Photographic Close-ups – Aircraft Walkaround Thu, 24 Nov 2022 03:28:05 +0000 en-US hourly 1 Photographic Close-ups – Aircraft Walkaround 32 32 Lavazza: Calendar 2023 by Alex Prager: YES! were open Thu, 24 Nov 2022 03:01:36 +0000

The “cafés”, whatever the country, are the place where people meet spontaneously and where everyone is welcome. Friendly, you can meet people of all origins, all social classes, all religions. Each of them is an actor, playing the main role in his own story. In 30 years of calendars, Lavazza has told us the stories of many of these people, mixing dreams and reality over a cup of coffee.

For its 2023 calendar, Lavazza chose the American photographer Alex Prager. She produced her work under the title “YES! were open”. She embodies the beauty of a humanity that regains its vitality and curiosity, expresses its individuality and connects people. A way for Lavazza to reaffirm its freedom of thought and expression, to remind everyone that they have been in business since 1895.

If Alex Prager is an artist who likes happy endings and spectacular settings, she is also very sensitive to popular culture and street photography. In her work, she likes to merge past and present to create a sense of ambiguity. His images are both familiar and disturbing, depicting worlds that synthesize fiction and reality and evoke a sense of nostalgia. She cultivates surrealism by creating emotional moments that feel like memories or fabricated dreams.

In this series, wide shots alternate with close-ups in a meticulous construction and a subtly provocative humor. His inspirations are as much classic Hollywood cinema as hyperrealism or pop iconography to offer images that refer to humanity and connection in an ever-changing and often unreliable world. Because whatever our origins, our emotions are the same and unite us in our differences.

Carole Schmitz

Exhibition review: A Puzzlement and Las Hormigas/The Ants Mon, 21 Nov 2022 04:35:42 +0000

Personal stories mediate our engagement with the world, whether we are consciously aware of this process or not. Personal exhibitions of Nathan Beard (a perplexity) and Pilar Mata Dupont (Las Hormigas / The Ants) explore themes of memory, history and culture in unique yet complementary ways.

Both artists use film and visual art to reflect on ‘construction’, memory and identity using effective contrasts and subtle humor to illustrate their respective points.

Mata Dupont plays seriously with the premise of personal storytelling, creating a series of conscious works incorporating visual art, film and theatre. Beard draws on his Australian-Thai heritage to reflect on diasporic identity and its construction. Individually, Beard and Mata Dupont deconstruct their own cultural backgrounds, intentionally reframing their source material in various ways, like exploratory twists from a figurative kaleidoscope.

The title of Beard’s exhibition, a perplexityrefers to a song by The king and me – a Hollywood film that strongly influenced Western perceptions of Thai culture and history. In a song called “A Puzzlement”, the film’s protagonist, King Mongkut, speaks of bewilderment and determination, and hints at being stuck – being caught between past and future perspectives.

Beard’s single-channel video, also known as A Perplexity (2022)portrays a composite Thailand by engaging in historical and contemporary perspectives of fictional and documentary varieties.

Juxtaposition plays an important role in how Beard’s work is created and presented, encouraging the rejection of old perceptions and the creation of new meanings. He mocks cultural hierarchies by drawing attention to the multiple, and often contrasting, ways in which the same subject can be perceived.

Beard’s four enlarged composite photographs include close-up facial shots of the real King Mongkut’s son, Prince Chulalongkorn; a production still of Yul Brynner as King Mongkut; Terry Saunders as the Broadway version of Mongkut’s leading wife, Lady Thiang; and AFG Kerr, the founding father of Thai botany.

The four portraits are covered in blue, red and purple Swarovski crystals and set against a backdrop of Thai iconography. Black-and-white images of real people contrast with the vivid color of synthetic diamonds, highlighting Beard’s juxtaposition of unexpected combinations – real/synthetic, monochromatic/colorful, authentic/constructed.

The series of five sculptures by the artist are replicas linked by a sculpted thread, physically solid but with an impression of fluidity. Reminiscent of charms on tangled bracelets, these sculptures are larger than life and suspended in time and space. At first glance, they look like dismembered religious effigies, cut into pieces and encased in gold. Some are replicas of her mother’s Buddhist shrine statues and replicas of Wat Buddhapadipa.

