Blog spot on pro photographer Helen Spendlove-Hilder

SWPP & BPPA member Helen Spendlove-Hilder of Ilkeston Derbyshire has a photographic blog highlighting their professional photographic business.

Hi I’m Helen a photographer based in Derbyshire. Having had a passion for photography since a young age it was only natural for it to become my profession. Horses have been a life long love and this makes it easy for me to capture them in image. I cover Equestrian events and portraiture.

Helen is a specialist photographer in Wedding, Sport, Equestrian images, Still life, Nature, Portrait and Fine art photography.

Blog spot on pro photographer Cormac O’Kelly

SWPP & BPPA member Cormac O’Kelly of Rathfarnham Dublin has a photographic blog highlighting their professional photographic business

Chase Jarvis website relaunch

Back again! The wedding season is heating up, just like the weather. Off to Spain next week to shoot a wedding in Marbella, so that should be interesting.

I have just gotta a mail from the guys at Chase Jarvis to say that there website has been relaunched.

Well worth a look and his videos are terrific for anybody interested in photography. Chase is a lifestyle and popular culture photographer who splits his time between Seattle and Paris (nice work if you can get it).

Check it out … You’ll thank me for it!

Cormac is a specialist photographer in Wedding Sport Corporate Action Portrait Lifestyle photography

Blog spot on pro photographer Nicholas Cleave

SWPP & BPPA member Nicholas Cleave of Swansea West Glamorgan has a photographic blog highlighting their professional photographic business

We have had our first ‘Real Wedding’ featured published this month in WM Bride Magazine. A fantastic Xmas winter wedding we photographed in late 2006. Click here to see the double page article with images.

Also in the same edition of this magazine we have had our images used and have contributed answers to a special feature on ‘Special Wedding Photography.’ Click here to read the useful advice on choosing our photographer and to see our images.

Our thanks as always go to the couples featured in these two articles. Without you, showcasing our work in this way would not be possible.

Nicholas is a specialist photographer in Wedding Commercial Photography Press & PR Stock photography

Blog spot on pro photographer Mark Laurie FSWPP

SWPP & BPPA member Mark Laurie of Calgary Alberta has a photographic blog highlighting their professional photographic business

Their blog features: A Walk With The Animals

I just delivered a good friend’s book of their little girls playing with a baby lion. Their mom, Adel, is from South Africa so this connection with her homeland is very precious to her. They just phoned to say they can not stop looking at the book, each time they go through it, they find something new and insightful or revealing or just plain that’s their girls. It is our first horizontal format and I must admit it is impressive. It has the quarter in stainless steel cover, it opens to 26 long by 9 inches high.

We have them done in Italy so there is this really cool essence that it comes with. Mostly though, it is their girls, very young, one just crawls, playing with a live 2month old baby lion. It is so much fun to listen to them talk about their kids with this book as a reference.

Mark is a specialist photographer in Children Fashion, Glamour Sport Landscape Nature Portrait Nude Travel photography

Visit Mark at: http://imageinsights.blogs.com/

Photo Fringe Announced – Brighton 3rd October – 16th November 2008

October 2008 Brighton will be the host of the third edition of the Brighton Photo Biennial, the leading photography festival in the UK, showing new and commissioned bodies of work by internationally recognised photographic artists.

Brighton Photo Fringe will once again run in parallel with the BPB, using the increased awareness of photography in the media and public, and the audience of international arts professionals attending the BPB, to raise the profile of and create opportunities for photographers and lens based artists.

Brighton Photo Fringe supports photographers and lens-based artists by organising and marketing a fringe festival, in collaboration with Brighton Photo Biennial, which raises the profile of the visual arts in Brighton & Hove and reaches a broad and new audience. Through this it aims to embed photography into the cultural fabric of Brighton & Hove and to provide a unique insight for the public into the range of current UK photographic practice.

A series of professional development workshops and networking events will be organized in the lead up to October 2008. These are designed to support artists wishing to take part in the event. Please visit the workshops and events section of the website for more details. If you would like to join our e-mailing list to find out up to date news about workshops and events please visit our contacts page.

Brighton Photo Fringe is an open and inclusive event aimed at representing the broad nature of photography. During the Brighton Photo Fringe 2008 a brochure publicising all exhibitions and events will be produced and for a fee anyone exhibiting or staging an event as part of the Photo Fringe can be included in this. Please go to our registration page for details of how to register an event or exhibition.

The Vault is offering 20% discount on printing and mounting  services for participants.

The Tate Modern Photographic Exhibition

“Street & Studio” is an exhibition of international photography, presenting a history of photographic portraiture taken on the street or in the photographer’s studio.

Runs: 22nd May to 31st August 2008
Tate Modern, London

Over 350 striking works are gathered in this stylish exhibition, by some of the world’s most famous and important photographers including Francis Alÿs, Diane Arbus, Cecil Beaton, Henri Cartier-Bresson, Rineke Dijkstra, Jacques Henri Lartigue, Robert Mapplethorpe, Irving Penn, Norman Parkinson, August Sander, Cindy Sherman, Malick Sidibé, Paul Strand, James Van der Zee, Juergen Teller and Wolfgang Tillmans.

