Issue 1

The UK’s new free photography magazine

04 FEATURE Tim Smyth 07 IN PROFILE Alec Jackson 10 RWA Open Photography 2 03 News & Vignette 14 Portfolio Review 15 Listings & Open Submissions

Focus Every issue of Vignette gives photographers opportunities to get involved.

Page 3 Portrait. For consideration please email 1 portrait photograph.

Closing date 30th May 2011.

Portfolio Review. Email 4 photographs with some basic details about your photographic experience. Closing date 15th May 2011.

Vignette feature. This is a 2 part submission. Submit an image to be written about by email. Closing date 30th April 2011. The chosen image will then be published on our website. Your vignette in response to the image should be around 100 words and submitted by email. Closing date 30th May 2011.

If you have a story to tell, news to share or have amazing photographs that you think would make an interesting article or feature in a future issue of Vignette please get in touch. Email the team at contact@vignettemagazine.com.

Twitter @vignettemag

Welcome to Vignette, the UK’s newest photography magazine!

Each issue will be full of inspiring photography from a variety of artists, and informative features highlighting techniques and processes. There will also be details of exhibitions, festivals and open submission competitions, and other opportunities for you to get involved.

For this, our launch issue, we met up with photographic artist Alec Jackson, who provided our stunning cover image, and found out the secrets behind his work. London photographer Tim Smyth talks about his latest project “One Hundred and Thirty Nine Defective Carrots” and we also report from the Royal West of England Academy’s superb Open Photography 2 exhibition and meet some of the artists involved.

Here at Vignette we have lots of plans for future content, but welcome your ideas. There are also many opportunities to have your own work included in future issues through the Portfolio Review, Page 3 Portrait and “Vignette”. You can keep up to date with us online at vignettemagazine.com, Facebook, Flickr and Twitter.

We hope you enjoy the magazine.

Find us on Facebook Find us on Flickr www.vignettemagazine.com Vignette 31 Baldwin Street Bristol, BS1 1RG

Ben Bishop, Editor

Vignette is run by UK photographic printing specialists, Photographique. www.photographique.co.uk © All rights reserved. All material in Vignette may not be reproduced or transmitted in any form without written consent. All content in Vignette appears courtesy of the the contributor and copyright remains with the contributor, where identified, and with Vignette where not. Vignette has made every effort to check the accuracy of the content of the magazine and all information was believed to be correct at the time of print. E & O E.

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Cover Alec Jackson

News

Page 3 Portrait

The Museum of London

Section 44 Reform

The Museum of London is hosting a major exhibition showcasing over 200 images from 59 photographers.

Home Secretary Theresa May announced in early February that a new law would be drafted to replace the controversial Section 44. This follows pressure from groups such as “I’m a photographer, not a terrorist”, civil rights campaigners and ongoing media coverage of the issue.

Through the theme of ‘Street Photography’, the exhibition aims to explore the diversity of everyday life in the capital and reflect on the relationship between the photographers, their subjects and their surroundings. Particular emphasis is drawn to the changing attitudes towards photography in relation to privacy and anti-terrorism laws.

The exhibition will run from 18th February until 4th September 2011. A series of seminars and workshops are planned to complement the show.

The move is likely to be popular with photographers as in recent years an increasing number of people have been stopped and searched, or banned from taking photographs in certain locations. The revised policy will reduce such incidents, as stop-and-search powers will be severely limited.

www.museumoflondon.org.uk

Canon Release 600D and 1100D The latest additions to Canon’s range of digital SLR bodies are expected to be available in early April. The 600D boasts an 18 megapixel CMOS sensor along with full HD EOS video recording, 3.7 fps shooting, and 9 point auto focus. It is also Canon’s second camera to include builtin wireless flash control, a particularly useful feature for strobist photographers.

