World Press Photo of the Year 2012, by Paul Hansen
Following recent discussion and speculation in the media about the photograph by Paul Hansen, selected as World Press Photo of the Year 2012 by the contest jury, World Press Photo has submitted the image files for a forensic analysis. The purpose of the investigation into the authenticity and editing history of the picture is to curtail any further speculation about the integrity of the image and to establish that it is not a composite.
Paul Hansen has previously described in detail how he processed the image file and World Press Photo has not had any reason to question his explanation. He has now again fully cooperated in the investigation carried out by independent experts. After examining the RAW file and the JPEG image entered in the competition, these are the experts’ conclusions:
“We have reviewed the RAW image, as supplied by World Press Photo, and the resulting published JPEG image. It is clear that the published photo was retouched with respect to both global and local color and tone. Beyond this, however, we find no evidence of significant photo manipulation or compositing.”
http://www.worldpressphoto.org/
Zoom Info
  • Camera
  • ISO
  • Aperture
  • Exposure
  • Focal Length
  • Canon EOS 5D Mark III
  • 400
  • f/5
  • 1/800th
  • 17mm

 World Press Photo of the Year 2012, by Paul Hansen

Following recent discussion and speculation in the media about the photograph by Paul Hansen, selected as World Press Photo of the Year 2012 by the contest jury, World Press Photo has submitted the image files for a forensic analysis. The purpose of the investigation into the authenticity and editing history of the picture is to curtail any further speculation about the integrity of the image and to establish that it is not a composite.

Paul Hansen has previously described in detail how he processed the image file and World Press Photo has not had any reason to question his explanation. He has now again fully cooperated in the investigation carried out by independent experts. After examining the RAW file and the JPEG image entered in the competition, these are the experts’ conclusions:

“We have reviewed the RAW image, as supplied by World Press Photo, and the resulting published JPEG image. It is clear that the published photo was retouched with respect to both global and local color and tone. Beyond this, however, we find no evidence of significant photo manipulation or compositing.”

http://www.worldpressphoto.org/

‘roads’ Book by Dominik Staszowski

My book with a collection of 75 beautifully edited and printed Black & White images taken throughout the World depicting all aspects of Culture, Landscape, People and Lifestyle is for sale on my website. Through Siberia, Asia, Scandinavia, Eastern and Western Europe and North Africa ‘roads’ is about a journey. A journey of self-discovery whilst peering through visages of all ethnicities. The images veer between the light-hearted, titillating, appalling, beautiful at times sad and thought provoking. This is the essence and the very core of ‘roads’. 

The book is a Hard Cover 30x30cm Image Wrap with 150 pages printed on Mohawk ProLine Uncoated paper, giving the book a unique Art Book feel and finish.

The book is available through my website:

http://www.dominikstaszowski.com/#!store/cvc6

Jeff Bridges abides on the other side of the Lens…

Some photographers are drawn to dramatic events in exotic lands. Others are compelled to stay closer to home and burrow into the stories they know best.

Since 1984, Mr. Bridges has documented the sets of most of his movies, compiling a large collection of wide images that give an intimate, behind-the-scenes look at movie making.

“My photography is mainly focused on my work making movies, which I’ve done my whole life, I think I have a perspective that not many people have. And I get to take advantage of all of the strange sources of light on a set.”

Mr. Bridges uses a Widelux camera for almost all of his photos because he says its ultrawide images are close to how the human eye really sees. It’s a quirky camera that allows photographers to emphasize both foreground and background. 

“The Widelux is a fickle mistress; its viewfinder isn’t accurate, and there’s no manual focus, so it has an arbitrariness to it, a capricious quality. I like that. It’s something I aspire to in all my work — a lack of preciousness that makes things more human and honest, a willingness to receive what’s there in the moment and to let go of the result. Getting out of the way seems to be one of the main tasks for me as an artist.”

