French Renes-based digital artist Julien Tabet creates photo-manipulations of animals in surreal situations. Julien’s specialty is to relook at animals by re-interpreting the laws of Nature, in order to share a world different from the one we know. His images are made of fantasy, fun, poetry, and seem to have no limits.
His work is 100% digital, combining photo manipulation and illustration. He always pays attention to detail, on the border between realism and fantasy.
Scroll down and inspire yourself. Please check Julien’s more amazing work on his Website and Instagram.
Sebastian Clarke (Ngāti Awa, Pākehā) is a writer and researcher interested in New Zealand architectural and craft histories.
On my daily walk into the city, I’m frequently reminded of all the things in my own neighbourhood I never stopped to photograph: the humpy roof of architect Ian Athfield’s freshly demolished First Church of Christ Science on Willis St, one of countless fantastic window displays at Hunters and Collectors, or a particularly witty protest sign I saw near Parliament years ago. After a quick moment of regret, I reconcile myself by remembering I live in the same city as Andrew Ross.
Ross talks about his photography as a duty. Attentive to the ever-evolving nature of his city, Wellington, Ross has been active in documenting local scenes on the precipice of change for over 30 years. At Photospace Gallery on Courtenay Place, Ross’ latest exhibition, People and Places, has recently opened.
It’s the photographer totally in his large format, silver gelatin print element. Ross is often recognised as a master photographer of historic places, however, it’s not just the age of a building where the appeal lies. Ross talks about being drawn to environments that “feed the souls” of their inhabitants. This extends beyond homes, to bookstores, music venues, ceramics studios, and motorcycle garages, all of which he has photographed for this exhibition.
READ MORE: * Verb Festival helps lay down the wero for Māori writers * Te Hīkoi Toi: Finding the spark of light in the long, dark night * Te Hīkoi Toi: What we choose to remember * You can focus on your travel photography skills, even when you’re not travelling
And although he’s behind the camera, these are all environments where Ross is a part of the community or a friend to his subject. This familiar association is apparent in his works. There is a quiet sympathy present in his photographs. You can appreciate this in the images where Ross’ subjects meet the camera with a sense of ease, and the trust and faith they have in their photographer’s perspective is plain to see. One such image is that of Rainbow Books on Riddiford St, Newtown, where the bookstore owner Brian Stenner and dog Tag sit proudly in front of the teeming bookstore alongside friends, Lindsey and Gordon.
Ross’ photographs of people are excellent, but it is his photographs without them that I find the most beguiling. While they may not appear in the frame, these interior images reveal to us so much about people and serve as worthy portraits of those who cultivate their lives within these spaces.
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Living Room Glenside 2022 is a riot of a room but despite the chaos the photograph is meticulous.
The photograph of a Glenside living room is a prime example. Here is a riot of a room, where objects abound and light fittings are put to work as coat stands. But despite this chaos, the photograph is meticulous. The room is suspended still, as light pours in and every interior element is captured with Ross’ signature precision. As a viewer, this photograph and many others in People and Places are ones to luxuriate in – demanding you to get up close and bask in their details.
Exposure Exhibition He Kahoni Kitea, the annual graduate showcase at Massey University College of Creative Arts, continues this week. It is always worth a visit and this year I was especially impressed by the photography of Iolo Adams and Amber-Jayne Bain, both graduating with a Bachelor of Design with Honours.
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Massey graduate Iolo Adams’ work ‘Studies in Natural Temporality’ at Exposure.
Iolo Adams’ installation Windows to Yesterday and Tomorrow includes verdant images of the Wairarapa bush. The images have been carefully constructed to offer a generous study of this environment. In one photograph, a mirror has been inserted into the landscape enabling the single image to convey multiple, meta views of the sun-soaked Wairarapa scene. The result is visually dynamic and technically accomplished. The same level of care has gone into the curatorial arrangement of Adams’ photographs at Exposure which come together as an immersive and striking presentation.
