Canon France, in association with Images Evidence, has announced that the 15th annual Canon Female Photojournalist Award is open until 22 May 2015 for submissions from female photojournalists of any age and nationality.
Once again, the award is supported by Elle magazine and Canon France will grant the winning female photojournalist €8,000 to help her to continue and complete a photojournalistic project on a social, economic, political or cultural subject.
A jury made up of photography and press professionals will select the winner in June. Applicants will be judged by both the presentation of their project and their previous work. Among the selection criteria are the quality of the photographs, as well as the journalistic thoughts and relevance of the chosen subject.
The Award will be presented to the winner at the Visa pour l’Image international festival of photojournalism in Perpignan, France, during the professional week from 31 August – 6 September 2015. The winner will produce an ongoing one year project which will lead to an exhibition or showing at the Festival in 2016.
An exhibition of the work of the 2014 award winner – French photojournalist Viviane Dalles (Signatures) – seen above – showing images from her project on teenage mothers in the North of France will feature as part of the exhibition programme of the 2015 Visa pour l’Image festival.
The other previous winners of the Canon Female Photojournalist Award were:
2014 – Viviane Dalles
2013 – Mary F. Calvert
2012 – Sarah Caron
2011 – Ilvy Njiokiktjien
2010 – Martina Bacigalupo
2009 – Justyna Mielnikiewicz
2008 – Brenda Anne Kenneally
2007 – Axelle de Russé
2006 – Veronique de Viguerie
2005 – Claudia Guadarrama
2004 – Kristen Ashburn
2003 – Ami Vitale
2002 – Sophia Evans
2001 – Magali Delporte
To find out more about the 2014 Canon Female Photojournalist Award and download the rules and an application form to enter, please click here.
Please note: the final deadline for entries is 22 May 2015.
It is early spring here in the northern hemisphere and flowering trees, if not already in full bloom, will be so very soon.
While the spring flowering trees are incredibly beautiful, I find them a challenge to compose into an image I like. Part of the problem is that, when the trees flower, most other trees remain leaf-less and low in their color-rating. Lack of leaves reveal highly detracting power lines in many of the landscapes where these trees are planted. This leaves sky, green grass and man-made objects to provide the other good colors to compose with.
So, how does one create a good photo of this subject? A solution that often works well is to fill the frame with only the flowering tree or trees. In this case, I found a very large, densely-flowered tree, moved back to create a compressed perspective and zoomed in to frame only the flowers with a narrow aperture keeping the entire frame remaining in focus. The result is a pattern of complexity that fills the frame. I positioned the larger limbs visible in the picture so that their lines lead the viewer's eye into the frame. The bright color of the flowers becomes the predominant color of the final image.
Working with the same concept of filling the frame with the color of the tree, a close perspective with a wide aperture can be used to blur the background flowers as illustrated here.
If working with a wider angle focal length, the background is more likely to become part of the image. In this case, consider getting above the tree to use the often-bright-green spring grass as the background. Bright green often complements the color of the tree(s). Another advantage that getting higher sometimes affords is a better angle on the flowers in the image. Dogwood tree flowers, as illustrated in the just-referenced image, typically face upward. Looking downward from a ladder allowed me to see the full flower being isolated with shallow depth of field.
Incorporating flowering trees into portrait images is a strategy loved by many. My advice is to make sure that the tree colors do not steel the viewer's focus from the primary subject, your person. Using the fill-the-frame and blur-the-background strategies again work well for portraits. Use a telephoto focal length and wide aperture to isolate the subject against a completely blurred background of flowers.
Winter is past and the winter-like landscape is about to awaken, bursting into vibrant color. Go capture it!
Ability to track and focus on any subject with tap-to-focus ease wins four best of show awards at NAB introductions
Hollywood, CA and Dallas, TX - Redrock Micro, the recognized leader in affordable professional cinema accessories, today announced Halo, a system for video production that solves the challenge of accurate focus control by dynamically mapping and tracking subjects, and providing an easy to use interface for manually selecting or automatically tracking subjects for focus.
Introduced at NAB 2015, Halo was quickly recognized for its potential to shift the industry, creating intense buzz and earning three Best of Show awards.
Focus re-designed from the ground up Incorporating the same technology cars use for collision detection and avoidance, the Halo Explorer creates a real-time scene map, combining pinpoint accuracy with up to 180 degrees of view. Artificial intelligence precisely identifies all your subjects (people and objects) and tracks their distance and location in real-time. The beautifully crafted user interface shows birds-eye view of all subjects, and enables anyone to tap-to-focus, or drag to follow focus with visual audible and haptic feedback. Halo becomes the technician, handling the intricacies of focus so operators can concentrate on the creative performance.
We often refer to this as our Avatar product, says James Hurd, Chief Revolutionary at Redrock Micro. We had to wait five years for technology to catch up so we could deliver a something that solves focus and does it cost-effectively. This quote references Director James Cameron's famous quip that he waited 10 years for technology to evolve before he was able to shoot the groundbreaking feature film Avatar.
Designed for today's production environments and creative shots Production never has time for long setups, extra gear, or constant tweaking. The Halo Explorer is small and lightweight, and lives on your camera. There is virtually no setup or configuration, just power on, and you?re ready to go. Halo also performs brilliantly in a wide range of situations: total darkness or bright light (even heavy backlight), with or without human faces. Halo components can be moved between the camera and your remote AC, wherever it makes the most sense. A light footprint and wide range of usability use make Halo intensely practical.
A valuable tool for a crew of one or a crew of one hundred
Productions at any level can benefit from Halo. High-end productions can use Halo for precise reference and focus assist. Solo operators can use Halo for completely autonomous focus tracking. Any amount of assistance or automation is your choice. Whatever your camera and lens, and whatever your level of expertise for focus control, Halo is incredibly effective, easy to use and understand, and profoundly affordable.