peter lindbergh fashion...
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Newsletter, September 2019
INSIDE THIS ISSUE: P1 PROFILE: Peter Lindbergh | P5 MEMBERS’ CHOICE | P8 DIARY | P10 WWW | P13 Lightroom
Peter Lindbergh Fashion PhotographerIt is easy to mock and satirise theworld of fashion with all itspretentiousness and prima donnas.Robert Altman did so superbly inPrêt-à-Porter, his hilarious 1994(and still extremely funny to watch)film satirising Paris Fashion Week.
Yet documentaries like McQueen,charting the life and career offashion designer Lee AlexanderMcQueen, and Westwood: Punk,Icon, Activist (denounced by itssubject, Vivienne Westwood) revealfashion’s high priests andpriestesses to be deeply sensitiveand driven artists with a cannyability to tap into the Zeitgeiste.
Yet where would the fashion
industry be without the dedicatedphotographer of fashion?
When looking at a Lindberghportrait — whether of a celebrity orfashion model — you rarely sense acasual, let alone a forced pose, andyou’d never think “clothes horse”.Instead you feel you are witnessingan important moment in a life whichhas an intriguing story behind it.
That the clothes, the putative subject
of much of his work,invariably seem almostinconsquential, is both agreat irony and a testamentto his ability to createimages with high emotionalimpact.
Surely only Lindbergh could sellPirelli the calendar concept “nakedwhile fully clothed” to feature bothyoung and mature-aged actors, andin his words, to create images by“stripping down to the very soul ofthe sitters”. Helen Mirren, who satfor the calendar, said Lindbergh’sapproach found “the amazing insomething that’s simple and humanand real ... it is part of our job to bephotographed ... and to be revealed
in a photo is quite frightening in away ... it takes a very brilliant, notjust photographer, but person to beable to bring that out in anyone.
“It’s not the moment he clicks thecamera, it’s everything he doesbefore he takes the shot that allowsthe moment to happen.”
Michael Peck
23 November 1944 — 3 September 2019
“His work is reveredglobally for capturing theessence of a subject andpromoting healthy ideals ofbeauty, eschewingphotoshopping, andpreferring natural beautywith minimal makeup.”
Meghan, Duchess of Sussex
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“When someone creates something: a painting,a poem, a photograph, the creativity comes froman idea, from a feeling, from emotion, or from acombination of ideas, feelings and emotions thatare somehow ‘reborn’ from all our experiencesand perspectives.”
Peter Lindbergh
Peter Lindbergh with Greta Thunberg, at work on one of his finalprojects, Vogue’s September 2019 issue: Forces of Change .
Peter Lindbergh: Kate Moss, Paris, 2014.
“It should be a duty for every photographerworking today to use his creativity andinfluence to free women and everyone fromthe terror of youth and perfection.”
Peter Lindbergh
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Peter Lindbergh: Vittoria Ceretti (“At the Beach”, for Vogue Germany, July 2019).
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Peter Lindberghinstagram.com/therealpeterlindbergh
facebook.com/peterlindberghofficial
peterlindbergh.com
ObituariesSarah Young independent.co.ukElizabeth Paton nytimes.com
Clockwise from top: Cate Blanchett,Ethan Hawke, Mariacarla Boscono,Charlotte Rampling.
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Members’ choice DPI – “Filigree Lace Seed Head”This image is of a seed head ofStachys byzantina, commonlyknown as Lamb’s Ear. I had takensome photos in my garden using amacro lens and when I looked at theimages on my computer, I noticedthe wonderful lace-like patterns ofthe seed head.
Inspired to try for a better shot, I cutthe stem and took it indoors, hungblack velvet some distance behind itand photographed it with sunlightstreaming through the window andhighlighting the lacey effect. I tookmany shots and found thisparticular version the most pleasingto me.
For me, one of the delights ofmacro photography is the magicaldiscovery of things you just don’tnotice with the naked eye.
Olympus E-M10 Mark II, Olympusmacro lens (60mm), f 5.6, 1/80s,ISO 200.
Eve Taylor
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Members’ choice mono – “Other Worlds”Although not obvious atfirst glance, the subject ofthis photograph is asulphur-crested cockatoofeather. I noticed it on theground after a shower, withthe spherical shapes formedby rain droplets.With more showers on theway I didn’t have time toset up a tripod so I decidedto use my camera’s burstmode.
After focussing manuallyon the ground, I started theburst mode and slowly andsteadily moved the cameraaway from the subjectwhile taking 10 images.
Fortunately this worked andI was able obtain a sharpimage from the 10.
This was then cropped toproduce this image whichwas taken in colour andconverted to black andwhite.
Canon EOS M6 (mirrorless), Sigma 70mm, f 5,1/320s, ISO 100.
