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Even before he seized power and became the chancellor of Germany in 1933, Hitler had done two things that most people seeking political office rarely did at that time - first was that he used a private plane with his own pilot to campaign quickly all over Germany. The plane was so much faster than a train or car, and much less tiring. The second thing he did was to have a personal photographer to record his every move. That photographer was Heinrich Hoffmann.
You probably know, if only from reading The Extra by Kathryn Lasky, that Leni Riefenstahl made several propaganda films, but her most famous film of all was Triumph of the Will (Triumph des Willens) documenting the 1934 Nuremberg Rally and showcasing Hitler. She was a talented and innovative filmmaker, and a good friend of Hitler's (despite later denials of not knowing anything about was was happening in Nazi Germany and the occupied countries), but for still photography, it was Heinrich Hoffmann that Hitler wanted.
Hoffman was a very talented photographer, who loved to take pictures of people in moments when their guard was down, and recording their spontaneous actions/reactions. But he was also gifted at the posed photograph and the iconic June 1940 photograph he took of Hitler standing in front of the Eiffel Tower, flanked on one side by Albert Speer and on the other by Arno Breker, is the one that Don Nardo has chosen to focus on in his book Hitler in Paris. It is this photograph that best represents Hitler's dominance in Europe. Standing at the Eiffel Tower, in a now defeated France, and with conquered countries to the North, South and East of France, Hitler's sights are now to the West and Britain. One can only imagine how people must have felt when they saw this photo. But what brought Hitler and Hoffmann to this point?
Nardo gives the reader a parallel history of each man early life - both middle class, but with very different family circumstances. Events in Hitler's early life, a cruel father with whom he often fought, held feed his anger and hate at those more fortunate, and was later spurred on and fueled by Germany's defeat in World War I, for which he desperately wanted to seek revenge.
Hoffmann, by contrast, was taken under his father's wing and taught the art of photography. Nardo describes Hoffmann as a very likable man, who claimed (like Riefenstahl) that he was not political, his relationship with Hitler was strictly personal and he had no knowledge of what was happening around him. Eva Braun worked in his photography studio and it was Hoffmann who introduced her to Hitler (you may recall that from reading Prisoner of Night and Fog by Anne Blankman).
Taken on the same trip to Paris by Hoffmann
This is a short, 64 page book that is filled with information and photographs, all taken by Hoffmann.
Nardo has done a pretty good job at presenting these two men with objectivity and allowing the reader to draw their own conclusions about them and the circumstances depicted in the book.
Nardo also used lots of primary and secondary sources to write Hitler in Paris, giving the book a real sense of time an place, as well bringing these two controversial figures to life. Additionally, he has included a useful timeline, a glossary, a list of additional resources, source notes and a selected bibliography. There are also copious photographs of Hoffmann's, which are all now in the public domain.
Hitler in Paris: How a Photograph Shocked a Word at War will probably have great appeal to history buffs interested in the 20th century, WWII, and/or Nazi Germany. But it will also appeal to serious serious budding photographers and even to those who are more experienced as a study in how one emblematic photograph can convey so much.
This book is recommended for readers age 9+
This book was purchased for my personal library
0 Comments on Hitler in Paris: How a Photograph Shocked a World at War by Don Nardo as of 11/29/2014 11:42:00 AM
To what do we credit the distinct increase in children’s books containing photography this year? I posed that very question to a group of children’s book photographers not that long ago and the answers were telling. In the past, creating a book of high quality color photographs cost beaucoup de bucks. Plus children’s books illustrated with photos were in black and white. Yet as color photography became more and more ubiquitous, publishers found that folks were unwilling to buy children’s books that were black and white. The era of The Lonely Doll, J.T., and others was over. Yet prohibitive costs kept photos in children’s books minimal. Then came the rise of digital photography and cheaper printing techniques on the part of publishers (see 100 Scopes Notes for the full round-up for 2014: http://100scopenotes.com/2014/08/01/the-state-of-photography-illustration-in-2014/). The floodgates consequently opened and what we’re seeing now is a variety of different types of children’s books that use everything from handmade models to wildlife to cut paper techniques. Few of these really harken back to the 1950s and 60s big books of photography. Few, that is, but Lulu and Pip. A companion of sorts to the author/artist’s previous book Kiki and Coco in Paris, the book shouldn’t work as well as it does. Yet all the elements align so perfectly that there is nothing to say except that it is undoubtedly the most charming work of pure photography in a children’s book format that I’ve seen in years.
