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THE QUESTION IS NOTWHAT YOU LOOK AT,BUT WHAT YOU SEE- Henry David Thoreau -
3• I S S U E •
July is here and the real summer has just already started.
Therefore, I think that it could be interesting to explore
the part of travel photography.
In this issue we will see the most beautiful photos of
summer for inspiration, explore Instagram, learn how to
take better photos while traveling, travel, see what's the
must haves of the month & many more
Your summer accessory is here, so turn the page and
E D I T O R ' S N O T E
10 16 19
31 34 19
- contents -
05. TOP 1010. WHAT'S HOT ON INSTAGRAM22. HOW TO?27. TIP31. TRAVEL
35. REVIEW45. Ideas & Suggestions for
this month49. INTERVIEW
59. NEWS& EVENTS
BETTER PHOTOSHOW TO TAKE
WHEN YOU TRAVEL
Summer holidays is the best time to go for aphotography journey! So, if you want high quality photos
for your collection, you are in the right place.
Begin withthe End in Mind
Shoot in RAW – Not JPEG
Mix up the subjects:People + Places + Things
Before you go on a trip, decidewhat the endgoal for your imageswill be. Are you planning to putthem in a scrapbook or blog? Areyou simply trying to improve yourphotography overall? Maybe you’dlike to display them on a wall aspart of a collage of all your travels? If you think of your images astelling a story, will that changewhich moments you’ll reach foryour camera?
JPEG is a file format for images. Yourcamera basically captures a RAWsnapshot, and, depending on yourcamera settings, will automaticallycompress all the color informationdown to save space. However, the
postprocessing capabilities (meaningwhat you can do with software later)
will be enormously enhanced if you tellyour camera to skip the compressionstep, which allows you to do all the“fixes” yourself. The downsides to
shooting in RAW are that it will take upmore space, so you’ll need more
memory cards; and the files can onlybe viewed and accessed by usingsoftware designed (Photoshop,
Lightroom) for the task.
Shooting nature is a common & boring subject that everyone can manage.Also, it can't offer you the pleasure of waking up memories. But, what aboutmixing things a little bit! For example, you are going on a trip to France an youwant to shoot Paris. You should not only photograph empty streets, things thatyou like or the people you were with. You have to balance things and have abit of everything
Find Your Best Light
While this tip is fourth on the list, I’m going to say that it isprobably the most significant way to improve your photos. Well,okay, maybe a little about composition and understanding how tocontrol your camera’s settings. But perfect composition reallycan’t rescue a photo with boring light. Or, if it’s a photo of a
person, harsh light can be the death of a beautiful image.To takebetter photographs of people, avoid harsh light. You can do thisby moving into the shade, or shooting on a cloudy day. If the sunis low enough, you could put your subject between you and the
sun, essentially creating shade out of its shadow
Sort and Edit Photos ASAPWhen your trip is over and it’s time to return to reality, sometimesusing your images ends up on the bottom of the todo list. But,when people want to learn the details of your trip and it's been awhile going that trip some memories have slipped away. For thatcause there are photo albums! Choose the best photos that can
tell their own story and make your own adventure book!Don’t just let your images sit on your hard drive, unused, unloved
8 TIPS THAT EVERY TRAVELPHOTOGRAPHER SHOULD KNOW
Ok you are readyfor your travel.You took all the
importantequipment you willneed you learn how
to take bettertravel photos butwhat you will do
when you willarrive on the
destination youchoose for your
1. Get up Early
The best light to capture most kinds of subjects is in the golden hoursone hour after sunrise and one hour before sunset (depend off course onwhere you are on the globe). So get up early to get that amazing photoopportunities, while all the other tourists are still asleep.
2. Do your researchDon’t leave it to chance and learn as much as you can about the place youare about to travel. The more you know, the more “intelligent” your images
3. Learn your CraftDon’t waste your expensive traveling time on learning how to operate thatnew camera, lens or flash. Do your homework at home.
4. Choice the Right LodgingStaying on the center of town, or having a room with wonderful views can
create a lot of great photo opportunities.
