#Fine Art Landscape Photography Sydney Australia

[lightmoodspics]

Street Lamp, Durham, New Hampshire, USA

A street lamp, early evening, New Hampshire, USA

Museum quality, archival print on cotton rag paper

More about the prints, framing and free shipping

Also available as

Canvas | Metal | Framed Prints

Urban Photography by Paul Foley

[oursalmanalhajriposts-blog]

Salman Alhajri

• Visual artist, graphic designer and researcher in the field of visual arts

• Born in 1978

• Assistant Professor of Art and Graphic Design, Department of Art Education at Sultan Qaboos University, Muscat, Oman

Academic Qualifications:

• 2013 PhD in art and graphic design Education from Loughborough University, UK

• 2005 Master of Design from the University of Technology, Sydney, Australia

• 2001 Bachelor of  Education (Art Education) Department of Art Education, Sultan Qaboos University

The most recognized awards:

• December 2017- won the 1st award in the 12th annual exhibition of Arabic Calligraphy and Script Calligraphy, of Omani Society of Fine Arts.

• November 2016- won the 2nd award in the 1st annual exhibition Graphic Design of Omani Society of Fine Arts.

October 2016- won the jury award in the 24th annual exhibition of Omani Society of Fine Arts.

• October 2015 won the prize of the committee in a piece of artwork in the field of graphic design, in the ninth exhibition of small artworks in the Omani Society of Fine Arts.

• 2014– Bronze A' Design Award Winner for Arts, Crafts and Ready-Made Design Category in 2013-2014, Italy.

• 2013 – Won the First Graphic Design Award in the 8th Calligraphy & Script Calligraphy Annual Exhibition 2013.

• 2013 – Won the First Prize in the graphic design division of the Small Artwork Exhibition competition, Omani Society for Fine Arts.

• 2009 – Won a competition as a finalist in the 14th International Biennial Print Exhibition, ROC, organised by National Taiwan Museum of Fine Arts.

• 2009 – Won a competition as a finalist in the International Aesthetica Creative Works Competition Art Category, organised by Aesthetica Magazine, UK.

• 2008 – Won a competition for best research poster on the Creative Interdisciplinarity in Art & Design Research Conference, Loughborough University, UK.

• 2008 – madalya of participating at the 21st Annual Festival of Plastic Art (Mahras) Tunisia.

• 2000 – 1st Prize at the 13th Gathering of Arabic Scout Rovers in Kuwait.

• Many of participating and appreciations certificates from different Omani institutions.

Local exhibitions

• 1 Feb - 15 March, display 11 of my original artworks at Bastah Majan Coffee Shop, Muscat.

• 6-13 December,  the 12th annual exhibition of Arabic Calligraphy and Script Calligraphy, of Omani Society of Fine Arts.

• 20 November - 20 January, 2018 the 25th Annual Grand Art Exhibition of OSFA, The Omani National museum.  

• 2017 – October 23rd to 25th, Group Exhibition of International Conference: Urban Primacy and Traditional Urban Fabric in Sultanate of Oman, Sultan Qaboos University, Oman.

• 2017 – August 06th - 10th, The 4rd Solo Exhibition "Digital Arts" at SALALAH TOURISM FESTIVAL, Salalah, Dhofar Governorate, Oman.

• 2017 – July 24th - 26th, group Art Exhibition, Paint for peace’ , Oman International Exhibition Centre of Sohar, 2017, Oman.

• 2017 – February, group Art Exhibition, Irtiqa’ , Muscat Festival 2017, Oman.

• 2016 – December, group Art Exhibition, Leqa’ , Tunisian  Embassy In Muscat, Oman.

• 2016 –The 1st annual exhibition of Graphic Design of OSFA.

• 2016 – November, The 24th Annual Exhibition of OSFA, Muscat

• 2016 – November, group Art Exhibition, Draw for Peace, India Embassy In Muscat, Oman.

• 2016 – November, group Art Exhibition, Islam and the world, Sultan Qaboos Higher Centre for Culture and Science

• 2016 – September,The 11th Annual Arabic Calligraphy Exhibition 2016, (OSFA), Muscat.

• 2016 – May, The 2nd solo exhibition of Salman Alhajri (Closer to the Dream) Bait Al Zubair, Muscat.

• 2016 – March, group Art Exhibition, modern arts salon, Cultural Club, Muscat.

• 2015 – 9th Small Artworks Exhibition (OSFA), Muscat.

• 2015 – September, The 2nd solo exhibition of Salman Alhajri, Sultan Qaboos University, Muscat.

• 2014 – November, The 22nd Annual Exhibition of OSFA, Muscat.

• 2014 – The 8th Small Artworks Exhibition (OSFA), Muscat, from 21 to 27 Oct.

• 2013 – The 17th Youth Exhibition of fine arts, (OSFA), Muscat.

• 2013 – The 8th Calligraphy & Script Calligraphy Annual Exhibition 2013, (OSFA), Muscat.

• 2013 – Small Artworks Exhibition (OSFA), Muscat.

• 2013 – Group exhibition (Majan), The Cultural Club, Muscat.

• 2012 – Wall Painting 2012 of Ghalya’s Musem of Modern Art, Matrah, Muscat.

• 2008 – The 3rd Annual Exhibition of Arabic Calligraphy (OSFA).

• 2006 – The 10th Annual Youth Exhibition (Ibda'a Wa'ed) (OSFA).        

• 2006 – The 1st Annual Exhibition of Arabic Calligraphy (OSFA).

• 2006 – Group Exhibition of Art Education Teachers, Al Mudaybi, Ash Sharqiyah North Governorate.

• 2000 – The art exhibition associated with The Celebration of the First Visit of His Majesty to Sultan Qaboos University.

• 2000 – Group exhibition, 'Lineaments from Omani nature', Sultan Qaboos University, Muscat, The 6th Salalah Festival, Salalah, Oman.

• 2000 – Group exhibition associated with the 4th and 5th Annual Muscat Book Fairs.

• 1997 – Group exhibition, Ibra Technical College, Ibra.

• 1996 – The 9th Annual Exhibition of Omani Artists, Sur.

• 1996 – Group of Artists Exhibition, Ash Sharqiyah Governorate (Ibra, Sur, Jaalan).

• 1994 – The 1st Exhibition of Bidiya’s Artists, Bidiya Sports and Cultural Club.

International participation:

• 21 of June Until 21st of August 2019, participated at a group art exhibition entitled "Mid-Summer Night's Dream" Fete, at Amsterdam Whitney Gallery, Chelsea, New York, USA.

• 04- 21 March, 2019, The Solo exhibition, "Spirits of Letters", on the 4th of March 2019, at the Cultural Village Foundation - Building 19, Hall 1, Katara, Doha, Qatar.

• 19th January, 2019, 5th Koonoz Fine Art Auction and Exhibition,  Bvlgari Hotel, manged by Sotheby's Auction, London 2019, under the patronage of Sheikha Rabaa Khalid Al Ahmed Al Sabah.

• 16- 21 January, 2019, The Solo exhibition, "The Village" as part of The 25th Anniversary of Qurain Cultural Festival, 2018 organised by Kuwait's National Council for Culture, Arts and Letters (NCCAL) Ahmed Al-Adwani exhibition hall in Dahiat Abdullah Al-Salem, Kuwait.

• 19- 21 October, 2018, Art Shopping 2018 (Edition 23) (Carrousel Du Louvre) with The Zee Arts Gallery, Dubai.

• 9- 15 January 2018, The 7th Annual Art Exhibition titled: "Horse & Desert Heritage", Al Najma Club, Bahrain.

• 6-13 December, 2017 participated with 10 artworks in the Art exhibition that associated with the art and design event, "Layers", College of Arts, University of Bahrain.

• 23 November 2017, participated with 4 digital (printed) in the occasion of the 47th celebration of National Day at the Omani Council in Australia.  

• Konoos Fine Art, Auction & Exhibition, At Lanes borough Hotel, 28 of September 2017, operated by Bonhams.

