Every year the Press Photo of the Year receives the World Press Photo Award. It’s not unusual that this particular award has stirred up some controversy.
“[we] come from nature.…There is an importance to [having] a certain reverence for what nature is because we are connected to it… If we destroy nature, we destroy ourselves.” – Edward Burtynsky
When you think about how little a human-being is compared to the size of our planet it’s only hard to imagine what great impact we still have. For millennia human-beings have exploited the resources of nature. In the course of time mankind has developed more and more modern methods to reach even more resources. To achieve this new technologies and machines have been created. The number of the natural resources people need for their constantly changing lifestyle is also increasing. We keep changing our planet and leaving traces every day, even if we may not really be aware of it.
Despite the ongoing rainfall and a cloudy, permanently gray sky I decided not to wait much longer for a more varied lighting mood but to grab my camera and get going. After a long break I also took my reliable SIGMA 17-50mm f/2.8 EX DC OS HS lens along, which is perfect for such excursions in particular.
David Uzochukwu, born in the Tyrol, Austria, in 1998, is called a child prodigy in photography. At the age of 18 he already collaborated with Adobe and Instagram, presented his work in New York and was finally discovered by Vogue Italia.
It’s his particular style to combine strong and brilliant colors in wonderful intense tones and special backgrounds given by nature with the fragility of often naked and imperfect bodies. His models symbolize vulnerability and human strength at the same time, arousing different emotions when you look at them. When you look at his photos you get drawn into an apparently surreal world he’s produced and you get carried away by the somber scenes he’s created in his photos.
Whoever has been on vacation within the last ten years must have noticed one obvious trend –cameras and smartphones are everywhere. Sometimes, when visiting a spectacular or meaningful place, all you encounter are people experiencing it through their lenses or screens.
I’m not one to judge here, because I regularly catch myself doing the same. I wouldn’t want to miss my photo memoirs, but one thing for sure, whenever I see scenes like that, I wonder if this whole, “capturing the moment on photo or video”- thing didn’t get out of hand and it might rob us from the real experience instead.
Konsta Punkka. In our area quite an unusual name of an unusual 21-year-old guy from Finland. In journals and magazines as well as in diverse articles and online blogs he’s been celebrated as an animal whisperer with a camera and as a wildlife photographer who can look into the soul of an animal for a couple of months now. His Instagram account reflects the success of the subtle emotionality that characterizes Konsta’s wildlife pictures as it currently has 940,000 followers – a number that’s constantly growing.
today I’d like to show you some more impressions of my days in Marrakech. After the Djemaa al Fna, where you’re about to get 1000 different impressions ranging from snake charmers to mobile shops and unique odors, and the souqs, a showcase of interesting handcrafts, there’s of course a lot more to see.
Another of my true highlights was the Jardin Majorelle or the Blue Garden. It was created by French painter Jacques Majorelle in 1923. Today the artist and his art have largely been forgotten, however, his garden belongs to one of the places in town that’s worth to be visited. Another interesting detail about this magical park is the fact that it was purchased in 1947 by famous fashion designer Yves Saint Laurent and his boyfriend and business partner, Pierre Bergé.
“Photography is a strange phenomenon. In spite of the use of that technical instrument, the camera, no two photographers, even if they were at the same place at the same time, come back with the same pictures. The personal vision is usually there from the beginning; result of a special chemistry of background and feelings, traditions and their rejection, of sensibility and voyeurism. You trust your eye and you cannot help but bare your soul. One’s vision finds of necessity the form suitable to express it.”
Inge Morath, Life as a Photographer, 1999
After an exhausting month of exams at university the desire for some fresh air was rarely as big as yesterday evening. So despite the freezing cold and the dark I decided to drive to the river at the outskirts of the city with my camera equipment. This time I took the SIGMA Art 50-100mm f/1.8 DC HSM and my Canon EOS 600D with me.
After the first long-awaited snowfall I didn’t want to stay in my apartment any longer last weekend. In order to have light and flexible baggage to carry this time I decided once again after a long time for my compact all-round lens, the SIGMA 17-50mm f/2.8 EX DC OS HSM. With this lens I had a wonderful range of fixed focal lengths suitable for every subject. The intense consistent open aperture of 2.8 allows nice bokeh and a great depth of field even though it’s an APSC camera.