Meet Lulu. She’s a girl. Meet Pip. She’s a doll. The two are inseparable and that’s a good thing since living in a big city like San Francisco can be intimidating. Then one day the two pack up their things. Today they’re leaving the city for a campout in the wild and that means leaving behind all the toys, except Pip. Once there Lulu adjusts to the differences. She’s wary of the donkey they meet and she realizes that she may have brought too much stuff. Still, next thing you know the twosome are cooking their food on a fire and getting a glorious view of the universe above. The next day it’s all fishing, swimming, and exploring. But when Lulu and Pip get lost without a clue how to return to their campsite, they find help from an unexpected source.
I was in a wonderful independent bookstore when I first spotted this book. Because of the nature of my job I don’t usually buy children’s books all that often, but there was something unique about this title. The size, for one thing. Coming in at an impressive 9.8 x 12.8 inches, the book stands just slightly taller than the other picture books on your average bookshelf. It distinguishes itself. Then there’s the arresting cover. Photography is too often the last bastion of the sentimental. Whether we’re talking Anne Geddes or the art in the style of Nancy Tillman, there are those that believe that photography only works when its used in the service of the easy aww. The jacket image seen here of a little girl kissing a donkey would seem to support that belief, but that’s a textbook case of judging a book by its cover. I had only to open the book to see that this wasn’t the usual fare. Not by half.
First and foremost, the star of this book is photographer Stephanie Rausser who carries a particular talent for photographing kids and lifestyle types of images. The red-haired moppet that is her subject is a charmer. Cute but not cloying. The shots of her that pepper the book are carefully selected and cropped. As for the photos themselves, I took great joy in them. There’s a shot of Lulu and Pip’s feet in a stream, the sunlight filtering through the water that socks it to you. In books of this sort I’m not a huge fan of images that feel staged. I’d rather go about believing that the photographer is some kind of guerrilla-style rebel than a professional who sets up her shots. Still, because she has the lifestyle background, Rausser gets very natural shots out of her young muse. Only the occasional image (peeking around a tree, exiting her tent, etc.) feel like you’ve accidentally picked up a copy of Parents Magazine or something. For the most part, Rausser keeps it real.
What also struck me as remarkable on a fifth or sixth reading was how well the design of the book incorporates the text into these images. I don’t know if Ms. Rausser took them while thinking in the back of her head about where the text was supposed to go. Illustrators are very keen on such matters, so photographers should be just as vigilant. As it stands, the book does a very good job of breaking the images into more than just full-page bleeds. Some pictures will appear only on the left or right hand side of the page. Other times the pictures will fill both pages in long horizontal spreads. Because of the nature of the shots the text changes from black to white and back again depending on the levels of contrast to be found. In spite of that, the book is easy to read and visually stimulating.
Full credit where credit is due to author Nina Gruener too. I don’t know the background behind this book. I don’t know if Ms. Rausser, in her capacity as a photographer, took these images first and then they were handed to Ms. Gruener to cobble together into some kind of story. If that was the case then she is to be commended. Such assignments often come off as feeling forced or false. Not so here. Gruener keeps the tone light and the storyline frisky. It is equally possible that Ms. Rausser was handed the text first and then took the pictures to match, of course. Or perhaps it was a bit of a combination of both. Whatever the case, the book reads very nicely. It’s not swimming in purple prose or anything but neither is it austere or simplistic. It tells the story it has come to tell and tells it well. Nuff said.
