fotofestival

Neue Ausstellung

Falls jemand Zeit hat und gerade um den 10.9 bis 25.9.2011 in Wiesbaden weilt, so kann er die Wiesbadener Fototage/Festival für zeitgenössische Fotografie besuchen, wo ich mit einigen Fotos vertreten bin. Ich werde vorraussichtlich in der Thalhaus-Galerie hängen. Weitere Informationen könnt Ihr der Webseite des Veranstalters entnehmen:http://www.galerie-lichtbild.de/wagnis/. Dort findet Ihr auch eine Abbildung eines meiner Bilder unter Fotografenliste/Thalhaus-Galerie. Voraussichtlich werde ich bei der Eröffnung um 19.00 Uhr im Kunsthaus Wiesbaden sein. Ich freue mich sehr.


Exercise 20: Improvement

Her name is Joanna Panicz and she was at the Zingst fotofestival. She worked with Sunbounce California as a model, more precisely with Adrian Jankowski.  This was shot at f 6.3, 1/8o with ISO 100. I chose 6.3 to capture as much of the subject as possible and also wanted to have some hair movement with the help of the wind and 1/80 shutter speed. I tried with 1/60 and 1/30 but it ended up being too blurry and the effect too harsh.


The first steps adjustments:1. I let the Auto in camera Raw adjust the shot2. I deClarified to -45 ca3. Lowered the blacks and added some contrast
Local Adjustments:1. With the lasso tool I selected the eyes and feathered to 5.2. Opened Levels and filled the eyer with some light3. Lasso tool around the iris and feathered to 34. Opened Hue and Saturation and added some more colour5. With the former lasso tool I opened Smart Sharpen to get more detail out of the eyes6. Lasso tool around her teeth and with levels adjusted the white to a higher tone7. clone stamp the darker area of the frontal tooth with the white of the neighboring tooth
I perfectly know that the white of her teeth seem a bit too white, but I needed it for myself to see a more punchier product and make the adjustment more obvious to my eyes. Normally I wouldn’t go that far.I believe it is completely fair to use such tools to make the eyes more crisp too.emilianoleonardi.com
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Souvenez-vous… La couverture du numéro de mars 1978 de Vogue Paris signée Helmut Newton. On l'a vue à l'exposition Mannequin - Le Corps de la Mode à l'Espace Van Gogh à Arles.

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Remember this Vogue Paris cover from March 1978 by Helmut Newton? We spotted it in the Mannequin - Le Corps de la Mode show at the Espace Van Gogh in Arles, at the photography festival.

Zingst fotofestival

I just came back to Rostock after a wonderful week in Zingst.
I started off the week in a bad way because I felt I got there very disorganized and pennyless. I managed to book a DOCMA course, which aimed to teach you the basics of photoshop. It was one of the most affordable and the one that was most interesting for me. The fisrt lesson was about Camera Raw. I know what it is and how it works, so I felt a bit frustrated. Although I was feeling bored, Mr.Christoph Künne, our teacher, said something I totally forgot: working in 16 bit! There’s a button on the bottom of the Camera Raw window that let’s you access the different sizes to work on (bigger/smaller, more/less megapixels) and the possibility to work in 16 bit instead of 8! The difference is that it let’s you work on more detail and to have a wider range of colours an tones. I was so hyped about it I couldn’t concentrate on anything else. But I forced myself to follow the workshop to the end to see if there were more interesting things. There weren’t anymore. I soon started to play around with some images I shot and, although the diffrences were subtle, I could tell the difference. The 16bit were deeper and richer in tones as in the 8bit. The colours looked different, in some shots better in others not much of a difference. I realised half way through the course that I only paid the first day. Damn.
So I felt more frustrated than before knowing I was going to stay here one full week without anything to do. That’s when I met Maxi Östreich. She was working at the Kuhrhaus and for some reason we started talking to each other. That’s when she proposed to me to work as an intern at Zingst next year and if I could help out this year. And that’s exactly what I did all week long. And for some weird reason they all (the people working for the Photo festival) thought I was a professional photographer. I didn’t say anything to that because I don’t know myself what a professional photographer is.
All week long I shot to document the festival although only two of them were used, without any sign of my name anywhere. That’s a shame! I should make that clear next time.
Not to mention the photographers I met! I got to help Mike Larson for lack of staff, I was at the same BBQ with Greg Gorman and his freaky assistan,. I chatted with Gerd Ludwig  and had an insightful conversation with Steve Thornton. It felt like being in wonderland for photographers.
Having all of these big shots speaking to me was mesmerising and shokingly surprising: they were all good lads! It was incredible how human they were and how open with anyone. I experienced italian professional photographers being very private and their work was some sort of national secret. Here they were all about sharing and showing. I’ve never experienced such an evirorment before and it was, to say the least, fullfulling.
I already sent my CV and application for next year’s photo festival and I’ll see if I can apply for Photokina too.
Although I worked for nothing, for the same amount I took part in other worlshops and was invited to BBQs and other events.

All of this thanks to Maxi.

emilianoleonardi.com
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