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COMRADES July is here and the real summer has just already started. Therefore, I think that it could be interesting to explore the part of travel photography.

In this issue we will see the most beautiful photos of summer for inspiration, explore Instagram, learn how to take better photos while traveling, travel, see what's the must haves of the month & many more

Your summer accessory is here, so turn the page and ENJOY



E D I T O R ' S








- contents 05. TOP 10 10. WHAT'S HOT ON INSTAGRAM 22. HOW TO? 27. TIP 31. TRAVEL

35. REVIEW 45. Ideas & Suggestions for this month 49. INTERVIEW 59. NEWS& EVENTS


Top 10

Best of...


h u f f i n g t o n p o s t

g r e a t n o r t h c o


j u s t a n d r e a s

t h e e c o n o m i s t


n y t i m e s

v i s u a l m e m o r i e s


How to...



Summer holidays is the best time to go for a photography journey! So, if you want high quality photos for your collection, you are in the right place.

Begin with the End in Mind Before you go on a trip, decide what the end­goal for your images will be. Are you planning to put them in a scrapbook or blog? Are you simply trying to improve your photography overall? Maybe you’d like to display them on a wall as part of a collage of all your travels?  If you think of your images as telling a story, will that change which moments you’ll reach for your camera?

Shoot in RAW – Not JPEG JPEG is a file format for images. Your camera basically captures a RAW snapshot, and, depending on your camera settings, will automatically compress all the color information down to save space. However, the post­processing capabilities (meaning­ what you can do with software later) will be enormously enhanced if you tell your camera to skip the compression step, which allows you to do all the “fixes” yourself. The downsides to shooting in RAW are that it will take up more space, so you’ll need more memory cards; and the files can only be viewed and accessed by using software designed (Photoshop, Lightroom) for the task.

Mix up the subjects: People + Places + Things Shooting nature is a common & boring subject that everyone can manage. Also, it can't offer you the pleasure of waking up memories. But, what about mixing things a little bit! For example, you are going on a trip to France an you want to shoot Paris. You should not only photograph empty streets, things that you like or the people you were with. You have to balance things and have a bit of everything

Find Your Best Light While this tip is fourth on the list, I’m going to say that it is probably the most significant way to improve your photos. Well, okay, maybe a little about composition and understanding how to control your camera’s settings. But perfect composition really can’t rescue a photo with boring light. Or, if it’s a photo of a person, harsh light can be the death of a beautiful image.To take better photographs of people, avoid harsh light. You can do this by moving into the shade, or shooting on a cloudy day. If the sun is low enough, you could put your subject between you and the sun, essentially creating shade out of its shadow

Sort and Edit Photos ASAP When your trip is over and it’s time to return to reality, sometimes using your images ends up on the bottom of the to­do list. But, when people want to learn the details of your trip and it's been a while going that trip some memories have slipped away. For that cause there are photo albums! Choose the best photos that can tell their own story and make your own adventure book! Don’t just let your images sit on your hard drive, unused, unloved and forgotten.


8 TIPS THAT EVERY TRAVEL PHOTOGRAPHER SHOULD KNOW Ok you are ready for your travel. You took all the important equipment you will need you learn how to take better travel photos but what you will do when you will arrive on the destination you choose for your vacation?

1. Get up Early The best light to capture most kinds of subjects is in the golden hours­ one hour after sunrise and one hour before sunset (depend off course on where you are on the globe). So get up early to get that amazing photo opportunities, while all the other tourists are still asleep.

2. Do your research Don’t leave it to chance and learn as much as you can about the place you are about to travel. The more you know, the more “intelligent” your images will be.

3. Learn your Craft Don’t waste your expensive traveling time on learning how to operate that new camera, lens or flash. Do your homework at home.

4. Choice the Right Lodging Staying on the center of town, or having a room with wonderful views can create a lot of great photo opportunities.