Because my daughter is a city kid I was much taken with the plot of a urban child’s first rural campout experience. As odd as it sounds, camping isn’t a common activity in children’s picture books. Not realistic camping sans bears anyway. And though the book does eschew the issue of mosquitoes, it’s realistic in its portrayal of campfires, smores, tents, night sounds, hiking, and star filled skies. It fills a gap in library and bookstore sections everywhere and will be of great use to those parents trying to excite their kids with the prospect of sleeping beneath the stars. Mind you, it may raise expectations of certain kids a bit far. If they’re hoping to bag a gigantic rainbow trout on their first fishing trip then they are bound to be woefully disappointed.
Perhaps Lulu & Pip marks the beginning of something. Maybe we’ll be seeing large format picture books of fictional stories featuring real kids a lot more in the future. Maybe. Certainly Rausser takes care not to include much of anything that will significantly date this book. Technology and gadgets are nonexistent and Lulu herself is dressed in contemporary children’s fashions that, with only a few exceptions (sneakers, etc.) won’t be dated anytime soon either. There’s a lot to love about this one-of-a-kind little book, and a lot to enjoy. With any luck, Rausser and Gruener will continue their partnership of creating great books and we the readers will be the lucky beneficiaries. Marvelous unique stuff.
pacificREVIEW 2015: Vivarium CALL FOR SUBMISSIONS FICTION * NONFICTION * POETRY * GRAPHIC NARRATIVE * PHOTOGRAPHY * ARTWORK Submission Period: October 1st 2014 – February 28th 2015
A vivarium (Latin for "place of life") is an area for keeping and raising animals or plants for observation or research. Often, a portion of the ecosystem for a particular species is simulated on a smaller scale, a microcosm with controls for environmental conditions.
We, as human beings, create vivariums for both ourselves and other species. In these environments of our own design (zoos, shopping malls, universities, cathedrals, etc.), we breathe simulation, observe phenomena both natural and unnatural, speak in symbols, and cypher our dreams. We are inhabitants of our creations, thriving in the flux between the abstract and the absolute. The newest issue of the pacificREVIEW seeks dynamic work that speaks to this theme and interrogates the ever-blurring line between "real" and "unreal" settings.
Tiferet is currently accepting new writing submissions!
We look for high-quality creative work that expresses spiritual experiences and/or promotes tolerance. Our mission is to help raise individual and global consciousness, and we publish writing from a variety of religious and spiritual traditions.
We seek and publish the following types of work:
Fiction: We interpret the word "spiritual" broadly. First, we seek well-written stories, pure and simple, that engage us in some small pocket of humanity.
Nonfiction: We like to publish essays and interviews that shed light on personal experiences of grappling with the invisible...or different aspects of spiritual traditions.
Poetry: We look for the highest quality poems that display mastery of content and craft. Technical proficiency is extremely important, along with clear expression of various aspects of the human spirit.
Art and Photography: We seek original art and photography which in some way captures the spiritual or contemplative in a visual representation.
For complete submission guidelines or to submit your work, please visit our website.
The deadline for all submissions is December 31st, 2014.
Thank you for being a part of the global Tiferet community. We look forward to reading all submissions!
Name: Brushstroke Cost: 2.99 Platform: iOS 7 or later
Brushstroke is a seemingly simple app that turns a photo into a painting. You might think to yourself, so what? But really, it’s a pretty powerful tool that gives teens, teachers, and librarians the chance to use a variety of effects on their photos and is a great way to start discussions on painting techniques, styles, how visual messages change as a result of visual choices, and even artists and art movements.
The way it works is that a user selects a photo from an iPad or iPhone camera roll or takes a photo from within the app. The next step is to crop the image if need be. After that, and I admit it took me a minute to figure out how to get from the crop screen to the painting screen – it’s the > on the top right (as you can see in the images below) – the image is rendered as a painting. In the photos below you’ll see the original version of the photo I painted on the left and the painted version on the right.
