Virginia Woolf once said, “You cannot find peace by avoiding life”. It’s advice New Zealand photographer Stu Robertson has taken to heart; the ambitious artist is pursuing peace by travelling to every country on the planet to create portraits of 10,000 people, each holding a single white rose – an ancient symbol of peace.
The project is called Peace in 10,000 Hands, it has already broken local crowd-funding records, and this weekend it’s coming to the Auckland Museum in the form of a new film. To commemorate the International Day of Peace, the museum will be projecting Stu’s new film, Illuminate: Peace Day, on its northern facade from Friday, September 19 to Sunday, September 21, screening in 15-minute loops from 6-10pm.
Stu kindly set aside some time in his busy schedule to talk to D-Photo about the film, the greater project it comes from, and the many marvellous encounters he has had putting it all together:
New Zealand photojournalist Robin Hammond has been reaping much global attention for his daring projects shedding light on human rights abuses in some of the world’s most conflicted regions. He has been the recipient of the W Eugene Smith Fund for Humanistic Photography, the Carmignac Gestion Photojournalism Award, World Press Photo prize-winner, and now adds a 2014 Getty Images Creative Grant to his impressive resumé.
The Getty Creative grants are issued to support non-profit organisations with limited funding to contract a photographer and communications professional to help spread its message. Hammond receives this year’s grant to go towards his new project, Love in a Time of Persecution, which will illuminate the plight of the lesbian, gay, bisexual and transgender (LGBT) communities in Africa who are routinely threatened with the death penalty, prison and ‘corrective rape’ if not already forced into hiding.
Hammond will work with The International Gay and Lesbian Human Rights Commission and the Bring Me Joy communications agency to raise awareness of these injustices through a social media campaign based around Hammond’s imagery and stories ...full story
Travel photographer Andy Belcher examines the tools necessary for crafting one of his first successful motorcycle images
In 1979 I met a young lady who jumped out of perfectly good aeroplanes and rode her own motorcycle. We got married and enjoyed many adventures together. At the time I had never ridden a motorcycle, but always had a secret desire to try. We bought a little 185cc trail bike and rode it two-up, wearing silly-looking nylon suits. We progressed to a 500cc V-twin, which we rode half way around Australia. Since then I have ridden over 200,000 kilometers on two wheels, including six trips around Aotearoa. I now own one of the best touring machines, a Honda ST1300 V-four. (more…)
Photographers familiar with the world of advertising will know what an achievement it is to be featured in the international Lürzer’s Archive 200 Best Ad Photographers Worldwide; this special publication goes out to thousands of influential art directors around the globe. Acknowledging the huge advances in CGI within the industry, the publication also recently began to publish a new special, dedicated to the 200 Best Digital Artists Worldwide – and local photographer Kelvin Gilbert now counts himself amongst that number.
A photography school graduate from Palmerston North’s Universal College of Learning, Kelvin has gone on to win accolades locally and internationally for his creatively distinctive imagery, including being named New Zealand’s Illustrative Photographer of the Year 2013. He now adds having two images published in the Lürzer’s Archive‘s 200 Best Digital Artists worldwide 15/16 special to his impressive resume. Kelvin chats to D-Photo about the win:
D-Photo: How did you come to enter 200 Best Digital Artists Worldwide competition?
Everybody working in Photoshop will be familiar with layers. After all, they’re one of the many assets of this program, but very few users take advantage of the layer blending modes. In general, there is more than one way to achieve a certain outcome in Photoshop, but quite often a simple change in blending mode, perhaps in combination with a layer mask, can get you there quicker and with less effort.
Here, I run through most of the available blending modes, with a short description of what each does. In a follow-on article next issue I will show you how to make use of blending modes in your day-to-day photography. Editing programs other than Photoshop (Corel PaintShop Pro and Photoshop Elements, for example) also use layers and blending modes.
Perched near the upper-left corner of the Layers panel you will find the pop-up menu for blending modes with a long list of choices.
Open an image, duplicate the layer, ...full story