• The 3rd Solo Exhibition "Shores of The Dreams" at Sultan Bin Ali Al Owais Foundation, Dubai, between 26th of April to 12 of May 2017.

• Many international exhibitions, workshops and seminars in: Algeria, Brunei, Iran, London, Kuwait, Dubai, Tunisia and Sydney.

Art schools and the fine art trends:

• Art field: free drawing, digital painting, oil painting, graphic design, photography.

• Trends: calligraphy, realism, expressive art, influential art, surrealism, abstract, and constructive.

• Themes: landscape, Omani historical motives  , the Omani environment, calligraphy, humanity issues, portraits and calligraphy.  

• Raw materials and tools used: Acrylic colors, silk screen printing, computer and graphics programs, printers, tablets, smartphones, and various materials.

For more details on our products and services, please feel free to visit us at Salman Alhajri, Calligraphy art, digital arts, Abstract Art, Arts for sale

[medici12]

Robert Malherbe's confident articulation of landscape and figurative subject matter has earned him the distinction of being one of Australia's most loved contemporary painters. His heavy impasto application of oils is as seductive as it is revealing of the pace in which he paints. Working only from life, Robert Malherbe is a master of light, confidently capturing fleeting moments in a vibrant impressionistic style, driven by instinct and gesture. Robert also paints a fine portrait. Portraiture is a very old artform and before the invention of photography was the only way to record the appearance of someone. Portraits have always been more than a record. They have been used to show power, importance, virtue, beauty, wealth, taste or other qualities of the sitter. Portraits have almost always been flattering due to the commission process. Artists have extended this by painting friends and lovers in whatever way they pleased. Photography is the new medium of traditional portraiture, making available to everyone what was formerly an expensive luxury product. Despite photography, portrait painting continues to flourish. A short film titled "The portraits progress" has been created for Art Signifikant members and will be released in November. Filmed by Simon Hewson members will experience Robert in the studio painting a portrait of James Dorahy, Program Director of Art Signifikant. Art Signifikant gratefully acknowledges the support of the City of Sydney through the Covid-19 Relief Grants Program for the production of this video to assist with online content development for our art education program. . . @robert_malherbe @jamesdorahy @fatografi_insta @cityofsydney #artsignifikant #arteducation #cityofsydney #michaelreidsydney #robertmalherbe (at Michael Reid Sydney) https://www.instagram.com/p/CGBSnSYj346/?igshid=13t4vohfvk8xo

[suzylwade]

Vanessa Stockard “I have always enjoyed reading human traits in animals, cats can be so soft and toy-like, yet demonic too, dogs in their loyalty, just not where food is concerned. So that's 22 years worth so far and counting.” - Vanessa Stockard, Artist. Vanessa Stockard’s delicate still life paintings portray dark little beasties up to no good and staggeringly beautiful portraiture. Stockard resides in the cool serenity of the Southern Highlands of Australia. Having graduated from ‘COFA’ with a Bachelor of Fine Arts majoring in painting, Stockard studied Anatomy and Life drawing at the ‘Julian Ashton Art School’ and Still Life and Landscape Painting at the ‘North Sydney Art School’ as well as gilding and carving with Dane Wilson, Master Framer in the USA. Stockard is a master at transforming the familiarities of everyday life into whimsical adventures. Her paintings are amusing and sweet, awkward and potentially dangerous, domestic creatures reinvented with bazaar anthropomorphic attributes. Stockard captures the unique and sometimes abstract, yet, she also captures the interesting and beautiful connection between things. She breathes life into the delicate quiet moments that tend to get overlooked. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #words #pictures #neon #urchin #vanessastockard #artist #painter #selfportrait #dogs #cats #whimsical #delicate #lightandshade #julianashtonschoolofart #cofa (at Australia) https://www.instagram.com/p/B3l-4X-AwaG/?igshid=i459w3k3jqn6

[emmanuelmonzonphotography]

           The Other Art Fair Sydney,  Presented by Saatchi Art.

The Print Swap, the worldwide project by Feature Shoot, is heading for The Other Art Fair Sydney next month! Curated by Carly Earl, Picture Editor at The Guardian Australia, our tenth international exhibiting features 21 images from photographers all over the world. Selected photographers hail from locales throughout the United States, Brazil, India, Bangladesh, Singapore, Finland, Sweden, Spain, Russia, and France.

There is no fixed theme for this exhibition, and the collection is left open to interpretation. Perhaps one theme that does emerge, however, centers around the precarious relationship between nature and humankind. The sea becomes a recurring motif, as does the man-altered landscape, as seen in Stas Bartnikas’s aerial landscape and Emmanual Monzon’s roadside scenery. The fragility of the wild comes to the fore in the works of Tiina Tormanen, who photographs a dead fish, and Aurélien Calonne, who captures Skaftafellsjökull, a melting glacier in Iceland. And still, despite all this frailty, these twenty photographers find beauty in the earth, whether they’re exploring the remotest wilderness or walking the bustling city streets.

Presented by Saatchi Art, The Other Art Fair Sydney is now in its fifth year. Join thousands of visitors for the fair at Australian Technology Park in Eveleigh from March 14-17. You can purchase tickets here.

As a reminder, photographers around the world are welcome to submit to The Print Swap by tagging their best images #theprintswap on Instagram. Submissions are currently open for our Paris exhibition, opening for five days at Studio Galerie B&B this spring. The photographer and gallery co-director Elise Prudhomme will be our guest curator. All Print Swap photographers give a picture and receive one from another inspiring photographer somewhere in the world, regardless of whether or not they are selected for our offline exhibitions. As always, it’s free to submit, but selected photographers pay $40 per image to be part of the swap. Learn more at our website and follow along at @theprintswap for updates.

Feature Shoot showcases the work of international emerging and established photographers who are transforming the medium through compelling, cutting-edge projects. With contributing writers from all over the world and a wide range of interests, we feature contemporary work in all genres of photography: fine art, documentary, portrait, still life, landscape and more. We believe that photography is a powerful mode of storytelling, and share works that have a strong narrative vision. Started in 2008 by Alison Zavos, Feature Shoot has now amassed an archive of over 4,000 posts of exceptional photography from around the globe.

[landscapeusa]

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[sailorrrvenus]

How to Find Your Style in Photography

How do I find my style? It’s a question that inevitably comes up for almost every photographer actively trying to improve their images. It’s a tough question, at first. Because at first, you don’t really know what that means. Many photographers think that “style” is just equal to how someone might edit their images.

They start going down the rabbit hole, curious about how their favorite photographers ended up with those nice blue tones, or desaturated browns on their feeds, or how they have just that little bit of fade in every image.

When someone is starting out in photography, they don’t know the trends that have come and gone. The permanence of certain visual language elements that have stood the test of time. Or the kitsch crazes that have been and passed.

All of that is okay because that’s the journey we’re all on. The shiny stuff aside, to really find your style in photography, one has to know what this actually means.

What Style Is

Style is not a specific “thing”. It’s not something you can just decide to have or not have. Rather, think of style as a toolbox. A toolbox that has been refined over time.

When an apprentice builder starts his first job, he does so with a few tools he thinks he might need. Eventually, he finds tasks that he doesn’t have the tools for. He figures things out and adds more tools. Along the way, he finds better, more efficient tools to do the same tasks, and so he swaps out his old tools over time.

Eventually, after having nailed thousands of nails and making hundreds of walls, he knows how to do it in his way, fast. Efficient. With style and grace, even. He’s become a master at that task and he sticks to what he knows.

Style is a lot like that. It looks a lot like the process of mastery. Your toolbox isn’t just things like cameras, lenses, and drones. It’s not just your choices of blue tones or red tones. It’s not just whether you like sharp images or blurry ones.

It’s also more abstract – it’s what you shoot, how you shoot it, and why. Do you shoot landscapes more than urban scenes? Portraits over street? How do you shoot those scenes? Wide? Tight? Abstract? Why do you choose to shoot those scenes and why did you decide to do it in that way?

The answer to those questions is the genesis of “style” – the foundation of your toolkit.