5. Get InspiredWatch the portfolio of other photographers in order to get new ideas andget inspiration. Also, If you perceive yourself as an artist, you mustacknowledge the work of other artists. Do not underestimate inspiration:visit art galleries, attend some photography lectures, listen to classicalmusic, read good books.
6. Feel the PlacePhotography is not only about visual inspiration. Try the local food, smelllocal markets and hear local music, this will help you to better understand
the story of the place.
7. Get off the Beaten Paththe PlaceTell your viewers something fresh and new. Share your own point of viewof the place. You will be able to do so, only after following tip number 2and 5.
20. Be HumanTreat your subject as well as you can. Don’t shoot people from a far
distance, don’t shot people who don’t want to get snapped. If you promiseto send their photos, please do so. This will ensure that the photographer
that will come after you will be received with a smile. And don’t forget,sometimes it is best to just leave the camera behind and enjoy the ride.
THE ULTIMATE TEST TO LEARN
CARIBEAN ISLAND BEST SUITS YOU
Caribbean has some of the most beautiful islands for yoursummer vacation. But the problem is that they are many and
most of you don't know which is the best for you. So, we didour research and we find a test to help you!
Are non-direct flights non ideal foryour vacation
DO YOU HAVEA VALID PASSPORT ?
DO YOU PREFER VILLASWITH A FULL STUFF INCLUDED ?
DO YOU WANTTO GET AWAY FROM
ARE YOU ABOB
ARE YOU LOOKING FORVARIETY
IS PRICE ANISSUE?
St. MartinTurks &Caicos
Amazingly, Sony has remained unchallenged in this field for overtwo years, in which time it's managed to introduce two more
generations of RX100. The RX100 III brought an electronicviewfinder and a more consistently bright (albeit shorter) zoom,
helping it climb even further beyond the competition. Thatessentially unchallenged supremacy ends with the arrival of
Canon's PowerShot G7 X.
Like the RX100 III, the G7 X offers a 1"-type, 20MP BSI sensor matedto an F1.8-2.8 zoom starting at 24mm equivalent. The two camerasare also similar in size and offer broadly similar feature sets. Whichis great for photographers, because it means the Sony finally hassome proper competition.
20MP 1"-type BSI CMOS sensor (13.2 x 8.8mm)24-100mm equiv. F1.8-2.8 lensClicking control dial around lensFlip-up rear touchscreenDedicated exposure compensation dial3.0" 1.04m dot LCD (720 x 480 pixels)Built-in ND filterWi-Fi with NFC
The LensGiven that image quality is all about light capture, the best way ofmaking the most of a large sensor is to mate it with a bright lens. So,that's another advantage of Canon G7X! Both of cameras (Sony &Canon) may offer the same range on paper, but at any point from24-50mm equivalent, the Canon's lens can be kept wider-open thanthe Sony's, with the difference reaching over 2/3EV at 30mm equiv.Thus, the G7 X is amongst the most consistently bright compacts onthe market, once sensor size has been taken into account, whichshould give excellent control over depth-of-field (including at focallengths useful for classic portraiture) and low light performance.
From most angles the PowerShot G7 X looks like Canon's previous pocketableflagship, the S120. Both have a rounded look, matte black finish, and no grip,but the comparison ends there. The G7 X has a more solid-feeling metal body,a tilting LCD, and a more elaborate (not to mention attractive) top plate. Butmore on that in a moment.
Aside from the lens, the only thing of note on the G7 X is its AF illuminator. Theback is much busier, with the standard PowerShot control scheme, whichincludes a rear dial that surrounds the four-way controller.
On the right side are the I/O ports, detailed on the next page, as well as a'Mobile Device Connect Button' which brings up the Wi-Fi menu. The lens is atfull telephoto here. On the opposite side you'll find the release for the pop-upflash as well as the NFC contact point. The lens is at the wide-angle position inthis view.
The GX 7 looks like a slightly chunkier version of the S120, in the top. But withhigher quality controls and an exposure compensation dial. On the left is theflash, which is collapsed here. It has a maximum range of 7 meters, thoughCanon doesn't say at what ISO setting. Next to that you'll find both themicrophone and speaker, with the power button to its right. The zoomcontroller surrounds the shutter release. At the far right is the mode dial whichis very similar to the one on the S120 and G1 X II. Underneath it sits theexposure comp dial.