Once a photo is turned by Brushstroke into a painting, a wide-array of painting styles are available to render the image in. Choices range from oil and watercolor styles to experimental and abstract styles. You can also add color filters; a canvas type such as primed, rough, canvas, stone, and so on; change exposure, brightness, and add a highlights; and add a signature to a painting. When adding a signature there are a few color choices available and as the signature is created it’s visible on the painting so it’s easy to tell which color will display the best.
After completing a painting it can be saved, shared via traditional social media channels, or even produced and shipped framed and ready to hang in a school, library, or teenager’s bedroom.
Teens who are interested in different styles of art can compare their favorite artist’s paintings to the styles they create with Brushstrokes. Teachers who are working with teens in art classes, history classes, and so on can use Brushstroke as a jumping off point in conversations about the ways in which different painting techniques can be used in order to send a particular message or create a particular emotion.
Turning a photo into a painting might seem like a simple idea. But in reality, to transform the photo into the style most appropriate for the image portrayed takes a lot of thought and trial and error. Critical thinking and problem-solving are a key part of the process.
Many of us have done author events at the Wigtown Book Festival but if you're like me, you rarely leave the centre of town, where the action is fabulously, alluringly booky. But the festival is over for another year and I'm here instead to house- and dog-sit. And I'm seeing a whole different Wigtown, which I'd like to share with you. From sunrises to sunsets, with some cows in-between -
J.C. Donaho is a photography hobbyist that has combined his career in animal welfare and biomedical research, to create an early reader book well suited for young naturalists.
What’s on my mind?
Indigenous peoples and their worry about being over run by other populations I guess could sum it up.
I suppose if cougars, wolves, elephants and such learned to shoot guns or band together better they would kick out the human populations who have transgressed on their land but as people go I believe we need to understand the reason for others unlawfully entering areas already overpopulated.
Overpopulation where they come from, economic despair, greed, the making of money into a God and the lust for power over others seem to be good places to start .
Seems to me that as people from a planet with finite resources we need to try to make all places a good place to live so people want to stay where they are. Make everywhere a good place to be.
Sharing with others does not have to mean give away my happiness but it could mean helping you gain yours. I hope I can do that with more than one other and if we all did it for just two other people it would cure the problem in my mind at least.
0 Comments on “Illegal” movement of populations as of 10/17/2014 12:30:00 PM
We're a biannual, online-only journal publishing literary ephemera, visual art, music, and video. Obviously we want your best work, it hardly needs to be said (but we'll say it, just to put you at ease.) Beyond that: we don’t care about genre. There are lots of places to get Poetry and Fiction and while we’ll almost certainly publish some, we’re more interested in your unclassifiables, your orphans. This isn’t to say we’re averse to stanzas or stories (we’re not), but if you’re sending us a formal sonnet about your dog because that’s what poetry is supposed to look like, we will probably acknowledge that your dog seems awesome and politely leave it at that. We’re interested in the words and the sounds and the images, not so much conventional interpretations of genre.
Hopping off the soapbox: submissions are open through November 30; please visit our website for detailed guidelines and other stuff. Or throw caution to the wind and send your stuff to:
submissions(at)lockjawmagazine(dot)com (Change (at) to @ and (dot) to . )
But yeah, read the guidelines first. They're kind of funny.
A Common Thread, an online literary journal run by undergraduate students at Valparaiso University (Indiana) is currently seeking submissions for its 2nd issue on the theme of "scars."
Genres include poetry, fiction/ flash fiction, artwork/photography/comics, drama/screenplay, and creative nonfiction/flash creative nonfiction.
Please see our website for more information and guidelines. Submissions deadline is December 1.
New Delta Review is currently seeking submissions in all genres (poetry, fiction, nonfiction, and art). We are especially interested in submissions by writers and artists who are underrepresented in literary publications in terms of race, gender, and sexual identity.
