The newest collection of Tannishtha shown at Banglore Fashion Week (Bangkok edition) in Central World on the 22th of March 2013.
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The newest collection of Victeerut shown at Elle Fashion Week Bangkok in W Hotel on the 16th of March 2013.
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There are designers who make expensive, glitzy clothes for rich people – a lot of these designers show in Milan. And then there is Miuccia Prada.
She too sells top-end fashion, and rather well it seems given the label’s current buoyant profits, but with Prada it’s always a slightly more complicated story. After all, this is the designer who made hits out of banana earrings, stacked raffia lace-up shoes and satin jackets with vintage cars on their backs.
Her latest offering for women, shown in the Italian fashion capital on Thursday evening was an undoubtedly sexy affair though never in an obvious kind of way. That is not Prada’s thing. Instead, running through the gorgeous 49 looks on the catwalk – there was not a pair of trousers in sight – was an air of a vintage film heroine whose wardrobe was a little disheveled and whose hair was wet, as if it had been styled straight out of a 1990s grunge-era photograph.
“You can’t be romantic. There are so many restrictions. You have to control your feelings,” Prada said backstage after the show. The idea of romance was balanced for the designer with rawness. “Raw elegance,” she concluded was central to the look of the Prada woman this season.
That explains the hair. It also explains the way dresses or tops were often worn pushed off the shoulder – to show a dash of flesh. For example, an otherwise prim blue and white gingham dress appeared with several of the top buttons undone. Or a coat with furry gauntlet sleeves – this statement sleeve shape appeared throughout the show – which was pushed off the back of the shoulder and worn with a red leather skirt.
Certain things were carried over from the recent menswear collection – Prada said she would like to design more harmoniously for men and women but explained that it is just too difficult. Coloured leather coats and short Harrington jackets in the women’s show also appeared on the men’s catwalk in January.
The dominant skirt styles were tidy pencils or slightly fuller shapes, though it was the new two-length, lop-sided shape, which is likely to be seen in a lot of fashion shoots come autumn when the clothes arrive in stores.
Dresses with beautiful embroidery, such as the opening look, also offered a kind of cinematic moodiness, which the set, featuring black and white silhouettes of girls and cats or dreamy muted landscapes, seemed to echo.
Gingham bowling bags and metallic heavy tread two-strap sandals both look likely to sell with the usual swiftness of a hit Prada accessory.
Source: Guardian UK
The Victoria’s Secret Fashion Show is an annual fashion show sponsored by Victoria’s Secret, a brand of lingerie and sleepwear. Victoria’s Secret uses the show to promote and market its goods in high-profile settings. The show features some of the world’s leading fashion models such as current Victoria’s Secret Angels Adriana Lima, Alessandra Ambrosio, Miranda Kerr, Doutzen Kroes, Behati Prinsloo, Candice Swanepoel, Erin Heatherton, Lily Aldridge, and Lindsay Ellingson.
American network television broadcasts the show during prime time. The first few shows in the 1990s were held in the days preceding Valentine’s Day to promote the brand for this holiday. They were not aired on national television. In 1999 and 2000 the show was webcast. Beginning in 2001, the shows were moved ahead of the Christmas holiday season. Also in 2001, the show made its network television broadcast on ABC, though in all subsequent years, it has been broadcast on CBS. The show has been held at a variety of locations in different cities including Miami, Los Angeles, and Cannes. The first four shows were held at the Plaza Hotel in New York City, but since it has become a televised event it has most often been held at the Lexington Avenue Armory in New York City.
The show is a lavish event with elaborate costumed lingerie, varying music by leading entertainers, and set design according to the different themes running within the show. The show attracts hundreds of celebrities and entertainers, with special performers and acts every year. Each year, twenty to forty of the world’s top fashion models are selected to perform in the fashion show. In a typical year, this includes about a half dozen women under contract to the company, known as Victoria’s Secret Angels, who help publicize the event. The giant angel wings worn by the models, as well as other wings of various forms and sizes such as butterfly, peacock, or devil wings, have become emblematic of the Victoria’s Secret brand.
See the last two from 2011 and 2012. Enjoy!
The international jury of the 56th annual World Press Photo Contest has selected a picture by Paul Hansen of the Swedish daily Dagens Nyheter as the World Press Photo of the Year 2012. The picture shows a group of men carrying the bodies of two dead children through a street in Gaza City. They are being taken to a mosque for the burial ceremony while their father’s body is carried behind on a stretcher. Two-year-old Suhaib Hijazi and his older brother Muhammad were killed when their house was destroyed by an Israeli missile strike. Their mother was put in intensive care. The picture was made on 20 November 2012 in Gaza City, Palestinian Territories.