The Rogues Gallery is a series of powerful portraits by Bain. Here, Bain has photographed a range of fellow photographers, writers, and other artistic people with the intent of capturing something of their creative essence. Each subject has been photographed by Bain twice, with two distinct approaches to portraiture having been utilised. There are relaxed, contextual photographs of the featured individuals in their own environments as well as close-up studio portraits that immediately command attention.
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Portrait of Natalie Jones by Amber-Jayne Bain, at Exposure.
Bain’s images of arts practitioner Natalie Jones evidence the photographer’s dual method. In one image, Jones is seen working away into the night from inside her caravan office, while her accompanying portrait shows a very different Jones positioned in the centre of the frame against a deep red backdrop, staunchly looking right at the viewer. Bain has a real skill for this latter kind of photography, depicting her subjects with a confident blend of humanity and strength.
Both Adams and Bain have physical photobooks to accompany their exhibited works and, with a show as expansive as Exposure, it is well worth allowing plenty of time to not only enjoy the works installed within the galleries, but also to view these and other photobooks which have been finely assembled and offer further perspectives on the work of these emerging photographers.
People and Places, Photospace Gallery, until Jan 28. Exposure Exhibition He Kahoni Kitea, Massey, until Nov 25.
PRINT: Sebastian Clarke (Ngāti Awa, Pākehā) is a writer and researcher interested in New Zealand architectural and craft histories.
EASTERN SHORE, Va. (WAVY) – The Eastern Shore of Virginia has nearly 60 miles of barrier islands. These islands, unique in their beauty and shape, are often missed by visitors or even residents since they are only accessible by boat or plane.
Flying his open cockpit airplane, Gordon Campbell spends time soaring over the shore – looking for anything that catches his eye. The brisk wind rushed by him as his aircraft slowly moves along the coast – at around 30-45 mph.
“I sit out in front of the wing, the engine is behind me – I have very little wind in my face, and I can be free as a bird and take these images,” Campbell said.
His images, both breathtaking and vivid, are displayed all around the Eastern Shore. From his one-of-a-kind gallery in Cape Charles, the Barrier Island Visitor Center in Machipongo, and at many restaurants and businesses from seaside to bayside.
Sally Dickinson, Executive Director of the Barrier Island Center and Museum, said she and others at the center use them to teach visitors about the barrier islands and their history.
“The barrier islands are constantly changing and shape-shifting so Gordon can take a snapshot of what they were one year or even one month and it will be different after a nor’easter or hurricane or just the shape-shifting the barrier islands do,” Dickinson said.
The barrier islands Gordon sees today are elements of history. Years ago, many of the islands housed resorts or homes for people to visit. Today, nobody lives on the barrier islands, but they are still a critical part of life on the shore.
From the fishermen and oystermen who make their living from the water to the engineering marvel that is the Chesapeake Bay Bridge Tunnel, Gordon has captured it all at various times throughout the year and day.
To really appreciate the beauty of the Eastern Shore, Gordon says you have to get off of Route 13.
“People drive up and down this road all the time but they don’t see anything if they don’t get off route 13. To really see it you have to get out on a boat or a plane. ”
Gordon says that some of the sights that he sees seem out of this world.
“I’m just capturing what is out there and I happen to be pointing my lens in the right direction… but I’m blown away by this beautiful earth we have,” Gordon explained. “Sometimes I put my camera down and I can’t believe what we’re looking at.”
The At Altitude Gallery is located in Cape Charles, VA at 245 Mason Ave and is the only known gallery to feature aerial photography exclusively. For hours, call the museum at 757-394-9200.
Man and bear are friends over the years and then she brings her cubs to meet him. Bears can be intimidating because of their strength and their size, but they can also be adorable animals. In this video, we see a man who has had a black bear come and visit him for years bring her brand new cubs to meet him. It is such a sweet moment.
Patrick Conley is from Asheville, North Carolina where black bears are very common and known to be comfortable with humans. The momma bear has come to visit Patrick Conley pretty often over the years and one day, she brought her newborn cubs to meet him!