It’s About What You Value in Life

A mix of knowing what you don’t know, and an alignment of that knowledge to the things you value in your own life.

For me, photography is about two things: Adventure and minimalism.

My first camera was given to me by my ex-girlfriend. We’d chatted about wanting our relationship to have more adventure, and a camera was a great excuse to get out in the world and start documenting them. I’ve been addicted to chasing new experiences ever since.

But I’m also a minimalist. I put a lot of value on the things I bring in to my life. So on a more tactical level in my images, I try very hard to lean in to simple scenes. Scenes that have only 1 focus point, scenes that are immediately understandable and don’t require a lot of abstraction to pull meaning from.

I do this because I’m thoughtful about the value I place on my time in real life, and subsequently, I’m cognizant of your time too.

Of course, this, like all things in photography, is generally a guideline, not a rule, but it’s something I aim for, and it’s also something that took me a long time of practice, reflection, and a lot (over 100,000) of crappy frames to uncover, and I’m still (and forever) working on it. This is the state of my toolbox right now, and it’s always going to be changing.

What value do you give photography in your life?

One of my photography idols, Alex Strohl, talks about his work being symbolic of his love towards water. How it features in his images, the types of tones he uses, everything. I’ll let you discover why that is in your own discovery of his work, but this is the genesis of it, and I think the clarity of meaning he’s given his work is great.

It Begins with Inspiration

Start with why and find inspiration (from inside or outside yourself) until you discover the answer. The problem for most beginners (but it never really goes away for anyone) is that you don’t know what you don’t know. There are so many places to gather your inspiration from. So many influences you can apply to your own photography.

Don’t think Instagram. Look wider. Look deeper.

Expose yourself to as much inspiration you can and take note of what you like and give value to that. Maybe it’s the story of your childhood. The visual treatment of your favorite movie. Your favorite quote from your grandma. A memory of a trip you’ll never forget.

How can you turn your life’s experiences into images?

Focus on the why and all else will follow. All the other shiny things like gear, settings, and post-processing will be so much better once you have your why.

But of course, look for other things that inspire you too – visual language techniques, color palettes, bokeh, focal lengths, big scenes, little scenes, countries, films, everything. They all have a part to play.

The Clarity of Synthesis

After you’ve immersed yourself in inspiration and made a list of the things you love and are inspired by, synthesize them into something meaningful. Make sense of your inspiration. Give yourself some maxims to operate by, even if you just write them down and never use them, at least they’ll be in your subconscious for when you’re out in the field.

Once you’ve defined what you’re inspired by, it’s much easier to find and make those images in the real world.

It might seem silly to make a vision board of your own style. It might seem strange to write down that you like taking photos of animals because you miss your dog at home. The act of getting it down into the real world, to synthesize it, gives you clarity that most other people just don’t have. And when someone asks you “why do you take photographs?”, you’ll have a killer answer for them that will make you feel great and inspire them to think about their own work, too.

The Art of Experimentation

Once you’ve synthesized your style, you’ve reached the hardest part of it all. Putting yourself out there. It’s time to test it out. At first, alone. Spend time working on it as much as you can. But eventually, with people. Because art really isn’t art until it’s shared, and feedback isn’t really feedback unless someone else is giving it.

Yes, it’s scary. Yes, people might not like it. But if you like it, then maybe it’s not for them, and that’s okay. But for the people who do like it, it might just be the best f***ing thing in the world, and without putting it out there, no one would never know.

What I love about this stage though, is the impermanence of experimentation. If it’s just an experiment, then it’s temporary. It should be. It means you can take it away or revert back to something else. But it also means that you can make it even better if it’s successful and it works.

It’s imperative that every creative sees life in this way. To have the courage to try something new, even if it’s scary. Change is the only method for growth.

The Value of Repetition

And once you take your experiment, shown it to the world and both you and the world loves it, refine it. Work on it some more. Keep getting better and better at that thing, because it’s here that the builder becomes a Master builder.

It’s here that you can see the finesse in the quality of work. The smooth joins and the perfect vertical lines. It’s also after mastering something that you can see the finesse in the quality of other people’s work and add that to your own inspiration too. It’s the best of all worlds.

And Then Start Again

Because creativity has ebbs and flows. Ups and downs. Sure things and irrational fears. Sometimes you need to just drop everything and start again. Sometimes that’s necessary to create the great work you’ll do in the future. It’s totally fine. It was all an experiment anyway.

After all, your toolbox might be a big one. Hell, it might even be well organized. But just like creativity, the contents never really stay the same forever.

Happy shooting and good luck.

P.S. If you enjoyed this article, please consider checking out my preset pack! Each sale helps support me and my work, and in return you get 25 high quality Adobe Lightroom presets and 15 high-res mobile wallpapers to use! Check them out at shop.patkay.com.

About the author: Pat Kay is a freelance photographer and content creator based in Sydney, Australia. The opinions expressed in this article are solely those of the author. Kay has garnered over 65,000+ people on Instagram to share his journey with and works regularly with many great brands such as Sony, DJI, Samsung, Adidas, Nike, Ford, Lexus, Cathay Pacific, and more. You can find more of his work on his website, Instagram, Facebook, and 500px. This article was also published here.

source https://petapixel.com/2019/03/15/how-to-find-your-style-in-photography/

[pauldeckerus]

How to Find Your Style in Photography

How do I find my style? It’s a question that inevitably comes up for almost every photographer actively trying to improve their images. It’s a tough question, at first. Because at first, you don’t really know what that means. Many photographers think that “style” is just equal to how someone might edit their images.

They start going down the rabbit hole, curious about how their favorite photographers ended up with those nice blue tones, or desaturated browns on their feeds, or how they have just that little bit of fade in every image.

When someone is starting out in photography, they don’t know the trends that have come and gone. The permanence of certain visual language elements that have stood the test of time. Or the kitsch crazes that have been and passed.

All of that is okay because that’s the journey we’re all on. The shiny stuff aside, to really find your style in photography, one has to know what this actually means.

What Style Is

Style is not a specific “thing”. It’s not something you can just decide to have or not have. Rather, think of style as a toolbox. A toolbox that has been refined over time.

When an apprentice builder starts his first job, he does so with a few tools he thinks he might need. Eventually, he finds tasks that he doesn’t have the tools for. He figures things out and adds more tools. Along the way, he finds better, more efficient tools to do the same tasks, and so he swaps out his old tools over time.

Eventually, after having nailed thousands of nails and making hundreds of walls, he knows how to do it in his way, fast. Efficient. With style and grace, even. He’s become a master at that task and he sticks to what he knows.

Style is a lot like that. It looks a lot like the process of mastery. Your toolbox isn’t just things like cameras, lenses, and drones. It’s not just your choices of blue tones or red tones. It’s not just whether you like sharp images or blurry ones.

It’s also more abstract – it’s what you shoot, how you shoot it, and why. Do you shoot landscapes more than urban scenes? Portraits over street? How do you shoot those scenes? Wide? Tight? Abstract? Why do you choose to shoot those scenes and why did you decide to do it in that way?

The answer to those questions is the genesis of “style” – the foundation of your toolkit.

It’s About What You Value in Life

A mix of knowing what you don’t know, and an alignment of that knowledge to the things you value in your own life.

For me, photography is about two things: Adventure and minimalism.

My first camera was given to me by my ex-girlfriend. We’d chatted about wanting our relationship to have more adventure, and a camera was a great excuse to get out in the world and start documenting them. I’ve been addicted to chasing new experiences ever since.

But I’m also a minimalist. I put a lot of value on the things I bring in to my life. So on a more tactical level in my images, I try very hard to lean in to simple scenes. Scenes that have only 1 focus point, scenes that are immediately understandable and don’t require a lot of abstraction to pull meaning from.

I do this because I’m thoughtful about the value I place on my time in real life, and subsequently, I’m cognizant of your time too.

Of course, this, like all things in photography, is generally a guideline, not a rule, but it’s something I aim for, and it’s also something that took me a long time of practice, reflection, and a lot (over 100,000) of crappy frames to uncover, and I’m still (and forever) working on it. This is the state of my toolbox right now, and it’s always going to be changing.

