Photographic legend meets ballet’s infant terrible. Albert Watson’s painterly eye and mastery of light, and Sergei Polunin’s astonishing physicality were ably assisted by the Profoto Pro-10. And the result? The extraordinary imagery we were proud to be a part of. Watch the BTS to learn from one of the great masters of photography.
ANOTHER YEAR AND ANOTHER BIG THANK YOU TO EVERYONE.
WE HAD A FANTASTIC YEAR OF WORKSHOPS, MEET-UPS, REVIEWS & PHOTOGRAPHIC ANTICS.
WE WILL BE BACK JANUARY 14TH TO START THE NEW YEAR. WE HAVE A COUPLE OF WORKSHOPS PLANNED AND SOME GREAT REVIEWS AND TUTORIALS IN THE BAG AND READY FOR YOUR APPROVAL.
ALTHOUGH OUR POSTS ARE SPORADIC AT BEST, I WOULD LIKE THE PERSONALLY THANK ALL THOSE WHO HAVE CONTRIBUTED OVER THE YEAR TO THE SITE, THANKS IT IS SO APPRECIATED.
TO THOSE WHO VISIT US REGULARLY ... THANK YOU.
Wlliam Eggleston might be one of the only Americans to call 2016 a great year. That's in large part because he doesn’t vote, a decision the legendary photographer made decades ago. “The last person I would have [voted for] was JFK,” he quipped in his signature Southern drawl in a suite at the Bowery Hotel in New York last week. “But between then and now I didn’t care for the candidates.”
“This year, everything’s coming together,” he said in almost the same breath, about the happy synchronicity of his being honored at the Aperture Foundation’s annual fall benefit, his new exhibition at David Zwirner gallery and re-edition of The Democratic Forest from David Zwirner Books — all this week — and, finally, his good friend Bob Dylan winning the Nobel prize. When I noted that no one has been able to reach Dylan about the prize, Eggleston only said, “That’s typical.” They, of course, haven’t spoken about it, either. “I wish he’d call up,” he added.
Eggleston, however, isn’t one to miss a party. He was in New York from Memphis for a week of dinners, book signings, and events: Monday was Aperture’s benefit dedicated to his pioneering use of color in photography; tomorrow is the opening of his Zwirner exhibition. At 77, he’s still precise about his words and his time. He qualifies nearly all of his answers to questions with some variation of: “From what I know…,” “I suppose,” “I guess,” “Probably,” “Practically,” “Maybe,” or “I don’t think so.” And if he agrees or disagrees, he just might say nothing at all. You could mix a drink during one of his pauses.
I was lucky enough to receive not one, but 'two' camera straps in the mail from AFShoot. The straps manufactured in Portugal by Muflon came in two distinct flavors. The simplistic all black leather (red stitching) 'Reporter' strap and a Artisan & Artist 'esque' red ' Yellowstone' strap with black leather ends. This was a very unexpected surprise and obviously, a welcome one as the last strap they had sent me for review was back in November 2015 and that strap had remained on my camera permanently, that is until now.
Both straps came in nicely crafted bags with leather protectors and a set of metal rings. They are handcrafted in Portugal as was the wrist strap and longer leather variant we reviewed before them. Wonderfully finished, attention to detail an obvious objective. They both differe in various ways and depending on your requirements, one will definitely favour your style of shooting . So let's take a look at each individually and see if my experience can give you a little helpful information.
MUFON / Reporter Strap
Anyone looking for something in leather with clean lines simple detailing (embossed logo) the understated 'Reporter' Strap may be just what you are looking for. I paired it with my Nikon F4s for no other reason than I was wanting to run a few rolls through it. I need to say from the start, probably not the best match on my part. The strap has no padding and the F4s is a behemoth of a camera, like many of the full frame DSLR and potential Medium Format cameras, they are heavy and if your planning on running around for the day ..... your going to definitely wish you had a bit of padding. The Leica M6 as an example, would have been a much better choice size and weight considered for this strap.
That being said it was a very comfortable strap to use and started softening up after a week. It is nicely crafted and the strap thickness and finish are spot on. I even thought the logo was understated and complimented the design. I do love this straps simple understated appeal, I find so many straps bloated with unnecessary bits and bobs. I would have no problem recommending the Reporter for anyone sporting a X100f from Fujifilm, Olympus Pen, any Nikon APSC sensor camera... you get the idea.
- Classic rugged leather camera strap. Strong, durable, made to last.
- The Reporter straps are 100 % handcrafted from high-quality bridle leather.