Others are mass-produced Thai costumed figurines and Thai artifacts from the archives of the British Museum. Seeing old fast food toys treated with the same gilded reverence as museum artifacts and religious effigies causes the viewer to question ideas of subjective perception, intrinsic value, and extrinsic worth.

Beard, who created the works during his 2022 residency at ACME Studios in London, examines Western representations of Thailand to explore his personal cultural context, particularly in the absence of his mother; the main source of his self-proclaimed “Thainess”.

Her work critiques the expression of authenticity, drawing on Western popular culture and colonial museum archives for sources, perceived meanings and artistic inspiration.

Personal exhibition of Pilar Mata Dupont Las Hormigas / The Ants is a multimedia postmodern deconstruction of family meta-narratives. Self-referential and humorously subversive, this brilliant exhibition includes two films, six photographs and weekly improvised performances of an ever-changing absurdist play, all of which revolve around Mata Dupont’s family memories and the impossibility of finding objective truth in subjective stories.

A table read (2022) is a 58-minute, two-channel video installation centered on auditory family stories and intergenerational trauma. Edited footage of a live performance is cut with raw rehearsal footage and shown on two screens disjointly.

The Maruja (2021) is a series of six photographs and a beautifully shot single-channel video, spoken in Spanish with English subtitles. The Maruja presents the body as a container to contain trauma and speaks of the impossibility of objective understanding.

The photographs are exhibited in the PICA exhibition space, providing an example of Las Hormigas / The Ants to be a show of circular brilliance; withdrawing into itself, leaning towards dislocation, repetition and fragmentation. In the video, a jarring vibe combines with voice-over narration, and the perspective alternates between first-person POV [point of view] interiors and photos of rainy landscapes.

In an instant, audiences are immersed in the film, staring at a ceiling. In another, they learn of the psychosomatic attack of Mata Dupont’s ant-cutter great-aunt. The Maruja contains themes of misheard words and moments of mistaken memory, highlighting the tragedy of Mata Dupont’s great-great-grandmother’s deadly mastitis – which was never mastoiditis. Bass piano notes accompany the imagery of a swollen breast draped over one shoulder and the act of fingers pressing into the tissues. Then silence.

The culmination of The Hormigas is the ever-evolving play of the same title by Mata Dupont, which will be performed live every Saturday afternoon until December 17. This stunning improvisation began as part of Mata Dupont’s family fact-finding mission and morphed into an intertwining of multiple truths, expressed vicariously through three performers/co-creators, Maree Cole, Cezera Critti-Schnaars and Daisy Sanders.

Alternating from week to week, each performance of The Hormigas (2022) is a unique journey through an unreliable narrative. A deliberately uncertain start to the performance comments on the fallibility of memory and the instability of subjectivity. Repetition and reframing replicate the loops our brain gets stuck in when we suffer.

Pilar Mata Dupont. Photo: Miles Noel

The music and lighting are subtle yet atmospheric, with a strong emotional emphasis. At one point, two torches become beacons, blinding the audience while drawing them into a hypnotic fantasy reverie. In another scene, purple lights and a rhythmic beat accompany a song about medicinal oil on a tampon.

By embodying her great-great-grandmother through a video game avatar, Mata Dupont rewrites her family history to the point that she herself could cease to exist. Beginning with disorder and ending with metamorphosis, this is an absurd piece about the impossibility of creating an objective understanding of context and history.

Read: Review of the exhibition: China – The past is present

Political, beautiful, tragic and funny, Las Hormigas / The Ants offers a playful exploration of a serious subject through which Mata Dupont pays homage to her family origins in an original, comedic and self-referential critique of narrative subjectivity.

Las Hormigas / The Ants by Pilar Mata Dupont and a perplexity by Nathan Beard
Perth Institute of Contemporary Art (PICA), WA

Las Hormigas / The Ants and a perplexitywill be on display at PICA until January 8, 2023.

How Dominique Crenn created the food in ‘The Menu’ Thu, 17 Nov 2022 22:11:43 +0000

Ralph Fiennes in THE MENU. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

Ralph Fiennes in THE MENU. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

One of the first courses served at Hawthorn, the eerily immaculate restaurant that serves as the backdrop for Mark Mylod’s The menu, is a mound of rock topped with barely frozen seawater and crammed aquatic greenery. But this dish – like many others in the film that require tweezers to assemble and can only be described as “thalassic” – is not simply a food accessory.