Explore the power of photography at the MFA’s newest exhibition
Decades of Life Magazine’s publications are on display, which spark deep thought about the past and future
Updated: 8:30 PM EST Nov 16, 2022
SHAYNA: LIFE MAGAZINE AND THE POWER OF PHOTOGRAPHY, A NEW EXHIBIT PRESENTED BY THE MUSEUM OF FINE ARTS BOSTON IN PARTNERSHIP WITH PRINCETON UNIVERSITY ART MUSEUM. >> THIS IS AN EXCITING OPPORTUNITY FOR US TO LOOK AT THE WEEKLY PICTURE MAGAZINE FROM 1936 TO 1972. SHAYNA: THE EXHIBITION OFFERS A SNAPSHOT INTO MANY OF THE MAGAZINE MOST RECOGNIZABLE IMAGES, SAYS THE SENIOR CURATOR OF PHOTOGRAPHS AT THE MFA. >> YOU CAN SEE NOTES WRITTEN BY PHOTOGRAPHERS AND REPORTERS, AND WHAT ALL THIS TELLS US IS PHOTOJOURNALISM IN THE 20TH CENTURY WAS A COLLABORATIVE ENTERPRISE. SHAYNA: AMONG THE MORE THAN 30 PHOTOGRAPHERS WHOSE WORKS ARE FEATURED IS MARGARET BOURKE WHITE, WHOSE IMAGE OF FORT PECK DAM LANDED ON THE COVER OF THE FIRST ISSUE OF LIFE. >> SHE WAS ONE OF THE FIRST FOUR STAFF PHOTOGRAPHERS AND ONE OF THE ONLY WOMEN IN THE EARLY YEARS. SHAYNA: IN 1948, ORDEN PARK PROPOSED A PHOTO ESSAY TO THE MAGAZINE ABOUT HARLEM GANG WARS. >> HE WOULD PHOTOGRAPH RED JACKSON, THE HEAD OF A GANG. HE WENT INTO HIS HOME AND PHOTOGRAPHED HIM WITH HIS MOTHER AND SHOWS A VERY SENSITIVE PORTRAYAL OF FRED JACKSON, WHICH IS DIFFERENT THAN IMAGES ONE WOULD IMAGINE OF A GANG LEADER. IT WAS AFTER PITCHING THAT STORY THAT LIFE HIRED GORDON PARKS AS A STAFF DOG RIVER. SHAYNA: THE EXHIBIT IS DESIGNED IN THREE HISTORICAL SECTIONS, WHICH REFLECT THE MAGAZINES ROLE IN SHAPING WAR, RACE, AND NATIONAL IDENTITY. >> THIS MAGAZINE WAS CREATED FOR PREDOMINANTLY A WHITE, MIDDLE-CLASS AUDIENCE. WE THINK ABOUT HOW THINGS ARE SHAPED. IN THE EXHIBITION WE SHOW NOTES AND OTHER THINGS TO SHOW THE DISPARITY BETWEEN TEXT AND IMAGE. SHAYNA: IN BETWEEN THE SECTIONS, WORKS BY THREE CONTEMPORARY ARTISTS. LIFE MAGAZINE AND THE POWER OF PHOTOGRAPHY ON DISPLAY THROUGH MID-2023. FINALLY TONIGHT, WE HAD A BLAST HERE AT THE HOLIDAY MARKET. IT WILL BE OPEN THROUGH DECEMBER 30 1, 7 DAYS A WEEK, WITH THE EXCEPTION OF THANKSGIVING, CHRISTMAS DAY, AND DECEMBER 26. THERE IS SO MUCH TO SEE AND ENJOY. I AM SHAYNA SEYMOUR. ANTHONY, BACK TO YOU IN THE STUDIO. ANTHONY: SHAYNA HAS BEEN SINGING CHRISTMAS SONGS FOR A MONTH ALREADY. GET OUT OF THE COLD NOW AND ENJOY SOMETHING WARM TO DRINK. THAT IS CHRONICLED TONIGHT. THANKS FOR JOINING US. I AM ANTHONY EVERETT. HOPE TO SEE YOU AGAIN TOMORROW
Explore the power of photography at the MFA’s newest exhibition
Decades of Life Magazine’s publications are on display, which spark deep thought about the past and future
Updated: 8:30 PM EST Nov 16, 2022
Life Magazine and the Power of Photography: A new exhibit presented by the Museum of Fine Arts Boston in partnership with Princeton University Art Museum.