The 1100D replaces Canon’s current entry level DSLR; the 1000D. It features a 12 megapixel CMOS sensor, an ISO range of 100-6400, and the same 63-area iFCL colour-sensitive metering system as used in the 7D. Canon will also be unveiling Mk II versions of the 500mm and 600mm F4 USM lenses, as well as two new Speedlite flashguns.

Bristol Festival of Photography After the success of last year’s Bristol Festival of Photography, planning is well underway for the next festival, set to take place in May 2012.

Recently the festival collaborated with Bristol’s Royal West of England Academy, offering a series of free seminars and events during their Open Photography 2 exhibition. The festival also sponsored a prize awarded to Colin Powell for his stunning black and white landscapes. The award gives the winner the opportunity to have an exhibition at the Grant Bradley Gallery in Bristol during the festival in 2012, exhibition advice from photographer Martin Edwards and a voucher from Photographique.

Born in London, James Kriszyk now lives in the Cotswolds and works all over the UK. James graduated from the University of Gloucestershire in 2008 with a BA (Hons) in Editorial and Advertising Photography. He is now a part-time visiting lecturer in portrait photography. His work is mainly concerned with people and the human condition. He tries to capture this in every image he produces; from the studio portraits that hold many layers for the viewer to read, to his personal work, where he photographs the day-to-day unscripted theatre of life on the streets of post-recession Britain. What guides James in his work is his spontaneous reaction to what he sees in front of him and the continual sense of wonder he finds when framing the world with his camera.

www.bfop.org

London Street Photography Festival Taking place between July 7th and 17th, the London Street Photography Festival aims to “give street photography a home in the UK and provide Londoners with a celebration of their city through this essential tradition”.

A full programme of events can be found online, along with details of how you can enter two competitions and potentially win the International and Student Street Photography Awards.

www.kriszyk.com www.james-wonderblogger.blogspot.com www.flickr.com/photos/kriszyk Page 3 Portrait. For details of how to submit your portrait photograph for consideration for a future issue see page 2.

www.londonstreetphotographyfestival.org

vi·gnette

1. An unbordered picture, often a portrait, that shades off into the surrounding color at the edges.

2. A short, impressionistic scene that focuses on one moment or gives a trenchant impression about a character, an idea, or a setting.

I like it when passers by stop and talk to me through the window. This expression seems to be one that draws most attention. There’s a woman across the street looking this way. Bull’s eye! She’s following my line of sight and trying to see what I am looking at. Now we’re both looking at the café across the street. In a minute she’ll be over here to check if I’m all right. They usually do. Hope she’s got something tasty to slip in through the top of the open window.

Writer: Linda Broadbent Photograph: Bob Enship Your image or story could feature here - see page 2.

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NEWS

VIGNETTE

4

FEATURE One Hundred and Thirty Nine Defective Carrots

I leave my flat at roughly 6:30 am. It’s Monday and I’m feeling rattled following a particularly self-indulgent weekend. I find solace however at my local bakery, “BREAKFAST BAP & TEA or COFFEE £ 2.00”. “Ketchup please… milk and one thanks”. The streets are still and quiet as I turn down Mildmay Grove South to the rental car club bay. A flock of geese fly south overhead in an arrow formation talking amongst themselves.

“THE ARCTIC WEATHER CONDITIONS ALREADY CAUSING HAVOC ON BRITAINS ROADS” according to the radio news bulletin, as I head north on the M1 to a carrot farm in Yorkshire.

Murky streaks of road salt have accumulated on my windscreen; the windscreen washer jets are broken on the rental car. There are queues for miles in the opposite lane heading south as I stop for petrol, expensive burnt coffee and tobacco, hot water, and toilet paper to wash the windscreen.

Some time later I pull into a lay-by opposite a sublime view point of Eggborough Power Station and call the farmer, Guy, to ask for directions; we arrange to meet once he has finished his lunch. In the sun drenched reception of the farm I am greeted by gleeful caricatures of dancing carrots on the walls. Guy and Jerry take me through to a small conference room to talk about the premise of my visit. I tell them I want to photograph the carrots that, due to their abnormal appearance, fail to be stocked in the supermarket chain that they supply. He explains to me the pressures of consumer requirements on the farm, how they are improving their efficiency of production with many “defective” carrots being grated, sliced and packaged for sale in supermarkets.