Production designer Ethan Tobman (Free Guy, The Report, Chamber) collaborated with star chef Dominique Crenn to design a tasting menu that would not only help the plot descend into darkness, but also nurture the actors involved (Anya Taylor Joy, Nicholas Hoult, to name a few castings). The idea was that after devouring breadless bread plates, scissor-pierced chicken, and a few incriminating tacos, they would experience the range of emotions stirred by Seth Reiss and Will Tracy’s provocative script.

From the start of filming, the production crew knew they had to work alongside a culinary expert, and Crenn, the only female chef in the United States to earn three Michelin stars for her San Francisco restaurant, l ‘Atelier Crenn, was the first choice.

While the script described certain proteins or moods, Chef Crenn took her own creative liberties in imagining each dish. “We knew things should start off feeling very, very normal, but as the night wears on it gets a little more grotesque,” ​​Tobman told Thrillist. “And it was a delicate balance to play with Chef Crenn and his team – to start with water, then move to land-based protein, and then slowly become a little more surreal.”

Chef Dominique Crenn on THE MENU set. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

How they designed the courses in ‘The Menu’

Hawthorn is located on a coastal island in the Pacific Northwest and its leader, Chief Slowik, played by Fiennes, harvests organic forms from the surrounding ecosystem. “One of the things Chef Crenn taught me early on was the importance of vessels when preparing a dish,” says Tobman. “When you go to the Louvre and see Van Gogh, the art is of paramount importance, but the setting should also tell the story of the work.”

The sea-inspired rock dish is one of many dishes in this film that plays with the raw materials of life and death. Crenn, like Slowik, believes dishes should tell stories and describes his creation with a chilling duality. “When you go to the top of a rock, you can see the beauty, but it’s also to the top of the rock that you can fall,” she says. Tobman adds, “For me, Chef Slowik is not inspired by nature. He is haunted by nature, because nature is perfect, and he can never approach this perfection. It destroys nature creating a perfect dining experience.

In the film, Slowik reminds his guests that each individual lesson will only make sense when they have experienced the last one. It’s an idea Crenn knows well in his own restaurant, where diners are invited to take part in his own life’s journey. “It’s like a piece of music,” she explains. “When you look at a piece of music, you can see the beginning and the end, and you might think, ‘These notes don’t make sense.’ Then, suddenly, it all clicks together.” But as Crenn injects a sense of joy into his meals at Atelier Crenn, Hawthorn’s goal is to create foods that contain an emotional coldness – beautiful, but dead. .

“Chef Slowik is not inspired by nature. He is haunted by nature.

To create the lush close-ups of Slowik’s dishes, the team enlisted the help of Netflix creator David Gelb Chef’s table. “He really created a visual dictionary of how modern people think food should be slaughtered,” Tobman says. But in the fictional world of Hawthorn, where there is a strict no-photography policy, the beauty of every dish lies in its transience, and it’s a belief that Crenn subscribes to in his own restaurant. “We live in an age where photography is 24/7. For me, sometimes that’s a problem because it disconnects you from the experience that we strive to provide,” she says. “But at the same time, we also live in a world where we have to be a bit more flexible.”

The inspiration behind the kitchen

The production team took inspiration from a number of famous restaurants, past and present: Fäviken by Magnus Nilsson in Sweden; El Bulli by Ferran Adrià in Catalonia; Thomas Keller’s French laundry in Sonoma; and Noma by René Redzepi in Copenhagen. Like most trendy restaurants, Hawthorn features an open kitchen with a blazing fire.

“I really wanted to nail the idea that the chef could look at you, but you couldn’t look at the chef,” Tobman says. He built the kitchen to look like a church, with a cross on the back wall. The floor on which Slowick walks is raised, as if he were preaching from a pulpit, while the rest of the cooks work on a lower level. “It’s like they’re genuflecting,” Tobman says. “They are his followers and he is the high priest.”

Inside, Tobman wanted to honor the natural elements that are integral to any chef: fire and water. “So water should be part of the front-of-house experience and fire should be the back-of-the-house experience,” he explains. “There’s a fireplace on the wall right next to the window and the reflection makes it look like the fire is going out in the water.” The decorator even went so far as to treat the furnishings the same way a chef would treat their food. “The wood in the restaurant is charred, it’s bleached, it’s bleached, some of it is steamed,” he explains. “I wanted it to feel like Slowik was cooking the restaurant.”