Hasselblad’s iconc V System comes to a close… 
The company today announced that it will no longer be producing the 503CW medium format camera. This teams the V System line is officially coming to an end.Hasselblad says that he decision, which is effective immediately, ends “over a half century of evolution” for the company’s original camera line.
The Hasselblad V System was first introduced in 1948 through founder Victor Hasselblad’s wishes to see a camera that’s as holdable as a Leica, but which shoots medium format film. The iconic camera was the choice of Buzz Aldrin when shooting the landing on the moon in 1969, and much loved by famous photographers the likes of: Anton Corbijn, Helmut Newton, Irving Penn, Annie Leibovitz, Patrick Demarchelier, Richard Avedon and many others. 
The 503CW has been popular among professional and amateur photographers since it was launched seventeen years ago, but Hasselblad says that demand for the camera has been plummeting over the past half decade. “The time has now come for us to reluctantly consign the V System to history,” the company says.
I had the pleasure of owning the system some years ago, and the camera still holds an attraction to me to this day, with it’s beautiful lines, compact body, perfect 6x6 frame and the lenses… sweet beautiful glass!!! 
V System - RIP… 

Hasselblad’s iconc V System comes to a close… 

The company today announced that it will no longer be producing the 503CW medium format camera. This teams the V System line is officially coming to an end.

Hasselblad says that he decision, which is effective immediately, ends “over a half century of evolution” for the company’s original camera line.

The Hasselblad V System was first introduced in 1948 through founder Victor Hasselblad’s wishes to see a camera that’s as holdable as a Leica, but which shoots medium format film. The iconic camera was the choice of Buzz Aldrin when shooting the landing on the moon in 1969, and much loved by famous photographers the likes of: Anton Corbijn, Helmut Newton, Irving Penn, Annie Leibovitz, Patrick Demarchelier, Richard Avedon and many others. 

The 503CW has been popular among professional and amateur photographers since it was launched seventeen years ago, but Hasselblad says that demand for the camera has been plummeting over the past half decade. “The time has now come for us to reluctantly consign the V System to history,” the company says.

I had the pleasure of owning the system some years ago, and the camera still holds an attraction to me to this day, with it’s beautiful lines, compact body, perfect 6x6 frame and the lenses… sweet beautiful glass!!! 

V System - RIP… 

Capture, Helena Christensen & Portrait Photographer Mary Ellen Mark

Supermodel Helena Christensen and Documentary Photographer Mary Ellen Mark discuss their work, travels and inspirations with Mark Seliger. From Johnny Depp to the circus performers of India and from the villages of Peru to the celebrities of Hollywood, Christensen and Mark talk about the challenges of finding the essence of their subjects and the thrill of taking a beautiful photograph.

Which Way is the Frontline From Here? A documentary tribute to Tim Hetherington…
Two years after his death, Tim Hetherington is the subject of a new HBO documentary, Which Way is the Frontline From Here?, which sheds light on his motivations as a photojournalist and filmmaker, and his untimely death.
On 20 April 2011, Hetherington and his colleagues – Guy Martin, Chris Hondros and Michael Christopher Brown – came under attack in Misrata, Libya. Suffering from shrapnel wounds, the award-winning photographer and filmmaker bled out and died on the way to a makeshift hospital. While Junger’s documentary opens and closes on that fateful day, the filmmaker, with whom Hetherington worked on the Oscar-nominated Restrepo, attempts to explain, via interviews with his colleagues, friends and family, what made Hetherington a different kind of journalist. Using footage shot by Hetherington and his colleagues, the documentary takes us from Sri Lanka to Liberia and Afghanistan – countries that have influenced the way Hetherington approached the photographic medium. 

Which Way is the Frontline From Here? A documentary tribute to Tim Hetherington…

Two years after his death, Tim Hetherington is the subject of a new HBO documentary, Which Way is the Frontline From Here?, which sheds light on his motivations as a photojournalist and filmmaker, and his untimely death.

On 20 April 2011, Hetherington and his colleagues – Guy Martin, Chris Hondros and Michael Christopher Brown – came under attack in Misrata, Libya. Suffering from shrapnel wounds, the award-winning photographer and filmmaker bled out and died on the way to a makeshift hospital. While Junger’s documentary opens and closes on that fateful day, the filmmaker, with whom Hetherington worked on the Oscar-nominated Restrepo, attempts to explain, via interviews with his colleagues, friends and family, what made Hetherington a different kind of journalist. Using footage shot by Hetherington and his colleagues, the documentary takes us from Sri Lanka to Liberia and Afghanistan – countries that have influenced the way Hetherington approached the photographic medium. 