Robert Lipscombe
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Members’ choice colour – “Snow at Brown’s Gap”We rarely get decent snowfalls inmy neck of the woods, only two orthree times a year. Snow down to700m had been predicted for oneAugust Saturday morning, but at6:00am I was disappointed to findno snow on the ground at all.
At 7:00am snow started falling soI jumped into the car and headedto Hassans Walls Lookout. Butthere it was getting so heavy Icouldn’t see much at all. I beganto worry I mightn’t be able todrive back. So I jumped in the carand headed homewards.
As I approached Brown’s Gap thesnow was getting lighter so Ipulled over hoping there would besomething worth photographing.I was not disappointed. Theconditions for capturing thewonderful sandstone cliffs wereperfect. The light was amazing,with the sun peeking out frombehind the clouds and the snowfalling lightly.
I was in photographers’ heaven. Ahundred shots later I was finished,mainly because I could no long feelmy fingers.
Post processing was just a littlecropping in Lightroom then intoColorEfex Pro for the conversionthat you see, then into Photoshop to
remove the effects of snow on thelens, plus a little dodging andburning to fix a few of the highlightsand shadows.
Pentax K-1, D FA 28-105mm (40),f 11, 1/400s, ISO 400.
Rob Skinner
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DiaryPhotography Competition WinnersClub members Bob Lipscome and Eve Taylor scooped upthe top prizes at the Blackheath and District HorticulturalSociety’s inaugural photography competition on the themeof “plant patterns in nature”.
Bob tookhome the firstprize ($500)for hisintriguingmacro shot ofa Dandelionseed head,while Eve wonsecond prize($200) for herSinuousSucculentwhich wasalso DPIMembers’Choice forFebruary.
Another local, Blackheath photographer Trish Davies, tookhome the third prize.The organisers were delighted with the number of entriesreceived and we anticipate an even larger event for theSociety’s 2020 centenary exhibition.
Page 9Church Fair, Saturday 28 September
Helpers are wanted and prints are welcome for the club’sbooth at Holy Trinity Anglican Church, 17 Armstrong St.,Wentworth Falls. Setup at 8:30am for the fair 9am to 1pm.
Come and chat to prospective new members. Great scones and coffee too!
Wanted! Prints for Inter-clubPlease remember to bring your best three colour and bestthree mono previously exhibited prints along to our nextexhibition night They will then go into the selectionprocess for the 2019 inter-club competition. The CameraClub’s Committee will only select from amongst the
images exhibited on 2 October.
To qualify, prints must have been shown at the camera club afterNovember 2018. Please bring what you consider are your best images, notnecessarily the highest scoring images.
Please note that you do not need to sumbit your DPIs as the club alreadyhas these on file.
The judge for our October exhibition night will be Mt. Victoriaphotographer Gary Hayes. For information about Gary and to see some ofhis work please click the links in the box below.
Powerhouse Museum, UltimoThe Australian Geographic Nature Photographer of the Year 2019exhibition runs until 20 October at 500 Harris Street, Ultimo.
Click here for more information and ticket purchases.
Maritime Museum, Darling HarbourThe Wildlife Photographer of the Year exhibition ends very soon on 26September.
Also at the museum is a virtual reality experience of Antarctica. Note thisruns four times per day until 13 October but is closed on Friday 27September.
The museum is located in Darling Harbour, next to the Pyrmont Bridge.Free all day parking is available. Click here for tickets and details.
Gary Hayes Photographyinstagram.com/garyphayes.photography/
facebook.com/garyphayesphotography
garyphayes.photography
flickr.com/photos/garyhayes/
Lea Scaddan: In the Light
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On the StreetScottish social documentary andportrait photographer KirstyMackay took an unusual approachto street photography in a projectsponsored by Fuji Film. Rather likeSteve Gilbank at Ironfest shebrought her own studio in the formof a portable backdrop (right). Herchosen subjects were photographedagainst this and later given a freeprint of the finished work. Theresulting images are an interestingblend of formal portaiture and streetphotography.
One of Kirsty’s latest works, TheFish That Never Swam, evolvedfrom statistics revealing Glasgow’smale life expectancy is the lowest inwestern Europe. For photographsand more on that project click here.
WWW
Kirsty Mackay’s portable studio.
Kirsty Mackayinstagram.com/kirstygmackay
facebook.com/kirsty.mackay.73932
kirstymackay.com Kirsty Mackay: a newly-born baby in aScottish government “baby box”.Introduced to tackle infant poverty itprovides a safe place to sleep andcomes full of baby essentials.
Tasawar Islam Tausif from Bangladesh took 3rd place in the under 21 categoryfor this striking entry in the London Street Photography Festival.
The London Street Photography Festival ended in August but all thewinning photographs can now be viewed here.
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Margaret Bourke-White14 June 1904 — 27 August 1971
Pioneering American photo-journalist MargaretBourke-White enjoyed a remarkable and wide-ranging career.