- The strap comes in Black leather with two different stitching colors and four sizes ( 85cm , 100cm , 115cm and 125cm ).
- Perfect for vintage film cameras, Fuji X, Leica M, Leica Q, Sony A7 and other mirrorless cameras
- MUFLON straps are completely handcrafted from premium vegetable tanned leather.
- Comes with 18mm split rings to attach it to your camera plus 2 soft leather discs to protect your camera from getting scratched by the strap metal parts.
Just remember a heavy DSLR or Medium Format cousin may prove a little taxing to carry for any extended amount of time. I would consider a more cushioned option for the shoulder and or neck if this sounds like your camera setup. One more small thing, If your method of shooting has you wrapping your strap around your wrist, the harder leather will take some time to soften sufficiently to accomplish such a task. Which brings me to the next Strap on our list The Yellowstone, wrist wrapping just aint a problem with this product....
MUFON / Yellowstone Strap
My 'Leica Q' & 'Yellowstone' strap are a match made in heaven, the last couple of months has me totally recommending it as It has now replaced the Premium Handcrafted Leather Slim Strap* by Dead Camera which had been on my camera since our review back in November 2015. The Yellowstone is obviously influenced by Artisan & Artist straps of a very very similar styling (cough) for a fraction of their price. (GREAT START),
The simple rope design with leather ends although not original by any means, is just what the Dr ordered. It also comes in a variety of color combinations for those of you so inclined. The supplied leather protectors are a welcome bonus as are the 2 metal rings. I found the strap to be super comfortable strait out of the bag. Unlike my previous strap I was able to wrap the strap around my wrist for easier portability when needed. This was a key design feature and deal maker as far as my strap of choice is concerned for my Leica Q.
Being able to select the length of the strap when ordering is a welcome one. In the past many straps I have reviewed or purchased have been slightly to long for my 180cm height. I wear my cameras across my body and it drives me crazy when the strap is to long, bouncing uncomfortably on my hip while walking is a pet peeve of mine. Chose your length wisely before purchase and you will be a much happier camper indeed. It looks and feels great and does everything I need in a camera strap ... grab this strap 5/5 from us at WECC.
Yellowstone Tech Specs
- Made from the same high quality 10mm climbing rope that the original MUFLON , comes with new strap leather endings with a sturdier design and thicker hand-stitching to ensure maximum durability.
- Same great quality , rugged look .
- MUFLON straps are handcrafted from high quality , strong climbing rope and premium leather.
- MUFLON straps come in 5 different colors and five sizes (85cm , 100cm , 115 cm , 125cm and 135cm).
- The strap comes with 16mm split rings to attach it to your camera plus 2 soft leather discs to protect your camera from getting scratched by the strap metal parts.
- Camera Strap
- 2x soft leather discs
- 2x extra split rings
- Awesome on my Leica Q, but Perfect for Fuji X , Leica M, Sony A7 , other mirrorless cameras and DSLRs
Both straps are a top quality product better than many higher price offerings on the market at the moment. They are beautifully crafted and if you do your homework and consider your needs for your shooting style with the equipment you use one of these will definetly keep you happy. Money very well spent on some of the best straps I have had the pleasure to use. I will update this review in a few months to let you know how they are going.
Your camera will thank you for it so GET ONTO SANTA AND PURCHASE ONE HERE
*Now adorns my Leica M6 film camera
A closer look at how William Eggleston invokes magic in his portraits, and how that connects to the literary genre of "Magical Realism". Definitely one of the photographers I love the most.
Source (Across the Echo Youtube
Ever since ramping up my landscape photography gear and getting out onto the trails more often with a more complete camera and filming kit, I've been aware that stuffing my LowePro Nova 140 AW II into my day back "sack" bag hasn't been a very good way of going about my hikes. While the Nova bag itself is fantastic for shorter hops around a location, it's not a backpack so it's not capable of holding any water, food or a tripod on its side.
While I do prefer using a water bladder to store and drink water from on hikes, the downside of my current hiking bag is that it's just a simple pouch with one pocket on the outside. It can barely do anything functional.
My exact requirements for a photographer's day hiking backpack were somewhat specific. I also wanted to be able to treat this as my carry on luggage to keep all of my expensive electronic devices and lenses on my person when travelling on a plane.
I found it difficult initially to find something that fit these requirements while not being too large and too expensive. The LowePro Whistler series look fantastic but were just a little too expensive and excessive for my needs. In the end, I found a pack that seems to cover every requirement without compromise.