The jury gave prizes in nine themed categories to 54 photographers of 33 nationalities from: Argentina, Australia, Belgium, Brazil, Canada, Chile, China, Czech Republic, Denmark, France, Germany, India, Indonesia, Iran, Italy, Jordan, Malaysia, Mexico, Palestinian Territories, the Netherlands, Peru, Poland, Portugal, Russia, Serbia, South Africa, Spain, Sweden, Switzerland, Turkey, United Kingdom, USA, and Vietnam.
The members of the jury announced the winners at a press conference held at the World Press Photo office in Amsterdam on 15 February.
Comments on the winners by the jury
Mayu Mohanna, jury member from Peru, said of Paul Hansen’s winning picture: “The strength of the pictures lies in the way it contrasts the anger and sorrow of the adults with the innocence of the children. It’s a picture I will not forget.”
Santiago Lyon, vice president and director of photography at The Associated Press, spoke of the selection of prizewinners: “When I look at the results, as chair of the jury, I think that the World Press Photo of the Year, and all the other photos that were given prizes, were solid, stellar examples of first-rate photojournalism that is powerful, that is lasting, and that will reach whoever looks at them.”
The judging was conducted at the World Press Photo office in Amsterdam. All entries were anonymously presented to the jury, who discussed their merits over a two-week period. The jury operates independently and a secretary without voting rights safeguards the fairness of the procedure. The contest drew entries from professional press photographers, photojournalists and documentary photographers across the world. By the mid-January deadline, 103,481 images had been submitted by 5,666 photographers from 124 countries.
View all winners in the online gallery.
By the February 18th you can submit pictures for the Bangkok Post “MY BANGKOK” Photo Contest.
T&C are available here.
Some of the submitted images you can see at Bangkok post Facebook albums:
The World Photography Organisation has announced the shortlists for the professional, open and youth categories of the 2013 Sony world photography awards. Topics include the Syrian conflict, the Obama presidential campaign, cinemagoers in Kabul and witty shots of the animal kingdom
See all pictures here
Source: The Guardian UK
Director Gerald Fox’s documentary Leaving Home Coming Home: A Portrait of Robert Frank features intimate interviews with the film-maker and photographer. The artist discusses his feelings about how his adopted home town of New York City has changed over the course of his 50 years living there. The director showcases Frank’s work, including clips of some of his films including Pull My Daisy, Me and My Brother, and the little-seen Rolling Stones documentary Cocksucker Blues.
See documentary about making the newest Pirelli Calendar (2013)
I make 90% of my living from Stock Photography, and have been doing it for over 20 years, so here are a few tips that might make it easier if you’re trying to get started.
1) You have to spread yourself as wide as possible. Don’t go with just one library, go with as many as you can. I have work with 16 currently.
2) You need quantity AND quality. There’s a rough guide that says that once you have a certain quantity online, you can expect to make an amount equal to $1 per image per year. However you need 1000’s up for sale before this kicks in.
3) Its a long term job. It can take years before you start to make any real money. People think its an easy option to make some money. Its not. It takes as much work and persistance to become successful, as it does to make a living from portraiture, weddings, advertisng, commercial etc.
4) One rejection is nothing. My first library wanted to see 1000 “sellable” shots before they took me on. The first batch was turned down, so I had to shoot another 1000!
5) Have a good look at whats out there. Check out all the sites, looking at what the competition for your kind of image is. Do you have better shots? If not why would anyone buy yours?
6) Ignore the fact that somebody on the internet said your pictures are good, ignore the fact that you have taken competition winners. Stock is about what designers and picture editors want. In virtually all cases, your images are there to serve the text, not vice-versa. Look in newspapers, magazines and on websites. How are pictures used? What kind of pictures are used? Many of the pictures you see are fairly ordinary, but most will be well composed and technically OK. My most sold image is of a bathroom!
7) Be prepared to work really hard and long. Shooting images, editing them, captioning and keywording them takes a long time.
8) Shoot ALL original images raw. The final product is going to be sold for download at jpg.8 usually, so shooting on jpg. originally means the image will degrade too much.
9) View all images at 100% to check for CA, fringing, noise, artefacts. Make sure your levels are within printable limits. Most libraries require 5 to 250. i.e. no pure white, no pure black.
10) Shoot everything you can at the lowest ISO possible, including interiors. If you don’t own a tripod, GET ONE!