The talent shown in her early work as anindustrial photographer in Ohio was soon noticedby Fortune, and before long she began workingfor LIFE, shooting the cover for the magazine’svery first issue.
She was both the first female war correspondentand the first foreign photographer who waspermitted to document Soviet industry.
Bourke-White also had the gift of excellenttiming: in India she photographed Ghandi justhours before his assassination, and in 1941 shewas the only American photographer during theBattle of Moscow.
She was also extremely lucky. She survivedbeing “torpedoed in the Mediterranean, strafedby the Luftwaffe, stranded on an Arctic island,bombarded in Moscow, and pulled out of theChesapeake when her chopper crashed.”
WWW
“Photography is a very subtle thing.You must let the camera take you bythe hand, as it were, and lead you intoyour subject.”
Margaret Bourke-White
Margaret Bourke-White setting up a shot on the 61stfloor of the Chrysler Building, New York, 1934.
Margaret Bourke-White: American fliers of the 8thBomber Command in full high altitude kit, 1941.
Margaret Bourke-White: A Colorado farmer and hisfamily inspect their newly bought farm, 1954.
Margaret Bourke-WhiteFeatured in The Atlantic
Entry at the International Centre of Photography
Various Works at Gallery M
artnet.com
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WWWOf Taste & TimeUndoubtedly one of the mostvaluable aspects of club exhibitionnights is getting the chance to hearhow others view your ownphotographs, daunting though itmay be.
It is certainly painful when an imagethat is so meaningful to you, andwhich may represent many hours oflabour and intense involvement, is,well, “woefully misunderstood”.
In judging any artwork there are, ofcourse, matters of subjectivity andquestions of taste or fashion. Clearlythese vary over time and in SanFrancisco a fascinating exhibitionexamines how definitions of whatconstitutes a “good” and a “bad”photograph have changed over time.
Don’t! Photography and the Art ofMistakes is on show at SFMOMA,San Francisco, until 1 December2019. For details click here.
In the British Journal ofPhotography Hannah Abel-Hirschoutlines the exhibition and speakswith its curator Clément Chéroux.
She notes that the importance ofDiane Arbus’s short and seeminglycounter-intuitive quote lies simplyin the fact that “if you do not make
any bad photographs, you will alsonot make any good photographs.
“This is something that is crucial tothe history of photography. Themajority of the most importantphotographers of the 20th centuryrecognised, at some point in theircareer, that they were makingmistakes. But, they understood theimportance of doing that.”
You can read her article here.
DIY JudgingIs there any way of knowing thatyou are making mistakes — otherthan someone telling you, in public,on an exhibition night?
Joshua Dunlop offers ten ways tocritique your own photography hereand you can read (and judge!) hiscritiques of expertphotography.comreaders’ images here.
“It is important to takebad pictures”
Diane Arbus
Sara Cwynar: Girl from Contact Sheet
expertphotography.com: Good? Bad? Or just Cliché?
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Applying lens corrections at importLens correction is one of thosesettings you often need to apply tomany images. This can be a tediousprocess if adding them manually,one at a time, however, inLightroom they can be applied tomuliple images at import timesimply by using a custom preset.
You will need to create a custompreset for each lens. Here’s how:
1. Launch Lr and find an imagetaken with a specific lens, andimportantly, one which you haven’tyet made any adjustments to. Youmay have to import a fresh imagejust for this purpose.
2. Open the image in the Developmodule.
3. Expand the Lens Correctionspanel (RHS) and on the Profile tabtick Remove Chromatic Aberration(optional); tick Enable ProfileCorrections; and from the Setupdropdown list choose Auto (refer toscreenshot next column).
4. On the Presents panel (LHS)click the plus sign.
The dialog box shown to the rightwill be displayed. Name the presetwith the name and model of yourlens, tick Process Version, thenclick <Create>.
Now, to apply your lens profilepreset at import time:
1. Launch Lr and either click<Import> or select File | Importphotos and video.
2. In the TO pane (RHS) expand theApply During Import panel.
3. From the Develop Settingsdropdown list choose User Presets
then select the lens correction presetyou have created.
4. Add any other import actionssuch as choosing a collection to addthe images to or inputting keywords
to apply to all the images you areimporting.
5. Click <Import>. Your selectedimages will be imported with lenscorrection automatically applied.
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ContactsNewsletter: [email protected] submission: [email protected]: Alan Daniel: 0407 761 808
[email protected]: Pauline Pollock: [email protected]: Greg Wood: [email protected]
Submitting imagesWhether submitting a DPI or digital images of your prints
the required format to match the projector is a maxium width of1024 and a maximum height of 768 pixels.For a landscape format image, set the longest side to 1024;
for portrait, set the longest side to 768, and for a square image,all sides are 768.
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1024
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Our web sitewww.upperbluemtnscameraclub.com.au
Apple Mail users: afterattaching your imagesplease ensure you select