Tag Archives: Portrait Photography

Submit!


Entry Deadline:May 7, 2012
play
:  amuse oneself, be the life of the party, portray, caper, carouse,
cavort, impersonate, clown, frolic, perform, joke, jump, rejoice, have
fun, theatrical performance, tickle, produce music, merriment, laughter

 Juror: Angela Bacon Kidwell

More info here!

PCNW Presents: 

EQUIVALENTS: 17TH ANNUAL PHOTO COMPETITION EXHIBITION

Deadline: May 18th
Juror: W.M Hunt

More info here!

THE PERFECT EXPOSURE GALLERY: Perfect Exposures 2012, an International Juried Competition

 

Deadline: June 4th, 2012
More information here!

In addition to presenting fine art photography exhibits, The Perfect Exposure Gallery has a long-standing reputation for working with a distinguished group of acclaimed photojournalists to produce ongoing seminars and workshops for both adults and youths. Now, we are giving amateur and professional photographers the grand opportunity to win cash prizes and a spot in our two-month-long summer exhibit. 


Our panel of judges consists of award-winning photographers, photo editors, and educators: 
Eli Reed 
Jose Aurelio Barrera
Aline Smithson
Armando Arorizo

(UN) FAMILIAR:CURATOR’S VOICE 

Presented by the American Photographic Artists
Juror: Gwen Lafage, from the Carte Blanche Gallery, San Francisco

 For the first APA SF Curator’s Voice Exhibition, we asked Gwen Lafage, founder of Carte Blanche Gallery in San Francisco, to select a small group of photographers to exhibit their finest images in her gallery.
CALL FOR ENTRIES OPENS
Monday, April 9, 2012
CALL FOR ENTRIES FINAL DEADLINE
Noon, PDT, Monday, May 7, 2012
WINNERS ANNOUNCED
Wednesday, May 30, 2012
WINNERS’ FRAMED IMAGES DUE
Wednesday, June 20, 2012 

CONTEST THEME
Theme: (Un)Familiar

As a photographer, how do you explore and interpret the familiar and the unfamiliar? How do your vision and/or perspective(s) change when faced with places and people you know, versus when you are confronted by the unknown, or by strangers you meet by chance? Traveling, discovering new places and meeting new people creatively stimulates many photographers, while others find inspiration in the comfort of their home, hometown or among their friends and families.

This competition invites photographers to submit a series of photographs interpreting the theme (Un)Familiar, along with a brief statement or project proposal supporting their entry. We are looking for a wide interpretation of the theme and therefore a wide range of imagery; your photographs can be visualizations of the Familiar, the Unfamiliar, or both. Your statement needs to quickly present your project and explain why you believe it fits with the chosen theme. Ideally, your proposal should help us understand how, or if you adapt your photographic process based on your relationship to and/or intimacy with the subject or environment being depicted.

Photographer #435: Bharat Sikka

Bharat Sikka, 1973, India, is a documentary photographer who also concentrates on editorial and advertising work. He moved to New York to study at the Parsons School of Design where he earned a BFA in photography. His personal work concentrates on contemporary visions of India. His recent series Matter blends studio, street, landscape and portrait photography. Combined they form a portrait of the “new” India. It is Bharat’s vision of a fast changing country. His narrative editorial work often show females in film-like settings, photographed in a unique, documentary style. Amongst his numerous editorial clients are Vogue India, Another magazine, Time, ID and Wallpaper. His work has been exhibited throughout the world as the Rencontres d’Arles photography festival and the Helsinki Art Museum. He works and lives between India and Europe. The following images come from the series Matter, Salvador do Mundo and various Fiction portfolios.