NDR is a literary journal produced by graduate students in the MFA Program in Creative Writing at Louisiana State University. Since 1984, NDR has published the work of emerging and established writers. Each issue includes original fiction, poetry, creative non-fiction, reviews, interviews, and artwork. In our 30 years of publication, authors of international renown–National Book Award finalist Patricia Smith, Puschcart Prize-winning Stacey Richter, and former Poet Laureate Billy Collins, to name a few–have shared our pages with tomorrow’s literary stars. Our contributors are regularly included in anthologies such as Best American Short Stories, New Stories from the South, and Best American Poetry.
To learn more about NDR, please visit our website.
Poetry
New Delta Review publishes poems that show distinct artistry (“a poem within each line”) and usually find a way to subvert form (e.g. prose poems reinventing the form of prose poetry). We are looking for work that represents a diversity of experiences through craft and content and demonstrates an awareness of current conversations about poetics. We want to understand what kind of writer you are; include several poems (five max) so that we get a sense of the scope of your art. Please read New Delta Review, particularly our current issue, since our aesthetics shift from year to year. To submit, please go here.
Fiction
We publish fiction in wildly different styles and modes. It’s easy to say, “Please read our journal to get a sense of our aesthetic,” so we will! Please read our journal to get a sense of our aesthetic; current and back issues are available for free, right here, on the internet. After you’ve read, please send us fiction that is emotionally engaging. We also appreciate your (carefully considered) risks with language, content, and form. While we often publish longer pieces, we prefer our stories to come in at around 3,000 words. We also have a special interest in flash fiction, and brief series of flash pieces. For more information about the Ryan R. Gibbs Award in Short Fiction judged by Roxane Gay (deadline: October 11, 2014), please visit here. For general submissions, please visit here.
Nonfiction
At New Delta Review, we are looking for experimental essays that explore personal experience though hybrid forms and engage the reader on an emotional and intellectual level. We enjoy work that celebrates the complexity of the nonfiction genre by pairing compelling content with innovative structure. We want to see you, the writer, exploring and questioning through your work, so that we may experience the journey alongside you. In this genre, questions are as valuable as answers—show us your vulnerability. To submit, please visit here.
Art
We will consider artwork in any medium, from traditional (painting, drawing, photography, images of installation/sculpture) to new media (video, animation, and hypertext). Please consider our online format, and the possibilities of art on the web, when submitting your work. For more information about the Ryan R. Gibbs Award in Photography judged by Jesse Morgan Barnett (deadline: October 15, 2014), please visit here. For general submissions, please visit here.
What would I do if I did not tell my stories? I might be “asleep” in life. But even in sleep my stories dance in my mind. They wait. They hear my “voice.” That “voice” is a part of them. Where soul and chance meet, in their midst are cinematic images. They must be given an account in […]
0 Comments on The Collective Experiences That Become a Drama as of 10/9/2014 5:17:00 PM
About three years ago I saw Cat’s photos popping up regularly in my friend Terri Farley’s Facebook feed (Terri is a fabulous advocate for wild horses and a children’s author). I quickly friended Cat and look forward daily to her … Continue reading →
We are seeking nonfiction submissions about "the road less traveled," however interpreted, for an inaugural issue which will go live in late 2014.
Your piece should be anything related to travel, travelers, wanderlust…a homage to a city or a town… a piece featuring a home, whether attached to the ground or carried on your back… places out of the way and unexpected, the road less traveled but perhaps more loved, and definitely more intriguing.
Submissions should range between 250-1000 words, with a preference for 500 words. Art and photo submissions also welcome.
Please embed and attach your submissions to emails directly sent to Jessica, the Editor:
jericahahnAThotmailDOTcom (Change AT to @ and DOT to . )
Title: Hyperlapse
Cost: Free
Platform: iOS 7 or later
A couple of weeks ago Instragram released its new app, Hyperlapse. What does Hyperlapse do? It enables users to shoot time-lapse videos. And, while you might have other apps on your iDevices that already do that, Hyperlapse has the added benefit of a stabalizer so that hand-held time-lapse creations actually look pretty good. Take a look at the video below to get some idea of what I mean.