To prepare for her role as Chef Slowik, Fiennes spent a lot of time on set with Crenn, absorbing how she operates in the kitchen. “It wasn’t about teaching him to cook,” she explains. “It was about him to understand the character – what it means to be a conductor.” Crenn basically showed Fiennes how to be the conductor of a symphony. “It’s all about movement, detail, music and layering,” she says. the way you enter the kitchen, by the way you look at things.

To keep things precise, Crenn held a bootcamp for the cast of the kitchen staff — which consisted of both real chefs and actors — as well as the waiters and sommelier. “It was authenticity to the teeth,” Crenn says. “It was almost like I was opening a new restaurant.” The chef felt the cast embodied the ethos of the restaurant industry: “Today may be great, but tomorrow will be even better,” she says.

“It was authenticity to the teeth…. It was almost like opening a new restaurant.

But perhaps Crenn’s greatest contribution was uncovering the psychology of a character like Slowik, who was tarnished by the incredible pressure placed on him by the food industry. Though she helped design the “Man’s Folly” course, a commentary on the industry’s inherent sexism, Crenn believes Slowik is not only damaged by the toxicity of the kitchen interior, but also by the toxicity of the outside world.

“We work 20 hours a day and after everything we do, it will take someone, who hasn’t even spent a second with us, to judge and say, ‘Ah, that’s too salty.’ It depresses us mentally. For Crenn, it was important to find a weak point in Slowik’s character. “Food is at the heart of every human being, so of course there will be some humanity there,” she says.

Ethan Tobman on the set of THE MENU. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

The final dessert scene

The final course of Chef Slowik’s meal is a restaurant-encompassing dessert, with an array of syrupy swirls and drips, not unlike the work of culinary luminaries Grant Achatz or Massimo Bottura.

“How do you make a 60 by 30 foot dessert? said Tobman, noting a remarkable challenge for the crew. “It was like a bunch of geeks running at Burning Man.”

For Tobman, the experience highlighted just how similar preparing food is to making movies. “These are fleeting experiences that have a finite amount of time. They are very structured. You have an instant family. You are creating an artificial environment. And a lot of us who work in film start out working as waiters and chefs,” he explains.

Crenn enjoyed working with Tobman so much that she hired him to work with her on the new Atelier Crenn redesign. She hopes viewers will leave this film with a little more respect for the magic that happens at the back of the house. “I want people to be careful when they go to a restaurant and understand that behind the door there are amazing people working so hard to make sure they feed us, in so many ways.”

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Jessica Sulima is a writer on Thrillist’s Food & Drink team. Follow her on Twitter and Instagram.

The best cinematography of 2022 Tue, 15 Nov 2022 00:00:00 +0000

As 2022 draws to a close, it’s time to start reflecting on the outstanding achievements made in the world of cinema over the past year. Films released in 2022 delivered remarkable cinematography that pierced the eyes of moviegoers everywhere, from awe-inspiring action sequences to intimate close-ups to dramatic landscape shots.

RELATED: MCU: 8 Movies With Best Cinematography, From ‘Love and Thunder’ to ‘Doctor Strange’

Well-established masters like Hoyte van Hoytema and Greig Fraseras well as emerging talents, including Arthur Tort and Kim Ji-yong,have worked as cinematographers on the hottest films of the year, using their unique styles to create visual languages ​​that elevate the storytelling of the films they manage. Ranging from potential award-winning projects to visually experimental works of world cinema, some of the best cinematic cinematography of 2022 is sure to go down in cinematic history.



Blonde visuals

Whereas Andre Dominiqueit is Blond was considered one of the most polarizing films of the year due to its atrocious portrayal of Marilyn Monroe, there’s no denying the film’s remarkable cinematography. Director of Photography Chayse Irvin (who also worked on God’s Creatures this year) offers an immaculate view of Monroe through Blonddirect references to some of the Hollywood icon’s most famous images.

Blond shifts from black-and-white to color with ever-changing aspect ratios as the film navigates the tragic fate of Monroe, producing images that speak to pop culture’s familiarity with the starlet’s most recognizable images. . As bold as Blondes narrative approach, but far more successfully, Irvin’s cinematic efforts contribute significantly to the film’s most successful elements.

“Decision to leave”

Park Hae-il and Tang Wei look at each other

In his first collaboration with the famous filmmaker Park Chan-wookDirector of Photography Kim Ji-yong impressively matches the impressive skill of the director to create a magnificent visual atmosphere in Decision to leave. A romantic homage to film noir, Decision to leave is seductive and mysterious.

