Through cash awards, camera equipment, professional development and promotional opportunities, the Leica Women Foto Project amplifies voices historically underrepresented in photography and encourages diversity and inclusion in visual storytelling. Call for entries now open for the LWFP Award and LWFP x VII Mentor Program.
Jurors of the LWFP Award include:
• Karin Kaufmann, Director, Leica Galleries Worldwide
• Elizabeth Avedon, Independent Curator @elizabethavedon
• Amanda Hajjar, Founding Director of Exhibitions, Fotografiska #AmandaHajjar
• Natalia Jiménez, Picture Editor, The Washington Post @nataliajimenez
• Lynn Johnson, Photojournalist @ljohnphoto
• Elizabeth Krist, Former Senior Photo Editor with National Geographic #ElizabethKrist
• Eve Lyons, Photo Editor, The New York Times @lyonse
• Laura Roumanos, Co-Founder, United Photo Industries #LauraRoumanos,
• Maggie Steber, VII Agency photographer and Guggenheim Grant Fellow @maggiesteber
• Sandra Stevenson, Associate Director of Photography at CNN #sandrastevenson
• Denise Wolff, Aperture Foundation @wolffdee
The LWFP Award will grant three photographers $10,000, a Leica SL2-S camera, and a Leica Vario Elmarit-SL 24-70mm each to help complete an in-progress, personal photo project that bears witness to humanity, expressed through the female point of view. Awardees will be featured in a 4-week exhibition at @Fotografiska.NY
The LWFP x VII Mentor Program will grant a total of three mentorships which include monthly one-on-one Coaching sessions by a @VIIPhoto photographer, exposure on VII’s website, representation of Mentees by VII Agency, and a 12-month loan of a Leica Q2 camera. Candidates for this exclusive Mentorship Program must demonstrate a commitment to the profession of photography, have worked in the photo industry for four or more years, have worked on assignment, and has a published body of work. Candidates will be selected by members of VII Agency on the basis of quality of work, commitment to project, and vision of future success.
Call for entries will conclude October 8, 2021. Link in bio to apply.
Tag someone who you believe should apply.
#LeicaCameraUSA #LeicaWomenFotoProject #LWFP
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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【乾坤 Qian Kun】
原先已經準備好這套衣服以及我認為很重要的主題,
在 Aqua Challenge 決戰水下伸展台 準決賽使用,
但一直覺得很可惜沒能進到準決賽將這套衣服的理念放上節目,所幸各路朋友們毫不猶豫的相助,特別是Yorko 陪著我共同完成出這個作品。
最後一張放上我們隨手拍攝動態剪出來的短版Teaser。
-
從表演藝術的角度來看,
「性別」不是一種二元對立的存在。
我們經歷了許多次的賦權革命,如今,性別二字,已經不再是定義任何人的框架。
這次拍攝,將主題溯源到戲曲文化;從元朝開始,戲曲表演的虛擬性,讓男性飾演女角、女性詮釋男角,「乾旦坤生」四字便開啟了性別對立的轉型。因此把造型設定為頭頂花旦鳳冠,臉施花旦妝,下身卻是戰甲,手拿大旗。用雌雄同體的概念,呈現出乾、坤,陰、陽共處調和的無限感。
一個人的獨特,是集合了來自千萬種相互矛盾元素的總和,跨越了性別對立的限制,才會讓我們看到愛無限,愛最大的迷人面貌。
From the point of performing art.
"Gender" is not a dualistic existence.
We have gone through many empowerment revolutions over the years. Today, the word gender is no longer the most important identity that defines an indivdual.
The concept of this photography is first traced back to Chinese opera, which could be the first in our culture to initiated the transformation of gender opposition. Since the Yuan Dynasty (1279-1368), the virtual nature of opera performances allowed men to play female roles and women to interpret male roles. The phrase ”Qian Dan Kun Sheng” proves such tradition exists. “Qian” 乾, heaven, usually indicates male, “Dan”, 旦, female characters in drama. “Kun”, 坤, ground, usually indicates female. “Sheng” 生, the male characters. The phrase tells that female characters could be played by male performers and male characters could be played by female performers.
We designed the look following this concept. Wearing a phoenix crown (headwear designed for female roles) on the top of the head, female face makeup is applied, but the items for the lower body is a male’s battle armor, holding a battle banner in hand. Using the concept of hermaphroditism, it presents an infinite sense of harmony between Qian and Kun (heaven and earth), Ying and Yang (positive and negative).
The uniqueness of a person is a collection of thousands of contradictory elements. And to move beyond the restriction of gender duality and opposition, is how we will see the infinite power and the most charming face of love.