5. Get Inspired Watch the portfolio of other photographers in order to get new ideas and get inspiration. Also, If you perceive yourself as an artist, you must acknowledge the work of other artists. Do not underestimate inspiration: visit art galleries, attend some photography lectures, listen to classical music, read good books.

6. Feel the Place Photography is not only about visual inspiration. Try the local food, smell local markets and hear local music, this will help you to better understand the story of the place.

7. Get off the Beaten Paththe Place Tell your viewers something fresh and new. Share your own point of view of the place. You will be able to do so, only after following tip number 2 and 5.

20. Be Human Treat your subject as well as you can. Don’t shoot people from a far distance, don’t shot people who don’t want to get snapped. If you promise to send their photos, please do so. This will ensure that the photographer that will come after you will be received with a smile. And don’t forget, sometimes it is best to just leave the camera behind and enjoy the ride.



Caribbean has some of the most beautiful islands for your summer vacation. But the problem is that they are many and most of you don't know which is the best for you. So, we did our research and we find a test to help you!


Are non-direct flights non ideal for your vacation

















St. John




St. Martin

Turks & Caicos


YES Virgin Gorda



St. Barts



Canon PowerShot G7x

Amazingly, Sony has remained unchallenged in this field for over two years, in which time it's managed to introduce two more generations of RX100. The RX100 III brought an electronic viewfinder and a more consistently bright (albeit shorter) zoom, helping it climb even further beyond the competition. That essentially unchallenged supremacy ends with the arrival of Canon's PowerShot G7 X.

CHARACTERISTICS Like the RX100 III, the G7 X offers a 1"-type, 20MP BSI sensor mated to an F1.8-2.8 zoom starting at 24mm equivalent. The two cameras are also similar in size and offer broadly similar feature sets. Which is great for photographers, because it means the Sony finally has some proper competition.

Key features 20MP 1"-type BSI CMOS sensor (13.2 x 8.8mm) 24-100mm equiv. F1.8-2.8 lens Clicking control dial around lens Flip-up rear touchscreen Dedicated exposure compensation dial 3.0" 1.04m dot LCD (720 x 480 pixels) Built-in ND filter Wi-Fi with NFC

The Lens Given that image quality is all about light capture, the best way of making the most of a large sensor is to mate it with a bright lens. So, that's another advantage of Canon G7X! Both of cameras (Sony & Canon) may offer the same range on paper, but at any point from 24-50mm equivalent, the Canon's lens can be kept wider-open than the Sony's, with the difference reaching over 2/3EV at 30mm equiv. Thus, the G7 X is amongst the most consistently bright compacts on the market, once sensor size has been taken into account, which should give excellent control over depth-of-field (including at focal lengths useful for classic portraiture) and low light performance.

Design From most angles the PowerShot G7 X looks like Canon's previous pocketable flagship, the S120. Both have a rounded look, matte black finish, and no grip, but the comparison ends there. The G7 X has a more solid-feeling metal body, a tilting LCD, and a more elaborate (not to mention attractive) top plate. But more on that in a moment. Aside from the lens, the only thing of note on the G7 X is its AF illuminator. The back is much busier, with the standard PowerShot control scheme, which includes a rear dial that surrounds the four-way controller. On the right side are the I/O ports, detailed on the next page, as well as a 'Mobile Device Connect Button' which brings up the Wi-Fi menu. The lens is at full telephoto here. On the opposite side you'll find the release for the pop-up flash as well as the NFC contact point. The lens is at the wide-angle position in this view. The GX 7 looks like a slightly chunkier version of the S120, in the top. But with higher quality controls and an exposure compensation dial. On the left is the flash, which is collapsed here. It has a maximum range of 7 meters, though Canon doesn't say at what ISO setting. Next to that you'll find both the microphone and speaker, with the power button to its right. The zoom controller surrounds the shutter release. At the far right is the mode dial which is very similar to the one on the S120 and G1 X II. Underneath it sits the exposure comp dial. Not surprisingly, the 3" LCD on the G7 X is tilting. And, seeing how everyone likes taking photos of themselves, it goes all the way up to 180 degrees, perfect for self-portraits. Spec-wise, the display has 1,040,000 dots, from a resolution of 720 x 480.