The premise of Hyperlapse is simple. So too is the user interface. It’s really a point and shoot experience. You tap on the record button at the bottom of the screen to start the recording and then tap it again to stop the recording. Then you get to select the speed of the video you want to use – and preview the video in each speed. The default Hyperlapse speed is 6X the normal video speed and the app provides options for from 1X to 12X the actual speed. As the Hyperlapse support page states, “A 6x speed means that your Hyperlapse video will be 6 times faster than its original recording. For example, a 60-second video at 6x would end up being 10 seconds long after it’s sped up.”
When satisfied with your video and speed to save it to the device camera roll you tap on the check mark in the top right of the screen. Once saved you have the option to share on Facebook or Instagram or you can share the video as you would any image in your device camera roll. If you aren’t happy with your video and it’s time to start again you tap on the red X in the top left.
How might you use Hyperlapse for and with teens? Of course you would want to ask them what they would be interested in doing with the app. But, an idea to get that conversation started might be to have teens host a time-lapse video contest. Maybe teens who are interested in photography and/or video creation would like to have a local photographer or video developer come in and talk about what makes time-lapse compelling and why Hyperlapse is a good tool to use. Or, maybe teens would be interested in creating Hyperlapse videos of a typical event that they take part in every day – getting to school from home, walking down the hall of their school, hanging out in a store or coffee shop, and so on. What do they notice in a time-lapse video compared to what they notice when they are taking part in the event in real time?
Teachers might also find using Hyperlapse with students something they want to consider. As a matter of fact there are several articles on that topic already. For example, 9 Ways to User Hyperlapse in your School’s Video Efforts This Year The simplicity of Hyperlapse makes it a good app to show those who aren’t comfortable with technology or using apps and devices in educational settings.
As many reviewers of Hyperlapse have stated, the stabilization feature of the app makes it possible to create high quality hand-held time-lapse videos without extra equipment. Check out some posts at Mashable for inspiration on how it might be used with and for teens in your library.
I was just thinking that it’s not the perfect flower I look for in my photography, it’s the perfect feeling, same with my friends, they all have little flaws just like me but when I close my eyes and think of them I only know the sweet essence of their perfection and see how wonderful life is to let me see them … Love you all !
0 Comments on “Rose colored glasses” as of 9/7/2014 7:12:00 PM
If you have experienced bullying in any form - If you love someone who has experienced bullying in any form - And if YOU have been a bully (in any form)………. THIS —>>>>>> (all photography and artistic/director credit goes to Kaleigh Steward at KaleighJPhotography )Filed under: Uncategorized Tagged: #nothing, #pictureworthathousandwords, #worthless, @shiftingart.com, antibullying, bullying, bullying…
We’re bombarded with images today as never before. Whether you’re an avid mealtime Instagrammer, snapchatting your risqué images, being photobombed by your pets, capturing appealing colour schemes for your Pinterest moodboard, or simply contributing to the 250,000 or so images added to Facebook every minute, chances are you have a camera about your person most of the time, and use it almost without thinking to document your day.
Images have great social currency online, keeping visitors on a page longer, and increasing the shareability of your content. The old adage that “a picture’s worth a thousand words” comes into its own in an environment where we’re all bombarded with more information than we can consume, where there’s a constant downward pressure on your wordcount, and where you need to be eye-catching and tell a story within 140 characters or fewer. Lives have been changed, public opinion shifted, history made by a single picture. Think of an iconic image, and odds are that many spring straight to your mind, from the powerful – Kim Phuc running from a napalm attack in Vietnam, ‘Tank Man’ facing down the military in Tiananmen Square – to the stage-managed – those construction workers lunching on a skyscraper beam above Manhattan or Doisneau’s ‘Kiss by the Hotel du Ville’ — and many more.
