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The UKs new free
photography magazine04FEATURETim Smyth 07IN PROFILEAlec Jackson 10RWA Open Photography 2
03News & Vignette 14Portfolio Review 15Listings & Open Submissions
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2
BenBishop,Editor
Cover AlecJackson
FocusWelcometoVignette,theUKsnewestphotographymagazine!
Eachissuewillbefullofinspiringphotographyfromavarietyofartists,andinformativefeatureshighlightingtechniquesandprocesses.Therewillalsobedetailsofexhibitions,festivalsandopensubmissioncompetitions,andotheropportunitiesforyoutogetinvolved.
Forthis,ourlaunchissue,wemetupwithphotographicartistAlecJackson,whoprovidedourstunningcoverimage,andfoundoutthesecretsbehindhiswork.LondonphotographerTimSmythtalksabouthislatestprojectOneHundredandThirtyNineDefectiveCarrotsandwealsoreportfromtheRoyalWestofEnglandAcademyssuperbOpenPhotography2exhibitionandmeetsomeoftheartistsinvolved.
HereatVignettewehavelotsofplansforfuture
content,butwelcomeyourideas.TherearealsomanyopportunitiestohaveyourownworkincludedinfutureissuesthroughthePortfolioReview,Page3PortraitandVignette.Youcankeepuptodatewithusonlineatvignettemagazine.com,Facebook,FlickrandTwitter.Wehopeyouenjoythemagazine.
EveryissueofVignettegivesphoto-graphersopportunitiestogetinvolved.
Page3Portrait.Forconsiderationpleaseemail1portraitphotograph.Closingdate30thMay2011.
PortfolioReview.Email4photographswithsomebasicdetailsaboutyourphotographicexperience.Closingdate15thMay2011.
Vignettefeature.Thisisa2partsubmission.Submitanimagetobewrittenaboutbyemail.Closingdate30thApril2011.Thechosenimagewillthenbepublishedonourwebsite.Yourvignetteinresponsetotheimageshouldbearound100wordsandsubmittedbyemail.Closingdate30thMay2011.
Ifyouhaveastorytotell,newstoshareorhaveamazingphotographsthatyouthinkwouldmakeaninterestingarticleorfeatureinafutureissueofVignettepleasegetintouch.Emailtheteamatcontact@vignettemagazine.com.
Vignette31BaldwinStreetBristol,BS11RG
VignetteisrunbyUKphotographicprintingspecialists,Photographique.www.photographique.co.uk
Allrightsreserved.AllmaterialinVignettemaynotbereproducedortransmittedinanyformwithoutwrittenconsent.AllcontentinVignetteappearscourtesyofthethecontributorandcopyrightremainswiththecontributor,whereidentied,andwithVignettewherenot.Vignettehasmadeeveryefforttochecktheaccuracyofthecontentofthemagazineandallinformationwasbelievedtobecorrectatthetimeofprint.E&OE.
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VIGNETTE3 NEWS
Ilikeitwhenpassersbystopandtalktomethroughthewindow.Thisexpressionseemstobeonethatdrawsmostattention.Theresawomanacrossthestreetlookingthisway.Bullseye!ShesfollowingmylineofsightandtryingtoseewhatIamlookingat.Nowwerebothlookingatthecafacrossthestreet.InaminuteshellbeoverheretocheckifImallright.Theyusuallydo.Hopeshesgotsomethingtastytoslipinthroughthetopoftheopenwindow.
Writer:LindaBroadbentPhotograph:BobEnship
Yourimageorstorycouldfeaturehere-seepage2.