Auto ISO The Auto ISO system on the G7 X offers a good degree of customization, allowing you to specify the maximum sensitivity as well as select from three different 'Rate of Change' settings that affect the minimum shutter speed the camera will use before increasing the ISO in light-limited situations. The 'Rate of Change' settings go from 'slow', to 'standard', to 'fast'. Slow will allow for shutter speeds that can theoretically still be handheld, while fast will boost the ISO to its maximum setting for reasons unknown, which can result in much higher-than-needed shutter speeds. Because the G7 X has a dedicated exposure compensation dial, exposure compensation continues to work with Auto ISO in M mode. And in an ergonomically easy way, no less. When shooting in this manner, exposure compensation only affects the ISO the camera automatically selects (since the shutter speed and aperture are set by the user). Applying negative exposure compensation means you retain control of the image brightness, even though the camera is setting the sensitivity, either to get the JPEG appearance you want or to ensure highlight detail is captured if you plan to post-process the Raw file.

Image quality While the PowerShot G7 X uses the same sensor as Sony's Cyber-shot DSC-RX100 III, that doesn't mean that photo quality will be the same, as both the lens and image processing systems are quite different. That said, the G7 X definitely meets our expectations of what a camera with a 1"-type sensor is capable of. The G7 X captures vivid colors, especially reds. Even though the G7 X has a tone curve designed to capture plenty of highlight detail and progress smoothly to white whenever possible, some highlights will always be beyond its capabilities, as you can see in the photo above. In that situation you'd want to make use of the camera's DR Correction feature or shoot Raw for better results.

Skin tones were pleasing in good light, though slightly magenta in low light. Speaking of low light, photos taken under tungsten lighting using Auto WB tend to be on the yellow side. Switching to the tungsten setting tends to swing too far to the blue end of the spectrum, so fine-tuning or Raw are probably your best options. Not surprisingly, photo sharpness varies depending on the focal length and aperture. In the sample above, taken at F4 near the wide end of the lens, the center of the frame is sharp, though things get blurry as you near the edges of the frame. In our testing we found this to be the case: at wide-angle the lens is pretty soft in the corners. When you hit 35-50mm the corners look a lot better, even with the lens wide open. That trend continues until you reach 100mm, at which point the whole scene gets soft until you stop the lens down to around F4. The takeaway from this is that you probably won't get great results when shooting at F2.8 at full telephoto. Canon uses a relatively low amount of noise reduction in JPEGs, so fine detail is generally left alone. In the photo above the water looks like water, and trees look like trees. If you look at the hair in the portrait earlier on the page, you'll see that fine detail is completely preserved.

Rating out of 5 Design                     5 Features               4.5 Image quality        4.5 Value for money    4.5

Personal Experience By Richard Butler I didn't enjoy shooting with the G7 X as much as I was hoping. The G7 X gave me access to exposure compensation and either aperture or ISO, so I didn't feel the need for many additional controls. On top of that, the touchscreen makes changing the focus point simple - not something anyone's ever said of the RX100s. So far, so good. I'd almost be tempted to put our difference of opinion down to how we use compacts - I wouldn't dream of trying to use a compact camera's push-button manual focus system, nor would I even contemplate engaging continuous ('Servo') AF or switching to continuous shooting mode, simply because it's not something I expect a compact to be able to do. However, as I said, I didn't enjoy the G7 X as much as I was hoping. For a start, the autofocus is too slow. Slow enough that you notice yourself waiting for it: something I've not encountered in a while. Secondly, the camera's preview doesn't always represent the results the camera is going to give until you half-press the shutter button. The upshot is that you assess the scene based on the preview's brightness, dial in some exposure compensation, then get a totally different result as soon as you half-press. At which point you try to compensate for the excessive compensation you've applied and are reminded that the dial operates the opposite direction to every other camera you've ever used, meaning you have to compensate for your compensated compensation. Then the battery runs out, because it's too small. Ok, I exaggerate. The G7 X offers excellent image quality and a more useful lens than the RX100 III, which counts for an awful lot. Add in the exposure compensation dial and touchscreen focus positioning and I'd still argue there's an awful lot going for it. It's just not quite as quirk-free as I was hoping.