NEEDHAM, Mass. —
Life Magazine and the Power of Photography: A new exhibit presented by the Museum of Fine Arts Boston in partnership with Princeton University Art Museum.
Haydn Mc Clure photographed this Blue-cheeked Bee Eater at iSimangaliso Wetland Park.
One Ashton International pupil is showing huge promise in photography.
Grade 7 pupil Haydn Mc Clure has been doing nature and bird photography for about 18 months, and is a member of Ballito Photo Club, where he has recently been promoted to a two star.
He is also a member of PSSA.
Haydn with his PSSA certificate.
Photographers can apply twice a year to the PSSA for a Certificate of Excellence.
Haydn applied for his COE in September to the PSSA Youth mixed panel, and was awarded the certificate of distinction.
Red-billed Quelea. Photo: Haydn Mc Clure.
His passion lies with bird photography and he is a passionate birder, as are his mom and dad.
His birding life list is on 350 and he has become adept at identifying birds.
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Nighttime photography is one of the most challenging types of photography one can execute. Not only does it require more gear than daytime photography, but it also requires you to use that gear for more extended periods without getting tired.
It’s easy to make mistakes when photographing at night, and some mistakes can significantly impact your shots. And so, here are five common errors people make when shooting nighttime events so you can avoid them!
#1 Shooting In Auto Mode
When photographing nighttime events, don’t use auto mode. Auto mode will make your photos look washed out and flat, even if you’re shooting under bright lights. Consider setting it to manual mode to get the best results from your camera. By setting it to the manual, you’ll be able to control three critical settings: aperture (or f-stop), shutter speed, and ISO sensitivity.
First, set your aperture as wide as possible so that more light enters the lens. This trick will also create a shallow depth of field, meaning that most objects in front or behind the focal point are blurred out—great for taking portraits. If you’re not sure what aperture to use for fireworks, wedding, or concert shots, further reading will help.
Next up is shutter speed. The longer this setting lasts, the more likely there will be motion blur because our eyes can only process so much information simultaneously. If there’s too much movement happening on stage during an event, then increase this setting until everything looks crisp again!
Last comes ISO sensitivity which directly affects how much light enters through each pixel sensor inside each pixel. Higher numbers mean brighter pictures but also introduce noise (grainy pixels) into images without proper postprocessing techniques like noise reduction software programs.
#2 Not Using A Tripod
When photographing nighttime events, it’s essential to use a tripod. A tripod is the best way to ensure your camera remains steady and prevents blurriness in your photographs.
It can be especially true when shooting outdoors, where fewer lighting options are available to you than indoors. It’s also more difficult for your eyes to adjust quickly.
In addition, using a tripod will allow you to take long exposures without hand-holding your camera. This is important because it will enable you to capture more light and create a much brighter image than if you were shooting handheld.
#3 Moving During Long Exposure Shots
One of the main reasons photographers use tripods is to avoid camera shakes. When using a long exposure, your shutter stays open for several seconds. If you don’t have a tripod in hand and want to take your photo, it’s best not to move at all while the shutter is open.
If you need to move around while photographing nighttime events, such as weddings and concerts, find your spot first then take a photo without moving. You should also wait until after all movement has stopped before taking another long exposure shot with your camera.
#4 Only Shooting Landscape Shots
It’s easy to get caught up in the excitement of finding unique angles and lighting, but don’t forget that you’re shooting a nighttime event. That means there will also be people there. So why not capture some portraits of them? A great way to do this is by using an accessory flash on your camera that can be used as a fill light when shooting portraits.
Another thing to remember is that these events are almost always held in venues with lots of detail. So make sure you take advantage of this opportunity by shooting those details as well—the venue itself, the decorations, etc.