BorninLondon,JamesKriszyknowlivesintheCotswoldsandworksallovertheUK.JamesgraduatedfromtheUniversityofGloucestershirein2008withaBA(Hons)inEditorialandAdvertisingPhotography.Heisnowapart-timevisitinglecturerinportraitphotography.Hisworkismainlyconcernedwithpeopleandthehumancondition.Hetriestocapturethisineveryimageheproduces;fromthestudioportraitsthatholdmanylayersfortheviewertoread,tohispersonalwork,wherehephotographstheday-to-dayunscriptedtheatreoflife
onthestreetsofpost-recessionBritain.WhatguidesJamesinhisworkishisspontaneousreactiontowhatheseesinfrontofhimandthecontinualsenseofwonderhendswhenframingtheworldwithhiscamera.
www.kriszyk.com
www.james-wonderblogger.blogspot.com
www.ickr.com/photos/kriszyk
Page3Portrait.Fordetailsofhowtosubmityourportraitphotographforconsiderationforafutureissueseepage2.
1. An unbordered picture, oftena portrait, that shades off into thesurrounding color at the edges.
2. A short, impressionisticscene that focuses on one moment orgives a trenchant impression abouta character, an idea, or a setting.
Section 44 ReformHomeSecretaryTheresaMayannouncedinearlyFebruarythatanewlawwouldbedraftedtoreplacethecontroversialSection44.ThisfollowspressurefromgroupssuchasImaphotographer,notaterrorist,civilrightscampaignersandongoingmediacoverageoftheissue.
Themoveislikelytobepopularwithphotographersasinrecentyearsanincreasingnumberofpeoplehavebeenstoppedandsearched,orbannedfromtakingphotographsincertainlocations.Therevisedpolicywillreducesuchincidents,asstop-and-searchpowerswillbeseverelylimited.
Bristol Festival of PhotographyAfterthesuccessoflastyearsBristolFestivalofPhotography,planningiswellunderwayforthenextfestival,settotakeplaceinMay2012.
RecentlythefestivalcollaboratedwithBristolsRoyalWestofEnglandAcademy,offeringaseriesoffreeseminarsandeventsduringtheirOpenPhotography2exhibition.ThefestivalalsosponsoredaprizeawardedtoColinPowellforhisstunningblackandwhitelandscapes.TheawardgivesthewinnertheopportunitytohaveanexhibitionattheGrantBradleyGalleryinBristolduringthefestivalin2012,exhibitionadvicefromphotographerMartinEdwardsandavoucherfromPhotographique.
www.bfop.org
London Street
Photography FestivalTakingplacebetweenJuly7thand17th,theLondonStreetPhotographyFestivalaimstogivestreetphotographyahomeintheUKandprovideLondonerswithacelebrationoftheircitythroughthisessentialtradition.
Afullprogrammeofeventscanbefoundonline,alongwithdetailsofhowyoucanentertwocompetitionsandpotentiallywintheInternationalandStudentStreetPhotographyAwards.
www.londonstreetphotographyfestival.org
The Museum of LondonTheMuseumofLondonishostingamajorexhibitionshowcasingover200imagesfrom59photographers.
ThroughthethemeofStreetPhotography,theexhibitionaimstoexplorethediversityofeverydaylifeinthecapitalandreectontherelationshipbetweenthephotographers,theirsubjectsandtheirsurroundings.Particularemphasisisdrawntothechangingattitudestowardsphotographyinrelationtoprivacyandanti-terrorismlaws.
Theexhibitionwillrunfrom18thFebruaryuntil4thSeptember2011.Aseriesofseminarsandworkshopsareplannedtocomplementtheshow.
www.museumoondon.org.uk
Canon Release 600D and 1100DThelatestadditionstoCanonsrangeofdigitalSLRbodiesareexpectedtobeavailableinearlyApril.The600Dboastsan18megapixelCMOSsensoralongwithfullHDEOSvideorecording,3.7fpsshooting,and9pointautofocus.ItisalsoCanonssecondcameratoincludebuilt-inwirelessashcontrol,aparticularlyusefulfeatureforstrobistphotographers.
The1100DreplacesCanonscurrententrylevelDSLR;the1000D.Itfeaturesa12megapixelCMOSsensor,anISOrangeof100-6400,andthesame63-areaiFCLcolour-sensitivemeteringsystemasusedinthe7D.