11) Make sure your image is bright and well-exposed. Learn to get this right in-camera as it means less work later and your images will look better.
12) If you shoot travel, landscape etc. never shoot in dull, overcast light. Nobody is going to buy pictures like that, unless you are shooting extreme weather. Blue skies sell pictures.
13) If you shoot lifestyle, people etc. you will need model releases. You will also need to update these regularly as clothes, gadgets, cars, interior design etc. go out of fashion very quickly.
14) You may get get pictures rejected simply because the library has too many of the same, they don’t think it will sell or its technically poor. With the amount of images available, libraries can now be incredibly choosy about what they take. They expect top quality, both aesthetically and technically. If you can’t give them that, there are lots of others who can.
15) Stock photography is now global. You are competing with the whole world! Libraries tend to have all the pictures of cats, dogs, sunsets over lamposts, cute toddlers etc. they are ever going to need. Modern online libraries have millions of images online. Alamy in the UK has 20M + for example.
16) Does your image look good as a thumbnail? Because thats how people will view it first. What is going to make them click on it to see the larger version?
17) With regard to the above, keep it simple. If you need to write a couple of paragraphs to explain whats going on in your picture, then you are in trouble.
18) Stock photography is nothing to do with art.
19) Did I say stock photography is nothing to do with art?
20) With regard to 18 and 19, take as much trouble and care over photographing ordinary domestic objects or street furniture as you would over a glorious landscape or a beautiful model. If you do that you are in the ball park.
21) Don’t be afraid of the obvious. Don’t be afraid of simple. Just make sure your image is as close to technically perfect as you can make it.
23) Yes size does matter. The more MP’s you have the larger your image, the more potential it has to sell to the clients with the biggest budgets.
24) Actually reading the libraries submission guidelines helps. I used to run my own library and people who thought that they were “different” and could ignore my requirements got rejected. To be honest the technical standard of the material I received was also pretty dire on the whole. “It’ll do, its only for a library” seemed to be the attitude of many.
25) Finally, following on from the above, send only your “best” work to a library. Also send what people like. I use flickr a lot. I post several images and see what gets the most hits and the most positive comments. These are often not my personal favourites.
There are advantages.
1) You get to photograph what you want, when you want, in the way that you want.
2) If what you happen to like photographing has a market, you can do very well.
3) You have no client breathing down your neck and looking over your shoulder and giving you the benefit of their “artistic” advice.
4) If you shoot “non decade specific” images your pictures can have a very long “shelf life” and be earning you money for years.
5) You get to try your hand at all kinds of photography. Landscape is my love, but I’ve shot house interiors, industry, still life, performing arts, lifestyle, models, transport, animals, product shots and sport as well.
The most important lesson in all of this is to look at photography in all its commercial manifestations. Can you shoot an image like you see in the adverts, the billboard, the magazine article, the brochure etc. that pass your eyes every day. Absorb what you see, think how its done, say to yourself “Can I do that?” Chances are what you are looking at is a “Stock” photograph.
Its often been said that if Ansel Adams, Henri Cartier-Bresson, Man Ray etc, submitted images to a picture library they would probably get turned down.
Finally, I work 12 hours a day, 7 days a week, 365 days a year doing this. I happen to love it and think that I have the best job in the world, but not everybody feels he same. If it just turns into another chore, then it may not be for you.
© david taylor-hughes / soundimageplus
What were the most innovative products to come to market in 2012? BJP asked their resident experts, David and Richard Kilpatrick, alongside Kevin Carter, to name the cameras, lenses and accessories that have inspired them this year.
read the full story here
Have you ever wondered what it would be like to be a photojournalist for the military? As a photographer for the United States Air Force, Staff Sgt. Ryan Crane does just that, documenting life in the combat zone during recent deployments to Afghanistan.
A revealing new documentary by Hannah Hill, titled “Snap Snap Snap” (below), about Crane’s life and work is up on YouTube and it’s definitely worth checking out. (Running time is just under 15 minutes.) Crane, a Nikon shooter, also answered some questions about what it’s like to be a photographer in a combat zone in an informal Q&A on Reddit (read it here), where the documentary was first shared.
Read full article here
The Nenets of northern Siberia live at temperatures of -35C, wash just once a year and eat raw reindeer liver to survive. Photographer Sebastião Salgado travelled with them.
Eight years ago, at the age of 60, Sebastião Salgado set out on his most ambitious project. The photographer, best known for his painterly portraits of migrant communities and manual workers, decided to document the world’s pristine territories – areas untainted by the brutal grind of industry, exploitation and modern life.