Not surprisingly, the 3" LCD on the G7 X is tilting. And, seeing how everyonelikes taking photos of themselves, it goes all the way up to 180 degrees,perfect for self-portraits. Spec-wise, the display has 1,040,000 dots, from aresolution of 720 x 480.
Auto ISOThe Auto ISO system on the G7 X offers a good degree of customization,allowing you to specify the maximum sensitivity as well as select from threedifferent 'Rate of Change' settings that affect the minimum shutter speed thecamera will use before increasing the ISO in light-limited situations. The 'Rateof Change' settings go from 'slow', to 'standard', to 'fast'. Slow will allow forshutter speeds that can theoretically still be handheld, while fast will boostthe ISO to its maximum setting for reasons unknown, which can result in muchhigher-than-needed shutter speeds.
Because the G7 X has a dedicated exposure compensation dial, exposurecompensation continues to work with Auto ISO in M mode. And in anergonomically easy way, no less. When shooting in this manner, exposurecompensation only affects the ISO the camera automatically selects (since theshutter speed and aperture are set by the user). Applying negative exposurecompensation means you retain control of the image brightness, even thoughthe camera is setting the sensitivity, either to get the JPEG appearance youwant or to ensure highlight detail is captured if you plan to post-process theRaw file.
While the PowerShot G7 X uses the same sensor as Sony's Cyber-shotDSC-RX100 III, that doesn't mean that photo quality will be the same, as boththe lens and image processing systems are quite different. That said, the G7 Xdefinitely meets our expectations of what a camera with a 1"-type sensor iscapable of.
The G7 X captures vivid colors, especially reds. Even though the G7 X has atone curve designed to capture plenty of highlight detail and progresssmoothly to white whenever possible, some highlights will always be beyondits capabilities, as you can see in the photo above. In that situation you'd wantto make use of the camera's DR Correction feature or shoot Raw for betterresults.
Skin tones were pleasing in good light, though slightly magenta in low light.Speaking of low light, photos taken under tungsten lighting using Auto WBtend to be on the yellow side. Switching to the tungsten setting tends to swingtoo far to the blue end of the spectrum, so fine-tuning or Raw are probablyyour best options.
Not surprisingly, photo sharpness varies depending on the focal length andaperture. In the sample above, taken at F4 near the wide end of the lens, thecenter of the frame is sharp, though things get blurry as you near the edges ofthe frame.
In our testing we found this to be the case: at wide-angle the lens is pretty softin the corners. When you hit 35-50mm the corners look a lot better, even withthe lens wide open. That trend continues until you reach 100mm, at whichpoint the whole scene gets soft until you stop the lens down to around F4. Thetakeaway from this is that you probably won't get great results when shootingat F2.8 at full telephoto.
Canon uses a relatively low amount of noise reduction in JPEGs, so fine detail isgenerally left alone. In the photo above the water looks like water, and treeslook like trees. If you look at the hair in the portrait earlier on the page, you'llsee that fine detail is completely preserved.
Rating out of 5
Design 5Features 4.5Image quality 4.5Value for money 4.5
I didn't enjoy shooting with the G7 X as much as I was hoping. The G7 X gave meaccess to exposure compensation and either aperture or ISO, so I didn't feelthe need for many additional controls. On top of that, the touchscreen makeschanging the focus point simple - not something anyone's ever said of theRX100s. So far, so good. I'd almost be tempted to put our difference of opiniondown to how we use compacts - I wouldn't dream of trying to use a compactcamera's push-button manual focus system, nor would I even contemplateengaging continuous ('Servo') AF or switching to continuous shooting mode,simply because it's not something I expect a compact to be able to do.
However, as I said, I didn't enjoy the G7 X as much as I was hoping. For a start,the autofocus is too slow. Slow enough that you notice yourself waiting for it:something I've not encountered in a while. Secondly, the camera's previewdoesn't always represent the results the camera is going to give until youhalf-press the shutter button. The upshot is that you assess the scene basedon the preview's brightness, dial in some exposure compensation, then get atotally different result as soon as you half-press. At which point you try tocompensate for the excessive compensation you've applied and are remindedthat the dial operates the opposite direction to every other camera you've everused, meaning you have to compensate for your compensated compensation.Then the battery runs out, because it's too small.