CanonwillalsobeunveilingMkIIversionsofthe500mmand600mmF4USMlenses,aswellastwonewSpeedliteashguns.
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4 FEATURE One Hundred and Thirty Nine Defective Carrots
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VIGNETTE5 FEATURE One Hundred and Thirty Nine Defective Carrots
I leave my at at roughly 6:30 am. Its Mondayand Im feeling rattled following a particularly
self-indulgent weekend. I nd solace howeverat my local bakery, BREAKFAST BAP & TEAor COFFEE 2.00. Ketchup please milk andone thanks. The streets are still and quiet as I
turn down Mildmay Grove South to the rental carclub bay. A ock of geese y south overhead inan arrow formation talking amongst themselves.THE ARCTIC WEATHER CONDITIONS ALREADYCAUSING HAVOC ON BRITAINS ROADSaccording to the radio news bulletin, as I head
north on the M1 to a carrot farm in Yorkshire.Murky streaks of road salt have accumulatedon my windscreen; the windscreen washer jetsare broken on the rental car. There are queuesfor miles in the opposite lane heading south
as I stop for petrol, expensive burnt coffeeand tobacco, hot water, and toilet paper towash the windscreen.
Some time later I pull into a lay-by opposite asublime view point of Eggborough Power Stationand call the farmer, Guy, to ask for directions;
we arrange to meet once he has nished hislunch. In the sun drenched reception of thefarm I am greeted by gleeful caricatures ofdancing carrots on the walls. Guy and Jerrytake me through to a small conference roomto talk about the premise of my visit. I tell
them I want to photograph the carrots that,
due to their abnormal appearance, fail to bestocked in the supermarket chain that theysupply. He explains to me the pressures ofconsumer requirements on the farm, how
they are improving their efciency of productionwith many defective carrots being grated,sliced and packaged for sale in supermarkets.Any others are used as animal feed. I ask himfor any ofcial information that he can print orsend to me for further reference. However this
isnt possible due to the sensitive nature of thesedocuments, and any other queries I have he willanswer via email. I thank him for his time andassure him that I wont say anything badabout supermarkets.
Jerry fetches me a hairnet and high-visjacket, then gives me a tour of the farm andshows me the factory. There is a consistent,overpoweringly sweet smell of carrots in theair. He shows me the factory and the machinery
used to grade the carrots. Steel cylindersparallel to one another, at various distances,
allow the carrots to fall through at differentintervals determining their girth. Digitalcameras photograph the carrots as they arewinged along brightly lit conveyor belts; the
defective carrots detected by the cameras aresubsequently ejected with a whip of pressurisedair. In the corner of the factory there is a smallconveyor belt that ascends from ground levelto the rafters carrying the defective carrots. I
begin collecting these carrots into plastic bags.Initially I choose ones with blatant deformities,idiosyncrasies that appeal to me. Then I realisemany of them dont appear peculiar at all, soI start collecting them. Jerry begins to help
bagging the carrots, whilst shouting in my earthrough the din of the machinery, recitals of thedifferent names of rot and disease they have.
Ibecomeincreasinglyfondofeachcarrotregardlessofhowmoderateorextremeitsdefect.
Jerry helps me take the carrots to my car asthe daylight fades. I set off back to London.EXTREME ARCTIC WEATHER GRITSHORTAGES IN NOVEMBER! Drivers areadvised not to make any unnecessary journeys.Somewhere along the M1 I stop for something
to eat, a Large Big Mac Meal is alluring whenyoure feeling weary and far from anywhere.
Back in London I individually photograph each
carrot with the intention of replicating scale andcolour as accurately as possible. I measure theframe of the image in the viewnder, 12 long
to correspond with the print size. The followingday, due to the lack of space in my at and fridgefreezer, I take the carrots to Hackney City Farm
to full their destiny as pig feed.
A few weeks later I meet my mum for lunch at atapas restaurant in London Bridge. I show hera test print of a defective carrot. She shows thewaiter and asks for his opinion. As he pours the
wine for me to taste and check for corkage, helooks perplexed. He replies that he would neverbuy a carrot that looked like that.