Paul Struijk explores the facial architecture of the Dutch capital with his Leica M10
Amsterdam is one of the most culturally diverse cities you will find anywhere on the planet. It was among the most important ports in the world during the Dutch Golden Age of the 17th Century and ever since then immigrants from all over the globe have come to call Amsterdam their home. Amsterdamer, Paul Struijk, set out with his LeicaM10 to document the facial archetypes of the city’s residents and, in doing so, captured the diverse yet kindred nature of humanity in all its forms.
You studied an array of subjects from biology to archaeology and even classical dance. What was it that drew you to photography?
It was the creativity of the work. I needed to create things from the inside out and have the freedom to choose what I do. I also wanted to encounter new worlds, new people and new ideas.
How would you describe your photographic style?
My aim is to document. I try to find authentic images with a mix of old school and modern approaches. I like real life. I love people and how they try to make the best of it. I am absolutely a color person but over the last 2 years with my Leica, my photography has become more and more monochrome but always with a little shade of color, a little hint of a tone.
How did you get started in photography?
I started practicing photography in high school. Initially, I was interested in capturing the stage presence of musicians. When I went on to study photography at university, architecture and the urban landscape became prominent subject matter in my work, after being inspired by a summer trip I took to Italy.
How do you describe your photographic style?
My style has a graphic quality, focusing on the basic geometry of the landscape. I flatten the depth of an image by emphasizing contrast and colour and straightening lines in my editing process, making subject matter appear 2 dimensional.
What influences your current photography style?
Weather is a huge influence in my work. Overcast days are ideal for projecting an even distribution of light onto buildings, and for the stark white sky in the background to make the subject matter pop. It makes real life look 2D, much like I'm looking at the final image before I've shot it. To me, it makes everything look dream-like.
I'm also influenced by unique colours and textures of building materials, as well as looking at other photographer's images that have a similar style to mine for inspiration.
How do you decide between color and B&W?
I use black and white when I want the viewer to focus primarily on the form of the subject, where colour may be too distracting.
How do you decide what makes a good photo?
My work is very aesthetically driven, so foremost I want to make sure it's visually appealing to myself and the viewer. I also feel that a photo is successful when it captures a unique way of seeing something that may already be familiar. Maybe it makes the viewer question the reality of the image, or makes them more aware of their urban surroundings to see the everyday world in a new light.
What are you thinking when you take a photo?
When I take a photo, I’m thinking about using my perspective to visually reconstruct the subjects in the frame. I’m looking at how lines from one building may intersect with its surroundings, and what kind of visual relationships I can make by physically moving around the static built environment. It probably looks something like a bad step-by-step dance when I'm on the street, trying to line things up in the frame before I take the shot.
What keeps you going or gives you the inspiration to keep your photographic journey going?
There are so many places I have yet to explore and be inspired by, and this keeps me excited to keep producing my photography. I want to experience everything that I can in order to keep learning and moving forward, not only as an artist but also as an individual.
Thanks so much for taking the time to speak with us.
all images Candice Jinkie Portrait of Candice by photo by Alex Alexandra Votsis
October 30, 8 A.M. EST to November 3, 6 P.M. EST only
Signed or estate-stamped, 6x6" museum quality prints for $100
On the occasion of Magnum’s 70th anniversary and Aperture Foundation’s 65th, the two storied organizations have joined forces to present Great Journeys, inspired by Magnum co-founder, the photographer George Rodger.
Rodger’s response to the experience of World War II, and in particular his revulsion to photographing scenes of the Holocaust, led him to re-evaluate his purpose as a photographer. After the war, Rodger chose to travel in search of pictures that offered visions of hope for humanity.
Magnum Photos and Aperture have a long and diverse shared history, and together have invited photographers - either members of Magnum or published by Aperture, and often, both - to respond to the theme Great Journeys with an image from their archive, as well as accompanying text.
Both individually and collectively, their responses highlight the major visual and thematic threads that have preoccupied the past seven decades of photographic production, shedding light on Rodger’s legacy, and redefining the concept of journey in photographic terms.
These photographs are a selection from this project and is temporarily available for purchase as a signed, museum quality Magnum Square Print, exceptionally priced at just $100.
The edition is not limited by quantity, but limited by time. This Square Print is only available for purchase between October 30, 2017, at 8 A.M. EST and November 3, 2017, at 6 P.M. EST.
All signed Magnum Square Prints are signed on either the front or back, depending on the photographer's preference. Estate-stamped prints are stamped on the back. Each photographer's accompanying text is printed on an archival label that is affixed to the back of the print.
If your lucky enough to be in Britain this October, check this one out.......