What value do you give photography in your life?

One of my photography idols, Alex Strohl, talks about his work being symbolic of his love towards water. How it features in his images, the types of tones he uses, everything. I’ll let you discover why that is in your own discovery of his work, but this is the genesis of it, and I think the clarity of meaning he’s given his work is great.

It Begins with Inspiration

Start with why and find inspiration (from inside or outside yourself) until you discover the answer. The problem for most beginners (but it never really goes away for anyone) is that you don’t know what you don’t know. There are so many places to gather your inspiration from. So many influences you can apply to your own photography.

Don’t think Instagram. Look wider. Look deeper.

Expose yourself to as much inspiration you can and take note of what you like and give value to that. Maybe it’s the story of your childhood. The visual treatment of your favorite movie. Your favorite quote from your grandma. A memory of a trip you’ll never forget.

How can you turn your life’s experiences into images?

Focus on the why and all else will follow. All the other shiny things like gear, settings, and post-processing will be so much better once you have your why.

But of course, look for other things that inspire you too – visual language techniques, color palettes, bokeh, focal lengths, big scenes, little scenes, countries, films, everything. They all have a part to play.

The Clarity of Synthesis

After you’ve immersed yourself in inspiration and made a list of the things you love and are inspired by, synthesize them into something meaningful. Make sense of your inspiration. Give yourself some maxims to operate by, even if you just write them down and never use them, at least they’ll be in your subconscious for when you’re out in the field.

Once you’ve defined what you’re inspired by, it’s much easier to find and make those images in the real world.

It might seem silly to make a vision board of your own style. It might seem strange to write down that you like taking photos of animals because you miss your dog at home. The act of getting it down into the real world, to synthesize it, gives you clarity that most other people just don’t have. And when someone asks you “why do you take photographs?”, you’ll have a killer answer for them that will make you feel great and inspire them to think about their own work, too.

The Art of Experimentation

Once you’ve synthesized your style, you’ve reached the hardest part of it all. Putting yourself out there. It’s time to test it out. At first, alone. Spend time working on it as much as you can. But eventually, with people. Because art really isn’t art until it’s shared, and feedback isn’t really feedback unless someone else is giving it.

Yes, it’s scary. Yes, people might not like it. But if you like it, then maybe it’s not for them, and that’s okay. But for the people who do like it, it might just be the best f***ing thing in the world, and without putting it out there, no one would never know.

What I love about this stage though, is the impermanence of experimentation. If it’s just an experiment, then it’s temporary. It should be. It means you can take it away or revert back to something else. But it also means that you can make it even better if it’s successful and it works.

It’s imperative that every creative sees life in this way. To have the courage to try something new, even if it’s scary. Change is the only method for growth.

The Value of Repetition

And once you take your experiment, shown it to the world and both you and the world loves it, refine it. Work on it some more. Keep getting better and better at that thing, because it’s here that the builder becomes a Master builder.

It’s here that you can see the finesse in the quality of work. The smooth joins and the perfect vertical lines. It’s also after mastering something that you can see the finesse in the quality of other people’s work and add that to your own inspiration too. It’s the best of all worlds.

And Then Start Again

Because creativity has ebbs and flows. Ups and downs. Sure things and irrational fears. Sometimes you need to just drop everything and start again. Sometimes that’s necessary to create the great work you’ll do in the future. It’s totally fine. It was all an experiment anyway.

After all, your toolbox might be a big one. Hell, it might even be well organized. But just like creativity, the contents never really stay the same forever.

Happy shooting and good luck.

P.S. If you enjoyed this article, please consider checking out my preset pack! Each sale helps support me and my work, and in return you get 25 high quality Adobe Lightroom presets and 15 high-res mobile wallpapers to use! Check them out at shop.patkay.com.

About the author: Pat Kay is a freelance photographer and content creator based in Sydney, Australia. The opinions expressed in this article are solely those of the author. Kay has garnered over 65,000+ people on Instagram to share his journey with and works regularly with many great brands such as Sony, DJI, Samsung, Adidas, Nike, Ford, Lexus, Cathay Pacific, and more. You can find more of his work on his website, Instagram, Facebook, and 500px. This article was also published here.

from Photography News https://petapixel.com/2019/03/15/how-to-find-your-style-in-photography/

[photoblogmagda-blog]

Alexia Sinclair

This project is called ‘Rococo’, it contains 20 photographs. The series is ongoing work that Alexia Sinclair started in 2014.

Alexia Sinclair was born in 1976, Newcastle, New South Wales, Australia. She is an Australian fine-art photographer. She studied Fine Arts in Sydney at The National Art School (1995-1998). She majored in traditional photography and her studies in painting, drawing, sculpture, and art history were all influential to her work. She completed a Master of Fine Arts at the University of Newcastle (2007).

“Rococo is a series of theatrical artworks inspired by the lives, fashions, gardens and motifs of 18th century high society. Following the Rococo design aesthetic, the series is sensual, playful and flamboyant. Historical paintings, memoirs and propaganda serve as a rich source of inspiration for this series, which combines Rococo sensibilities with the elegant finesse of contemporary fashion photography. Peeking down to this playful world, you are invited to explore in rich detail, the staging of these ideas.

During the 18th century, powerful women of French and English courts became fashion icons and their tastes swept across Europe. Their excessive, luxurious and exotic creations inspired the silhouettes and embellishments of this series; from Madame de Pompadour's porcelain flowers, to Madame du Barry diamond necklace, Marie Antoinette's muslin chemise and the Duchess of Devonshire's towering plumes.

Throughout this period, gardens, like fashion, became seen as an expressions of one's political and philosophical views. French formal gardens merged with English wildflowers meadows. Hidden gardens, mazes and groves formed the backdrops for decadent garden parties and mischievous encounters. Exotic plants from the new world made these pleasure playgrounds a place of wonder and anticipation. Each artwork in this series is formed from thousands of live flowers, grown specifically for this purpose. The flowers were intricately constructed in a studio setting and combine the formal, wild and exotic flowers found in the dreamlike landscapes of the Rococo period. “

Including this text about the two images I included is to give the viewer insight into what the photograph is about and for better understanding of it. I think that if I didn’t include this it would’ve been harder to understand what Alexia is doing within this series.

I have chosen this image as my starting point as I came across it while doing my research for my staged photography module. I was intrigued by the use of the vibrant colours, the technical approach and the way she present her work. The photograph to me is trying to show a connection between the photograph of the boutique and the flowers that are surrounding the object (the model posing as a particular figure from the French Court) as I think that the connection is between the colours of the flowers in both photographs as they are similar. She did get most of her inspiration from historical paintings therefore i feel like there is a symbolism and maybe even a hidden message behind each of her photographs whether she was just focusing on showing a woman from the french court in the 18th century.

I also like how Sinclair has presented this series along with the work of Sue Williams A’Court’s paintings, as that gives the entire exhibition a different touch as Sue takes the idealised landscape and delves further into its intangible nature, focusing on its essence as a conceptual and emotional space rather than a representation of a physical location or bringing you back to a historical event as Sinclair’s was inspired lots by historical paintings.

I also looked at these image because I am interested in portraiture photography and studio and I feel like this image is very well done in portraiture photography and studio but also the way she has composed it, how she payed attention to the smallest detail, and how her costumes are handmade from embroidered silks and muslins, her flowers were grown specifically for this purpose, ensuring a textural richness and visual exuberance at every level in her scenes. 

https://alexiasinclair.com/collections/rococo 

[andymullens]

Dacchi Dang, Et in Arcadia Ego, 2017, installation with wax, photographs, bamboo leaves, commissioned by 4A Centre for Contemporary Asian Art. An Omen Near and Far.

—

SYDNEY. 9 JUNE – 30 JULY 2017.