One Hundred and Thirty Nine Defective
Carrots is a collection of 139 unique16x12 C types hand printed by Tim Smyth.Smyth currently lives and works in Londonwhere he is represented by Son Gallery.Engaging with environmental issuesand the documentary rhetoric, Smyths
work is distinctive for its considered
attention to detail, taking advantage oflarge format cameras. His grippingabstract visualisations are a productof industrial and consumer waste.
www.timsmyth.co.ukwww.songallery.co.uk
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6 FEATURE One Hundred and Thirty Nine Defective Carrots
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VIGNETTE7 IN PROFILE Alec Jackson
Alec Jackson
Standing at the front door I am greeted by
a man in a navy labcoat and latex gloves.Wearing such attire he need not introducehimself, I can safely assume its Alec Jackson,experimental photographer. He ushers methrough the house and out the back door, upthrough an overgrown garden to what I can only
describe as a concrete bunker. As he opens theblue door, I am immediately hit with the sweet,
almost vinegary smell of used chemicals. Hisdarkroom is piled high with developing traysof various sizes, measuring jugs resting uponshelves, test strips pinned haphazardly across
the walls, semi-dismantled enlargers, andbre optics scattered across the worktops.
He says, Its the small things in life that giveme the greatest pleasure my tiny darkroomis one of them, and although not perfect, it
has given me back the creative freedom whichI had once gone so long without.
Vignette: You call yourself a photographerbut you dont seem to use a camera; how do
you dene your work?
Alec Jackson:I guess people normallyconsider photography to be using a camera torecord the world, but there are so many otherpossibilities. Forget about cameras, lensesand f-stops, I want to break it down into its
basic components; light, time and surface.I look at the various ways in which youcan use these elements to create a newtype of photography, outside of the normalboundaries of a photograph. This has beenmuch more appealing since the advent
of digital photography, almost creating apost-photographic era. For those of us not
quite ready to venture solely into the digitalworld, it gives us more freedom to exploreand redene photography as a medium.
V:You mentioned the term post-photography what do you mean by this?
AJ:As I said, the traditional/historical viewof the photograph is that of documentation
and something which has been enslaved to itfor decades. However the elements involved
with developing an image dont just stop atdocumentation, chemical photography hasalways allowed for experimenation. With thecoming of age of the digital camera, it has
effectively freed up the constraints chemicalphotography once had. Hence the termpost-photography.
V:Howdidthisprojectstart? AJ: Ive been into photography for quite
some time but up until about 5 years ago Ididnt have a darkroom to work in. When webought a house with two concrete buildings atthe top of the garden, I can remember thinking
one of these is going to be my darkroom.
I was always more interested in the
experimentation side of things, anything beyondthe norm really. I had ideas originally thatwould involve the use of masks and dodgingand burning various colours on to photographicpaper. Then one Christmas, my wife bought ahideous bre optic Christmas tree-it was truly
awful! However I found myself drawn to it, notbecause it was attractive, but because I wasintrigued by these bre optics and how theycould be used. Needless to say, once Christmaswas over and done with, I dragged that hideoustree up to my darkroom and hacked all the
bre optics off-believe it or not the tree lookedbetter afterwards! I used them to manipulate thelight from the enlarger on to the photographicpaper; this particular set of bre optics becamethe rst in a wide range of light brushes Imade in order to see the effects it could have
on the photographic paper. However not allmy attempts were successful, I wouldnt liketo hazard a guess at how much photographicpaper Ive gone through in the process!
V:With such large amounts of paper beingbinned, werent you ever tempted to just scanthe images and manipulate them on photoshop?
AJ:Yes, massively, but it goes totally againstwhat Im trying to achieve. The whole point ofmy work is to experiment with light and to seehow I can play around with it. You know howit goes, you do a quick tweak here and a quicktweak there and before you know it theres
nothing left of the original piece. Also I seethe imperfections as part of the charm and thecharacter. The errors, if you wish to view it thatway, is just that human contact has occurredand can be evident in some of the work.