Through his work, Salgado had seen so much horror – in the Democratic Republic of the Congo, he witnessed 10,000 people die in one day in the refugee camps of Goma. The playwright Arthur Miller once described Salgado’s pictures as an act of deep devotion, but the photographer returned from Exodus, a project about people fleeing genocide, with his faith in tatters. “I was injured in my heart and my spirit,” he says. “I came away from this with incredible despair.” So he embarked on Genesis, hoping it would be restorative, a celebration of the world’s natural beauty. (…..)
Read full article here
See all images here
by rosielarose. imdb.com
A film that took 5 years to make and co-ordinate. Shot in Panarama 70mm, across 26 countries, needing major government and regulatory clearances, having to wait for certain seasons or lunar phases to get the light to hit the way director Fricke wanted…carefully strung together with a massive 7.1 surround sound design and music score from Michael Stearns, Marcello de Francisci, and Lisa Gerrard (of Dead Can Dance).
The 70mm negative has been digitally scanned and oversampled at 8k resolution (much like the ‘Baraka’ Blu-ray); the TIFF Lightbox theatre installed a brand new Christie 4k projector (Christie Projection Systems rushed the projector before its release to the market specifically for this event) making it the first true 4k screening of it’s kind.
From sweeping landscapes to time-lapse sequences of the night sky and from exclusive looks into the processing of food to the consumption and effects it has on the human body, Samsara is nothing short of astounding. Modern technology, production lines, and human robotics are juxtaposed against a backdrop of deserts, garbage mounds as far as the eye can see, and traffic congestion in modern centres. The time-lapse footage is simply transcendent. In fact, I caught myself questioning the reality of some of the landscape vistas and night skyline montages…they looked so hyper-real that I thought they must have come from a CG lab somewhere. Simply astonishing. The richness, depth and clarity of colour and image achieved within the processes utilized gives birth to the most beautiful visual meditation that I have ever witnessed.
As one film journalist noted, “That Samsara is instantly one of the most visually-stunning films in the history of cinema is reason enough to cherish it, but Fricke and co-editor Mark Magidson achieve truly profound juxtapositions, brimming with meaning and emotion. It sounds preposterous, but it’s true: In 99 minutes, Samsara achieves something approaching a comprehensive portrait of the totality of human experience. If you’re even remotely fond of being alive, Samsara is not to be missed.”
It is a well-known fact that our society is structured like a pyramid. The very few people at the top create conditions for the majority below. Who are these people? Can we blame them for the problems our society faces today? Guided by the saying “A fish rots from the head” we set out to follow that fishy odor. What we found out is that people at the top are more likely to be psychopaths than the rest of us.
Who, or what, is a psychopath? Unlike Hollywood’s stereotypical image, they are not always blood-thirsty monsters from slasher movies. Actually, that nice lady who chatted you up on the subway this morning could be one. So could your elementary school teacher, your grinning boss, or even your loving boyfriend.
The medical definition is simple: A psychopath is a person who lacks empathy and conscience, the quality which guides us when we choose between good and evil, moral or not. Most of us are conditioned to do good things. Psychopaths are not. Their impact on society is staggering, yet altogether psychopaths barely make up one percent of the population.
Through interviews with renowned psychologist Professor Philip Zimbardo, leading expert on psychopathy Professor Robert Hare, former President of Czech Republic and playwright Vaclav Havel, authors Gary Greenberg and Christopher Lane, professor Nicholas Christakis, among numerous other thinkers, we have delved into the world of psychopaths and heroes and revealed shocking implications for us and our society.
Watch the full documentary:
The Nikon Photo Contest International has been held by Nikon Corporation since 1969 to provide an opportunity for photographers around the world to communicate and to enrich photographic culture for professionals and amateurs alike.
In the last 10 years, with the wide penetration of digital cameras, the environment surrounding photography and cameras has dramatically changed. And so the contest is changing as well, both in name and in structure. On its 34th anniversary, the historic, worldwide Nikon Photo Contest is changing as well. In this exciting new phase, the name is being changed, photographic video category added and Nikon is opening up the judging to expert photographers selected from all over the world.
See more here:
See the full documentary here:
Directed by: Tom Tykwer, Andy Wachowski, Lana Wachowski
“Cloud Atlas is unlike its contemporaries at the multiplex. It tells a big story in an engaging, difficult fashion. It has big names and a big budget. But it also is thematically dense… it wants to tell you something through plot, characters, dialogue and symbols. Cloud Atlas is also thankfully a very enjoyable film, much longer and denser than much of what is available today. “Ambition” defines this film.
