mother, Jenny Soong, helps her prepare the fruit. Photo: Asther Lau

Because she was involved in rescuing and rehousing stray animals in the neighborhood, Lau got to know many pet owners. She decided to try making pet food and snacks – dehydrated pet treats, homemade pet cookies – for sale, and bought a dehydrator.

But she found that there were already so many new players in the pet food business and realized that this was not a feasible option, so she was stuck with the equipment that she had bought and no business plan.

Lucky find

Lau says what she is selling was a “chance find” and that she “underestimated” it at first, because it was “just something that she and her family personally consume.”

“I decided to use the dehydrator to make dehydrated fruit for my family because I’ve always loved eating dried fruit and it’s hard to find good quality without preservatives,” she says.

“Before, I had to drive a lot, pick up my daughter for school and I couldn’t get my meals on time, and I kept a bottle of my dried fruit snacks in the car that I have. tried and realized they were so good, and healthy too! ” she laughs.

“They’re a great pick-me-up, especially on stressful days,” she says. “And I suddenly realized this was a business idea to explore.”

It was November 2020 and she decided to make the most of the Christmas season and start selling dehydrated fruit treats in Christmas wrappers as gifts.

Lau has a little helper in the kitchen in her daughter Hayley, who helps sort out the recyclable glass jars for snacks.  Photo: Asther LauLau has a little helper in the kitchen in her daughter Hayley, who helps sort out the recyclable glass jars for snacks. Photo: Asther Lau

Since she was also very fond of recycling at home, Lau decided to use glass jars as there aren’t many recycling centers that accept them, unlike paper, plastic or aluminum cans.

She started by cleaning and sterilizing her own huge collection of empty jars at home, decorated them with a Christmas theme and filled them with dehydrated fruit and started selling them in her neighborhood again.

The feedback from his neighbors was very encouraging.

“Feeling motivated, I worked on making better treats, adjusting the size and shape for better production quality,” she says.

From a logo designed by herself, she decided to invest in her branding and hired a professional designer to produce her logo and labels.

Lau's husband, Francis Tan, helps with deliveries and the purchase of crates of fruit.  Photo: Asther LauLau’s husband, Francis Tan, helps with deliveries and the purchase of crates of fruit. Photo: Asther Lau

In January 2021, she officially launched Jari Treats. Its treats include cinnamon apples, ginger oranges, dehydrated mangoes, and dehydrated pineapples, but there are also seasonal fruits such as persimmons. She is currently doing R&D and hopes to have more products in the future, including vegetables and other seasonal fruits.

Lau says his treats appeal to a large target market – from energetic millennials who are constantly on the move and need snacks to keep their energy levels up, to housewives looking for healthy snacks for their families, to those looking for freebies. healthy and thoughtful. for their loved ones whom they cannot see during the pandemic.

Most of her customers are from Klang Valley, but some have ordered her treats sent to Penang and Johor, for which she uses a delivery service.

A family matter

While Lau does most of the production work personally, her mother and daughter help prepare, slice, and wash the fruit, and her husband helps with deliveries as well as buying crates of the fruit.

Rather than offering snacks with lots of sugar, salt, artificial flavors and preservatives, Lau hopes to encourage people to eat healthy snacks without artificial flavors, preservatives, salt or added sugar.  Photo: Francis TanRather than offering snacks with lots of sugar, salt, artificial flavors and preservatives, Lau hopes to encourage people to eat healthy snacks without artificial flavors, preservatives, salt or added sugar. Photo: Francis TanShe admits that there are many challenges to starting a new business during the pandemic.

“Food is a very dynamic and trendy industry. It takes consistent marketing to maintain sales, ”she says.

She is also concerned about the current lockdown and its impact on her family and business.

“We are worried and don’t know if we can cover our overhead costs,” she said.

“On the one hand, more and more people tend to want to send gifts to their loved ones that they cannot meet or visit. On the other hand, people spend more prudently in uncertain times, when the cost of raw materials and operations is constantly increasing, so the price of products has to be fair, ”she said, adding that she got certification from the Department of Health and a typhoid jab which is a requirement in the food handling industry.

Lau also recently signed a lease for more workspace in commercial land.

“It’s not a store but a bigger space with a bigger kitchen and more packing and storage space. We hope to be able to increase our production and sales, ”she said.

“Healthy eating is the trend now, even more so during the pandemic.

“Rather than having processed snacks with lots of sugar, salt, artificial flavors and preservatives, I hope to encourage people to have healthy snacks without artificial flavors, preservatives and no added salt or sugar.” she concludes.



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