V:What photographers inspire you atthe moment?
AJ:I take my inspiration from a varietyof photographers such as Nadav Kanderwho creates the most beautiful portraits,the photograms of Curtis Moffat and strip
photography from Andrew Davidhazy.
But I also think its important to widen upyour focus of inspiration, many painters andlm makers heavily inuence my work. I guessI am inuenced by anyone who is challenging
preconceptions about the medium they work in.
V:How do you see your workdeveloping over the next few years?
AJ:Im always thinking of ways to develop
my range of light brushes to see what effect,if any, this will have on my work. In fact what
usually happens when Im looking to developwork is that Ill start off with an idea, then Illaccidentally do something, think hang on, Imight have something here and run with thatinstead. Im currently toying with the idea of
mixing documentation with my light paintings,building up various different layers and textures,which may perhaps engage and be accessible toa larger audience. However should somethingweird and wonderful happen, do not besurprised if I decide to go with that instead.
theres only 3 things you needto make a photograph andthats light, time and surface.
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VI
GNETTE
AlecJackson
post-photography
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10 RWA Open Photography 2
Founded over 150 years ago, The Royal Westof England Academy in Bristol has a fullprogramme of varied exhibitions. The RWAsstunning grade 2 listed building providesvast beautiful gallery spaces showcasing the
academys ne art collection, solo and multi-artist exhibitions including 2 open exhibitionsa year. One of these open exhibitions rotatesbetween the disciplines of sculpture, painting,photography and printmaking. The rst OpenPhotography exhibition in 2008 included over
400 photographs and was hugely popular withvisitors. Following the success of this show,the academy opened submissions for itseagerly awaited Open Photography 2exhibition in December 2010.
Over 1600 entries were received. The resultingexhibition of over 300 images opened on 19thFebruary 2011 and included work from invitedartists Barry Cawston, Richard Cox and SachiyoNishimura in addition to a massively variedbody of work from the general submission. In
common with all good open submission shows,
Open Photography 2 allowed photographers ofall levels of experience to exhibit their work inthe same space.
At the preview, as the crowds swelled up
the stairs into the bright elegant gallery, thegeneral consensus was that the exhibitionlooked fantastic. The exhibition highlightedthe diversity within photography as a medium.We asked Barry Cawston for his views on theshow, It was fantastic to exhibit 5 large scale
photographs at such a prestigious institutionand in such a high quality and eclecticexhibition. The resulting press coverage has
been superb and I have had a feature on myphotography in The Independent magazine.
Vignette met up with 8 of the artists who hadimages selected.
RWA Open Photography 2:19th February 5th April 2011
www.rwa.org.uk
Mark Blower
I took this shot in Knowle West,the whole estate was buzzing withEnglands World Cup hopes that wereabout to be shattered. This typiesthe passion of last years World Cup.
www.markblowerphotography.co.uk
Patrick CoughlanStreak is from a series of images Imade in the thick fog bound landscapeof East Anglia in December last year.The notion of a landscape as bothconstant and variable interests me.
www.patrickcoughlan.org
Jade French
I am really thrilled to be exhibitingat the RWA alongside so manygreat photographers. This imageis one of my favourites. I lovethe way it gives the illusion ofan impressionist painting.
www.jadefrench.com
Michael Reeves
It was quite a surprise to turn a cornerand nd this period advertisement.Juxtaposing it with a passing tramseemed an appropriate way ofrepresenting the ux of time inmodern-day Prague.
www.michaelreevesphotography.com
Jim JohnstonI was really pleased to get a couple ofprints into the RWA Open Photographyshow as I thought the standard thisyear was so high. To win best UrbanLandscape was unexpected and I amgrateful to everyone who voted for me.
www.jimjohnston.co.uk
Sarah Macfarlane
Friends and I spent a lovely eveningdining in this beautiful courtyardrestaurant whilst travelling throughSouth East Asia.