In just under 3 hours, six radically different stories are told, and they appeal to a broad audience: a 19th century tale of unlikely brotherhood, the letters of a gay composer to his partner in the 1930’s, a San Francisco- set conspiracy in the 70’s, A hilarious account of an old publisher’s woes. A Blade Runner-esque clone’s struggle for freedom, and the survival of a tribe after ‘The Fall’. Genre conventions are toppled, as these stories with different tones are juggled in short intervals, leading from comedic highs to shocking drama in minutes.
But as with the characters, these plots are connected thematically, and clever wordplay and visual imagery links the stories, such as the end of a monologue referencing “the gates of Hell” and cutting to a shot of the gates of a building that, for Cavendish at least, is the gates of Hell. Each of the stories has strengths, a few have faults, but together the medley is incredible.
I found that while the earliest two stories began slowly and plainly, they developed very well and provided fantastic drama, especially the 1849 story. The Nuclear thriller was strong, Halle Berry is great and there are some real twists, and I also loved the ‘Dirty Harry’ and ‘China Syndrome’ vibes, but comedy bled into it from the 2012 story which diminished the climax. The 2012 story is hilarious, and its first scene is a standout; Tom Hanks is incredible as Dermot Hoggins. Although while the story is interesting, it doesn’t fit quite so well thematically- it’s almost too light. Listening to the ‘Cloud Atlas Sextet’ fits with all the stories, but can’t resonate with Cavendish’s. The future Korea is visually stunning and communicates its themes well, certainly the darkest plot, but the action can get over the top (Yes, I know who directed this) and there are some horrible clichés. But that scene of horrendous dialogue, the weakest in the film, can’t derail a great piece. Lastly is the bleak, Hawaii- set post-apocalyptic story. It was my favourite, possibly because I’m a sucker for anything involving apocalypse. But Hanks and Berry are fantastic again, the barbarians are menacing and scary, and the story is cool. It also concludes the film perfectly.
I’ve only talked about the plot! The actors really steal the show. In the credits, each actor’s name is placed with a clip of every one of their characters… everyone in the theatre stopped and stayed. People play characters you had no idea they played. A few highlights: Sturgess’ lawyer and the slave Autua, Frobisher, Hugh Grant’s sexist nuclear boss, Cavendish and Hanks’ Hoggins. Doona Bae as Somni and Hugo Weaving’s “Old Georgie” round it out- the latter is truly a demon. Much credit has to go to the makeup, literally making actors disappear into their roles. There is a huge number of transsexual and even race-bridging roles- it’s worthy of note that Lana Wachowski was at one point Larry Wachowski. Also deserving of praise, and possibly Oscars is the large scale visual effects that cover hundreds of years and look so believable. Sound quality is top-notch as well, listening to Old Georgie is chilling, as is the vision of Korean diners, and well… the whole future.
But all this plot serves a purpose, and Cloud Atlas intends to tell you things. Freedom is possibly the biggest theme, as well as the idea that our actions affect others greatly throughout time: we’re part of a large human network. Really though there’s so much to talk about you should just see the film. There are small stumbles every so often, but the structure hides them very well. No one story takes more time than others, no one character takes more time than others, and the structure and pacing drives the film forward briskly. It’s a shame this film hasn’t been better received commercially, because it’s a phenomenal achievement, interesting sci-fi and drama, and as of now, the best film I’ve seen in 2012. ”
Review by by Connor (Toronto, Canada), imdb.com
Whatever country we live in, we’re probably all familiar with the well-known photography magazines available in our newsagents and bookstores. The UK has Practical Photography, France has Photo, the Italians have Zoom and the Americans have American Photo. What you may not know is that there are many more photography magazines that are only available online. And some of them are good, very good.
Read the whole article here
As if you needed another reason to have a “girl crush,” Kate Moss and Naomi Campbell share the cover of Germany’s Interview magazine – topless.
PHOTOS: Kate Moss Loses Her Top & Talks Johnny Depp In The December Vanity Fair
Believe it or not, Interview Germany is the very first German magazine that Kate was ever photographed for and she went all out…both literally and figuratively. Not only was Ms. Moss paired with another top supermodel, Naomi Campbell, but the shoot was done by none other than fashion photography duo Mert & Marcus.
Although the standout pictures in the article feature the two models topless, it’s more fashion spread than soft core porn.
Photo Credit: Mert & Marcus for Interview Magazine