Focusing on photos taken in buzzing cities, with their cosmopolitan cast of hipsters, businessmen, beauties and criminals, Street & Studio builds an engrossing urban history of photography, ranging from early black-and-white pictures from the late 1800s, to elegant fashion photography from the mid twentieth century, to cutting-edge portraiture by contemporary artists.

Norman Parkinson, Wenda, Times Square, NYC, September 1949
© courtesy Norman Parkinson Archive, London

www.tate.org.uk

National Portrait Gallery Portrait Prize 2008

Submissions are now being invited for this prestigious international photographic portrait competition, which celebrates and promotes the very best in contemporary portrait photography. Entry is open to photographers from around the world, aged 18 and over.

The Photographic Portrait Prize at the National Portrait Gallery has established a reputation for its diversity of photographic styles, encompassing editorial, reportage and fine art images submitted by a range of photographers, from gifted amateurs and photography students to professionals.

In the Prize’s search for excellence, photographers are encouraged to interpret ‘portrait’ in its widest sense of ‘photography’ concerned with portraying people with an emphasis on their identity as individuals.’

This year, the winner of the Taylor Wessing Photographic Portrait Prize 2008 will receive £12,000. In addition the judges, at their discretion, will award one or more cash prizes to the shortlisted photographers.

The Prize will also include the special Godfrey Argent Award, presented for the best portrait taken by a photographer aged 18 and 25.

Taylor Wessing Photographic Portrait Prize 2008

Photo Exhibition – All human life

Tate Modern’s new exhibition of street scenes holds a mirror to its audience, says Adrian Searle. And with a story on every corner, the world feels full

Wednesday May 21, 2008
The Guardian

Portraiture is the key to Tate Modern’s new photography exhibition, Street & Studio. The show’s subject, over and above the medium and conventions of photography, is really ourselves, in a multitude of guises.
Grace Kelly jumps in the air for Philippe Halsman’s camera in 1955. Weegee jumped, and so did Marilyn, and now they’re suspended forever. David Bailey throws himself to the floor to photograph Veruschka, while Bert Stern nabs them both in an arty 1960s image. Last year South African photographer Pieter Hugo shot Nigerian Abdullahi Mohammed beneath an elevated section of highway in Lagos. Abdullahi holds a muzzled hyena on a chain. The moment is full of power and danger. Caught on camera, a well-groomed lawyer on the corner of West 41st Street totes his laundry and eyes Joel Sternfeld warily in 1988. The world feels full.

From beginning to end of this compendious and not altogether successful show, like a kind of insistent background din, is the roar of the city. You can hear it above the silence of the images themselves – in the clatter of a Paris street in the rain by Alfred Stieglitz, in the footsteps of commuters heading for work in Paul Strand’s 1915 Wall Street, in the drunken shouts and murmurs of Boris Mikhailov’s alcoholics. The exhibition calls itself an urban history of photography, and it takes us from mid-19th century Paris and London to present-day Shanghai and Mexico City. In many respects, it covers familiar territory: histories of photography are 10 a penny. Some of the work here just feels unnecessary.
The city, after all, is where the people are. It’s where the business is, where photographers have mostly earned their living, some taking street life as their subject, others in the studio, with their controlled lighting and fanciful backdrops. But the street is a studio, too. And there’s traffic all day up and down the stairs to the studio.

With its chance encounters, its collisions of class and circumstance, the street has provided inspiration for the photographer, the artist and the writer since at least the 19th century. One of the first images in this show is an 1863 portrait of Charles Baudelaire, who stares out from the beautiful tonal gradations of his formal photographic portrait with an uncontainable look, and as though he’d like to climb out of the picture – probably to borrow some money. In his famous essay, The Painter of Modern Life, Baudelaire identified the quintessential, heroic figure of 19th-century urban life: the flâneur, “the impassioned observer”, who feels “at home in the waves of the crowd, in movement, in the fugitive and the infinite”. This attitude worked for Brassaï on his long nocturnal walks, and for Henri Cartier-Bresson, ever alert for his decisive moments in Paris, Mexico and Seville. Catalan photographer Joan Colom’s marvelously atmospheric nocturnal images capture the prostitutes, drunks and sleaze of Barcelona’s El Raval neighbourhood in Franco’s Spain. Colom just had to walk to the corner and look; the world is always there.

At the turn of the 20th-century, Louis Vert photographed a set of images, the Small Tradespeople and Vagrants of Paris – rag pickers, glaziers, tinsmiths. In the 1870s, John Thomson compiled image after image of picaresque Londoners – “the Dramatic Shoe-Black, ‘Caney’ the Clown, and the Temperance Sweep”. All conform to the malodorous music-hall type: folkloric they may have seemed, but what they really were was desperately poor.