Ideas & Suggestions for this month

5 Mus t Read Pho t ography Books

Somewhere in the beach, noon, there is nothing near to disquiet you, a book is what you need but you don't know what! Don't worry we've got you covered! Here is the Top 5 photography books to inform you.

1. Skin: The Complete Guide to Digitally Lighting, Photographing, and Retouching Faces and Bodies For portrait photographers is a must have! Good color and skin tones can take a flat image & make it look exceptional.  ''Skin'' is a practical guide to photographing people better than ever! You may think you know what is the color of skin, until you enter the world of digital photography and try to reproduce what you see. Differences in software, lighting, computer calibration—everything has an impact on color. And that’s all before you get into differences between people in terms of skin types, ethnicity age, gender, and more! Hollywood­based photo­illustrator Lee Varis guides you step­by­step through the maze.

2. The Digital Photography Book, Vol 1 by Scott Kelby This isn't a book of theory—it isn't full of confusing jargon and detailed concepts: this is a book of which button to push, which setting to use, when to use them, and nearly two hundred of the most closely guarded photographic "tricks of the trade" to get you shooting dramatically better­looking, sharper, more colorful, more professional­looking photos with your digital camera every time you press the shutter button.another thing that makes this book different: each page covers just one trick, just one single concept that makes your photography better. Every time you turn the page, you'll learn another pro setting, another pro tool, another pro trick to transform your work from snapshots into gallery prints. There's never been a book like it, and if you're tired of taking shots that look "OK," and if you’re tired of looking in photography magazines and thinking, "Why don't my shots look like that?" then this is the book for you.

3. Learning to see creatively design, color & composition in photography by Bryan Peterso Completely revised and updated throughout, Bryan Peterson's classic guide to creativity helps photographers visualize their work, and the world, in a whole new light by developing their photographic vision. Fully revised with 100 percent new photography, this best­selling guide takes a radical approach to creativity by explaining how it is not just an inherent ability but a skill that can be learned and applied. Using inventive photos from his own stunning portfolio, author and veteran photographer Bryan Peterson deconstructs creativity for photographers.

4. Humanity: A Celebration of Friendship, Family, Love & Laughter This stunning treasury of color and black­ and­white photographs was sourced from a major international photography competition to find extraordinary and geographically diverse photographs that celebrate humanity's moments of intimacy, laughter, and kinship. Featuring 150 images from around the world, and complemented by heartwarming and inspiring quotes, Humanity is a touching tribute to our most treasured relationships.

5. The Photographer's Eye: Composition and Design for Better Digital Photos 1st Edition The Photographer's Eye continues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs. The book explores all the traditional approaches to composition and design, but crucially, it also addresses the new digital technique of shooting in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.



Travel photographer interviews


Tewfic El Sawy

THE CREATIVE FORCE behind “The Travel Photographer“, Tewfic El-Sawy specializes in documenting endangered cultures and traditional life ways of Asia, Latin America and Africa. His photography has been published in Outdoor Photography, Digital Photographer, GlobalPost, and have been featured by some of the largest adventure travel companies in the United States and Great Britain. He also organizes and leads exciting photo expeditions to placessuch as Bali, Bhutan, India, and Mexico. MatadorU faculty and travel photographer Lola Akinmade caught up with Tewfic in the midst of planning his next photo expedition to learn more about the photographer behind the popular The Travel Photographer blog .