Kim aligns the film’s cinematography with the genre through a mix of stunning close-ups and wide shots, most of which were shot at night. Additionally, Kim’s camera moves reflect Park’s confidence as a director, never shy of ambitious feats that seriously influence the triumphs of Decision to leave.



polish filmmaker by Jerzy Skolimowski Award-winning film at Cannes eo was one of the most surprising and inventive films of the year. Following a donkey through today’s post-industrial Europe, the bold visual language of eo uses everything from harsh red lighting, panoramic drone footage, dramatic landscape shots, and intimate close-ups to portray the film’s non-linear narratives of our inhumane treatment of animals.eo employed many cinematographers due to the COVID-19 crisis – including Mychal Dymek, Pawel Edelmanand Michael Englert – all relatively unknown but extremely bold in their creative visions for the film. Whereas eo might not be a commercial success in the US when it hits theaters, the film is undoubtedly one of the most invigorating visual feasts of the year.


Man on horseback looking at the sky

Without doubt the best blockbuster movie of the summer, Jordan Peleit is NOPE continues to demonstrate the creative genius of the director in the world of contemporary cinema. Hoyte van Hoytema, best known for his work on the films of Christopher Nolan, serves as the cinematographer of NOPEcomplementing Peele’s spectacular sci-fi western through its awe-inspiring photography that perfectly captures the colossal scale of the film’s narrative.

RELATED: Jordan Peele and Hoyte Van Hoytema Talk ‘No’, IMAX, and Creating New Technology to Film Day From Night [Exclusive]

Van Hoytema shot dead Nope on 65 and 70mm film, using custom IMAX cameras to capture unparalleled widescreen shots that play into the film’s homage to the western genre and heighten the unknown terror in the skies above the ranch where NOPE takes place. Van Hoytema’s flawless photography deserves full awards attention in the coming months.

“A nice morning”


French cinematographer Denis Lenoir has worked with notable filmmakers for nearly forty years, and his latest gig has him collaborating with the director Mia Hansen – Love on his last film, A nice morning. A reserved film centered on Léa Seydoux as a Parisian struggling with motherhood, romance and her aging parents, A nice morning is a film that does not need a remarkable spiciness to attract its viewers.

Shot on 35mm, Lenior richly captures the daily life of Seydoux’s character as she traverses Paris and struggles to keep her life in place. Lenoir beautifully lights each scene to emphasize the beauty of the film’s main character and the bustling urban world around him.



One of the most visually arresting films of 2022 is Albert Serrait is Pacification. A sort of peculiar, leisurely-paced political thriller, Pacification takes place on a remote island in French Polynesia, a delightful setting that the film’s cinematographer, Artur Tort, makes full use of.

As a result, Tort’s camera usually stays completely still throughout the film, allowing audiences to be mesmerized by the extended sequences of Pacification. Critics reacted particularly strongly to a scene early in the film, shot from a small boat among surfers in aquamarine waters, where Tort hypnotically captures beautiful waves rolling onto the shore in an elongated take.



For his last two feature films, the Italian director Pierre Marcello was universally praised for the vintage feeling and artisanal qualities conveyed by its filmmaking. For Marcello’s last work, Scarlethe employed Marco Graziaplena as the film’s director of photography.

Located during the interwar period in the French countryside, Scarlet embodies a time when creatives still worked with their hands without the distractions of technology. Graziaplena reflects the same spirit through its use of Super 16mm to capture a certain tactile quality with film images. The use of natural lighting and pastoral landscapes in Scarlet also conveys the film’s fairy-tale tale of a long-forgotten world.

“The Banshees of Inisherin”


The Banshees of Inisherin has quickly become one of the most celebrated films of the year since its world premiere at the Venice Film Festival in September, and the film’s placidly beautiful cinematography has not gone unnoticed. British cinematographer Ben Davisa frequent collaborator of Banshees screenwriter/director Martin McDonaghworked on the film, using dark, blurry interior shots and wide, isolating exteriors that stunningly portray the film’s setting on a windswept Irish island, reflecting the loneliness felt by its inhabitants.