Free Journalist James Foley, Talking with Diane Foley, Mother of James: ‘Jim Always Called Us on Holidays’
As American journalist Jim Foley entered his fifth month missing in Syria, his mother, Diane Foley, prepared for a panel event called ‘Silenced Voices: When Conflict Journalists Go Missing,’ to be held by the Free James Foley organization on May 3 in Boston. She spoke with Syria Deeply managing editor Karen Leigh about her fears, her belief in her son and what it’s like to be the parent of a conflict journalist.
Karen Leigh: Tell me what we don’t know about your son. How did he come to the Syria story?
Diane Foley: James has been in journalism now for about seven years. And he initially began some of his work in Afghanistan, and then went to Libya. He has become very interested in conflict journalism, particularly because he recognizes the incredible stress that normal citizens, women and children, go through when their country is at war. And he thinks it’s a very important story for the world to know. He’s become very passionate about doing this type of work, Karen. After a while he felt compelled that he’s seeing things in those countries that the world should know about.
KL: What’s it like to be the mother of a conflict reporter?
DF: As a mother this would not have been my choice, the type of journalism he’s doing. I would prefer he choose a safer line of work. It’s anxiety producing. James is aware of that, so always when he’s away, he calls or texts or emails every two days. He was very aware of the stress it puts on all of us, and he’s done very well about letting us know where he was going.
KL: Were there any stories James was working on about which he was particularly passionate?
DF: He had spent a lot of time in an Aleppo hospital. He had seen the suffering of young children, innocent people being hurt. But he also covered stories of people helping each other in the midst of conflict. It was exhilarating for him to work in Libya, in Benghazi, to be witness to what was happening in that country. He’s quite passionate about all the stories that he writes. Jim’s a very good listener, he listens to people’s stories.
KL: It has to be harder the more time goes by.
DF: The longer this goes on, it truly becomes harder. It’s really becoming harder, I’m not going to deny that. So I need to stay hopeful and strong and realize that he is doing that, too. I really do appeal to anyone who might be in Syria or know anyone who could help us find him. He has a tattoo on his left shoulder that says ‘Foley,’ which helps to identify him.
Jim is 39. He was home in October and we celebrated his birthday. I’m a nurse practitioner, and my husband is a physician. We live in New Hampshire. It’s a very rural environment. He grew up in Wolfboro, right on Lake Winnipisaukee.
This is Jim’s second career. Before journalism he was a teacher. He was in Teach for America, in the inner city in Phoenix and later in Chicago, where he worked in a program at Cook County jail helping men who wanted to earn their GED. He came into journalism after graduating from Northwestern University, Medill [School of Journalism]. So this has been a new career for him.
 KL: When was the last time you heard from James? When did you find out he was missing?

DF: We heard from him in mid-November. My elderly aunt died and Jim was very close to her and called me to give condolences. Our daughter spoke with him the morning of November 22, they texted each other. He was on his way back to Turkey that day, and that’s when he was captured.
We found out when one of his colleagues, Clare Gillis, called us the following morning. Nicole Tung [a freelance photographer who contributes to Syria Deeply] and Clare [a freelance journalist who was captured with Foley when they were reporting in Libya] were both waiting for Jim at the Turkish border. They were waiting for the driver and translator, for him to return, so they could take the driver into Syria. When he did not return, they knew there was trouble. Clare called to let us know the morning after Thanksgiving. We knew it wasn’t good, because Jim always called us on holidays and he hadn’t called that entire day.
KL: Did you think it would be quick, like his capture in Libya? Or did you realize that Syria was a different animal and he might be there for a long time?
DF: The former, initially, to be honest. Jim was very fortunate in Libya, his capture was witnessed and he was sighted, and he came home in 44 days. Even though it was very difficult, he came home and endured it well. We were in shock and very upset that it had happened [again in Syria]. We continue to be hopeful but it’s difficult in that it has been much longer, and that’s very troubling for us as a family – we just haven’t seen or heard from him for a long time.
Jim found the Syrians very hospitable, very good people. As a family, we continue to make a humanitarian plea to anyone in Syria who may have seen our son James or any other Western journalist. There are a lot of journalists, a lot of good people who are trying to help us find James and Austin Tice [an American freelancer who has been missing in Syria since August]. The problem is that in spite of all these good efforts we really have no trace of Jim at all.
KL: Do you worry about his physical and emotional states?
DF: I do, but Jim is a very strong, resilient young man. He has strong faith in the goodness of people. He’s physically strong and emotionally strong. He’s an innocent and objective journalist. He was there merely to cover the story so people in the world could know the suffering on both sides of the conflict. On May 3, which the United Nations has designated World Freedom of the Press Day, we’re going to have an event in Boston called Silenced Voices: When Conflict Journalists Go Missing. David Rohde [who was kidnapped in Afghanistan while reporting for The New York Times] and Roxana Saberi [a freelancer who was held in prison in Iran in 2009] are participating. They’re going to be having a discussion about the risk for conflict journalists, because it’s a very high-risk occupation.
Please Support: http://www.freejamesfoley.org/

Free Journalist James Foley, Talking with Diane Foley, Mother of James: ‘Jim Always Called Us on Holidays’

As American journalist Jim Foley entered his fifth month missing in Syria, his mother, Diane Foley, prepared for a panel event called ‘Silenced Voices: When Conflict Journalists Go Missing,’ to be held by the Free James Foley organization on May 3 in Boston. She spoke with Syria Deeply managing editor Karen Leigh about her fears, her belief in her son and what it’s like to be the parent of a conflict journalist.