For his project People of the 20th Century, August Sander later itemised the organist, the war veteran, the washerwomen and the worker’s gaunt children. There are people struggling with panniers, bowed by immense loads, people just off the bus, people pretending to be other people, people trying to be themselves (the last being the trickiest of all to pull off).

Juergen Teller in Go-Sees (1998-1999) photographed prospective models sent by their agents to come calling at his door. He shot them framed in his west London doorway, caught between anonymity and potential fame, looking apprehensive, disarmed and disconcerted. They are types to the same degree as Friedrich Seidenstücker’s burly workmen. In fact, it is impossible to avoid the feeling that one is looking at people acting out roles for the camera just as much as they are being themselves. When Teller has photographed me, he has rattled and goaded me into behaving in extreme and theatrical ways, and it was through this that a sort of photographic candour emerged.

For all the stagey artificiality of his photographs of debutantes, society beauties and grande dames, Cecil Beaton managed to coax something wonderful from the likes of Wanda Baillie-Hamilton and Lady Bridget Poulett as they posed in a world of tin-foil, cardboard, balloons and cellophane. There was no Photoshop, no Botox: glamour couldn’t be airbrushed in. Today, we question the voracity of the images we see, but photographs have always been calculated, manufactured in some way. Their light is engineered, their tones and surface qualities a matter of choice.

“The ubiquity of image-making has created the visual equivalent of white noise,” Michael Bracewell writes in the exhibition catalogue. But we are accustomed to seeing through this perpetual blizzard of static. What we find there is the ghost in the machine: ourselves. Here we are then, in all our vainglory, posed, rehearsed, interrupted, caught off guard, spied on, framed and captured, the willing and unwilling participants in this game of images. At one extreme, we have the playacting of Cecil Beaton or Robert Mapplethorpe, with his man in a rubber suit and restrictive breathing apparatus. At the other, the corpse on the pavement, leaking blood into the gutter, in Mexican Manuel Alvarez Bravo’s 1934 Striking Worker, Assassinated. It’s hard not to think, looking at this supine and bloody corpse, not to think of Eduard Manet’s dead matador.

In 1946 Lee Miller photographed the Fascist ex-Prime Minister of Hungary, László Bárdossy, as he faced the firing squad in Budapest. He stands below us in a courtyard against the sandbags. It occurred to me that he is maintaining his dignity, not daring to break down or plead for mercy, precisely because he knows he is being photographed. He’s being shot for posterity, after all.

Everyone likes looking at photographs and almost everyone collects them in one way or another. Most of us enjoy taking them and appearing in them. Photographs are personal as well as public. Often, they tell us things we know but ignore. In 2000, Wolfgang Tillmans insinuated his camera between the colliding bodies on crowded London Underground trains. The images are a wealth of accidental, fragmentary intimacies. Strap-hangers’ armpits fill the frame, bulging cloth and a cleavage, bits of bodies and attitudes of studied indifference. The best of these images defamiliarise the world for us, making it more mysterious rather than explaining it.

Something strange happens in a 1928 view of the street by Umbo (Otto Umbehr). The camera looks straight down from a balcony. People pass by below, casting long afternoon shadows on the street. The shadows appear more real and substantial than the figures they belong to, as if they have lives of their own, and might slip away from their owners at any second. Setting up an image like this in the studio could produce only something ersatz and artificial. Umbo found it on the street, lit by sunlight. It is a haunting image, one that makes us feel insubstantial. If only the rest of the show was this good.

Street & Studio is at Tate Modern, London SE1, tomorrow until August 31. Details: 020-7887 8888.

Unseen UAE Photography Exhibition

Runing until May 29

H.E Mohammed Khalaf Al Mazrouei, Chairman of Abu Dhabi Authority for Culture and Heritage (ADACH), inaugurated yesterday at the Cultural Foundation, a photography exhibition entitled ‘Unseen UAE’, presented by Photolosophy and  supported by ADACH.

The inauguration was attended by prominent members of the UAE’s culture, arts and photography scene as well as members of the general public. The exhibition, which was also supported by Shell Abu Dhabi and HP, is open to the public and runs through until May 29, features 30 unique pieces and explores overlooked and unseen corners and images of the United Arab Emirates.

This collection will engage the viewer to reconsider the many appealing and inviting aspects of UAE life. The exhibition aims to push the boundaries of traditional thinking when it comes to UAE photography by presenting new ideas technically and artisitically.

Participating photographers include some of the brightest and creative young local amateur and professional photographers. Founded by 3 Emirati sisters, Photolosophy was set up in 2006 to respond to the demands of creative professionals in the UAE for good quality, high resolution images at fair prices.

It is the first and only online stock photo agency in the UAE dedicated to promoting local photography talent. Photolosophy’s roster of local photographers include several promising award-winning Emirati photographers. Registration on the website for both photographers and buyers is free

Abu Dhabi Authority for Culture and Heritage