Website: www.bharatsikka.com

Leon Borensztein’s ‘American Portraits’

More often than not, some of the best observers of places are those not originally from there. Leon Borensztein was born in Poland, settled in Israel and emigrated only later in life to the U.S. in 1977. But unlike de Tocqueville and other aristocratic travelers of old, he had to make ends meet and stumbled into taking commercial pictures of average, normal Americans as a fly-by-night job to pay the bills. Borensztein’s portraits—comprised in his new book, American Portraits, 1979–1989, published this month by Nazraeli Press—took place on the sidelines of commercial gigs. His tools and techniques were dictated by his means: a generic backdrop, a camera, simple and spare.

Yet the depth and quality of Borensztein’s oeuvre place him in a storied canon of chroniclers of America, stretching past those intrepid visionaries of the Farm Security Administration, photographers who voyaged out into a country blighted by the Depression and returned with snapshots of its soul — weary, defiant, beautiful. Early portrait photography — be it conducted by socialist sympathizers during the New Deal or the ethnographic work of turn-of-the-century imperialists — all sought after a kind of authenticity. Gone was the age of outsized oil-canvas monarchs. Now was the time of the quotidian and real, a moment imbued not only with a sense of place, but of human feeling.

Borensztein brings this tradition to bear in his work, but does not belabor it. There is, after all, as the first picture above of the man in Native American headdress makes plainly clear, an artifice involved. He shot modest homes, inhabited by unassuming people. He instructed his subjects specifically not to smile, a marked contrast from the faux-mirth and conviviality of his commercial work, which often relied on the same subjects. Reflecting on what the portraits represented, Borensztein once suggested his “black and white images reflect the alienation so typical of today’s America.”

But even a brief sampling of his pictures would communicate far more to the viewer. They are at once hemmed with a wry, sardonic edge, yet brim over with Borensztein’s genuine empathy for his subjects. Still, “they are not sentimental,” writes Sandra S. Philips, a curator at the San Francisco Museum of Modern Art. Borensztein gives us a world of feeling with a light, almost imperceptible touch. The subjects radiate loneliness and coziness, an empty despair and a glowing hope for the future. Gazing at Borensztein, the man with the camera and that background, “they partly represent him,” writes Philips. “They partake of his curiosity, amazement and tenderness when he looked at these American people.”

Leon Borensztein’s book American Portraits, 1979–1989, was published this month by Nazraeli Press.

Ishaan Tharoor is a writer-reporter for TIME and editor of Global Spin. Find him on Twitter at @ishaantharoor.

Photo News – First time five finalists shortlisted for Taylor Wessing Photographic Portrait Prize

A quick post from the TW Photo Portrait Prize on the shortlist announcement. No time to upload press images at bigger sizes, will do this evening, but for now, here are the selected images and info about the photographers. And remember, Portrait Salon, see earlier post, is still calling for any ‘unselected’ entries to this prize for a projection it is planning. And congratulations to Dona Schwartz, who I met last year to look at her project Empty Nest, it’s good to see that one of her images got through as it is tough competition. The rest are new to me. The Taylor Wessing Photographic Portrait Prize 2011 winner will be announced at the awards ceremony on 8 November and the exhibition will open to the public on Thursday 10 November  at the National Portrait Gallery, London and runs until 12 February 2012.

Press release: “For the first time ever, five photographers have been shortlisted for the £12,000 Taylor Wessing Photographic Portrait Prize, the major international photography award. Firmly established as the leading showcase for new talent in portrait photography, the prize is sponsored by international law firm Taylor Wessing.

Jasper Clarke for Wen

“The Taylor Wessing Photographic Portrait Prize 2011 will showcase the work of some of the most talented emerging young photographers, alongside that of established professionals, photography students and gifted amateurs. Selected anonymously from an open competition, the diversity of styles reflects the international mix of entrants as well as the range of approaches to the portrait genre, encompassing editorial, advertising and fine art images. The judges have selected 60 portraits for the exhibition from over 6,000 submissions entered by 2,506 photographers.