Photographer:Yorko Summer
Artist: Dai Yi, Kenny
Make up: 陳又婕 Ming Chen
Air Supply & Safety: 盧筠喬 JoJo Lu & 吳芷欣(阿芷) Zhi-Xin Wu
Costume Assistance: 鬼魅 Y Chen
Land Shooting Assistance: 吳佳穎(黑黑) Joann Wu
Flag Props Providing: 張逸先 Afa Zhang
Content Editor: 許乃霓 Tori Hsu
Content Translation: Tiffany Lee
Teaser Editor: 黎俊欣 Xin Li
水下三十米 30 meters underwater
決戰水下伸展台 AquaChallenge
Yorko Summer - Keep Diving Keep Breathing
陳又緁(陳敏)
氮醉JoScubar • 鮮釀啤酒
Tiffy Almighty 我是變臉王
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DIMPY BHALOTIA
Poche, pochissime erano le foto in casa di Henri Cartier-Bresson; una, forse due. Una, per cui il grande fotografo aveva una vera e propria ammirazione, era “Three Boys at Lake Tanganika” di Martin Munkácsi. Tre ragazzini immortalati di spalle che sprigionano un’incontenibile vitalità mentre corrono verso le acque del lago. Perché Cartier-Bresson amava quella fotografia? Perché, come ha detto lui stesso: “Ho capito improvvisamente che la fotografia può fissare l’eternità in un momento”. Osservando la fotografia “Flying Boys” di Dimpy Bhalotia, e con la quale si è aggiudicato il Female in Focus Award 2020 del British Journal of Photography, sembra che i tre ragazzini di Munkácsi siano tornati dopo un viaggio lungo novant’anni. Di più, pare che siano tornati per spiccare il volo e catturati nel preciso momento in cui occhio, cuore e mente del fotografo sono perfettamente allineati come una costellazione lontana. C’è, nelle fotografie della giovane indiana di Londra, qualcosa che arriva da una precisa tradizione fotografica e che àncora saldamente la composizione a quelle tre fondamentali componenti cui si faceva cenno, orientandola verso la ricerca del momento in cui un episodio umano – e non solo – ha la capacità di espletare il suo senso. Irripetibilmente. I riferimenti non mancano, e sono segno di una solida cultura visiva. Quanto guardiamo nelle fotografie di Dimpy Bhalotia sembra fuoriuscire da un racconto riscritto con nuove parole, nuovi cenni ma fermamente determinato a essere interpretato attraverso un lessico che costringe a sostare nello spazio citazionista giusto il tempo che occorre prima di assumere una vita propria. E questa sottile e aggraziata visione delle cose che plana sugli avvenimenti, ha quel respiro che sta dentro in una visione poetica della vita, perché per scattare fotografie che sappiano restituire la bellezza d’un gesto occorre amare la vita e i suoi interpreti. Ecco che uomini e animali, colti singolarmente o al crocevia della reciproca interazione, ci appaiono come soggetti appena involontariamente dialoganti ma che, a ben guardare, sono catturati nell’esatto momento di un dialogo segreto. La forza delle fotografie di Dimpy Bhalotia viene da lontano e dunque è ben strutturata. E si vede soprattutto nell’azzardo di forme, nella scommessa formale giocata sul corpo dei soggetti animali, da cui, in altre circostanze, cogliamo una felice traccia surrealista, un terreno ideale nel quale risolvere talune spericolatezze compositive. Il lavoro di Dimpy Bhalotia sosta alla confluenza di due differenti correnti fotografiche: l’umanesimo e il surrealismo (lo stesso Cartier-Bresson sperimentò un delicatissimo surrealismo prima di fondare la Magnum), maneggiati entrambi con disinvoltura e sicurezza. La sua è una voce limpidissima, minimale. Le composizioni obbediscono al comandamento d’essere rigidamente impostate su un registro essenziale, al limite del calligrafico, ma la sobrietà ci convince del risultato. Il solco della tradizione è tracciato, ma seguirne il percorso senza aggiungere le proprie impronte è come non averci camminato. La fotografia è un libro che non finisce mai di essere scritto, a patto d’avere qualcosa da dire. Come in questo caso.
Giuseppe Cicozzetti
foto Dimpy Bhalotia
https://www.dimpybhalotia.com/
DIMPY BHALOTIA
Few, very few were the photos in Henri Cartier-Bresson's house; one, maybe two. One, for which the great photographer had a real admiration, was Martin Munkácsi's “Three Boys at Lake Tanganika”. Three kids immortalized from behind who release an irrepressible vitality as they run towards the waters of the lake. Why did Cartier-Bresson love that photograph? Because, as he himself said: "I suddenly understood that photography can fix eternity in a moment". Looking at Dimpy Bhalotia's “Flying Boys” photograph, and with which she won the British Journal of Photography's Female in Focus Award 2020, it seems that the three kids from Munkácsi are back after a 90-year journey. What's more, they seem to have returned to take flight and captured at the precise moment when the photographer's eye, heart and mind are perfectly aligned like a distant constellation. There is, in the photographs of the young Indian woman based in London, something that comes from a precise photographic tradition and that firmly anchors the composition to those three fundamental components mentioned, orienting it towards the search for the moment in which a human episode - and not alone - has the ability to carry out its meaning. Unrepeatable. There’s no shortage of references, and they are a sign of a solid visual culture. What we look at in Dimpy Bhalotia's photographs seems to come out of a story rewritten with new words, new hints but firmly determined to be interpreted through a lexicon that forces us to pause in the quotationist space just the time it takes before taking on a life of its own. And this subtle and graceful vision of things that hovers over events, has that breath that lies within a poetic vision of life, because to take photographs that are able to restore the beauty of a gesture, you need to love life and its interpreters. Here men and animals, caught individually or at the crossroads of mutual interaction, appear to us as subjects that are barely involuntary in dialogue but who, on closer inspection, are captured in the exact moment of a secret dialogue. The strength of Dimpy Bhalotia's photographs comes from afar and therefore is well structured. And it is seen above all in the balancing of forms, in the formal bet played on the body of animal subjects, from which, in other circumstances, we grasp a happy surrealist trace, an ideal terrain in which to resolve certain compositional recklessness. Dimpy Bhalotia's work stops at the confluence of two different photographic currents: humanism and surrealism (Cartier-Bresson himself experienced a very delicate surrealism before founding Magnum), both handled with ease and confidence. Her is a very clear, minimal voice. The compositions obey the commandment to be rigidly set on an essential register, bordering on calligraphic, but the sobriety convinces us of the result. The groove of tradition is traced, but following its path without adding one's footprints is like not having walked through it. Photography is a book that never stops being written, as long as you have something to say. As in this case.
Giuseppe Cicozzetti
ph. Dimpy Bhalotia
https://www.dimpybhalotia.com/
female body photography 在 コバにゃんチャンネル Youtube 的最佳解答
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