Karen Leigh: Tell me what we don’t know about your son. How did he come to the Syria story?

Diane Foley: James has been in journalism now for about seven years. And he initially began some of his work in Afghanistan, and then went to Libya. He has become very interested in conflict journalism, particularly because he recognizes the incredible stress that normal citizens, women and children, go through when their country is at war. And he thinks it’s a very important story for the world to know. He’s become very passionate about doing this type of work, Karen. After a while he felt compelled that he’s seeing things in those countries that the world should know about.

KL: What’s it like to be the mother of a conflict reporter?

DF: As a mother this would not have been my choice, the type of journalism he’s doing. I would prefer he choose a safer line of work. It’s anxiety producing. James is aware of that, so always when he’s away, he calls or texts or emails every two days. He was very aware of the stress it puts on all of us, and he’s done very well about letting us know where he was going.

KL: Were there any stories James was working on about which he was particularly passionate?

DF: He had spent a lot of time in an Aleppo hospital. He had seen the suffering of young children, innocent people being hurt. But he also covered stories of people helping each other in the midst of conflict. It was exhilarating for him to work in Libya, in Benghazi, to be witness to what was happening in that country. He’s quite passionate about all the stories that he writes. Jim’s a very good listener, he listens to people’s stories.

KL: It has to be harder the more time goes by.

DF: The longer this goes on, it truly becomes harder. It’s really becoming harder, I’m not going to deny that. So I need to stay hopeful and strong and realize that he is doing that, too. I really do appeal to anyone who might be in Syria or know anyone who could help us find him. He has a tattoo on his left shoulder that says ‘Foley,’ which helps to identify him.

Jim is 39. He was home in October and we celebrated his birthday. I’m a nurse practitioner, and my husband is a physician. We live in New Hampshire. It’s a very rural environment. He grew up in Wolfboro, right on Lake Winnipisaukee.

This is Jim’s second career. Before journalism he was a teacher. He was in Teach for America, in the inner city in Phoenix and later in Chicago, where he worked in a program at Cook County jail helping men who wanted to earn their GED. He came into journalism after graduating from Northwestern University, Medill [School of Journalism]. So this has been a new career for him.

 KL: When was the last time you heard from James? When did you find out he was missing?

DF: We heard from him in mid-November. My elderly aunt died and Jim was very close to her and called me to give condolences. Our daughter spoke with him the morning of November 22, they texted each other. He was on his way back to Turkey that day, and that’s when he was captured.

We found out when one of his colleagues, Clare Gillis, called us the following morning. Nicole Tung [a freelance photographer who contributes to Syria Deeply] and Clare [a freelance journalist who was captured with Foley when they were reporting in Libya] were both waiting for Jim at the Turkish border. They were waiting for the driver and translator, for him to return, so they could take the driver into Syria. When he did not return, they knew there was trouble. Clare called to let us know the morning after Thanksgiving. We knew it wasn’t good, because Jim always called us on holidays and he hadn’t called that entire day.

KL: Did you think it would be quick, like his capture in Libya? Or did you realize that Syria was a different animal and he might be there for a long time?

DF: The former, initially, to be honest. Jim was very fortunate in Libya, his capture was witnessed and he was sighted, and he came home in 44 days. Even though it was very difficult, he came home and endured it well. We were in shock and very upset that it had happened [again in Syria]. We continue to be hopeful but it’s difficult in that it has been much longer, and that’s very troubling for us as a family – we just haven’t seen or heard from him for a long time.

Jim found the Syrians very hospitable, very good people. As a family, we continue to make a humanitarian plea to anyone in Syria who may have seen our son James or any other Western journalist. There are a lot of journalists, a lot of good people who are trying to help us find James and Austin Tice [an American freelancer who has been missing in Syria since August]. The problem is that in spite of all these good efforts we really have no trace of Jim at all.

KL: Do you worry about his physical and emotional states?