Ok, I exaggerate. The G7 X offers excellent image quality and a more usefullens than the RX100 III, which counts for an awful lot. Add in the exposurecompensation dial and touchscreen focus positioning and I'd still argue there'san awful lot going for it. It's just not quite as quirk-free as I was hoping.
By Richard Butler
Suggestionsfor this month
5 Must ReadPhotography Books
Somewhere in the beach, noon, there is nothing near to disquiet you, abook is what you need but you don't know what! Don't worry we've gotyou covered! Here is the Top 5 photography books to inform you.
1. Skin: The Complete Guide toDigitally Lighting, Photographing,and Retouching Faces and Bodies
For portrait photographers is a must have! Good
color and skin tones can take a flat image & make
it look exceptional. ''Skin'' is a practical guide to
photographing people better than ever! You may
think you know what is the color of skin, until you
enter the world of digital photography and try to
reproduce what you see. Differences in software,
lighting, computer calibration—everything has an
impact on color. And that’s all before you get into
differences between people in terms of skin
types, ethnicity age, gender, and more!
Hollywoodbased photoillustrator Lee Varis
guides you stepbystep through the maze.
2. The Digital Photography Book, Vol 1by Scott Kelby
This isn't a book of theory—it isn't full of confusing
jargon and detailed concepts: this is a book of
which button to push, which setting to use, when
to use them, and nearly two hundred of the most
closely guarded photographic "tricks of the trade"
to get you shooting dramatically betterlooking,
sharper, more colorful, more professionallooking
photos with your digital camera every time you
press the shutter button.another thing that makes
this book different: each page covers just one
trick, just one single concept that makes your
photography better. Every time you turn the page,
you'll learn another pro setting, another pro tool,
another pro trick to transform your work from
snapshots into gallery prints. There's never been
a book like it, and if you're tired of taking shots
that look "OK," and if you’re tired of looking in
photography magazines and thinking, "Why don't
my shots look like that?" then this is the book for
3. Learning to see creatively design,color & composition in photography byBryan Peterso
Completely revised and updated throughout,Bryan Peterson's classic guide to creativityhelps photographers visualize their work, andthe world, in a whole new light by developingtheir photographic vision.
Fully revised with 100 percent new photography,
this bestselling guide takes a radical approach to
creativity by explaining how it is not just an
inherent ability but a skill that can be learned and
applied. Using inventive photos from his own
stunning portfolio, author and veteran
photographer Bryan Peterson deconstructs
creativity for photographers.
4. Humanity: A Celebration ofFriendship, Family, Love & Laughter
This stunning treasury of color and black
andwhite photographs was sourced from a
major international photography competition to
find extraordinary and geographically diverse
photographs that celebrate humanity's moments
of intimacy, laughter, and kinship. Featuring 150
images from around the world, and
complemented by heartwarming and inspiring
quotes, Humanity is a touching tribute to our
most treasured relationships.
The Photographer's Eye continues to speak
to photographers everywhere. Reaching
100,000 copies in print in the US alone, and
300,000+ worldwide, it shows how anyone
can develop the ability to see and shoot
great digital photographs. The book explores
all the traditional approaches to composition
and design, but crucially, it also addresses
the new digital technique of shooting in the
knowledge that a picture will later be edited,
manipulated, or montaged to result in a final
image that may be very different from the
one seen in the viewfinder.
5. The Photographer's Eye:Composition and Design for BetterDigital Photos 1st Edition
Travel photographer interviews: Tewfic El-Sawy
THE CREATIVE FORCE behind “The Travel Photographer“, Tewfic El-Sawy specializes indocumenting endangered cultures and traditional life ways of Asia, Latin America and
Africa.His photography has been published in Outdoor Photography, Digital Photographer,
GlobalPost, and have been featured by some of the largest adventure travel companiesin the United States and Great Britain. He also organizes and leads exciting photo
expeditions to placessuch as Bali, Bhutan, India,and Mexico.