Finally, don’t forget to take shots at regular intervals throughout the event to capture every moment.
#5 Overusing Flash
Remember that flash can be harsh on the eyes. It’s too bright, distracting, and can cause red eyes. Flash photography is also not suitable for people or objects in motion.
Furthermore, they may appear as a series of frozen frames rather than fluid movements. It is why many sports photographers use a fast shutter speed to freeze the action.
In low-light situations where you need to use your camera’s built-in flash indoors or outdoors, consider turning off autofocus and auto exposure. That way, you can manually adjust your settings until you find what works best to capture that special moment without disturbing anyone else.
Conclusion
With this list of tips, you can start on the right foot when photographing nighttime events. If you’re new to photography, these tips might seem common sense—but they’re easy to forget when you’re in the moment and trying to capture every second of an event. By keeping these points in mind while shooting at night, you can ensure that your photos look great and tell a compelling story!
Black Friday is fast approaching, but this year, US retailers are using the entire month of November to launch tempting deals on high-quality technology. When it comes to photography equipment, Fujifilm GFX50S II mirrorless camera is an excellent device — and right now, Best Buy has it on sale. You can pick up this camera bundled with a Fujinon GF35-70mm lens for 18% off. While normally set at a retail price of approximately $4500, Best Buy has brought the cost down to $3699, a discount of $800.
The Fujifilm GFX50S II mirrorless camera packs a lot of the power you would expect from a DSLR. The camera is equipped with a 51.4-megapixel CMOS sensor, an ISO range of 100 – 12800, an X-Processor 4 image processor, and a burst speed of three frames per second. As you may expect from a premium camera, this device comes with Autofocus, automatic image stabilization, an OLED color viewfinder, and an LCD touchscreen monitor.
Also:The 5 best cameras for beginners: Start your photography journey
The Fujinon GF35-70mm F4.5-5.6 lens, included in the deal, is a compact and lightweight GFX lens with a focal length of 35-70mm, an aperture of F4.5-5.6, and an angle of view coming in at 76 – 42.7 degrees. Plus, the lens weighs just under 400g.
Also: What is a DSLR camera and which are the best?
The deal on this mirrorless camera is just one of many early Black Friday deals. Even though Black Friday is still a week away, you can find excellent savings on many top tech devices today. If you want to investigate other deals on tech we’ve found, check out our 30+ best Black Friday deals guide.
The exhibit is called Speaking with Light and it features more than 30 contemporary Indigenous artists.
John Rohrbach is senior curator of photographs at the museum. He co-curated this show.
“The exhibition comes rooted in the museum’s recognition that it has more than 6,000 photographs of Indigenous peoples across the United States, most of these being made in the 19th through the mid 20th century,” he said. Less than 5 percent of the images were made by Native Americans.
Amon Carter Museum of American Art
“Get Comfortable”, a 2012 print by Nicholas Galanin, is one of the first pieces visitors see in “Speaking with Light,” at the Amon Carter Museum.
That lack of control over who’s behind the camera has real-world consequences.
Take Jessica Johnson. She’s Native American, and co-host of a show called Bows and Arrows at KNON radio station. She said these historic images are sometimes hard to look at. She attended a preview of the new show.
“A lot of times when I go to museums, I’m a little concerned about what I’m going to see and how I’m going to feel,” she said. “Because a lot of times it’s Native culture in the past tense, and so I maybe get upset.”
Jessica Johnson attended the preview for “Speaking with Light” at the Amon Carter Museum.
“Speaking With Light” aims to start changing experiences like Johnson’s. It seeks to challenge past depictions, and the ways they contributed to demeaning stereotypes. The multimedia exhibition has over 70 works by artists who are reclaiming Indigenous representation.
Ryan RedCorn, a photographer and writer for the hit Hulu show “Reservation Dogs,” has work in the exhibit. He previously told The Dallas Morning Newsthat he’s grown tired of Indigenous people “being told you’re helpless or useless and there’s nothing you can do about it, and everything that’s happening to Indigenous people is inevitable.