Any others are used as animal feed. I ask him for any official information that he can print or send to me for further reference. However this isn’t possible due to the sensitive nature of these documents, and any other queries I have he will answer via email. I thank him for his time and assure him that I won’t say anything bad about supermarkets.

DcZ =jcYgZY VcY I]^gin C^cZ 9Z[ZXi^kZ 8Vggdih edhi" e]did\gVe]n Jerry fetches me a hairnet and high-vis jacket, then gives me a tour of the farm and shows me the factory. There is a consistent, overpoweringly sweet smell of carrots in the air. He shows me the factory and the machinery used to grade the carrots. Steel cylinders parallel to one another, at various distances, allow the carrots to fall through at different intervals determining their girth. Digital cameras photograph the carrots as they are winged along brightly lit conveyor belts; the defective carrots detected by the cameras are subsequently ejected with a whip of pressurised air. In the corner of the factory there is a small conveyor belt that ascends from ground level to the rafters carrying the defective carrots. I begin collecting these carrots into plastic bags.

Initially I choose ones with blatant deformities, idiosyncrasies that appeal to me. Then I realise many of them don’t appear peculiar at all, so I start collecting them. Jerry begins to help bagging the carrots, whilst shouting in my ear through the din of the machinery, recitals of the different names of rot and disease they have.

I become increasingly fond of each carrot regardless of how moderate or extreme its defect.

Jerry helps me take the carrots to my car as the daylight fades. I set off back to London.

“EXTREME ARCTIC WEATHER… GRIT SHORTAGES IN NOVEMBER!” Drivers are advised not to make any unnecessary journeys.

Somewhere along the M1 I stop for something to eat, a Large Big Mac Meal is alluring when you’re feeling weary and far from anywhere.

Back in London I individually photograph each carrot with the intention of replicating scale and colour as accurately as possible. I measure the frame of the image in the viewfinder, 12” long to correspond with the print size. The following day, due to the lack of space in my flat and fridge freezer, I take the carrots to Hackney City Farm to fulfil their destiny as pig feed.

A few weeks later I meet my mum for lunch at a tapas restaurant in London Bridge. I show her a test print of a defective carrot. She shows the waiter and asks for his opinion. As he pours the wine for me to taste and check for corkage, he looks perplexed. He replies that he would never buy a carrot that looked like that.

One Hundred and Thirty Nine Defective Carrots is a collection of 139 unique 16x12” C types hand printed by Tim Smyth.

Smyth currently lives and works in London where he is represented by Son Gallery.

Engaging with environmental issues and the documentary rhetoric, Smyth’s work is distinctive for its considered attention to detail, taking advantage of large format cameras. His gripping abstract visualisations are a product of industrial and consumer waste. timsmyth85@gmail.com www.timsmyth.co.uk www.songallery.co.uk

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FEATURE One Hundred and Thirty Nine Defective Carrots

VIGNETTE

6

FEATURE One Hundred and Thirty Nine Defective Carrots

[ZXi^kZ 8Vggdih edhi" e]did\gVe]n

“there’s only 3 things you need to make a photograph and thats light, time and surface.”

Standing at the front door I am greeted by a man in a navy labcoat and latex gloves.

Wearing such attire he need not introduce himself, I can safely assume it’s Alec Jackson, experimental photographer. He ushers me through the house and out the back door, up through an overgrown garden to what I can only describe as a concrete bunker. As he opens the blue door, I am immediately hit with the sweet, almost vinegary smell of used chemicals. His darkroom is piled high with developing trays of various sizes, measuring jugs resting upon shelves, test strips pinned haphazardly across the walls, semi-dismantled enlargers, and fibre optics scattered across the worktops.