How long have you been a professional photographer? It was a slow and progressive morphing from international banking to travel photography over the past 20 years, however I can say that it really got going in 2000. Before that, it was almost like having two personalities; one being a “starched” banker during workdays, and a more relaxed personality befitting that of a travel photographer during the weekends.

What – or who – got your initial interest going in terms of photography? There’s no doubt that my traveling on banking business to various countries ignited my interest in travel photography as a genre. These business trips made me realize that I liked having access to different cultures. When living in London, my wife booked me in an 8-weekends course in black & white photography at the home/studio of Uri Lewinski and his wife Mayotte Magnus; both professional photographers with opposite stylistic disciplines where I learned basic darkroom work, developing and processing film and prints. I also attended a street photography class with Constantine Manos in Havana, and a photojournalism workshop with John Stanmeyer and Gary Knight in Bali.

What were your first photographic experiments or experiences? My first serious camera was a Canon A1 bought when working and living in Houston. It was essentially to photograph the family and my children growing up, however I also started experimenting with still life photography. My favorite set-up was to back-light wine bottles, with a plate of grapes placed just so. I still have some of those prints, which are probably the most hideous still life studies ever done. Eventually, I took my camera on my trips, and whenever I had a few moments I would walk the streets of Taipei, Athens or Stockholm and photograph whatever caught my eye. I used to be a black & white shooter at the time, and would return home to process the negatives, and print them in my basement darkroom. I also experimented with unorthodox photo emulsions, and still have a couple of beautiful calla lilies photographs printed on liquid emulsion which hang on our walls. However it was the adrenaline of travel photography that turned me on the most…especially exotic cultures. Photographing Stockholm’s Gamla stan or Paris was nice, but I was more in my element shooting in the back alleys of Taipei and Istanbul. It was on the back of these business trips that I started to specialize in documenting endangered cultures.

How would you describe the work you do now…obviously there’s a strong reportage / photojournalistic element, but are you involved in the commercial world also? Any stock photography? I am drawn to religious rituals and cultural festivals (especially those which have ancient history to them), and by definition these require a photojournalistic approach to them. I try to research these rituals and festivals so as to become reasonably familiar with their cultural background, history and origins. This allows me to have a better understanding of what’s going on, which I hope come through my images. Because of this affinity, my work is more reportage-oriented as I try to weave imagery and cultural information together. I did get involved in stock photography for a few years, but recently found that it wasn’t for me. I’ve moved away from the traditional travel imagery required by stock agencies and travel catalogs/brochures. The stock photography industry has considerably changed over the past few years, so I lost interest. There are many other excellent photographers who make a living from commercial and stock imagery, and I admire them for doing so. It’s highly competitive and very tough.

What 3 tips would you share for amateur photographers who are interested in pursuing your documentary style of photography? In my view, the most important qualification is to have (and continuously develop) a strong and wide-ranging interest in foreign cultures, history and geo-political events. This is the underpinning foundation for the emerging photojournalist. As for tips, I’d say the first would be to drop the ego, and to remain humble and helpful to others, whether they are in the same field or not. The second would be to learn and use ancillary visual add-ons to still photography such as multimedia, audio recording, etc. The third would be to learn some words and sentences in as many foreign languages as possible.

You are known online as “The Travel Photographer”. Can you tell us more about your website and workshops? My photo~expeditions (as I call my trips) are technically by invitation only, which means that photographers interested in them usually subscribe to my periodic newsletters I send out. These newsletters list forthcoming itineraries and dates, as well as galleries of my own work, and the subscribers contact me to join. The itineraries are based on traveling to “off-the-beaten-path” destinations as much as possible, and the photography style is best described as “travel photojournalism” or “documentary travel photography”. Normally, I research specific destinations that have cultural and historical elements, and structure the itineraries with story-telling objectives in mind. During these trips, I tutor participants in story-telling techniques and multimedia using easy-to-use software readily and cheaply available from the internet. The end objective of each photo-expedition is to have participants return with their locally-produced travel documentaries, as well as regular travel photographs. Since participation in these photo~expeditions was originally based on firstregistered-first in, causing long waiting-lists, I have had to introduce an element of screening based on a quick portfolio viewing and other criteria. Apart from The Travel Photographer blog, my photography website ( showcases my travel photography galleries, my multimedia galleries, and my photo~expeditions. I am currently working on a parallel website that will be iPad and iTouch compatible.