MatadorU faculty and travel photographer Lola Akinmade caught up with Tewfic in themidst of planning his next photo expedition to learn more about the photographer
behind the popular The Travel Photographer blog .
How long have you been a professional photographer?It was a slow and progressive morphing from international banking to travelphotography over the past 20 years, however I can say that it really got going in2000.Before that, it was almost like having two personalities; one being a “starched”banker during workdays, and a more relaxed personality befitting that of a travelphotographer during the weekends.
What – or who – got your initial interest going in terms ofphotography?There’s no doubt that my traveling on banking business to various countries ignitedmy interest in travel photography as a genre. These business trips made me realizethat I liked having access to different cultures.When living in London, my wife booked me in an 8-weekends course in black & whitephotography at the home/studio of Uri Lewinski and his wife Mayotte Magnus; bothprofessional photographers with opposite stylistic disciplines where I learned basicdarkroom work, developing and processing film and prints.I also attended a street photography class with Constantine Manos in Havana, and aphotojournalism workshop with John Stanmeyer and Gary Knight in Bali.
My first serious camera was a Canon A1 bought when working and living in Houston.It was essentially to photograph the family and my children growing up, however Ialso started experimenting with still life photography.My favorite set-up was to back-light wine bottles, with a plate of grapes placed justso. I still have some of those prints, which are probably the most hideous still lifestudies ever done.Eventually, I took my camera on my trips, and whenever I had a few moments Iwould walk the streets of Taipei, Athens or Stockholm and photograph whatevercaught my eye. I used to be a black & white shooter at the time, and would returnhome to process the negatives, and print them in my basement darkroom.I also experimented with unorthodox photo emulsions, and still have a couple ofbeautiful calla lilies photographs printed on liquid emulsion which hang on ourwalls.However it was the adrenaline of travel photography that turned me on themost…especially exotic cultures. Photographing Stockholm’s Gamla stan or Pariswas nice, but I was more in my element shooting in the back alleys of Taipei andIstanbul. It was on the back of these business trips that I started to specialize indocumenting endangered cultures.
What were your first photographic experiments or experiences?
How would you describe the work you do now…obviously there’s astrong reportage / photojournalistic element, but are you involvedin the commercial world also? Any stock photography?I am drawn to religious rituals and cultural festivals (especially those which haveancient history to them), and by definition these require a photojournalisticapproach to them.I try to research these rituals and festivals so as to become reasonably familiar withtheir cultural background, history and origins. This allows me to have a betterunderstanding of what’s going on, which I hope come through my images.Because of this affinity, my work is more reportage-oriented as I try to weaveimagery and cultural information together.I did get involved in stock photography for a few years, but recently found that itwasn’t for me. I’ve moved away from the traditional travel imagery required by stockagencies and travel catalogs/brochures.The stock photography industry has considerably changed over the past few years,so I lost interest. There are many other excellent photographers who make a livingfrom commercial and stock imagery, and I admire them for doing so.It’s highly competitive and very tough.
What 3 tips would you share for amateur photographers who areinterested in pursuing your documentary style of photography?
In my view, the most important qualification is to have (and continuously develop) astrong and wide-ranging interest in foreign cultures, history and geo-politicalevents. This is the underpinning foundation for the emerging photojournalist.As for tips, I’d say the first would be to drop the ego, and to remain humble andhelpful to others, whether they are in the same field or not.The second would be to learn and use ancillary visual add-ons to still photographysuch as multimedia, audio recording, etc.The third would be to learn some words and sentences in as many foreign languagesas possible.
You are known online as “The Travel Photographer”. Can you tell usmore about your website and workshops?My photo~expeditions (as I call my trips) are technically by invitation only, whichmeans that photographers interested in them usually subscribe to my periodicnewsletters I send out.These newsletters list forthcoming itineraries and dates, as well as galleries of myown work, and the subscribers contact me to join. The itineraries are based ontraveling to “off-the-beaten-path” destinations as much as possible, and thephotography style is best described as “travel photojournalism” or “documentarytravel photography”.Normally, I research specific destinations that have cultural and historical elements,and structure the itineraries with story-telling objectives in mind. During these trips,I tutor participants in story-telling techniques and multimedia using easy-to-usesoftware readily and cheaply available from the internet.The end objective of each photo-expedition is to have participants return with theirlocally-produced travel documentaries, as well as regular travel photographs.Since participation in these photo~expeditions was originally based on first-registered-first in, causing long waiting-lists, I have had to introduce an element ofscreening based on a quick portfolio viewing and other criteria.Apart from The Travel Photographer blog, my photography website(www.thetravelphotographer.net) showcases my travel photography galleries, mymultimedia galleries, and my photo~expeditions. I am currently working on a parallelwebsite that will be iPad and iTouch compatible.