Consider just the last few weeks: the violent protests following the death of Michael Brown in Ferguson, encapsulated in a single image of heavily armed policemen training their weapons on a lone man with his hands in the air; the images pouring out of Gaza, so at odds with the formal tweets of the IDF; or American photojournalist James Foley – a man who dedicated his life to ensuring such images streamed into our front rooms, into our news feeds, into our consciousness – kneeling next to the man who was about to become his killer. Wherever time and space are at a premium, wherever narrative matters, an image gets the story across in the most direct and powerful way.
Here in Oxford, a new international photography festival seeks to look at just these questions around the power and the purpose of photography, opening up debate about the many issues which surround it in the current climate, aiming to bring world-class work to a new audience and to elevate awareness and appreciation of the form to a level long-since enjoyed by painting, sculpture, and the other visual arts. On Sunday 14 September, colleges, museums, art galleries, and even a giant safe, will welcome visitors into more than 20 free exhibitions showing the work of internationally-renowned photographers, alongside a film programme mixing documentaries and feature films which have images and their use at heart, and a series of talks and panel discussions.
The exhibitions range widely, from powerful photojournalism such as Laura El-Tantawy’s images of a post-Mubarak Egypt, Robin Hammond’s work inside Mugabe’s Zimbabwe, and the Document Scotland collective’s recording of this truly decisive moment in Scottish history, to Yann Layma’s stunning macros of butterfly wings and Mark Laita’s vibrant images of brightly-coloured snakes; from Susanna Majuri’s elaborate photographic fictions, hovering somewhere between dream and reality, to the vibrant architectural images of Matthias Heiderich; and from Mariana Cook’s portrait series of those who risk their lives for justice to Paddy Summerfield’s moving documentation of the final years of his parents’ 60-year marriage. The UK debut of this year’s World Press Photo award features prominently, alongside French photographer Bernard Plossu’s first-ever British show, and a showcase of work from members of the Helsinki school, including the eminent Pentti Sammallahti and Arno Minkkinen.
The festival brings us shows documenting the NGO use of images in campaigns across the decades, or looking at photos which trick us, whether deliberately or inadvertently; a moving exhibition on photography and healing; and one exploring how different artists use photography – digitally, printed on surfaces such as ceramics or metals, or using Victorian techniques. Yet other exhibitions feature powerful portraits of the famous buildings of Oxford and their custodians, of the descendants of some of the world’s most famous historical figures, and Vermeer-inspired portraits of female domesticity from Maisie Broadhead.
Meanwhile the talks and debates include the BBC’s David Shukman on photography and climate change, celebrated landscape photographer Charlie Waite talking about the challenges and joys of landscape photography, and Bodley’s Librarian Richard Ovenden chairing a discussion on Henry Fox Talbot. Panels cover the role of photojournalism in the Northern Ireland peace process, the role of the critic in photography, images and the business world, and the merits and challenges of shooting photographic stories in areas close to home rather than travelling to far flung exotic locations.
The festival will draw to a close on Sunday 5 October, with ‘The Tim Hetherington Debate: What Good is Photography’, looking at the importance of photography in the twenty-first century, and a screening of Sebastian Junger’s Which Way is the Front Line from Here, a documentary about the photographer and filmmaker Tim Hetherington, killed in 2011 by mortar fire in Misrata, Libya, where he had been covering the civil war.
As festival founder and director Robin Laurance, himself an acclaimed photojournalist, concludes: “It’s time to celebrate the city’s links with the beginnings of an art form that has become ever-present in all our lives. We intend Oxford to be the place where photography is not only celebrated, but where it is debated, examined and challenged. Our aim is to open people’s minds as well as their eyes to photography.”
The Four Quarters Magazine CALL FOR SUBMISSIONS : December, 2014. Theme : NO MAN’S LAND Deadline: 20th October, 2014 Guest Editor for the Issue : Dave Besseling
More than an excellent, absurdist 2001 film set during the Bosnian War, “No Man’s Land” is an idiom overused to in utility. It was a cliché long before I was born and learned what it meant or what a cliché was. It’s one thing to dress-up a cliché, it’s another to reclaim it. So wax your mind clean, Mr. Miyagi-clean, and what does “No Man’s Land” come to reflect?