Which other photographers, old or contemporary, inspire you most? I have enormous respect for the photojournalistic work of James Nachtwey, John Stanmeyer, Munem Wasif, Gary Knight, and especially Sebastiao Salgado. On the editorial and travel side, I like the work of relative newcomers such as Shiho Fukada, Jehad Nga, Diego Verges, Joey L. and many others.

Since you do a lot of portraiture, when you are approaching subjects to shoot, how do you set about it? Do you chat and explain what you’re doing? Or shoot first, ask questions later? I mentioned Sebastiao Salgado as a visual influence. He’s also quoted as saying “If you take a picture of a human that does not make him noble, there is no reason to take this picture”. That’s my overriding principle when I photograph people. I always try to engage the subjects before photographing them, and have various methods to “unfreeze” people for natural-looking environmental portraits. The easiest is to show my potential subjects a gallery or two of my photographs which I carry on my iPod Touch. This arouses some sense of vanity…the “me too” syndrome. However, one of my time-tested techniques is to initially photograph children or babies, and showing them to the parents. This immediately changes my image from being a foreigner into that of a family member. What I’m after during a photo shoot are two things: being accepted and/or being forgotten…I want to go beyond the reflexive smile. I engage people as much as I can, since I want our “relationship” to be reflected in their eyes, on their faces and in their body language. I love candid photography, which is frequently necessary and gives great results, but I prefer a more face-to-face approach to my portraits.

What’s the craziest or most inspiring encounter you’ve had in general? Like most photographers, I faced difficult situations but fortunately none that I wasn’t able to defuse reasonably quickly. The most inspiring moment was during photographing elderly widows in Vrindavan (India), when one of them asked me to publicize their plight. She called me her “grandson” and despite her poverty, she worried the sun was too strong for me. Along with other photojournalists who had been there before and after me, their plight was indeed publicized and some improvements were introduced by the local authorities. The craziest (and worrisome at the time) encounter was probably being accused by a group of Indonesians of being an agent for the FBI.

What kit do you use / carry with you / can’t do without (camera make, lenses, flashguns etc.)? My primary camera is a Canon 5D Mark II, along with a bunch of Canon L lenses such as a 24mm f 1.4, a 28-70mm f 2.8, a 17-40mm f4 and a IS 70-200mm f2.8 zoom. I also use an older Canon 1D Mark II which is truly a workhorse of a machine. I’d love to replace it with a newer model but I’m emotionally attached to it, and it does the job I want from it. I don’t use flash much as I prefer natural light, but I occasionally use a Canon 550EX. Depending where I travel to, I either carry a Mac Book Pro or an Acer netbook to work on my images whilst in the field, or for my multimedia workshops.

Finally, what else are you working on right now and what are your ambitions for the future in terms of your photography work or anything else? One of my on-going projects is on documenting the Sufis, and it’s a project that I try to work and expand on whenever I’m in India, Egypt, Morocco or Turkey. There are certain countries with strong Sufi influences such as Pakistan and Afghanistan, and I’m hopeful that these countries’ political situations improve and calm down allowing me to visit and continue this particular project. I am one of the instructors at the Foundry Photojournalism Workshop, where my class is on multimedia for photojournalists, and I hope to continue teaching it as long as it’s of interest to emerging photojournalists. I also intend to continue with my photo~expeditions / workshops and, as I mentioned earlier, to further refine their thrust towards documentary travel photography and multimedia.