Which other photographers, old or contemporary, inspire you most?I have enormous respect for the photojournalistic work of James Nachtwey, JohnStanmeyer, Munem Wasif, Gary Knight, and especially Sebastiao Salgado.On the editorial and travel side, I like the work of relative newcomers such as ShihoFukada, Jehad Nga, Diego Verges, Joey L. and many others.
Since you do a lot of portraiture, when you are approaching subjects toshoot, how do you set about it? Do you chat and explain what you’redoing? Or shoot first, ask questions later?
I mentioned Sebastiao Salgado as a visual influence. He’s also quoted as saying “Ifyou take a picture of a human that does not make him noble, there is no reason totake this picture”.That’s my overriding principle when I photograph people. I always try to engage thesubjects before photographing them, and have various methods to “unfreeze”people for natural-looking environmental portraits.The easiest is to show my potential subjects a gallery or two of my photographswhich I carry on my iPod Touch. This arouses some sense of vanity…the “me too”syndrome. However, one of my time-tested techniques is to initially photographchildren or babies, and showing them to the parents.This immediately changes my image from being a foreigner into that of a familymember. What I’m after during a photo shoot are two things: being accepted and/orbeing forgotten…I want to go beyond the reflexive smile.I engage people as much as I can, since I want our “relationship” to be reflected intheir eyes, on their faces and in their body language.I love candid photography, which is frequently necessary and gives great results, butI prefer a more face-to-face approach to my portraits.
What’s the craziest or most inspiring encounter you’ve had in general?Like most photographers, I faced difficult situations but fortunately none that Iwasn’t able to defuse reasonably quickly. The most inspiring moment was duringphotographing elderly widows in Vrindavan (India), when one of them asked me topublicize their plight.She called me her “grandson” and despite her poverty, she worried the sun was toostrong for me. Along with other photojournalists who had been there before andafter me, their plight was indeed publicized and some improvements wereintroduced by the local authorities.The craziest (and worrisome at the time) encounter was probably being accused bya group of Indonesians of being an agent for the FBI.
What kit do you use / carry with you / can’t do without (camera make,lenses, flashguns etc.)?My primary camera is a Canon 5D Mark II, along with a bunch of Canon L lenses suchas a 24mm f 1.4, a 28-70mm f 2.8, a 17-40mm f4 and a IS 70-200mm f2.8 zoom.I also use an older Canon 1D Mark II which is truly a workhorse of a machine. I’d loveto replace it with a newer model but I’m emotionally attached to it, and it does thejob I want from it.I don’t use flash much as I prefer natural light, but I occasionally use a Canon 550EX.Depending where I travel to, I either carry a Mac Book Pro or an Acer netbook to workon my images whilst in the field, or for my multimedia workshops.
Finally, what else are you working on right now and what are yourambitions for the future in terms of your photography work or anythingelse?One of my on-going projects is on documenting the Sufis, and it’s a project that I tryto work and expand on whenever I’m in India, Egypt, Morocco or Turkey. There arecertain countries with strong Sufi influences such as Pakistan and Afghanistan, andI’m hopeful that these countries’ political situations improve and calm downallowing me to visit and continue this particular project.I am one of the instructors at the Foundry Photojournalism Workshop, where myclass is on multimedia for photojournalists, and I hope to continue teaching it as longas it’s of interest to emerging photojournalists. I also intend to continue with myphoto~expeditions / workshops and, as I mentioned earlier, to further refine theirthrust towards documentary travel photography and multimedia.
News & Events
Sony has a long history ofmaking interestingcameras and has, inrecent years, producedsome of the mostinnovative products andtechnologies. Not all ofthese developments havecaught on but we'veadmired its pioneeringspirit, even when wehaven't always loved theproducts.