RELATED: Banshees of Inisherin’ and the Mess of Ending a Friendship

Brilliant greens on the hills of Inisherin meet the dazzling blue of the island’s surrounding seas, creating a visual language that can be instantly associated with Ireland’s natural magnificence. Davis could easily draw attention in the awards race in the coming months due to his impressive efforts on Banshees.

‘The Batman’

the batman robert pattinson zoe kravitz social
Image via Warner Bros.

Fresh off of his Oscar win for DunesDirector of Photography Greig Fraser was director of photography on The Batman, which was released earlier this year. Deviating stylistically from other film versions of Batman, Fraser established The BatmanThe visual style of based on the tortured headspace of Robert PattinsonThe brooding interpretation of the iconic character.

Dark and gritty like a 90s thriller, Fraser’s work on The Batman is sinister yet romantic. Fraser’s efforts culminate in some of the most notable action sequences of the year, including a high-speed batmobile chase that will forever be remembered by The Batman months after its release.

“The Eight Mountains”

The Eight Mountains-2

Fresh off of last year’s Palme d’Or TitaniumBelgian cinematographer Ruben Impens’ the latest project is The Eight Mountainsrealized by Felix van Groeningen and Charlotte Vandermeersch. Based on a novel of the same name, The Eight Mountains focuses on the lifelong evolution of a friendship between two men from different backgrounds who grew up in the Italian Alps.

Shot primarily on location, Impens deviates from traditional notions of panoramic shots of landscapes by using a square aspect ratio; this choice almost frames the film’s mountainous setting as additional characters working in tandem with Mountain Eightthe male protagonists. Whereas The Eight Mountains received little attention on the festival circuit this year, the film is a narrative and visual feast that should be noticed when it hits theaters from Sideshow and Janus films.

NEXT: ‘RRR’ Cinematographer on Filming the Movie’s Most Epic Scenes

Uptown, near El Alto Manhattan, from cerca – Manhattan Times News Sat, 12 Nov 2022 05:39:08 +0000

El Alto Manhattan, from around

By Sherry Mazzocchi

Sale of Hope | Disparos, 2022.
Photo: Jason Fuentes

El Alto Manhattan is a listing for a top plan.

#TheGramUptown Virtual/Visceral is a new exhibition that presents the trabajo of 60 local aficionados and professional photos, which captured the garra, the grace and the glamor of Alto Manhattan.

The exhibition, obtained in totality from Instagram, is a collaboration between the Uptown Collective and the Alianza de las Artes del Alto Manhattan (NoMAA, por sus siglas en inglés). It was inaugurated in the gallery of NoMAA in the United Palace on November 3rd.

“Hay una especie de amor que se ve en cada imagen”, was the organizer of the exhibition Led Black (derecha) with the defender of salud and the screenwriter Eileen Z. Fuentes.

Led Black, founder of the Uptown collective, created the hashtag #GramUptown and launched the convocatoria en redes sociales para que los fotógrafos enviaran sus imágenes. Recibió casi 2,000 propietas. Él, junto con Niria E. Leyva-Gutiérrez y Michelle Orsi Gordon, of NoMAA, reduced the candidacy to 141 photos for the exhibition.

Aunque la muestra está organized por temas, hay algo que la une.

“Hay una especie de amor que se ve en cada foto, hay un amor por el Alto Manhattan”, dijo Black. “Creo que eso es común en todas las photos de la exposición”.

Bajo el 1Tren, 2021.
Photo: Dan Davenport

Las imágenes tienen un aspecto casi hiperrealista una vez que pasan de la pantalla a la imagen impresa. “Estas impresiones de pigmentos están simplye saturated y vives, y algunas de ellas parecen impossible”, dijo Orsi Gordon, executive coordinator of NoMAA. “Magical Sons”.

“Lo que emocionó fue la abundancia de gran energía y vitalidad que hay en las streets, en las tiendas, en los edificios, all el tiempo”, dijo Leyva-Gutiérrez, executive director of NoMAA. Creo que todos lo sabemos, pero cuando lo ves, y estas imágenes llegan una, tras otra, tras otra, es realmente una sensación hermosa… to feel this abundance of energy, compromiseo y talento y el poder de observación cuando la gente simplye está absorbiendo el mundo que les rodea”.