News & Events


Sony has a long history of making interesting cameras and has, in recent years, produced some of the most innovative products and technologies. Not all of these developments have caught on but we've admired its pioneering spirit, even when we haven't always loved the products. The Cyber-shot DSC-RX10 combines aspects of two of the company's most imagination-catching cameras - the current RX100 II zoom compact and the near-legendary R1 from 2005. It revives the large-sensor, long-zoom concept of the R1, but utilizing the RX100 II's 1"-type BSI CMOS sensor, meaning it can offer a balance of high image quality and long zoom in a sensibly sized package. In this case it means the RX10 is able to offer a 24-200mm equivalent F2.8 lens. That relatively big sensor means the RX10 is not a small camera - it's about the height and width of a small DSLR. Its body is slimmer than a DSLR but its 8.3x lens adds a stout, weighty bulk to the proceedings. For more information you can always visit the official site of SONY!

What's going on July EVENTS

Vantage Point 23: Bronx Eyes ICP at THE POINT Student Exhibition Launched in 1997, ICP at THE POINT is a year-round photography-based collaboration that includes a classroom/studio, black-and-white darkroom, and gallery. Through weekly classes for pre-teens and teens, the program teaches photography, critical thinking, writing, and public speaking with the goal of fostering self-esteem, community development, and social change. Bronx Eyes is an exhibition of student photographs from the past four years, which celebrates the power of their individual voices and shared experiences. To see the Bronx through the eyes of its own, the images reveal a unique and essential representation of local stories and truths. The Point CDC (940 Garrison Ave, Bronx, New York 10474) June 29, 2015 - July 30, 2016

Public, Private, Secret This thought-provoking exhibition presents a wide range of historical and contemporary works by artists including Zach Blas, Martine Syms, Natalie Bookchin, Cindy Sherman, Nan Goldin, and Andy Warhol. Streams of real-time images and videos from various social media sources—curated with Mark Ghuneim and ICP’s New Media Narratives students—sharpen and heighten attention towards the social implications of our imagecentric world. The exhibition creates a physical experience through which to examine photography’s role in breaking and resetting the boundaries of social and personal privacy. ICP Museum (250 Bowery, New York, NY 10012) Jun 23, 2016 – Jan 08, 2017

One-Year Certificate Programs 2016 Student Exhibition Another Kind of Paradise features work by graduating students of ICP’s one-year certificate programs in Documentary Practice and Visual Journalism, New Media Narratives, and General Studies in Photography. This exhibition is curated by Elizabeth Kilroy, Darin Mickey, and Alison Morley. ICP School (Rita K. Hillman Education Gallery) July 25, 2016 - August 07, 2016

Weegee's Bowery Weegee’s photographs show the Bowery when it was still New York’s Skid Row. A  gathering point for derelicts and down-and-out transients who huddled in the shadow of the Third Avenue elevated railway, it was notorious for its fleabag hotels, flop houses that offered 25-cent-per-night beds, and crowded all-night missions that provided food and shelter to those who could afford neither. The exhibition includes an extensive selection of Weegee’s photographs of a raucous nightclub and cabaret called Sammy’s on the Bowery, located at 267 Bowery. From its opening in 1934, until it closed its doors in 1970, Sammy’s provided a setting where adventurous uptown sophisticates could mingle with the bar’s flamboyant entertainers and hard-drinking regulars. The New York Times described Sammy’s clientele as a mix of “drunks and swells, drifters and celebrities, the rich and the forgotten.” Weegee himself appears in a number of photographs; the boisterous book-launch parties for his publications Naked City and Weegee’s People were held at Sammy’s. Weegee’s short film Cocktail Party (1950), set in Sammy’s, will be on view as part of the exhibition. ICP at Mana (888 Newark Avenue, 6th Floor, Jersey City, NJ) May 01, 2016 – Aug 05, 2016

one last thing ....


- How to: - Tip: - Review: - Ideas & Suggestions for this month: - Interview: - Events:

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Photograph Νο.3  

This is the 3d issue of Photograph. This issue is totally summery because July is here and we are ready to welcome it! So, what are you wait...

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