Dacchi Dang: An Omen Near and Far is the first survey exhibition of one of the preeminent Vietnamese-Australian artists working today. Presenting a selection of works spanning three decades by a founding artist member of 4A Centre for Contemporary Asian Art, Dacchi Dang is principally concerned with articulating the complex nature of diasporic experience and an ongoing redefinition of ideas of place and of home. With a focus on the artist’s work across photography, printmaking, video and installation, An Omen Near and Far signals the central importance of art in coming to terms with the contingencies of the past and of the present.Born in Saigon and having experienced the latter years of the Vietnam War before fleeing his homeland on a boat to be eventually accepted as a refugee in Australia, Dacchi Dang’s life and art is deeply informed by this trauma, loss and an ongoing search for belonging. An Omen Near and Far unveils a new installation work commissioned by 4A that employs photography and wax that burns and melts over the duration of the exhibition. Informed by a recent 2017 trip to Vietnam, this new work is conceptually connected to an earlier, ephemeral sculpture and performance originally staged as Upstairs/downstairs at Sydney’s National Art School in 1994. This latter work – ghostly documentation of which is included in the survey – saw Dang burn a wax sculpture imprinted with photographic imagery recorded by the artist in Vietnam in that same year, his first visit to his country of birth since arriving in Australia in 1982.Dacchi Dang’s dislocating experience of returning to Cholon, Saigon’s Chinese district and where he grew up, and extended family members in Bến Tre province in the Mekong Delta, prompted him to photograph the people and landscapes of Vietnam voraciously. Having shot over 100 rolls of black-and-white film on his Hasselblad, Dang’s photographic archive of daily life in urban and rural Vietnam documents a time concurrent with the momentous historic occasion of the lifting of the trade embargo between the U.S. and the Republic of Vietnam that had been in place since the end of military conflict in 1975. Dang’s source imagery – now a time capsule of the developing nation in flux– resulted in a highly productive period of experimentation. Spectacle I (1996) and Spectacle II (1996), a suite of monochromatic photogravure prints and their corresponding gold plates, present intimate portraits of ordinary Vietnamese and montaged street scenes tempered by an uneasy balance between empathy and distance.In addition to series of works over the past decades that explore landscapes as colonised and contested forms of cultural memory, from Paris to Peel Island in Queensland’s Moreton Bay, An Omen Near and Far offers a selection of historical material from the archives of both the artist and 4A: photographic proof sheets, exhibition ephemera, reviews, interviews and critical texts. This includes documentation of Dang’s seminal solo exhibition, The Boat, presented at 4A in 2001, a milestone in the development of wider public reception and understanding of art from Asian-Australian perspectives. The Boat garnered strong community responses, opening up dialogue by addressing the profound perils of seeking asylum while prompting a critical consideration of Australia’s changing treatment of refugees.Accompanying the exhibition, 4A will host a panel discussion that will offer insights into the historical research and creative development currently being undertaken by Dacchi Dang for the Australian War Memorial’s Gillespie Bequest commission of a new body of work due for completion over 2017–2018. Exploring the experiences of Australian and Vietnamese–Australians military veterans of the Vietnam War, and engaging with the Memorial’s extensive collection and archives, Dang’s commission represents the first such instance to form part of the national institution’s art collection.

—

Dacchi Dang (b. Saigon, Vietnam, 1966) is an artist who lives and works in Sydney. He is a founding artist member of 4A Centre for Contemporary Asian Art. Dang was born to a Chinese father and Vietnamese mother, and at the age of sixteen fled Vietnam with his brother and sister on a fishing boat. After a traumatic sea voyage the boat arrived on Malaysian shores where Dang was transported to the refugee camp of Pulau Bidong. Following nine months at the camp, he was transported to Kuala Lumpur where he was accepted as a Vietnamese refugee by Australia in late 1982.

Dacchi Dang works primarily with photography and printmaking, in various forms and processes, and also video and installation. His work has been exhibited in Australia and internationally since the early 1990s. Solo exhibitions include Full Circle (2009), Metro Arts Gallery, Brisbane; Liminal (2006-2008), Horsham Regional Art Gallery, Victoria; Centre for Contemporary Photography, Melbourne; and 4A Centre for Contemporary Asian Art, Sydney; Spectacle I (1996), Firstdraft Gallery, Sydney; Spectacle II, Stills Gallery, Sydney. Group exhibitions include DDESSIN [14] (2014), Paris Contemporary Drawing Fair, Atelier Richelieu; Crossing Boundaries (2014), Sydney Town Hall; Edge of Elsewhere (2010-2012), 4A Centre for Contemporary Asian Art and Campbelltown Arts Centre, Sydney; Planet Ueno (2008); Taito Community Museum, Tokyo; Re-StArt (2008), 733 Art Factory, Chengdu; and News From Islands (2007), Campbelltown Arts Centre, Sydney.

He graduated with a Bachelor of Fine Arts (1991) and a Master of Arts (1996) from the College of Fine Arts, University of New South Wales, Sydney; Graduate Diploma in Archives and Records Management (2000) and Graduate Certificate of Applied Science in Cultural Heritage Studies specialising in Photography (2003) from University of Canberra; and a Doctor of Philosophy (Fine Arts) from Queensland College of the Arts, Griffith University, Brisbane (2013). Dang has undertaken numerous artist in residence programs including at Bundanon Trust (2001), Hill End (2001); Cité Internationale des Arts, Paris (2003) and Tokyo University of the Arts Geidai (2008). His work is held in public and private collections in Australia, France, China and Hong Kong. Over 2015-2018 Dang is producing new works commissioned by the Australian War Memorial Gillespie Bequest that explore the wartime experience of Vietnamese–Australians and its legacy today.

[lightmoodspics]

Dusk, Hudhuranfushi, The Maldives (0113)

The golden light of a tropical sunset is reflected in the warm waters of The Maldives.

As I enjoyed the setting sun with the water lapping around my feet I made a series of images that I later combined into a single image.

My process is to use a digital brush to reveal and hide sections of multiple layers to recreate, in one frame, how my surroundings affected my senses and creativity.

Museum quality, archival print on cotton rag paper

More about the prints, framing and free shipping

Also available as

Canvas | Metal | Framed Prints

Abstract Photography by Paul Foley

[oursalmanalhajriposts-blog]

Salman Alhajri - Omani Artist

• Visual artist, graphic designer and researcher in the field of visual arts

• Born in 1978

• Assistant Professor of Art and Graphic Design, Department of Art Education at Sultan Qaboos University, Muscat, Oman

Academic Qualifications:

• 2013 PhD in art and graphic design Education from Loughborough University, UK

• 2005 Master of Design from the University of Technology, Sydney, Australia

• 2001 Bachelor of  Education (Art Education) Department of Art Education, Sultan Qaboos University

The most recognized awards:

• December 2017- won the 1st award in the 12th annual exhibition of Arabic Calligraphy and Script Calligraphy, of Omani Society of Fine Arts.

• November 2016- won the 2nd award in the 1st annual exhibition Graphic Design of Omani Society of Fine Arts.

October 2016- won the jury award in the 24th annual exhibition of Omani Society of Fine Arts.

• October 2015 won the prize of the committee in a piece of artwork in the field of graphic design, in the ninth exhibition of small artworks in the Omani Society of Fine Arts.

• 2014– Bronze A' Design Award Winner for Arts, Crafts and Ready-Made Design Category in 2013-2014, Italy.

• 2013 – Won the First Graphic Design Award in the 8th Calligraphy & Script Calligraphy Annual Exhibition 2013.

• 2013 – Won the First Prize in the graphic design division of the Small Artwork Exhibition competition, Omani Society for Fine Arts.

• 2009 – Won a competition as a finalist in the 14th International Biennial Print Exhibition, ROC, organised by National Taiwan Museum of Fine Arts.

• 2009 – Won a competition as a finalist in the International Aesthetica Creative Works Competition Art Category, organised by Aesthetica Magazine, UK.

• 2008 – Won a competition for best research poster on the Creative Interdisciplinarity in Art & Design Research Conference, Loughborough University, UK.

• 2008 – madalya of participating at the 21st Annual Festival of Plastic Art (Mahras) Tunisia.

• 2000 – 1st Prize at the 13th Gathering of Arabic Scout Rovers in Kuwait.