Jooney Woodward for Harriet and Gentleman Jack

“As well as the first-prize winner and four runners-up, the exhibition will feature the ELLE Commission. For the third year running, ELLE magazine will commission a photographer selected for the Taylor Wessing Photographic Portrait Prize exhibition to shoot a feature story. The ELLE Commission was judged by the fashion magazine’s creative director, Marissa Bourke, together with the art director, Tom Meredith, and picture editor, Flora Bathurst.

Dona Schwartz for Christina and Mark, 14 months from the series On the Nest

“With its substantial prize fund and high-profile exhibition and tour, the Taylor Wessing Photographic Portrait Prize continues the Gallery’s long tradition of championing the very best contemporary portrait photography. The following five photographers have been shortlisted for the Taylor Wessing Photographic Portrait Prize 2011.”

David Knight for Andie

Jill Wooster for Of Lili

See over for info on each of the shortlisted photographers…

ABOUT:
Jasper Clarke for Wen
Born in the UK in 1978, Jasper Clarke studied at Edinburgh’s Napier University before moving to London to assist many high profile photographers including Nadav Kander and Liz Collins. His shortlisted portrait taken in Hackney is of Wen Wu, a Chinese artist and is from a personal project depicting artists, musicians and other creatives who live in their work spaces. Clarke says, ‘the portraits are not intended to elicit sympathy for the cash-strapped artist; they are more a celebration of people’s dedication in following a path no matter what the obstacles’. Leaving school without qualifications in 1991, Clarke began taking pictures with a camera given to him by his father. After his photographs initially being published in bike magazines he has gone on to shoot fashion campaigns for Paul Smith, Converse and Umbro.

Jooney Woodward for Harriet and Gentleman Jack
Born in London in 1979, Woodward grew up in Dorset and returned to the capital to study Graphic Design at Camberwell College of Arts, specialising in photography in her final year. Her shortlisted portrait is of 13 year old Harriet Power, a steward at the Royal Welsh Agricultural Show, photographed in the guinea pig judging enclosure. Woodward says, ‘I found her image immediately striking with her long red hair and white stewarding coat. She is holding her own guinea pig called Gentleman Jack, named after the Jack Daniel’s whisky box in which he was given to her. Using natural light from a skylight above, I took just three frames and this image was the first. There is something unsettling about the austere background and the scratch on her hand.’ After graduation, Woodward worked in the Vogue Photographic Archive of Conde Nast Publications before pursuing a career as a freelance photographer from 2009. Her series Unhidden: Documentary Photographs of Contemporary Wales was exhibited at MOMA Wales, in 2010.

David Knight for Andie
David Knight was born in Oxford in 1971 and currently lives in Australia with his wife and twin boys. His portrait of 15-year-old Andie Poetschka was commissioned by Loud for the Cerebral Palsy Alliance to raise awareness of the condition throughout Australia. He says ‘I wanted the portraits to be positive and to convey the kids in an uplifting way. You don’t immediately notice Andie is in a wheelchair; you just see a beautiful young woman. The image doesn’t demand you look at it, but gently draws you in.’ This is the third year running that Knight’s work has been included in the exhibition and this is his first time on the shortlist. He began his career assisting advertising photographers in London and Oxford before working in Dubai on a broad range of assignments across the region, including for Saatchi & Saatchi. He currently works in Sydney for advertising clients but manages to devote time also to portraiture and people-orientated assignments.

Dona Schwartz for Christina and Mark, 14 months from the series On the Nest
Born in the US in 1955, Dona Schwartz is an Associate Professor specializing in Visual Communication at the School of Journalism and Mass Communication at the University of Minnesota. Her shortlisted portrait is of Christina and Mark Bigelow from Minnesota in their son’s vacated bedroom. The image is from her current series, On the Nest, documenting moments of change in parents’ lives, and this photograph explores the emotions experienced by parents as their children leave home. She says, ’the transition to life as an empty nester lacks formal ritual observance. In this case there is no finite gestation period and the new beginning it heralds may be more sobering.’ Last year, Schwartz’s portrait depicting expectant parents Andrea and Brad, 16 days was chosen for the exhibition. Since earning her PhD at the University of Pennsylvania Schwartz’s work has been the subject of five solo exhibitions, numerous international group shows and is held in several collections including Musée de l’Elysée, Switzerland and the Museum of Fine Arts, Houston.