Is it that piece of geography where two gubernatorial borders don’t quite meet, or where they overlap? The Age of Discovery was 400 years ago. You can barely outrun googlemaps lens these days. Is No Man’s Land somewhere unfound? A tribe brandishing spears on the beach as the motorboat approaches?
How rare and valuable are then these last pockets of “undiscovery”? And what does “discovery” mean in this digital age anyway? Is it a “No Man’s Land”, that which lies outside the current boundaries of science? Are we talking about a lesbian commune living off the grid somewhere in the mountains? Is this void a philosophical concept to be appropriated by some kind of post-scientology or gone cult? Something else entirely? You tell us. In writing. And if we like your pitch we can all have fun with all the mindgames that result. Eat a peach,
- Dave.
The deadline for submissions is 20th October, 2014. For submission guidelines, please refer to our submissions page.
Yudy Sauw takes amazing photos of the faces of insects and other tiny creatures.
The ring light diffuser around the black lens give the appearance of a "pupil." On some of them there appears to be some Photoshop enhancement, as with the one above called "Flood."
This summer, Bill has brought all of that together in a single web site, which I have the privilege of launching here.
Some of our clients will recognize some of the images. Our pottery friends will recognize the pots. Our dancing friends will find themselves inside Bill's magical 3-D imagery. My niece will find herself in the image above, reading a book that is called Small Damages.
The site is like a gathering. I hope you'll take some time to explore it.
September is almost here and summer is ending soon so I thought I'd share with you a few more highlights from it. We were able to vacation in the desert again (see last year's photos HERE). It's just sooooo different than our life here at home and I just enjoy it so much! The desert is a dream with all the golden light and colorful sunsets and endless plants to photograph!
This cactus blooms in the morning and then by afternoon, it's gone. I snapped this photo while it was on it's way out.
This jackrabbit visited us a few times in the afternoon.
The paddle cacti were just brimming full of fruit. I kind of wish that I would have bought some cactus jelly. Oh well.
I really miss the Mexican food! We ate it every chance we got!
Blessings,
Jenni
0 Comments on More Summer Highlights as of 8/28/2014 2:29:00 PM
Wild Age Press is starting a new daily e-zine, but Restless isn’t going to be just any lit mag. We’re going to focus on the edgiest work being written today, the things more conservative journals are too scared to touch. We want your best, scariest (but not in a Stephen King kind of way), most experimental work. We want work that’s going to keep us up at night.
Send us:
prose under 750 words poems one page or less visual art, color or b&w photography, color or b&w comics, color or b&w audio less than 2 minutes video less than 2 minutes
postcard lit — send us your handmade postcards, with or without a poem or story written on the back, or mail us a postcard from an interesting place in the world with a poem or story inspired by the image(s) featured on the front mini reviews (under 750 words) of books published in the past six months short interviews with authors, artists, musicians, entrepreneurs, or other cool people See our full guidelines here.
Brushstroke is a seemingly simple app that turns a photo into a painting. You might think to yourself, so what? But really, it’s a pretty powerful tool that gives teens, teachers, and librarians the chance to use a variety of effects on their photos and is a great way to start discussions on painting techniques, styles, how visual messages change as a result of visual choices, and even artists and art movements.
When adding a signature there are a few color choices available and as the signature is created it’s visible on the painting so it’s easy to tell which color will display the best.
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Picture is worth a thousand hurtful words. So important for bullying to stop. Thank you for posting this.
Is this a request for photos regarding bullying?
No. if you follow the link you will see the photographer who took this. My daughter was the model she used to paint on the special effects.
Thank you, Kathleen. I think the photographer did a great job of telling a story and capturing what bullying does to the spirit.