Hull UK City of Culture have partnered with international photography co-operative Magnum photos to create this bespoke exhibition, commissioning Martin Parr and Olivia Arthur to explore the culture and creativity of Hull. The exhibition highlights the qualities that have made the city stand apart in an unforgettable year of culture.
Hull, Portrait of a City owns the discussion about where, what and how. How might we define Hull? How has culture changed our landscape and regenerated our city? What impact has it had on everything from economy to civic pride? How do we record it? As stories merge and new ones begin, we start looking to the future and exploring what’s next.
Magnum Photos is a photographic cooperative of great diversity and distinction owned by its photographer-members. Magnum photographers chronicle the world and interpret its peoples, events, issues and personalities. Through its four editorial offices in New York, London, Paris and Tokyo, Magnum Photos provides photographs to the press, publishers, advertising, television, galleries and museums across the world.
13 Oct - 31 Dec | 10am - 6pm
WECC member Nick Bedford recently took to the skies for a quick 3-day "teaser" to New Zealand's South Island to do landscape photography and get a feeling for what the country has to offer. Along the way, Nick filmed his photography, showing what he was looking for and how he executed the photos, using his Leica M Typ 240, Voigtlander 35mm and 50mm lenses and Manfrotto Befree tripod.
Nick said he is planning to return next February for a longer two week visit where he can stretch his legs, hike through the mountains and visit more of the great locations throughout the country. If you have some time to spare, check out the videos below from Nick's new landscape photography YouTube channel.
Nick has also posted a new video about the lessons he learnt in his first month of creating YouTube videos, starting with the GoPro HERO6 as his vlogging camera and ending up with the Sony RX100V.
We chat with local Photographer & Creative Jack Gibson about his love of photography and his thoughts on his practice.
How do you get the person, place or thing that is in front of the camera onto the film, chip or paper in just the way you want?
Patience, timing and sometimes luck. I definitely feel that observation is an acquired skill and the more you practice, the better you get at predicting an outcome. As well as this, it’s knowing the capabilities and limitations of the equipment that I’m working with. I know that I have specific lenses or cameras that are suited to specific conditions. I find it’s a matter of learning the gear and then using it appropriately. For example, my mirrorless camera doesn’t shoot at high ISO or my portrait lens isn’t coated for specific light conditions.
Which photographers influenced you, and how did they influence your thinking, photographing, and career path?
I’ve spent countless hours listening to podcasts and interviews with various photographers from different backgrounds. I generally find that each individual has useful advice, regardless of whether they may shoot a similar style or something completely different to yourself. While I’ve taken notes from a whole range of working photographers who’s names I probably couldn’t remember now if I tried, there are definitely a few that I particularly hold in high regard. One of the most influential experiences for me personally was listening to Dan Milnor speak at a creative conference about 5 or so years ago. He shared his experiences from the field and some of his philosophy towards photography. This was definitely a turning point for me and inspired me to pursue what was only the start of a hobby at that point. Arto Saari is another favourite. I’ve always enjoyed his perspective and use of environment in his photography. Terry O’Neill, Richard Avedon and Jonathan Mannion for their portraiture. Beyond that, Elliott Erwitt is probably my all time favourite photographer and my favourite person to listen to.
Exactly what it is you want to say with your photographs, and how do you get your photographs to do that?
At this point there isn’t anything overly dramatic that I am trying to say through my photography. Day-to-day I like to focus on some of the smaller details that most people might overlook in their busy lives. Beyond that, I just try to take photos that portray the subject in their best light. I find that most people tend to judge themselves quite harshly or might be quite self conscious having their photograph taken. If the subject approves or is happy with the photo then I feel like I have succeeded. To make somebody feel good about them self through photography, to me, is quite an achievement. Overall, I’m really just enjoying taking photographs and improving my eye. If it ever turns into something more, thats great, if not, at least I’m having fun.
What was your creative path? How did you get from being an aspiring photographer to actually doing within your day job?
I’ve always had an interest in visual art and following my graduation from high school, undertook a creative degree at QUT. I had the opportunity to take a photography subject which was an area that I had always been interested in but didn’t really know how to approach. Within a month or so I had bought my first SLR. From that point I pursued photography as a hobby. Accompanied with perusals of graphic design, I was offered a role as a product photographer. From there, everything snowballed. I decided I wanted to improve as a photographer and started shooting for social media and developing a portfolio. As my interest in photography peaked, I experimented with various digital cameras, as well as some 35mm and 120mm.
What technology/software/camera gear do you use to keep focused on what you do best, as you photograph?