www.redkidz.co.nz/things
Paul Blakemore
Looking forward to seeing my picturesin a white wall gallery space as usuallythese prints are stored in a dusty oldBridewell police custody departmentin Bristol!
www.neatstudios.co.uk
Luke Archer
Light and dark is the basis ofphotography and the simplicity of thisis I feel is often over looked. Whatinterests me is how total darkness canstill create a sense of space.
www.lukearcherphotography.co.uk
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VIGNETTE11 RWA Open Photography 2
01
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01_ The Tenement Block by Barry Cawston
02_ Great Western by Jim Johnston
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12 RWA Open Photography 2
03_ Streak by Patrick Coughlan
04_ Handrail by Paul Blakemore
05_ One night in Bangkok by Sarah Macfarlane
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VIGNETTE13 RWA Open Photography 2
06_ An Englishmans Home by Mark Blower
07_ Tram and Pepsi-Cola by Michael Reeves
08_ Brandon Hill by Jade French
09_ Meg by Luke Archer
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14 Portfolio Review
Portfolio Review
Lisa Furness is a freelance commercialand ne-art photographer. She alsoteaches photography to people of allages and is a prominent member ofthe Bristol arts scene, coordinatingEaston Arts Trail and chairing Bristolphotography collective Second Look.www.ickr.com/lisafurness
01_BrilliantlyreminiscentofCaravaggio,butIndthesubjectdifculttounderstand.
02_Iwouldsuggestcroppinginmoretightlytolosesomeoftheemptyspaceatthetopandtoemphasisetheface.
Itmaynotbeallowed,butIwouldhavelikedtoseethecigarettelitormaybeadifferentpropusedunlessyouaretryingtosuggestpotentialunfullled?
03_and04_areamazing,dontchangeanythingandlookupRobertFrank.
PortfolioReview.Fordetailsofhowyourphotographscouldbereviewedbyourpanelseepage2.
Tom Groves London based freelancephotographer Tom Groves works in thestudio of internationally recognised
photographer Martin Parr. Tompreviously worked at Magnum Photosand studied photography at FiltonCollege in Bristol. Groves helpedset up The Emporium communityarts space in Bristol and is currentlyshooting a project on EuropeanSubbuteo players. www.ickr.com/photos/tomgrovesphoto.
InitiallyIwasundertheimpressionthatthersttwophotoswereaseriesofimagestakenfromaplay,asthelightingisthoughtfulandspecic.Thesequencecouldperhapshavebeenmadestrongerifthepost-productionhadbeenbetter,forexample,the
imageoftheladandthepintglassisablackandwhiteimage,butanelementofgreenhassnuckinthere!!
Therstimageinthisserieshasawarmfamilyfeel.However,itcouldbeimprovedbypayingcloserattentiontothepost-productioninPhotoshop;ontheright-handsideoftheimagethehandhasbeenlightenedpoorly,andmakestheimagealotlessappealing.Acertaindegreeofcontextualisationcouldalsohelptostrengthentheimage.
Iliketheportrait02_asitisstrikingandthephotographershowscreativitywiththelightingangle.Ialsolovethe
angleatwhichthecigaretteisbeingheldasitlooksasifitsanextrangerorevenagunbarrel!Greatercontrolovertheintensityofthelightsoasnottoblowoutthehighlightswouldgivetheimageincreaseddenition.
InthethirdpictureIliketheveininthemanstempleaswellastheoutlineofthepintglasswhichstandsoutwellagainstthebackground.Itgivesanauraofsorroworthoughtfulnesswhichcanbehardtomanufacturesogivestheimpressionthatthephotographermayhaveacloserelationshiptothesubject.
Thenalimageisnicelybalanced
andincludesaslightlyamusingbleaknesswiththemessageetchedintothecondensation,mixingwellwiththecoloursandthefeelofwintercreepingin.Theslighthintofthesoftredhairagainstthebluey,greenfeelispleasinganditiswellcomposed.Therearesomestreaksintheshadowswhichagainlooktobetheresultofsomequestionablepost-production.Attentiontodetailinthisareawouldmaximisethepotentialimpactoftheimagesasthetiniestdetailscanoftenbethemostimportant.