• Many of participating and appreciations certificates from different Omani institutions.

Local exhibitions

• 1 Feb - 15 March, display 11 of my original artworks at Bastah Majan Coffee Shop, Muscat.

• 6-13 December,  the 12th annual exhibition of Arabic Calligraphy and Script Calligraphy, of Omani Society of Fine Arts.

• 20 November - 20 January, 2018 the 25th Annual Grand Art Exhibition of OSFA, The Omani National museum.  

• 2017 – October 23rd to 25th, Group Exhibition of International Conference: Urban Primacy and Traditional Urban Fabric in Sultanate of Oman, Sultan Qaboos University, Oman.

• 2017 – August 06th - 10th, The 4rd Solo Exhibition "Digital Arts" at SALALAH TOURISM FESTIVAL, Salalah, Dhofar Governorate, Oman.

• 2017 – July 24th - 26th, group Art Exhibition, Paint for peace’ , Oman International Exhibition Centre of Sohar, 2017, Oman.

• 2017 – February, group Art Exhibition, Irtiqa’ , Muscat Festival 2017, Oman.

• 2016 – December, group Art Exhibition, Leqa’ , Tunisian  Embassy In Muscat, Oman.

• 2016 –The 1st annual exhibition of Graphic Design of OSFA.

• 2016 – November, The 24th Annual Exhibition of OSFA, Muscat

• 2016 – November, group Art Exhibition, Draw for Peace, India Embassy In Muscat, Oman.

• 2016 – November, group Art Exhibition, Islam and the world, Sultan Qaboos Higher Centre for Culture and Science

• 2016 – September,The 11th Annual Arabic Calligraphy Exhibition 2016, (OSFA), Muscat.

• 2016 – May, The 2nd solo exhibition of Salman Alhajri (Closer to the Dream) Bait Al Zubair, Muscat.

• 2016 – March, group Art Exhibition, modern arts salon, Cultural Club, Muscat.

• 2015 – 9th Small Artworks Exhibition (OSFA), Muscat.

• 2015 – September, The 2nd solo exhibition of Salman Alhajri, Sultan Qaboos University, Muscat.

• 2014 – November, The 22nd Annual Exhibition of OSFA, Muscat.

• 2014 – The 8th Small Artworks Exhibition (OSFA), Muscat, from 21 to 27 Oct.

• 2013 – The 17th Youth Exhibition of fine arts, (OSFA), Muscat.

• 2013 – The 8th Calligraphy & Script Calligraphy Annual Exhibition 2013, (OSFA), Muscat.

• 2013 – Small Artworks Exhibition (OSFA), Muscat.

• 2013 – Group exhibition (Majan), The Cultural Club, Muscat.

• 2012 – Wall Painting 2012 of Ghalya’s Musem of Modern Art, Matrah, Muscat.

• 2008 – The 3rd Annual Exhibition of Arabic Calligraphy (OSFA).

• 2006 – The 10th Annual Youth Exhibition (Ibda'a Wa'ed) (OSFA).        

• 2006 – The 1st Annual Exhibition of Arabic Calligraphy (OSFA).

• 2006 – Group Exhibition of Art Education Teachers, Al Mudaybi, Ash Sharqiyah North Governorate.

• 2000 – The art exhibition associated with The Celebration of the First Visit of His Majesty to Sultan Qaboos University.

• 2000 – Group exhibition, 'Lineaments from Omani nature', Sultan Qaboos University, Muscat, The 6th Salalah Festival, Salalah, Oman.

• 2000 – Group exhibition associated with the 4th and 5th Annual Muscat Book Fairs.

• 1997 – Group exhibition, Ibra Technical College, Ibra.

• 1996 – The 9th Annual Exhibition of Omani Artists, Sur.

• 1996 – Group of Artists Exhibition, Ash Sharqiyah Governorate (Ibra, Sur, Jaalan).

• 1994 – The 1st Exhibition of Bidiya’s Artists, Bidiya Sports and Cultural Club.

International participation:

• 21 of June Until 21st of August 2019, participated at a group art exhibition entitled "Mid-Summer Night's Dream" Fete, at Amsterdam Whitney Gallery, Chelsea, New York, USA.

• 04- 21 March, 2019, The Solo exhibition, "Spirits of Letters", on the 4th of March 2019, at the Cultural Village Foundation - Building 19, Hall 1, Katara, Doha, Qatar.

• 19th January, 2019, 5th Koonoz Fine Art Auction and Exhibition,  Bvlgari Hotel, manged by Sotheby's Auction, London 2019, under the patronage of Sheikha Rabaa Khalid Al Ahmed Al Sabah.

• 16- 21 January, 2019, The Solo exhibition, "The Village" as part of The 25th Anniversary of Qurain Cultural Festival, 2018 organised by Kuwait's National Council for Culture, Arts and Letters (NCCAL) Ahmed Al-Adwani exhibition hall in Dahiat Abdullah Al-Salem, Kuwait.

• 19- 21 October, 2018, Art Shopping 2018 (Edition 23) (Carrousel Du Louvre) with The Zee Arts Gallery, Dubai.

• 9- 15 January 2018, The 7th Annual Art Exhibition titled: "Horse & Desert Heritage", Al Najma Club, Bahrain.

• 6-13 December, 2017 participated with 10 artworks in the Art exhibition that associated with the art and design event, "Layers", College of Arts, University of Bahrain.

• 23 November 2017, participated with 4 digital (printed) in the occasion of the 47th celebration of National Day at the Omani Council in Australia.  

• Konoos Fine Art, Auction & Exhibition, At Lanes borough Hotel, 28 of September 2017, operated by Bonhams.

• The 3rd Solo Exhibition "Shores of The Dreams" at Sultan Bin Ali Al Owais Foundation, Dubai, between 26th of April to 12 of May 2017.

• Many international exhibitions, workshops and seminars in: Algeria, Brunei, Iran, London, Kuwait, Dubai, Tunisia and Sydney.

Art schools and the fine art trends:

• Art field: free drawing, digital painting, oil painting, graphic design, photography.

• Trends: calligraphy, realism, expressive art, influential art, surrealism, abstract, and constructive.

• Themes: landscape, Omani historical motives  , the Omani environment, calligraphy, humanity issues, portraits and calligraphy.  

• Raw materials and tools used: Acrylic colors, silk screen printing, computer and graphics programs, printers, tablets, smartphones, and various materials.

For more details on our products and services, please feel free to visit us at Calligraphy art, Salman Alhajri, Omani Artist, Arabic Calligraphy, Arts for sale

[jeremystrele]

Leila Jeffreys’ QBE MUSE @ Taronga Zoo Exhibition

Leila Jeffreys’ QBE MUSE @ Taronga Zoo Exhibition

Creative People

by Elle Murrell

Leila Jeffreys’ art photograph, Sooty Owl. Those eyes!! Photo – Leila Jeffreys and courtesy of Taronga Zoo.

Nicobar Pidgeon. The exhibition was born out of shared admiration for the conservation of Australia’s birds and their natural environment. Photo – Leila Jeffreys.

Rainbow Bee-eater. ‘Leila’s art will help connect or reconnect our Zoo guests with birds and create advocates for their conservation,’ says Elle Bombonato of Taronga Zoo. Photo – Leila Jeffreys.

Leila’s photographs share the details that the everyday person would not see with the naked eye; ‘the finely tuned structure of a feather, intricate patterns, variation of colours, the setting of an eye and the design of a beak as a tool for survival,’ describes Elle. Photo – Guy Dixon.

‘QBE MUSE @ Taronga’ will help raise awareness of some very unique, specialised and critically endangered species such as the Regent Honeyeater (pictured) and the Plains-wanderer. Photo – Leila Jeffreys.

Splendid Fairy Wren. ‘To share this amazing art through Leila’s life size images, carefully placed within Taronga’s natural landscape, is an opportunity that people shouldn’t miss,’ invites Elle. Photo – Leila Jeffreys.