I shoot across a few different cameras but overall, simplicity works best for me. Having experimented with a range of digital and film cameras, I think I’m at a stage now where I’m fairly happy and comfortable with my setup. One 35mm, one medium format, mirrorless for street and SLR for product, studio and any other pursuit that requires speed and accuracy. I generally process through Lightroom with minimal adjustments. I definitely feel that the closer I can get to the final product in camera, the better.
How do you get paid to do what you want to do with your photography?
Luck and hard work. I’ve been lucky enough to know people who have provided me with work through my education and supported my progression as a creative/photographer over the past few years. Of course, I’ve worked hard to produce the highest standard of work possible and continue to try and raise the bar. I spend a lot of my spare time trying to improve which I think is necessary as a creative. I definitely have a passion for the craft that motivates me to work hard and continually improve, both for myself and for my employers.
What motivates you to continue taking pictures economically, politically, intellectually or emotionally?
I have always been more of an observer than participator. The older I get the more I accept and embrace this fact and I think that is what motivates me to keep shooting. I’ve found a pastime that coincides with my personality and has held my interest for quite a few years now. My greatest motivation now is to improve. I’d like to keep photography in the forefront of both my work and personal life and I believe I have a long way to go before I can confidently say that I‘m a “professional”. Whether I am getting paid or not, I’d still be taking photos. I guess that indicates that there’s an emotional side to the motivation.
Where would you like to be in 5 years …..?
It’s hard to say where I’d like to be specifically in five years. I feel like I’m still very much in the early stages as a photographer. There’s still a lot I want to learn and styles that I’d like to try. Having said that, five years is a considerable amount of time that I would happy dedicate to progression. I’ve heard Jonathan Mannion say a number of times that one defining difference between an average photographer and a great photographer is the knowledge of craft. This is one thought that has always stayed with me and I’d hope that in five years, I could be at a stage with my photography that exemplifies a strong knowledge and commitment to the craft.
Cheers Jack thanks for your time.
website | instagram
WHAT THEY ARE LOOKING FOR?
We’re looking for the best of the best, obviously. We want to uncover photographers around the world, who are doing the most interesting and innovative work in the world. Is that you? No? What about her, is it her? Maybe it’s her. There are six categories to enter your work in:
- Travel sponsored by Corona Extra
- Music sponsored by Danner
- Portrait sponsored by Huffer
- Action sponsored by RVCA
- Lifestyle sponsored by Danner
- Student sponsored by Billy Blue College of Design
WHO IS JUDGING THIS THING?
Photographic submissions will be heavily scrutinized by a team of experts and industry professionals including, and absolutely limited to, Monster Children founders Chris Searl and Campbell Milligan. Entrants who pass this initial appraisal will have their names written on index cards and put into a hat. The winners will then be drawn from the hat with a fishing rod and a blob of chewing gum.
WHAT ABOUT THE PRIZES?
The winner in each of the categories will take home $5000 AUD and he or she may spend that $5000 as he or she wishes (eggs, fur, leather goods, anything). You may enter your work in as many categories as you like and as many times as you like, and even if you won the competition before–you can enter again. You might win again. Who knows?
For Full Terms and Conditions please visit The Rules.
Interview by Patricia Karallis
From the beginning, The Heavy Collective has been about
contributing to a global conversation around image making
and the publication leans on that same idea.
Sydney based The Heavy Collective started as an online platform showcasing interviews, features and more with photographers whose work display a breadth of subjective and conceptual ideas. Continuing their format from online to offline, they successfully crowdfunded their first print edition and are back with Heavy Vol. II.
Featuring artists Irina Rozovsky, Joanna Piotrowska, Daniel Shea, Mark Peckmezian, Aglaia Konrad, Curran Hatleberg, Deanna Templeton, Dana Lixenberg, Susan Lipper, Stephen Shames, Yoshinori Mizutani and Katrin Koenning, the latest edition is ‘a compendium of contemporary photography focusing on the conversation; Heavy Volume II is in an exploration of image and text on the printed page'(1).
We spoke to founder Jack Harries about his beginnings with photography, his publishing and editing processes and future plans for The Heavy Collective.
Could you tell us a bit about your background and where your interest in photography came from?
I grew up in a creative environment, my mother was a painter and a sculpture and often used a camera. I taught myself photography as a teenager, but didn’t take it seriously until I was in my mid 20’s. I wasn’t great in school as a teen and ended up having my time there cut short; as much as The Heavy Collective is a space to spotlight other photographers work, it’s also been a way of giving myself the education I might of missed, albeit a very focused one.