Titled, 2021.
Photo: Sofia Torres Prida

Las fotos son íntimas y amplias. Famous places like the George Washington Bridge, the Little Red Lighthouse and the United Palace are the protagonists. Other moments have been found in the life of Alto Manhattan: the stop of Michael Palma Mir, llamado Lilly, aterrizando en el alféizar de su ventana, o la perfecta imagen en espejo del viaducto de la avenida 10 de Eric K Washington. Sofía Torres Prida captured a moment of tranquility in the Desfile del Día de los dominicanos. BodegaCat AKA Michael LeBron met a moment of excellence from Washington Heights, titulado Fresh to deathde un barbero en la acera de la 190 y St. Nicholas cortando el pelo mientras su cliente sentado cena en un contenedor de espuma de poliestireno.

Algunas de las fotos de Jeffrey DotShotIt Batista son of piragüeros. Menso Morel vendía hielo raspado frente al banco Chase de la calle 181 todos los veranos Durante los últimos 20 años. Forms part of the large family of DotShotIt.

Photo Jeffrey DotShotIt Batista.

Morel fell in otoño de 2021 due to cancer and the photo fue tomada apenas unos meses antes. “Era muy noble. Se preocupaba por su comunidad y era un hombre de familia”, dijo DotShotIt. “Es muy bonito honrarle”.

“Esto es realmente una carta de amor alto Manhattan”, dijo Leyva-Gutiérrez. “Reconoces que algunos son tus vecinos, points de referencia y temas que se déarrollan a diario. Es realmente una forma maravillosa de unirse en torno a nuestro increíble barrio”.

Michelle Orsi Gordon of NoMAA (izquierda) and Niria E. Leyva-Gutiérrez helped select the selections.

NoMAA hosted a charla with the artists on Thursday, December 8, from 6 a.m. to 8 p.m. Anunciarán más información sober the possibility of comprar las impressions, así como información sobre un calendario de 2023, cuya recaudación sober will benefit both a los artists como a NoMAA. La muestra estará in exhibition hasta el 14 de enero de 2023.

For more information, please visit


Amy Roberts, Annette Fernández, Anthony Rojas, Ayinde Stevens, Beatriz Ureña, Beau Austin, Betina Zolkower, Bjorn Bolinder, Carlos Deschamps, Carlos Rivera-Duclos, Caroline Quinones/Leandro Heredia, Cathleen Campbell, Christopher S. Kelly, Cole Thompson, Dan Davenport, Daphne Victoria J., Darcy Rogers, DDB, Emmanuel Abreu, Eric K. Washington, Evan Febrillet, Franck de las Mercedes, Isadora Cardoso, Jacinta Bujanda-Suárez, Jaidee Santos, Jason Fuentes, Jeffrey DotShotIt Batista, Jessica León, Jhomalys Moran, JM Arcella, John-Michael Arcella, Jonathan Fernández, Josh Mock, Juan Duran, Kamel Brown, Lauren von Eckartsberg, Led Black, Leyda Luz, Manny Molina, Marc Genova, Marcos Jiménez, Marcus J., Martin Collins, Michael Lebrón , Michael Palma Mir, Monica Patten, Patricia Bellucci, Peter Cooper, Praveen K Chaudhry, Robert Adon, Sam Popp, Sharese Ann Frederick, Sheila Maldonado, Shellie Balakin, Skand Mishra, Sofia Torres Prida, Sontenish Myers, Stefanie Vera, Stephen Fretz, Takashi Harada.

The Nikon 40mm F2 now comes in a cute retro costume Wed, 09 Nov 2022 04:01:58 +0000

The Nikon Z 40mm f2, one of my favorite lenses, is coming in full force with a brand new look. If you’re a fan of Nikon cameras and lenses from the 90s and earlier, you’re probably going to like this. The styling is similar to a few other Nikon Z lenses that have been released. But we’re more excited that it might leave us with a really big clue.

Technical specifications of the Nikon 40mm f2

These specs are taken from our review:

