Congratulations to NYI Student Eric Roseberry for his winning photo seen below. We asked Eric to tell us a little about how he created this image. Here's what he had to say:
"This is my son Private Johnathan Roseberry the evening prior to his graduation from basic military training. I wanted to convey a sense of pride in my son, and my belief that his choice to serve is heroic. The classic superman pose and low angle is intended to enhance that feel. The Infantry museum at Fort Benning offers a patriotic setting with a fine display of the flags of the 50 states. I used the flags to direct and hold attention on my son and used a narrow depth of field to limit their potential as a distraction.
Select a subject, draw attention to the subject with size and location in the frame. Eliminate unnecessary elements that draw attention away from that subject.
Camera Settings: 1/640 F4 ISO 200 80 - 200 MM @ 80 mm"
We thank Johnathan, and all members of the military for their service. We will be sending Eric a number of terrific photography books from the NYIP library for his prize.
Thanks to all who participated!
In the days before cameras and sophisticated photographic technology, we relied on different processes to capture the human image. I was really drawn to this video from Mark Osterman, a photo process historian (yes, there are such people!) at the George Eastman House International Museum of Photography and Film in Rochester, NY.
Mark Osterman: f295 Symposium on 21st Century Photography
First, if you haven’t been to this world-class institution—the world’s oldest photography museum, housed in a glorious Colonial Revival mansion—you’re missing out; this is a must-see destination for any photographer. You’ll see some amazing early photographic equipment and unforgettable images from all over the world.
Osterman actually built his own physionotrace, which he used in the video. A 1783 French invention, with modifications made continually throughout the early 1800s, the device allows an operator to use candlelight to trace a person’s physiognomy, specifically the profile. The result is a silhouette (here’s mine), which got its name from French finance minister Etienne de Silhouette; he enforced severe wartime economic policies in 1759, and his name started to become associated with anything cheap—and cutting a profile from black card was the least expensive way to record what a person looked like.
Each summer, at air shows across the globe, awestruck spectators enjoy the power and precision of aerial demonstration teams and individual performers. In addition to what is happening in the air, there are often static displays on the ground. For photographers, these events provide outstanding photographic opportunities. After you shoot your first air show, you will likely return each year as I do. The tips below are based on my experiences at air shows around the New York area. To find a show near your hometown, check on the web at www.airshowbuzz.com
When I photographed my first air show many years ago, I used a 28-135mm lens. Yet, unless the plane was flying directly above me, I found that much more reach was necessary. Today, I use a 70-200mm for action that’s directly overhead, and a 400mm for tighter shooting. My camera does not have a full frame sensor, so a 400mm with a 1.6 crop factor is actually an effective 640mm lens. Just remember, air shows are usually several hours in duration, and longer lenses can get quite heavy. Image stabilization is a nice feature, but a tripod will give your arms a break and allow you to create sharp images consistently. While the majority of my aviation work is shot with longer lenses, I find that wide angle lenses are also useful for performance teams that are spread out in wide formations. By utilizing a few different options, you can capture more of the action, and will come home with a diverse collection of images.
Tim Hetherington: Zuma Press/Newscom
The deaths of award-winning photojournalists Tim Hetherington and Chris Hondros on April 20, 2011 in a mortar attack at Misrata, Libya, underscored the heavy toll war exacts on soldiers and civilians alike. Dupont Award winner Hetherington, whose book Infidel featured photos from the Korengal Valley, Afghanistan (see photo above), co-directed with journalist Sebastian Junger the Oscar-nominated movie documentary Restrepo, which won a Sundance film festival award.
Chris Hondros: Scout Tufankjian
Hondros’ work for Getty Images receive war photography’s highest honor, the Robert Capa Gold Medal. Both photojournalists were brilliant at showing the “texture of war,” as Hetherington put it, a combination of active combat and sometimes-boring daily life. Hetherington’s interview video from November 2010 features highlights of his work and insights as a photographer.