QBE Muse @ Taronga will become an annual outdoor arts event. ‘We want to ensure guests appreciate that these elusive species are often around us, yet people rarely set eyes on their intricate beauty,’ says Elle. ‘Art has an amazing ability to engage the world and change the world.’ Photo – Guy Dixon.

Fenrick Black Kite, which can be witnessed in the zoo’s Free Flight Show. Photo – Leila Jeffreys.

Art photographer and activist Leila Jeffreys pictured with Ivy. Photo – Bo Wong.

This week, photographic artist Leila Jeffreys unveiled her first public, outdoor photography exhibition. In distinctly different surrounds to her last showcase, opening in New York in October (it runs until November 12th!), Leila’s ‘QBE MUSE @ Taronga’ presents 10 of her spectacular bird portraits, on two-metres high canvases set among the lush ‘habitats’ of Sydney’s Taronga Zoo. ‘The larger the bird, the smaller we become… I like that,’ says Leila. ‘Let’s flip the world over and let them dominate us for a change!’

The artist was contacted by Elle Bombonato, manager of the Animal Presentation Precinct at the Zoo’s Wildlife, Conservation and Science department, to work on an experience to celebrate the 20th anniversary of the Zoo’s QBE Free Flight Bird Show, and the pair immediately clicked. ‘I get so excited when I meet people that are passionate about wildlife, and the staff at Taronga have a dedication that is second to none,’ says Leila. ‘It was an exciting experience for me as I got to go behind the scenes to see some of the conservation programs they are running; I fed off that energy and the fact that we all just wanted to do something special together for the birds.’

Elle believes Leila’s 10 artful images will change the way we view birds forever, and hopes the works will encourage meaningful conversation about nature and wildlife conservation. ‘There are so many ways a camera can extend our ability to perceive the world,’ he explains. ‘Leila’s art leaves us with a legacy for future generations and captures an important moment that helps us celebrate and appreciate these incredible species.’ 

‘QBE MUSE @ Taronga’ champions avian beauty and diversity, with Leila including critically endangered species, such as the Regent Honeyeater and Plains-wanderer. Several of the actual birds are Taronga Zoo residents and were photographed on site, while the vast majority of all the species included can be found at the zoo, and the majestic Black Kite can even be witnessed in a Free Flight Show.

The photographer and environmentalist encourages people to view her portraits and then seek out the birds for a real-life encounter. ‘We mostly live in such urban areas and we’re losing our connection to wildlife,’ tells Leila. ‘This is a combination of art and conservation, which I hope helps us all connect with these exquisite beauties. Australia has incredible birds, and Taronga Zoo is a conservation leader.’

‘QBE MUSE @ Taronga’ by Leila Jeffreys November 1st to 30th Taronga Zoo, Sydney

Leila Jeffreys is represented by Olsen Gallery in Sydney. You can find out more about her work on her website, here, and her book ‘Birdland’ is available at the Taronga gift shop or through any good online book outlets.

Every two years Taronga awards funding to projects and programs that demonstrate conservation outcomes. Some of these projects have helped regenerate habitats, stop poaching and trafficking of wildlife and reduce conflict between communities across the globe. If you would like to make a donation in support of these vital efforts, please visit the website, here.

[stinkfart-blog]

The Basics Of Portrait Photography

There is no such better manner than to let an expert wedding ceremony photographer Swindon to deal with your pictures of the wedding event. While the system is template based mostly, SmugMug allows for customization utilizing each a drag-and-drop-style editor or, for the online savvy, HTML and CSS - the platform sits at a type of completely happy medium between the straightforward and feature-heavy. Effectively, just a few benchmarks will help you discover one of the best marriage ceremony photographer, like their years of expertise in wedding images, their past work samples, the standard of their capturing equipments, and the way effectively they are aware with the marriage rituals at your place. They're going to get to stretch their artistic muscle tissues, and you'll end up with enjoyable and creative wedding ceremony and engagement photographs that set you apart. Fortunately, once you discover the best marriage ceremony photographer - just like a good life companion - you want only one. Apart from utilizing it in your wedding ceremony reception, you'd in all probability be utilizing the same for all the decorations you need and that additionally for the centerpieces used for each table put up. Due to this fact make sure the hue you go for will additionally be a fantastic factor to make use of while you've gotten to spruce up the world of the wedding. First you want to come up with a list of things to photograph, then you definately get a gaggle of buddies together and go out and interpret the record individually. Function images in essence might be said to be an image or collection of photographs that tell a story from a newsworthy perspective. Digital wedding photography with its manifold advantages is all that you need to take you over the sting in your wedding ceremony extravaganza. Another unique wedding ceremony pictures to contemplate is after the marriage photo session. A wonderful games lens man has to be aware of his or her subject matter advantageous satisfactory to anticipate when to grab photos similar to a number of action shot. If you are having your marriage ceremony in San Francisco, there are some things so that you can think about so that you can select a photographer that is going to be proper on your needs. He studied images at the cole Nationale Suprieure de la Photographie in Arles. To start with, obviously, among the Unique Elements that you simply checklist for portraits will work simply nice for marriage ceremony photography, also. Now, normally you've clichd wedding ceremony photographs of bride and bridesmaids, groom and his associates, family and so forth. These folks click on the identical pictures, however the distinction lies within the perspective. The fashion of Joe Bussink is influenced by landscape pictures and fine art. Otherwise, every single youngster would be capable to take images which might simply depict the situation and present the dry reality without any feelings and without any magnificence Marriage ceremony photographers are the magicians who could make your life alive eternally.

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Zelko Nedic

Zelko Nedic is a professional art photographer from Sydney, Australia, Since 2010, his personal work has led him to work with other artists and businesses, making him grow significantly as an artist. In 2010, he worked with ‘Head On’ to document the Mardi Gras Festival. Since his practice of documenting Sydney life, he had been invited to present work for the Australian Centre for Photography, and in 2011, 2014 and 2015 Zelko Nedic was one of the finalists in Moran Contemporary photographic prize. In 2013, 2017 he was a finalist in the prestigious National Photographic Portrait Prize, National Portrait Gallery Canberra. He has also featured in a number of publications including ‘Black and White Magazine’, ‘F-Stop Magazine and ‘Photoshop Australia’ (issue 2 & 3).

What is the photographer’s motivation for being a photographer? What is the photographer’s motivation for creating this type of imagery? “Photography tells me something about how we understand the world around us. I have done some painting and sculpture work in the past, but photography is the media that gives me more excitement than any other artistic expression. The biggest inspirations to me are people around me that I meet on a daily basis. The presence of a contradiction between control and risk-taking is apparent in most of my works; which could be one of my excitements for sure.”

Another motivation and a huge inspiration towards his personal project ‘Lost Memories’ is the fact that he lost his childhood memories during the Bosnian War, and the photographs featured in his work were ones that he found in a shop, coincidently from the same year he was born. It’s almost as if he is pretending to know these people, which evoked Nedic’s feelings of familiarity and the sense of belonging. “It has been a rare opportunity to reconnect with memories from the past, rebuild and preserve precious thoughts.”

Discuss whether this photograph has been taken for a commercial purpose, editorial purpose or for a fine art purpose. As this is Nedic’s own personal project I feel as though this photograph and especially the rest of this series of photographs, was not taken for any purpose other than his own. This photograph is not commercial and it not selling any product. Neither was it taken for an editorial or fine art purpose to feature in a media context or gallery to be sold. On the other hand, however, this photograph may have featured in a magazine or gallery to complement an article about Nedic, but the photograph was not taken solely for this reason.

Because this series ‘Lost Memories’ holds a very personal meaning and message for Nedic, using other people’s photographs to recreate his own very faint childhood memories may mean that Nedic didn’t want these photographs to be sold on further, as this project may mean too much to him.

Discuss the underlying genre of this photograph. In my opinion, there are many genres that this photograph could be classed into. The first is a portrait, as this photo features two men’s portraits. The second genre this could be is landscape/architecture. Although this isn’t the photograph’s major genre and I wouldn’t class this photograph as it, it does feature a rather large statue in the background which makes a very bold focal point, and it is another ‘figure’ in the photograph. The statue and the landscape could both contribute to the meaning of the original photograph and why it was taken. Another similar genre is the environment. The last genre I would class this as semi-abstract because of the ‘state’ of the photograph and how it has been edited.