NathanielWhiteis18andlivesinBristol.Heisapplyingtostudyphotographyatuniversityin2012.
04_
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03_02_
Martin Edwards has ngers in anumber of photographic pies: heis a lecturer in photography atCity of Bristol College, a freelancephotographer, regular exhibitorand is involved in community artsand photography projects
www.martinedwardsphotography.co.uk.
Abeautifulsetofpictures,fullofatmosphereanddisplayingagoodunderstandingoflightingandmood.Themonochromaticthemeofthephotographshasimpact.
Thetwousingnaturallightthewindow04_andbar03_-areatmosphericandsuggestaslightlymelancholynarrative,withagoodsenseofpersonalengagementandstyle.
Thestudioportraitoftheyoungwomanwithacigarette02_iswelllit,
withcleareyesandgoodexposure.Cigaretteshouldbeintheprocessofbeinglit,perhaps,tomakecompositionlessstatic.
Inthenalimage01_,threewomenappeartobeactingoutascene,withsomethingbeingpassedtoahand.Idontndthisonesosatisfactory,asitleavesunresolvedquestionsabouttheimage,somehowincomplete.
Overall,agood,stylishsetwithplentyofpromise.
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VIGNETTE15 Festivals/Open Submissions
Open Submissions
Taylor Wessing Photographic Portrait PrizeSubmissions open Aprilwww.npg.org.uk/photoprizeTheworld-famousTaylorWessingPhotographicPortraitPrizeopensforSubmissioninApril.Showcasingtheverybestincontemporaryportraitphotographywithattractiveprizestomatch.
British Wildlife Photography AwardsClosing date: 2 June 2011www.bwpawards.org
Open Here: Hereford Photography FestivalClosing date: 31 May 2011www.photofest.org/openhere
The Focus Project 2011Closing date: 16 February 2012www.focusproject2011.com
Travel Photographer of the YearSubmissions open May 4www.tpoty.com
Landscape Photographer of the YearClosing date: July 2011www.take-a-view.co.uk
FestivalsBelfast, UK
Belfast Photo FestivalAugust 4 - 14www.visionexposed.com
Birmingham, UK
Rhubarb International Festival of the Image2011 dates TBAwww.rhubarb-rhubarb.net
Channel Islands, UK
Guernsey Photography FestivalJune 1 30www.guernseyphotographyfestival.com
Dublin, Ireland
PhotoIreland FestivalJuly 1 31www.photoireland.org
Hereford, UK
Hereford Photography FestivalOctober 28 November 26www.photofest.org
Liverpool, UK
Look: Liverpool International Photography FestivalMay 13 June 26www.look2011.co.uk
London, UK
World Photography Festival and Sony WorldPhotography AwardsApril 26 May 1
www.worldphoto.org/festivals-events/wpo-events/london
Krakow, Poland
Krakow Photo MonthMay 13 June 12www.photomonth.com/index.php/en
New York, USA
New York Photo FestivalMay 11 15www.newyorkphotofestival.com
Paris, France
Paris PhotoNovember 9 - 13
www.parisphoto.fr
BradfordThe Lives of Great
Photographers
TheNationalMediaMuseamwww.nationalmediamuseum.org.ukApr14-Sep4 _Free
BristolWildlife Photographer of the
Year
BristolMuseum&ArtGallerywww.bristol.gov.ukFeb19-Jun5_Free
Magical Consciousness
Arnolniwww.arnolni.org.ukMay12-Jul3_Free
CardiffAnarcadia : Ruth Maclennan
Ffotogallerywww.ffotogallery.orgApr21-Jun4_Free
Patagonia : Ken Grifths
Ffotogallerywww.ffotogallery.orgJun11-Jul9_Free
