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Ernesto Bazan 2
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FotoTV.News 11
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It's time to start the New Year and that means check your calendars, so we get a look at the new "Heavy Equipment Calendar" for 2011. A real splash in 2010, this years calendar brings the same attractive illustrative photoshop finish. Heavy Metal as art, get 'em while they last.
Good news for RAW shooters. A new standard for memory cards is in the works. Next year's proposed debut will see capacities of 2 Terabytes at speeds of 500 mbs. Capacity takes another quantum jump.
Leica is in the news. It's not about market survival, revenue has doubled. Keeping up with demand is the new challenge. This is welcome news for our friends in Wetzlar.
Out with the old and in with the new. After a recent function update to the site we are now addressing content and we're asking for your contribution. Please be sure to make your voice heard in our survey.
We get a sneak preview of an upcoming interview. Marc had a chance to talk to Joe McNally about his work.
Always on the lookout for new and interesting material, we get a look at Desert Birds. A recent book release from Werner Bartsch showing retired aircraft in the desert. A tribute to the pioneering spirit of mankind and flight.
You can download a podcast of this news show at:
http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=346566809
Woodstock
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Legendary photographer Elliott Landy photographed many of the underground rock and roll superstars, both backstage and onstage, from 1967 to 69. His images of Bob Dylan and The Band, Janis Joplin, Jimi Hendrix, Jim Morrison, Joan Baez, Van Morrison, Richie Havens, and many others documented the music scene during that classic rock and roll period which culminated with the 1969 Woodstock Festival, of which he was the official photographer. Today in this exclusive FotoTV film Landy discusses the underground music culture in New York City in the late 1960's and how it has affected him and his stellar career. With his memorable and insightful photographs he helped define the Woodstock Era with intimate images of some of the greatest music legends of the Sixties at home and in concert.
Tête-à-Tête
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The New York based Visual Artist, Martine Fougeron’ talks exclusively to FotoTV subscribers about her Tête-à-Tête project. In this video she describes how she went about shooting the intimate photographic portraits of her adolescent sons. The photographs from this Tête-à-Tête project, have been widely exhibited and is in the collections of both private collectors and museums.
Having started her career in Perfumerie, Martine remarks that perfumerie and photography are interconnected, because they both appeal to one of the five basic senses of a human being! Her narration of the way she went about taking the pictures of her two adolescent sons, despite their apprehension and indifference to the camera, is certainly interesting.
Martine also explains how as a child she derived inspiration from studying painting and sculpture masterpieces. Painting and Photography are her first love, she claims. She keenly observed and studied light in living portraiture. And today, as a photographer, she uses lighting to add significance to a simple situation and tell her story of the way she sees the world.
Harry Gruyaert
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In this film, photographer, Harry Gruyaert sits down with FotoTV and reflects on his life, career highlights and his priorities as a photojournalist.
Starting out in fashion, Gruyaert soon realized that he was more inclined to landscapes and people, rather than photographing the latest styles. He was absolutely enthralled by the locations he visited and fell in love with Morocco after his first trip there. His trip to Morocco was personal and professional success, where he produced intense photographs of light, color, objects, people and situations depicting an undisturbed, beautiful scene of life. Visions of pure landscapes and daily life saturated with rich and colorful surroundings.
For his first serious body of work, Gruyaert made photographs of distorted TV images, covering current events such as the 1972 Munich Olympics to produce a vibrant caricature of the new stories. He explains, “I had a television set that didn't work properly; as my assistant and I moved the antenna, fiddling with the switches, it was possible to obtain fascinating colors. At the time, of course, the video recorder didn't exist, not to mention the freeze frame. So I set my camera to 1/8 sec and f4.0, held my camera steady and sometimes moved very close to the screen to frame it differently.”
At the heart of Gruyaert’s work is his affinity to structuring the intense nature of color. His images are beautiful in terms of life, luminosity and the people in relation to their situations. A contrast of elements assembled into refined graphics of shadows, hue, light and atmosphere.
Gruyaert studied at the School for Photo and Cinema in Brussels from 1959 to 1962. He then began freelance fashion and advertising work in Paris, while working as a director of photography for Flemish television.
George Barr 2
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In this second film with photographer George Barr, he discusses in accomplished detail the art of Fine Art photography. Barr gives an expert commentary to visual presentations from his own personal archives.
Barr explains, “Good fine art photography is something that will evoke emotive responses with an audience. It has the ability to capture your attention immediately, via using several different techniques, or in this case, elements such as dramatic patterns, bold designs, strong or complimentary colors, or even a mystery or puzzle that needs to be solved by the viewer”.