Discuss why you think that this photograph is either a purely abstract image or a semi-abstract image. Leading on from the previous question, I believe this photograph is semi-abstract. I think this because the image is blurred in places, and also has other features within the photo that hard to interpret and make out what they are, for example, the blurry portrait is seen above the wall, the brown part to the side of one of the people and the black parts at the top and to the side. However, I have found a quote by Nedic, which explains these partial pieces in the photograph. “The partial figures in the images are significant of the flashes we usually have of long-term, distant images in our head. The intertwining of the pictures is the mind’s way of collating long-term memories to oblivion and our desperate will to resist and keep them alive.”

Discuss the main technical or formal elements featured in this photograph. There are two main elements I have discovered in this photograph. The first is the use of colour. Nedic has used the state of the original, old photograph and has photoshopped on top some effects and colours, including a faded, sepia tone to enhance the appearance of the past. This is effective as the audience can see the photographs are old and may evoke feelings of nostalgia and older technology when colours were not so developed. The second main technical element is the blurry aspects of the image. This is effective because the audience cannot clearly make out what is featured in the image, therefore questioning what we can really see. This is where Nedic has used Photoshop to layer and fade parts of the photograph.

Discuss the type of abstraction techniques that the artist/photographer has used to create this photograph. Do you think that the photographer has used digital editing (such as Photoshop)? How has he used these techniques? I feel that there is one main type of abstraction technique that Nedic has used to create the new version of his photographs, which is by using digital collaging, possibly Photoshop to combine the real image with other photographs or by layering different parts of images on top of the original image. This is why we can see a faint person ‘hovering’ above the wall and other faint features on top and within the photo.

Although there is no evidence I would like to suggest that the original photographs have been ‘weathered’ or have faded over time due to the amount of time they have existed, and this portrays the theme of memories because with time they fade too.

What impact do you think that this could have had on the way that viewers react and respond to the photograph? As Nedic has used Photoshop to create the new images, the viewers may feel slightly confused because photographs have been combined together to create the new perspective and an image that isn’t particularly real or accurate, which is what memories can be. On the other hand, these ‘fake’ images could evoke a sense of familiarity and nostalgia because these images symbolise unclear memories. The viewers could start to question their own memories, which reflect in these photographs. Viewers may also think that these creations are very clever how they’ve been made to interpret a jumble of memories.

What is my personal response to this photograph and how does this photograph inspire or relate to your own work? I think that Nedic’s creations are very clever and in my opinion, show an accurate interpretation of inaccurate memories and what we imagine when we try to recall information. His images explore the fact that the brain does jumble up and fuse together information we have that could be similar and therefore could work together to make a new ‘false’ or an inaccurate memory, shown in these photograph interpretations.

Nedic, as a memory interpreter and artist, is a huge inspiration and personal connection for my project, especially for a future photoshoot where I can explore my own family’s past through photographs, photograph the prints and potentially combine them. I would like to focus on photographs from an era where I wasn’t alive so I can interpret memories and atmospheres, and the experimental combinations in my own way, and as well I can create a jump by later involving myself in the project for that personal connection with the audience. On the other hand, Nedic has inspired me to think about using other photographs that belong to someone I don’t know like what he did, pretend to be these people and imagine their lives.

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Artist Analysis 3- Ingvar Kenne

Ingvar Kenne was born in 1965 in Sweden. He is a professional photographer and has worked for many companies, such as Bupa, Sony, Boost, Toyota and Allianz- showing he has been commissioned by a huge variety of companies, from technology to cars. He has also had lots of exhibitions all over the world- his solo ones are mainly in Sydney and Sweden, such as ‘2014 The Hedgehog And The Foxes, Lowroad Gallery, Sydney’ and ‘1991/92 Vid Sidan Av (On The Side), Stockholm Culture House, Sweden’ and he has had roughly 23 solo exhibitions. He has also had lots of group exhibitions all over the world between 1987 and 2015, including ‘2014 Photo Independent, Raleigh Studios, Los Angeles, USA’, ‘2014 Salon Show, Galerie Pavlova, Berlin, Germany’ and lastly ‘2012 Photographic Portrait Prize, Flinders University Art Museum, Adelaide’.

What is the photographer’s motivation for being a photographer? What is the photographer’s motivation for taking/ creating landscape images?

Kenne doesn’t just create landscape images, he is well known for his portraiture work as well, but in his landscape images he also has motivation. While receiving a camera and basic training at the age of 12, he didn’t really focus on photography until travelling. He had a huge trip at the beginning of his career (in 1987) he went around Australia and New Zealand hitchhiking, and the photographs he took on this trip created a set he called ‘chasing summer’. “I think that (Chasing Summer) formed me completely as a photographer. I think it came from the luxury of being away from everything you knew for so long, and pop culture. I never watched television during that time, read magazines, I was just in my own head. It wasn’t a discussion with anyone else but myself. Maybe that’s why it became quite defined in that time.” This shows that adventuring and travelling are a huge influence for his photographs, especially landscapes as travelling allows him to see new locations such as the ocean. Kenne says he was motivated by being alone, and away from everything as it allowed him to focus in on what he was doing and creating.

What is the location in the photograph?

The location for this photograph by Kenne is rural because it’s set in the forest. Most of Kenne’s photographs are set in very interesting rural places, not really urban, especially his set called “landscapes deconstructed” which features a lot of rural and coastal locations.

Describe and explain the techniques the artist has used to distort the original landscape photograph?

This particular photograph by Kenne has been divided into sections, the original image has been printed out, cut up and then stuck back together in almost the exact same order. Some parts are slightly off, so they are not lined up perfectly, but I think this gives a more distorted feel to the image, compared to the sections being lined up exactly the way they should be.

Discuss the main technical or formal elements featured in this photograph.

A shallow depth of field plays a large role in this photograph, as it gives a very dream like quality which I enjoy throughout all of my photographs. As you look further back into the image, the trees and branches seem to blur together much more, and the trees closest to the lens are more in focus, however even those trees are not perfectly clear, they are also slightly blurred. This makes the entire image more eerie, so gives a creepy atmosphere. Another strong element is colour, and there is really not much colour at all, so it’s more based on a monochromatic colour scheme. The colours aren’t directly black and white, there are a lot of dark brown and beige colours, which does add more warmth to the image, but also more depth. I also think the white really blends nicely with the browns, which means as the image gets more blurry (linking again to the shallow depth of field) the colours in the photograph blend together better than black and white would. Lastly, the angles are really important. There aren’t a lot of strong angles in the actual photograph, but Kenne has created a lot of strong angles when he’s cut them up and reattached them.

Do you consider this image to be a photograph or more of a piece of fine art? 

Personally, I think it can be a bit of both. When I look at fine art, a lot of the time the original image is almost unrecognisable, or almost completely covered using fine art material such as paint, but with this image, you can clearly see what the photograph is and it’s not covered at all, only slightly. However there definitely is a fine art element to it, clearly shown by the sellotape connecting all the pieces back together quite randomly (the tape isn’t straight it’s scattered) and also by the background. The photograph seems to have been placed on top of black card or paper with an old film or camera roll at the top, which gives it a timeless feel.

What is your personal response to this photograph and how does this photograph inspire or link to your own work?

I really like this photograph by Kenne and I was drawn to it mainly because of the fine art base used, and I also really connected to the atmosphere the photograph was giving off. The colours aren’t dark or even black and white, yet they still manage to push an eerie, dream like emotion onto the viewer. I also liked what the photograph was of, in this collection by Kenne, a lot of the landscapes tended to be the ocean, but this one of the forest related a lot more to my own work. My photoshoot is generally based around forest areas, and while I shoot people in my work as well, I enjoyed his use of the forest. This photograph by Kenne, and the entire collection this belongs to, really inspires my own experimental work. I like how he has taken the image apart, and then reattached it, and this is something I aim to do to my experimental photographs.