Jill Wooster for Of Lili
Born in1977 in New Haven, Connecticut, Jill Wooster has lived in New York, San Francisco and currently lives in London. Her portrait is of her friend, Lili Ledbetter and was taken at Wooster’s flat in Peckham. She says ‘Lili is a complicated character. I like the way her androgyny makes her appearance seem both guarded and relaxed at the same time, capturing both her confidence and vulnerability.’ The portrait is part of a series portraying women in their forties and fifties at pivotal stages of their lives, ‘some are dealing with serious life-changing issues while others are just dealing with the the process of grower older.’ Wooster studied as an artist at Bard College, New York, and supplemented her post-college painting career by working as a photographic retoucher. She currently works as a freelance photographer specialising in highly stylised and manipulated fashion portraits. However, in her shortlisted portrait the only retouching was some selective blemish removal.

And remember Portrait Salon’s call for “unselected” entries is open until 18:00 (GMT) on 30 September.

Filed under: Documentary photography, Photographers, Photography Awards & Competitions, Photography Shows Tagged: David Knight, Dona Schwartz, Jasper Clarke, Jill Wooster, Jooney Woodward, Taylor Wessing Photographic Portrait Prize 2011

Photo Portrait News – Portrait Salon de Refusés calls for portrait prize images, Alan Powdrill’s Pipe Up portraits and What’s in a Face?

“All portraits reveal something of the sitter, the photographer and also of us as viewers, but none reveal a whole and complete being. This is part of the enduring fascination with the photographic portrait which purports to be an exact likeness but operates more accurately as a metaphor for the self and how that self might exist in the world at a particular point in time.” – Judy Annear, senior curator photographs, Art Gallery of NSW from the press release for What’s in a Face: aspects of portrait photography

Alan Powdrill, Glow from the Pipe Up series

My grandpa, photographer unknown

Alan Powdrill, Amy from Pipe Up series

It’s a photo portrait post, with a pipe-theme, today – that’s one hell of a lot of Ps for a sentence.

Today there’s a call for “unselected entries to the Taylor Wessing Photographic Portrait Prize 2011″ by Portrait Salon, which considering that only 60 images are selected for the international Taylor Wessing Prize, is a fun and positive way to promote portrait photography through trying to retrieve as many of the “discarded” images as possible. Also, some quirky images of women with some amazing pipes (but are they really pipe smokers, I wonder?) courtesy of photographer Alan Powdrill who also has a blog with a Picture a Day, plus an upcoming photo portrait exhibition What’s in a Face? opening on 24 September in Sydney, Australia and running until 5 Feb.

PORTRAIT SALON
Portrait Salon aims to show the best of the unselected entries from the Taylor Wessing Photographic Portrait Prize 2011. The organisers – two portrait photographers, who are both based in London and are professionally involved in the city’s photographic community – believe that, “out of the 5,973 rejected entries, there must be some good quality portraits which deserve to be shown”. To this effect, the organisers have anonymously (at least at this stage), set up a Salon des Refusés, “which has a long tradition as a fringe way of showcasing artists’ work that may otherwise go unseen”. See Wayne Ford’s blog for more  on the origins of the Salon des Refusés.

This will be a projection of works rejected from a juried art show.  So, if you submitted work to the Taylor Wessing photo portrait prize 2011 and got rejected, then you have another chance to get your work seen and shown.

Simply, email a Jpeg only, at 1000 pixels on the longest edge, of your “refused” submission to: [email protected]

See over for more…

Sure, there may be the possibility that your work will not be selected for a second time, but then, unless you give it a go, how will you know? Also, as the organisers say: “We will show a much higher percentage of work than at the National Gallery” this is also because they will be projecting work so will not be as constrained, in terms of numbers of works that can be shown.  “The venue, date and time, is yet to be confirmed. In order to maintain a high standard of imagery, the projection will be curated, so a selection of the submissions will be shown.”