“That kind of storyline is really harmful, not even truthful, not even factual, and doesn’t really account for the way that I experience my own community, or that the world experiences my community or my experience within my own community.”
Will Wilson, a photographer and educator, co-curated the exhibit. He’s Diné – a citizen of the Navajo Nation.
One section of the exhibition draws attention to the past, displaying some of the Amon Carter’s large collection of delegation photos. These were taken in the early 1900s to document and celebrate treaty negotiations, which often were unfavorable to Native Americans. The photos were usually made by white people, said Wilson.
“We wanted to point to that history and say ‘Hey, this sovereignty has been intact since before the beginning of the United States, and it’s happening now too.'”
Will Wilson (left) and John Rohrbach co-curated the “Speaking with Light” exhibit.
Survival and resistance are important through-lines in Native American history.
There’s even a word for it, coined by Indigenous scholar Gerald Vizenor: “Survivance.” That’s central to the another part of the exhibit, said Wilson.
Survivance speaks to an Indigenous audience, but also to the settler colonist, who is “reminded very forcefully that, hey, we’re still here, you’ve stolen our land, you’ve tried to kill us. But we’re resisting, we’re surviving,” said Wilson.
The exhibit also explores what it means to see – and photograph – through an Indigenous lens.
One example is “Water Memory,” a 2015 print by Chemehuevi artist Cara Romero. In it, two Pueblo corn dancers float in the ocean. It represents the flooding of thousands of Native American homes in Southern California after the construction of the Parker Dam.
Amon Carter Museum of American Art
“Water Memory”, a 2015 print by Cara Romero. The piece reckons with a tragedy, while also looking at the relationship between water and Native Americans.
For the Amon Carter, “Speaking with Light” marks an ongoing effort to work with Indigenous artists, said Rohrbach, the curator. The museum has acquired more than 80 percent of the work on display.
But what about Jessica Johnson, who hasn’t always appreciated the way Native Americans are portrayed at museums?
“So the common perspective when you think of Native Americans, and this happens to me is, ‘Oh my gosh, do you have a spirit animal? What is your Native name? Do you identify to the earth and all the colors of the wind?’ And that’s frustrating,” she said. “I feel like in this exhibit, it kind of breaks some of those perceptions.”
Jessica Johnson says she really enjoyed the exhibit and found it inspiring.
“Coming here today to this exhibition, I’m elated, because they’re Native photography by Native artists, and it’s not just Indigenous culture that is reflective of the past, it is of the present and the future, and so that’s really inspiring.”
Johnson said she hopes people go. It might broaden their perspective on the complexities of modern Indigenous life.
1 of 7 — Kali Spitzer’s Audrey Siegl, 2019, P2021.58.jpg
“Audrey Siegl”, a 2019 print by Kali Spitzer. The piece features Musqueam activist Audrey Siegl, who has worked on raising awareness about missing and murdered Indigenous women.
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A photograph of the video and sound installation on turkey feathers called “Mespat,” 2001. The piece by Alan Michelson explores how native Lenape people were displaced from Newtown Creek by European colonists in 1642.
Katherine Fogden
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“The Collector/The Artist in Her Museum”, a 2005 print by Rosalie Favell. In this piece Favell inserts herself into the 1822 painting “The Artist in His Museum” by Charles Willson Peale. She writes on her website that “the original painting links natural history and museum practices that included collecting aboriginal peoples and artifacts”. She continues: “I am inviting the viewer into my world where Indigenous peoples claim the right to exhibit their own culture and history.”
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“Peyton Grace Rapp”, a 2017 print with glass beads by Tom Jones. This is one of the many pieces the Amon Carter has acquired from the exhibition.
5 of 7 — Kiliii Yüyan, Joy Mask, IK, 2018, P2021.41.jpeg
“Joy Mask, IK”, a 2018 print by Kiliii Yüyan. The piece is about an art therapy project in a Native Alaskan village where teens make grief and joy masks to help them process and discuss suicide.