  • A compact and versatile prime lens ideal for everyday applications such as close-ups, casual portraits and food photography.
  • Provides fantastic bokeh and dramatic separation of subject from background.
  • The standard focal range hits the sweet spot of a natural angle of view, while still being wide enough for street photography. When mounted on a DX-format camera, the lens is equivalent to 60mm, which is an excellent focal length for flattering portraits.
  • Ultra-compact, weighing just 170g and only 1.8″ long, making it easy to carry for day trips.
  • Constructed with 6 elements in 4 groups with a 9-blade diaphragm that creates beautiful circular bokeh that draws attention to the subject.
  • Uses an electromagnetic diaphragm for precise aperture control and stable exposure during continuous shooting.
  • The NIKKOR Z 40mm f2 offers a short minimum focusing distance of 0.29m (0.96ft), which is excellent for capturing food and top-down shots of backdrops and tabletop scenes.
  • Designed with dust and drip-proof performance in mind with a seal that prevents dust and water droplets from entering the lens.
  • Video shooters will benefit from quiet operation, natural focus shifting that allows for smooth shifts when transitioning from close focus to infinity, reduced focus breathing, and smooth opening control.
  • The lens has a built-in control ring, which can be customized and assigned to adjust focus, ISO, aperture and exposure compensation.
  • Price of $299.95. But the retro version will cost $309.95.

In our review, of the original variant, we stated:

If you’re still wondering whether or not you should jump into the Nikon Z camera system, the Nikon 40mm f2 z should help you change your mind. The company has offered several autofocus updates to its cameras. And with each, the cameras and autofocus performance have genuinely improved. That said, the Nikon 40mm f2 z may be fast, but Nikon’s autofocus algorithms are still a little wonky.

Is the new Nikon Zf coming soon?

Of course, Nikon is also announcing a new black edition of the Nikon ZFc. But that’s less important than what may be on the horizon.

Come on, you can’t sit here staring at a 40mm f2 full frame lens and think a Nikon Zf camera isn’t coming. It must be. So many photographers have been waiting for this for so long and the hype is real. If Nikon decides to do this and does it perfectly, it will be a huge win for photographers rather than content creators. Many of us want a camera like this. Nikon could potentially take market share away from Fujifilm if they did. But of course, it has to be done well. Nikon really needs to look into the retro aesthetic. Fujifilm has already shown that you don’t have to create a camera for video to be successful. Instead, the photographers will be the ones who stick with you in the end.

Hopefully that new Nikon 40mm f2 lens means a ZF is coming next year.

Get a FREE guide to black and white photography with Digital Photographer Magazine issue 259! Wed, 02 Nov 2022 14:58:01 +0000

The new issue of Digital Photographer (opens in a new tab) is out now!

This month we have another amazing issue for you, filled with professional techniques, tips and ideas.

winter landscapes

Capture the beauty and majesty of cold winter landscapes, working flawlessly in harsh conditions (Image credit: future)

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In this issue, our main article is about shooting winter landscape scenes. As the northern hemisphere enters its coldest months, the landscape transforms into a minimalist canvas with little detail. This brings unique benefits and challenges, so be sure to dive into our guide. You will learn how to work with complex exposure conditions, achieve superior focus and sharpness, and create exquisite minimalist compositions. With the help of a landscaper Andy Mumford (opens in a new tab)you will photograph your most beautiful landscapes in all weathers.

Professional fashion portrait

Do you think fashion is all about photographing on the catwalks? Think again and learn essential transferable skills! (Image credit: future)

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When someone mentions fashion photography, it conjures up images of glitzy fashion shows in Milan, Paris or New York. While these certainly play a role in high-end fashion shoots, there’s plenty more to the genre and you can get involved today. In our second feature article in this issue, we take a close look at the key skills needed to capture artistic portraits using both natural and artificial lighting. Learn to work with other creative people, find inspiration in the world around you, and organize your ideas, to create beautiful, thoughtful portraits with environmental themes.

Shoot with one lens and natural light

Veteran photographer Jeremy Flint explains how to capture an outdoor portrait with minimal gear (Image credit: future)

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Photo kit is expensive and in the current climate things are tight. So this professional photographer tutorial Jeremy Flint (opens in a new tab) came at the right time! Jeremy explains how to create images outdoors using minimal kit – a lens and no flash to be precise. Learn about Jeremy’s shooting and editing steps for perfect color and exposure.

Modern street photos

Street photography in the modern era is a hot topic and in this pro issue Alistair Campbell (opens in a new tab) embarks on a photo walk around the city of Bath to show how to use current photo technology for timeless images. (Image credit: future)

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Winter wonders: the best cameras for shooting this season

Canon, Nikon, Lumix or Sony? We pitted four hard-hitting cameras against each other to determine which model is best suited for shooting in wintry lighting conditions and cold environments. Make your choice! (Image credit: future)

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Get your copy of DP issue 259 today (opens in a new tab)! (opens in a new tab)