I’ve agreed to help on the judging panel, which will be announced soon, so send your unselected entries in. After all, you’ve already done the work and it won’t cost you anything, except a little of your time. And if you didn’t enter but know someone who did, then pass the details on. Can’t wait to see some of the “refusés”, so look out for some of them in future posts.

WHAT’S IN A FACE? – ART GALLERY OF NSW

Left: Edward Weston (USA 1886-1956) Guadalupe de Rivera, Mexico 1924, printed later gelatin silver photograph, 20.7 × 17.8 cm. Gift of Patsy W. Asch 2000 © Centre for Creative Photography, Arizona Board of Regents. Right: Loretta Lux (Germany b1969) The waiting girl 2006, Ilfochrome photograph, 38 × 53 cm. Purchased with funds provided by the Photography Collection Benefactors’ Program 2007 © Loretta Lux/Bild-Kunst. Licensed by Viscopy, Sydney

With portraiture in mind, the Art Gallery of New South Wales has a show What’s in a Face? aspects of portrait photography which is “an exhibition of 45 photographs from its collection. The exhibition focuses on crucial points in the history of photographic depictions of the human face ranging from studio portraiture in the late 19th century to contemporary practices today. Works by Australian photographers, such as Paul Foelsche, Olive Cotton, Max Dupain, Carol Jerrems, Destiny Deacon, Patrina Hicks, Darren Sylvester and others, are placed in an international context, represented by Man Ray, Edward Weston, Iwao Yamawaki, Nan Goldin, Ben Cauchi and Loretta Lux, amongst others.”

If I am anywhere near the Antipodes before then, and you never know what life can bring, then I will swing along, if not I’ll have to make do with virtual enjoyment. I leave you with these thoughts about portraiture from the press release:

“Using photography to depict the face and figure was initially a time-consuming and expensive business. However, the drive to document all things in the world, and rapid technological advances, meant that by the 1880s most people, willing or not and regardless of the photographer’s or their own desires, were documented in some way.

“Spurious 19th century ideas to do with what a face could represent exploded in the early 20th century when identity came to be seen as a psychological rather than social phenomenon. Theatricality and performing for the camera, which had existed in photography since its inception, also became much more evident in this period.

“In the post-WWII era representations of the face and the body quickly acquired a political and socially aware edge. More recently the face has tended to stand less as an expression of personal experience and more a statement that may signify a set of ideas, whether about the individual, the group or the society at large. Many of these highly constructed images acknowledge and play upon the problematics of the photographic portrait.”

Filed under: Uncategorized Tagged: Alan Powdrill, Art Gallery of NSW, Derek Bevis, photo portraits, Pipe Up, Portrait Salon, portraits, Salon des Refusés, Taylor Wessing Photographic Portrait Prize, What’s in a Face?

Photographer #271: David Chancellor

David Chancellor, 1961, UK, works and lives in South Africa. He studied at Kent Institute of Art and Design. His work, for which he travels extensively, can be best described as documentary reportage. His series Hunters, which will be released as a monograph in 2011, explores the relationship between man and animal. South Africa currently has the largest hunting industry. His series Elephant Story won a World Press Photo award in 2010. We see local villagers in Zimbabwe that fall upon the body of a dead elephant. Within two hours they reduce the large animal to bones. Besides his documentary work David also focuses on landscape and portrait photography and also photographed his wife and son. His photography is very clean, sharp and bright and takes us deep into the subject of human behaviour. Chancellor was named Nikon photographer of the year three times. The following images come from the series Hunters, Cotton and Elephant Story.


Website: www.davidchancellor.com

Francesco Giusti

© Francesco Giusti

The work of Francesco Giusti is fascinating, specially the portraits. It has been a while I was so captivated looking at portrait photography.

© Francesco Giusti