DF: I do, but Jim is a very strong, resilient young man. He has strong faith in the goodness of people. He’s physically strong and emotionally strong. He’s an innocent and objective journalist. He was there merely to cover the story so people in the world could know the suffering on both sides of the conflict. On May 3, which the United Nations has designated World Freedom of the Press Day, we’re going to have an event in Boston called Silenced Voices: When Conflict Journalists Go Missing. David Rohde [who was kidnapped in Afghanistan while reporting for The New York Times] and Roxana Saberi [a freelancer who was held in prison in Iran in 2009] are participating. They’re going to be having a discussion about the risk for conflict journalists, because it’s a very high-risk occupation.

Please Support: http://www.freejamesfoley.org/
The 2013 Pulitzer Prize Awards, ‘Siege of Aleppo’ 18th October 2012, Free Syrian Army fighters stand guard in Aleppo’s Karm al-Jabal neighborhood, as light enters through a wall peppered by shrapnel. 
Rodrigo Abd, Manu Brabo, Narciso Contreras, Khalil Hamra and Muhammed Muheisen of The Associated Press have won the 2013 Pulitzer Prize in breaking news photography for their coverage of Syria’s civil war. Javier Manzano, a freelance photographer working with Agence France-Presse, has won the Pulitzer in feature photography for his picture of two Syrian rebel fighters taking aim through a pockmarked wall in Aleppo (Above).Lens presents exclusive interviews with several of the winning photographers: 
http://lens.blogs.nytimes.com/2013/04/15/photographs-of-syria-sweep-pulitzer-prizes/

The 2013 Pulitzer Prize Awards, ‘Siege of Aleppo’ 18th October 2012, Free Syrian Army fighters stand guard in Aleppo’s Karm al-Jabal neighborhood, as light enters through a wall peppered by shrapnel. 

Rodrigo Abd, Manu Brabo, Narciso Contreras, Khalil Hamra and Muhammed Muheisen of The Associated Press have won the 2013 Pulitzer Prize in breaking news photography for their coverage of Syria’s civil war. 

Javier Manzano, a freelance photographer working with Agence France-Presse, has won the Pulitzer in feature photography for his picture of two Syrian rebel fighters taking aim through a pockmarked wall in Aleppo (Above).

Lens presents exclusive interviews with several of the winning photographers: 

http://lens.blogs.nytimes.com/2013/04/15/photographs-of-syria-sweep-pulitzer-prizes/

Tragedy in Boston: Photographer’s Eyewitness Account…
Boston Globe photographer John Tlumacki, who photographed the explosions at the finish line of the Boston Marathon. Tlumacki, who has photographed more than 20 marathons in his 30 years at the Globe, describes the sheer chaos of the scene:
“I was covering the finish line at the ground level at the marathon. Everything was going on as usual. It was jovial — people were happy, clapping — and getting to a point where it gets a little boring as a photographer. And then we heard this explosion.
It was sort of like, ok, what’s that all about? It wasn’t super loud but all you saw was the smoke. There was this big cloud of smoke and people screaming. The percussion from that explosion threw my cameras up in the air. Right in front of me, one of the runners fell on the ground — he was blown over from the blast. My instinct was…no matter what it is, you’re a photographer first, that’s what you’re doing. I ran towards the explosion, towards the police; they had their guns drawn. It was pandemonium. Nobody knew what was going on.
The first thing I saw were people’s limbs blown off. Massive amounts of blood. It looked like BB holes in the back of some people. And a lot of anger. People were just angry. What’s going on? Why is this happening at the Boston Marathon?
Maybe 15 seconds after the first explosion, while I was still shooting pictures, another explosion went off. And then there was panic. The cops told everybody to get off the street, that there could be another one.
I can’t compare it to anything else I’ve ever been to. The horror. And the anger.”

Tragedy in Boston: Photographer’s Eyewitness Account…

Boston Globe photographer John Tlumacki, who photographed the explosions at the finish line of the Boston Marathon. Tlumacki, who has photographed more than 20 marathons in his 30 years at the Globe, describes the sheer chaos of the scene:

“I was covering the finish line at the ground level at the marathon. Everything was going on as usual. It was jovial — people were happy, clapping — and getting to a point where it gets a little boring as a photographer. And then we heard this explosion.

It was sort of like, ok, what’s that all about? It wasn’t super loud but all you saw was the smoke. There was this big cloud of smoke and people screaming. The percussion from that explosion threw my cameras up in the air. Right in front of me, one of the runners fell on the ground — he was blown over from the blast. My instinct was…no matter what it is, you’re a photographer first, that’s what you’re doing. I ran towards the explosion, towards the police; they had their guns drawn. It was pandemonium. Nobody knew what was going on.