When viewing your own photos, Barr advises to look for things that detract from the feature of the composition. His teachings and helpful tips in this film are ideal for aspiring fine art photographers as well as professionals, to pick up new skills and techniques, therefore educating them on how to produce a perfect image.
“Good fine art photography gives us a message”, says Barr. “It can be coldness, beauty, scope, weight, or size. Images should always have some element of good technique, such as detail, lighting or tonality.”
Composition is also an important topic in Barr’s film. He discusses various ways how composition can be implemented to get good images, such as using composition to draw attention, or point something out in the image, how it can be used for framing, or how it can be used to contrast or complement the entire image.
Often, great fine art images are those of the unseen or exotic, showing the viewer something or someplace he has never seen before, and Barr suggests keeping that in mind when photographing.
There is one important piece of advice that stands out on its own. Barr says, “Ask yourself the question. What fine art photography elements are present in my picture? How many elements are present in my picture? All great images have at least one or more elements present. If you do not have at least one, then you need to rethink your composition and image. Only then will your image capture the viewer’s interest, thus successfully keeping them interested in your work”.
George Barr is a family physician living in Canada. His interest in photography began when he was 12 years old. Recently he has brought his passion and sensibilities for fine art photography to his industrial work, becoming more abstract in his imagery.
Stuart Franklin
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President of the Magnum Photo Agency, photographer Stuart Franklin has travelled to more than 120 different countries photographing impelling news, political, culture, and environmental stories. Franklin’s work has been published in the most distinguished newspapers and magazines of our time such as National Geographic Magazine and TIME Magazine. His seventh and latest book, “FOOTPRINT our landscape in flux” reflects the natural features of different regions, exploring unique landscapes and the space it occupies in man's world.
While working at Sygma (1980–85, today called Corbis) Franklin absorbed the skills of news photography, and also followed legendary photographer Henri Cartier-Bresson’s approach to photography; as he puts it, ‘curious, gentle, surreal with beautiful compositions.’ This experience had a major impact on Franklin and literally influenced everything he photographed.
With a deep theoretical understanding of the issues and subjects he photographs, Franklin eloquently composes the visible features of an area of land, including physical elements such as landforms, living elements of flora and fauna, abstract elements such as lighting and weather conditions, and human elements amidst their built environment; a keen medley of diversity harmonizing together.
In this film, he talks about his work and the acclaimed photographers who have inspired and influenced him most.
Josh Westrich
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Still life photographer, Josh Westrich produces breathtaking images out of his studio in Cologne for numerous international ad agencies, magazines and other clients.
Westrich’s main photography subject is plants, with a specific focus on portraits of flowers. His subtle approach to lighting the graceful and symbolic images captivates viewers immediately. Photographed on a white background, Westrich’s technical mastery in light is direct and apparent. Abstract and graphical, reminiscent of an exotic botanical garden, the flowers take on a life of their own; beautiful, charismatic and proud. At first look viewers are interested, curious.
With over 20.000 images in his archive Westrich has achieved a level of acknowledged distinction within the photography industry. His botanical portraits delight the eye and takes viewers on a magnificent visual journey. With this film he shares with us a small selection of his impressive work and the lighting techniques he uses.
Vanessa Winship
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Vanessa Winship is a British photographer with a predisposition to exotic and far-away places. Winship has been working as an independent freelance photographer since 1992. She has been living and working in Turkey and the Balkans since 1999.
Old family photos and photos of Hong Kong, shown to her by her father have been the foundation and beginning for her work and passion. After taking a photography class at college her devotion was intensified. Her photographs of people and landscapes are portrayed with emotion and sensitivity.
With her photographs, Winship does not merely want document a moment in time, but more so, show the perspective of her protagonists. While working in the Balkans Winship explains she uses a "passive method", which means literally being invisible. This enables her to build a special situation, providing the necessary access to her models.
The series, which came about in Anatolia seems to be more direct. Her pictures are to be interpreted as more than just showing the girls lives.
The pictures were not only created for the viewer, but more so for the girls: Winship wanted to compose an individual moment in time for these girls; a scene in which they are the center of attention, at least once in their lives.. Despite her wanderlust, Winship is venturing back to her hometown to photograph portraits and landscapes, bringing a new dimension to her work. In this interview Winship describes her work and its subjects and shares with us an intimate insight to her experiences.
George Barr 1
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Using some of the pictures from his book, "Take Your Photography to the Next Level," George Barr discusses composition. Through a compositional analysis of those images, he shows us how photographs are conceived and why they affect the viewer in the way they do.
Watch this to learn how symmetry and arrangement can influence a picture, and why sometimes less color is better.