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“Catalogue Number 1941.30.1”, a 2019 print by Wendy Red Star. According to the Rockwell Museum website, “Red Star used object card catalogues painted by Works Progress Administration artists that detailed the museum’s holdings of Native objects.”
7 of 7 — Sky Hopinka, Teja. The Sea, 2020, P2021.30.jpeg
“Teją́. The Sea. It’s neither our name for the great lakes or lesser lakes. It’s the sea, and we said we were from the north and from the salt. It’s too much right now. Too much like learning that my father performed the Breathings his entire life. I have recordings of him, and I heard them when I was little, and I said them myself,” a 2020 print with etched words by Sky Hopinka.
DETAILS: The exhibit is up through January at the Amon Carter museum in Fort Worth.
Arts Access is a partnership between The Dallas Morning News and KERA that expands local arts, music and culture coverage through the lens of access and equity.
This community-funded journalism initiative is funded by the Better Together Fund, Carol & Don Glendenning, City of Dallas OAC, Communities Foundation of Texas, The Dallas Foundation, Eugene McDermott Foundation, James & Gayle Halperin Foundation, Jennifer & Peter Altabef and The Meadows Foundation. The News and KERA retain full editorial control of Arts Access’ journalism.
The theme for the tenth round of the Camera Jabber Photographer of the Year (CJPOTY) competition was ‘Silhouettes’ and it proved to be a very popular round.
Now, we can reveal that the following images will go onto our shortlist to be judged by our illustrious panel at the end of the year.
One of these ten shortlisted images has also been selected as the round winner with the photographer being awarded a voucher from MPB worth £500 – scroll down to find out who. One clever photographer has also managed to get two images shortlisted.
CJPOTY October 2022 Silhouettes shortlisted images
Angela Harrod
Angela’s image shows that the best camera is the one you have with you as she shot this simple yet memorable image with her iPhone. We love the composition and timing of this shot.
Rebecca Hedges
Rebecca has two images shortlisted in this round, her first was captured at sunrise in Morocco using a Sony Alpha 100. It’s another simple yet well composed shot and it makes brilliant use of the colourful sky.
This time Rebecca was in Andermatt, Switzerland and shooting from the top of the Gemsstock mountain with her Sony SLT-A77. We love the interlocking mountains with their different shades of gold and the deep shadow in the foreground.
Nancy Arehart
Nancy’s striking image, shot with a Nikon D850, shows a mother rhino with her well-grown calf walking across a dam just after sunset. Their shape and the colour of the sky really pulled us in.
Edyta Rice
Edyta tells us that she stumbled across this magical early morning scene in a local woodland. Light was spreading across the forest, diffused in the strong fog, and it created these outstanding conditions. Edyta grabbed her Nikon D850 and captured a few shots of the magnificent stag moving right in front of her.
Philippa Huber
Philippa says, ‘just before the pandemic closed our borders, I was on Lake Kerkini photographing the magnificent Dalmatian Pelicans. The boat left the small harbour before dawn and over the course of 4 days I experienced all sorts of weather. I took this shot using my Nikon D750 on a stunningly crisp, cold morning as a pelican glided past, you can see the sun emerging above the horizon, bathing the lake in its golden glow.’
Sue Newman
Sue was up early to capture this magical image with her Canon EOS 90D at Bushy Park near Hampton Court Palace in the UK, but it could easily be mistaken for an image taken in Africa. It was well-worth getting up for Sue!
Eileen Welland
Eileen says that this is one of the very first silhouettes that she captured when she started shooting with her Nikon D3400. The statue creates a bold shape against the window blinds and the image caught our eyes from the outset.
Helen Cherry
Helen tells us that she visited Kew Gardens in the UK in April and was absolutely fascinated by the beautiful aluminium Hive installation, particularly from underneath its glass floor. This image, captured using Helen’s Olympus OM-D E-M1 Mark II, is of several children playing on this glass floor making interesting silhouettes.