Mi Vida Loca by Joseph
Rodriguez
TheThirdFloorGallerywww.thirdoorgallery.comMar26-May1 _Free
GlasgowChina through the lens of John
Thomson 1868 - 1872
TheBurrellCollectionwww.glasgowlife.org.ukFeb4-June12_ Free
Italy/MilanPaolo Pellegrin: Dies Irae
FoundationFormaforPhotographywww.formafoto.itJan18-May20
LiverpoolAirports for the lights,
shadows & particles
TheBluecoatwww.thebluecoat.org.ukFeb25-May1 _Free
LondonWorld Photography Exhibition
SomersetHousewww.somersethouse.org.ukApr26-May22 _10/7/Kidsfree
Waterline: Cruising
Photography 1925-1970
NationalMaritimeMuseum
www.nmm.ac.ukUntilApr24_ Free
London Photograph Fair
HolidayInnBloomsburywww.photofair.co.ukSunMay15 _Entry3
Hopp Portraits:
Society, Studio & Street
NationalPortraitGallerywww.npg.org.ukFeb17-May30 _11/10/9
Deutsche Brse Photography
Prize 2011
AmbikaP3attheUniversityofWestminsterwww.photonet.org.ukApr6-May1_Free
Russia/MoscowFellini. Grand-parade
MultimediaArtMuseamwww.mdf.ru/englishFeb23-May10
USA/San FranciscoPicturing Modernity
MuseamofModernArtwww.sfmoma.orgFeb26-Jun7
JPG Magazine
Anonlineandphysicalmagazine,madeforandbyphotographers.www.jpgmag.com
DIY Photography
Inspiringtips,tricks,techniques,camerahacks&projectsforyoutoDoIt
Yourself!www.diyphotography.net
Loretta Lux
Elongatedlimbs,oversizedheads,coolgazesandisolatedlocationsfeatureprominentlyinLuxsspookyportraits.www.lorettalux.de
Photojojo
IntheirwordsThebestphototips,DIYprojects,andgearinthewholewideworld.www.photojojo.com
Julie Blackmon
Beautifullysurrealdepictionsoffamilylifewithanenchantingtwist.www.julieblackmon.com
Vivian Maier
PosthumouslydiscoveredarchiveofamazingChicagostreetphotographyfromthe
1950stothe1990s.www.vivianmaier.blogspot.com
Wee Planets
FrenchphotographerAlexandreDuret-Lutzturnspanoramiclandscapesintotinyworlds.www.ickr.com/photos/gadl
Choose Film
Theonlinecommunitydedicatedtolmphotographywww.chooselm.com
Exhibitions Online
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7/30/2019 Vignette 01
16/16
www.ffotogallery.org / [email protected]
Ffotogallery is the national development agencyfor photography and lens-based media in Wales.
EXHIBITIONS / EVENTS / PUBLICATIONS / COURSES
Gallery at Turner House, Penarth (nr Cardiff)
NTLERSVT H E N O M A D I C G A L L E R Y
www.antlersgallery.com
facebook.com/antlersgallery
LIVE
DANCEBOOKSHOP
EXHIBITIONS
EVENTS
CAF BAR
CULTURE
MUSIC
ARNOLFINI
FILM
ART
HARBOURSIDE
INSPIRE16 NARROW QUAY, BRISTOL BS1 4QA
WWW.ARNOLFINI.ORG.UK
Arnolfini Centre for Contemporary ArtsAdmission to the galleries is free
Galleries open:TueSun & Bank Holiday Mon 11am6pm
Bookshop open:TueSun & Bank Holiday Mon from 11am
Caf Bar open daily:From 10am
Barry Cawston: Junkyard Kyushu
OPEN PHOTOGRAPHY 2
Exhibition openMonday to Saturday 10am-5.30pm
Sunday 2-5pm (last entry 30 mins before close)
Admission 4, concessions 2.50,
under 16s free
Saturday 12 March free entry
www.rwa.org.uk / 0117 973 5129
20 February 5 April 2011Exhibitions, workshops and events
Royal West of England Academy, Bristol
@RWABristol
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