THE BRAND NEW CAMERA FROM SONY IS HERE!
The Cyber-shot DSC-RX10 combines aspects of two of the company'smost imagination-catching cameras - the current RX100 II zoom compactand the near-legendary R1 from 2005. It revives the large-sensor,long-zoom concept of the R1, but utilizing the RX100 II's 1"-type BSI CMOSsensor, meaning it can offer a balance of high image quality and long zoomin a sensibly sized package. In this case it means the RX10 is able to offer a24-200mm equivalent F2.8 lens.That relatively big sensor means the RX10 is not a small camera - it's aboutthe height and width of a small DSLR. Its body is slimmer than a DSLR butits 8.3x lens adds a stout, weighty bulk to the proceedings.For more information you can always visit the official site of SONY!
What's going on JulyEVENTS
Vantage Point 23: Bronx EyesICP at THE POINT Student Exhibition
Launched in 1997, ICP at THE POINT is a year-roundphotography-based collaboration that includes aclassroom/studio, black-and-white darkroom, and gallery.Through weekly classes for pre-teens and teens, theprogram teaches photography, critical thinking, writing,and public
speaking with the goal of fostering self-esteem,community development, and social change.
Bronx Eyes is an exhibition of student photographs fromthe past four years, which celebrates the power of theirindividual voices and shared experiences. To see theBronx through the eyes of its own, the images reveal aunique and essential representation of local stories andtruths.
The Point CDC (940 Garrison Ave, Bronx, New York 10474)June 29, 2015 - July 30, 2016
One-Year Certificate Programs2016 Student Exhibition
Another Kind of Paradise features work by graduatingstudents of ICP’s one-year certificate programs inDocumentary Practice and Visual Journalism, New MediaNarratives, and General Studies in Photography. Thisexhibition is curated by Elizabeth Kilroy, Darin Mickey,and Alison Morley.
ICP School (Rita K. Hillman Education Gallery)July 25, 2016 - August 07, 2016
Public, Private, Secret
This thought-provoking exhibition presents a wide rangeof historical and contemporary works by artists includingZach Blas, Martine Syms, Natalie Bookchin, CindySherman, Nan Goldin, and Andy Warhol. Streams ofreal-time images and videos from various social mediasources—curated with Mark Ghuneim and ICP’s NewMedia Narratives students—sharpen and heightenattention towards the social implications of our image-centric world.
The exhibition creates a physical experience throughwhich to examine photography’s role in breaking andresetting the boundaries of social and personal privacy.
ICP Museum (250 Bowery, New York, NY 10012)Jun 23, 2016 – Jan 08, 2017
Weegee’s photographs show the Bowery when it was stillNew York’s Skid Row. A gathering point for derelicts anddown-and-out transients who huddled in the shadow of theThird Avenue elevated railway, it was notorious for itsfleabag hotels, flop houses that offered 25-cent-per-nightbeds, and crowded all-night missions that provided foodand shelter to those who could afford neither.
The exhibition includes an extensive selection ofWeegee’s photographs of a raucous nightclub and cabaretcalled Sammy’s on the Bowery, located at 267 Bowery.From its opening in 1934, until it closed its doors in 1970,Sammy’s provided a setting where adventurous uptownsophisticates could mingle with the bar’s flamboyantentertainers and hard-drinking regulars. The New YorkTimes described Sammy’s clientele as a mix of “drunks andswells, drifters and celebrities, the rich and the forgotten.”Weegee himself appears in a number of photographs; theboisterous book-launch parties for his publicationsNaked City and Weegee’s People were held at Sammy’s.Weegee’s short film Cocktail Party (1950), set in Sammy’s,will be on view as part of the exhibition.
ICP at Mana (888 Newark Avenue, 6th Floor, Jersey City,NJ)May 01, 2016 – Aug 05, 2016
one last thing....
- How to:www.adventurechic.com- Tip:www.digital-photography-school.com- Review:www.dpreview.com- Ideas & Suggestions for this month:www.clickitupnotch.com- Interview:www.matadornetwork.com- Events:www.icp.org
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