Jane Gross
Jane captured this image of an elephant walking across the horizon at Ol Pejeta Conservancy Kenya with her Nikon D750. She says, ‘for two evenings we lay in the grass watching the elephants walking across the horizon. I wanted to frame a smaller animal in the elephant’s trunk. An impala stopped to graze just where I wanted it, then just as I took the photo, it looked up in my direction. When I looked at the photo I had taken, I was thrilled to see that a bird had flown by in the frame at just the right time, giving me an impala and a bird framed in the elephant’s trunk.’ Well done Jane, it’s an excellent image.
CJPOTY October 2022 winner: Nancy Arehart
Congratulations Nancy, a voucher to the value of £500 from MPB is heading your way!
Nancy’s image will join the other nine in our shortlist to be judged for the overall prize at the end of the year.
CJPOTY November 2022: Wonderful Woodlands
The theme for the tenth round of the Camera Jabber Photographer of the Year (CJPOTY) competition is ‘Wonderful Woodlands. We want to see a celebration of woodlands; their trees, flora and fauna – don’t worry, you don’t have to get them all in the same shot.
This round of our monthly competition is open for submissions until 23:59 GMT (00:59 CET and 15:59 PST) on 30th November 2022.
To submit your entry, visit cjpoty.com. You can submit up to three entries for £2.00 plus payment processing costs (£0.26). The images can be taken at any time and should be Jpegs at least 1920 pixels along their longest side, but no larger than 5MB.
Photographing woodlands
There are lots of potential subjects for this round and you can use just about any lens. A macro lens is ideal for getting close to tiny fungi, a wide-angle lens will let you capture a bigger view and a telephoto will let you pick out distant (or high-up) details.
Woodlands can be especially attractive in mist while strong sunlight creates nice patches of shadow with strong highlights. Whatever the weather conditions, think about the white balance that you use because the deep shady areas can end up looking a bit too neutral or even cold if you use the auto setting – although that’s fine if that’s the look that you want.
Camera Jabber Photographer of the Year prizes
At the end of the month, the Camera Jabber team will pick one winning image and nine runners up from the June entries. The photographer of the winning image will receive a voucher from MPB.com to the value of £500 which can be spent on anything from a huge range of kit from the World’s biggest platform for used photographic gear.
All 10 of the selected images will go into our shortlist for the year.
We’ll do this each month in 2022 so that by the end of the year, there will be 120 shortlisted images. These will then go before our fantastic panel of judges who will decide the 1st, 2nd and 3rd-placed images. You don’t have to enter the competition every month, but you are welcome to do so and the more shortlisted images you have at the end of the year, the greater than chance of winning the top prize.
The photographer of the first-placed image overall, as decided by the panel of judges, will received a voucher to the value of £1000 from MPB.com as well as a trophy and the title ‘Camera Jabber Photographer of the Year 2023‘. The photographers who come second and third will receive vouchers worth £500 and £250 respectively.
The judges are:
Ben Brain – Photographer, journalist & Sigma ambassador Sophie Collins – Chief Marketing Office at MPB Donna Crous – Food photographer, author, Nikon Europe ambassador and Rotolight Master of Light Kate Hopewell-Smith – Wedding, portrait & boudoir photographer, Sony ambassador Sanjay Jogia – Wedding photographer & Canon ambassador Pete Reed OBE – Three times Olympic gold medal-winning rower and keen documentary photographer Dominique Shaw – Photographer and co-founder of York Place Studios and Fujifilm ambassador Craig Strong – Lensbaby founder Christina Vaughan – Founder of Cultura Creative, the home of inclusive stock photography Jeremy Walker – Landscape photographer, author & former Nikon ambassador
About MPB
Founded by Matt Barker in 2011, MPB is the world’s largest platform for used photography and videography kit. MPB has transformed the way people buy, sell and trade equipment, making photography more accessible, affordable and sustainable.
Headquartered in the creative communities of Brighton, Brooklyn and Berlin, the MPB team includes trained camera experts and seasoned photographers and videographers who bring their passion to work every day to deliver outstanding service. Every piece of kit is inspected carefully by product specialists and comes with a six-month warranty to give customers peace of mind that buying used doesn’t mean sacrificing reliability.