The first thing I saw were people’s limbs blown off. Massive amounts of blood. It looked like BB holes in the back of some people. And a lot of anger. People were just angry. What’s going on? Why is this happening at the Boston Marathon?

Maybe 15 seconds after the first explosion, while I was still shooting pictures, another explosion went off. And then there was panic. The cops told everybody to get off the street, that there could be another one.

I can’t compare it to anything else I’ve ever been to. The horror. And the anger.”



2013 Pirelli Calendar by Steve McCurry…

Shot in Rio, the 2013 edition of the Pirelli Calendar is a refreshing break from that publication’s long-standing tradition of perfect bodies in starkly-lit, paradisical settings. McCurry adds his iconic and unmistakable signature look to the calendar whilst still focusing on conventional contemporary beauty, as represented by a generous smattering of the world’s top models, but they are all mercifully clothed. More importantly, there is no sense of the male gaze being responsible for the women’s placement and the way their images are captured. In my opinion it is one of the most beautiful, well presented calendars to date, not taking anything away from Peter Lindbergh’s 2002 edition. 

2013 Pirelli Calendar by Steve McCurry

There are 34 colorful images in the 2013 Pirelli Calendar, bound together in a calendar-book: 23 portraits of actresses and models, nine images depicting bits and pieces of daily life, and two pictures entirely composed of graffiti and murals. These represent an expression of popular artistic expression that attracted McCurry’s attention with their ability to reflect the social aspects he was interpreting, and became the background in many photographs.

Steve McCurry:

“I tried to portray Brazil, its landscape, its economy and its culture, along with the human element” said McCurry. “This was the story I wanted to tell through my lens. For me photography is an important expressive means to tell large and small stories of daily life.” In the background, Rio is bustling with life, with its historic quarters like Lapa and Santa Teresa, its favelas, its bars and nightclubs, its markets, dance centers and gyms, its schools and bus stops. The city appears at its most authentic, very different from the usual stereotypes. “I walked a lot through the streets, looking at all these moments of daily life and taking lots and lots of pictures,” said McCurry. “I look for the moment of passage, when the image reveals a bit of tension.” 
2013 LEICA OSKAR BARNACK AWARD
My photo essay titled ’ Bali Spirit’  selected as part of the 2013 award…  
An international jury awards the Leica Oskar Barnack Award to professional photographers whose unerring powers of observation capture and express the relationship between man and the environment in the most graphic form in a sequence of a minimum of 10 up to a maximum of 12 images. Entry submissions must be a self-contained series of images in which the photographer perceives and documents the interaction between man and the environment with acute vision and contemporary visual style – creative, groundbreaking and unintrusive.
http://www.leica-oskar-barnack-award.com/en/submissions/leica-oskar-barnack-award/5412-dominik-staszowski-1

2013 LEICA OSKAR BARNACK AWARD

My photo essay titled ’ Bali Spirit’  selected as part of the 2013 award…  

An international jury awards the Leica Oskar Barnack Award to professional photographers whose unerring powers of observation capture and express the relationship between man and the environment in the most graphic form in a sequence of a minimum of 10 up to a maximum of 12 images. Entry submissions must be a self-contained series of images in which the photographer perceives and documents the interaction between man and the environment with acute vision and contemporary visual style – creative, groundbreaking and unintrusive.

http://www.leica-oskar-barnack-award.com/en/submissions/leica-oskar-barnack-award/5412-dominik-staszowski-1

St Kilda, Ready for take off, 2013…
Zoom Info
  • Camera
  • ISO
  • Aperture
  • Exposure
  • Focal Length
  • Fujifilm FinePix X100
  • 200
  • f/4
  • 1/2000th
  • 23mm

St Kilda, Ready for take off, 2013…

ANTON CORBIJN - Interview

ANTON CORBIJN AT THE PETRA RINCK GALLERY 2013

Anton Corbijn has become known not only for his insightful portraits and artistic music videos, but also with films like “Control” and “The American” starring George Clooney. His stylistic aesthetics, which manifests itself in the subtle nuances of his black and white tones, the coarse grain of the film, the unique use of natural light, as well as the fantastically secure sense the right hundredth of a second, the right moment, made him one of the most important contemporary portrait photographers.

http://www.corbijn.co.uk/

http://www.antoncorbijn.com/