He says, “It’s the small things in life that give me the greatest pleasure – my tiny darkroom is one of them, and although not perfect, it has given me back the creative freedom which I had once gone so long without”.

Vignette: You call yourself a photographer but you don’t seem to use a camera; how do you define your work?

Alec Jackson: I guess people normally consider photography to be using a camera to record the world, but there are so many other possibilities. Forget about cameras, lenses and f-stops, I want to break it down into its basic components; light, time and surface.

I look at the various ways in which you can use these elements to create a new type of photography, outside of the normal boundaries of a photograph. This has been much more appealing since the advent of digital photography, almost creating a post-photographic era. For those of us not quite ready to venture solely into the digital world, it gives us more freedom to explore and redefine photography as a medium.

V: You mentioned the term ‘postphotography’ what do you mean by this?

AJ: As I said, the traditional/historical view of the photograph is that of documentation and something which has been enslaved to it for decades. However the elements involved with developing an image don’t just stop at documentation, chemical photography has always allowed for experimenation. With the coming of age of the digital camera, it has effectively freed up the constraints chemical photography once had. Hence the term ‘post-photography’.

V: How did this project start?

AJ: I’ve been into photography for quite some time but up until about 5 years ago I didn’t have a darkroom to work in. When we bought a house with two concrete buildings at the top of the garden, I can remember thinking one of these is going to be my darkroom.

I was always more interested in the experimentation side of things, anything beyond the norm really. I had ideas originally that would involve the use of masks and dodging and burning various colours on to photographic paper. Then one Christmas, my wife bought a hideous fibre optic Christmas tree-it was truly awful! However I found myself drawn to it, not because it was attractive, but because I was intrigued by these fibre optics and how they could be used. Needless to say, once Christmas was over and done with, I dragged that hideous tree up to my darkroom and hacked all the fibre optics off-believe it or not the tree looked better afterwards! I used them to manipulate the light from the enlarger on to the photographic paper; this particular set of fibre optics became the first in a wide range of “light brushes” I made in order to see the effects it could have on the photographic paper. However not all my attempts were successful, I wouldn’t like to hazard a guess at how much photographic paper I’ve gone through in the process!

Alec Jackson alec@post-photography.co.uk post-photography.co.uk

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IN PROFILE Alec Jackson

VIGNETTE

V: With such large amounts of paper being binned, weren’t you ever tempted to just scan the images and manipulate them on photoshop?

AJ: Yes, massively, but it goes totally against what I’m trying to achieve. The whole point of my work is to experiment with light and to see how I can play around with it. You know how it goes, you do a quick tweak here and a quick tweak there and before you know it there’s nothing left of the original piece. Also I see the imperfections as part of the charm and the character. The errors, if you wish to view it that way, is just that human contact has occurred and can be evident in some of the work.

V: What photographers inspire you at the moment?

AJ: I take my inspiration from a variety of photographers such as Nadav Kander who creates the most beautiful portraits, the photograms of Curtis Moffat and strip photography from Andrew Davidhazy.

But I also think it’s important to widen up your focus of inspiration, many painters and film makers heavily influence my work. I guess I am influenced by anyone who is challenging preconceptions about the medium they work in.

V: How do you see your work developing over the next few years?

AJ: I’m always thinking of ways to develop my range of light brushes to see what effect, if any, this will have on my work. In fact what usually happens when I’m looking to develop work is that I’ll start off with an idea, then I’ll accidentally do something, think ‘hang on, I might have something here’ and run with that instead. I’m currently toying with the idea of mixing documentation with my light paintings, building up various different layers and textures, which may perhaps engage and be accessible to a larger audience. However should something weird and wonderful happen, do not be surprised if I decide to go with that instead.

Alec Jackson

post-photography

VIGNETTE

DcZ =jcYgZY VcY I]^gin C^cZ 9Z[ZXi^kZ 8Vggdih edhi" e]did\gVe]n

Founded over 150 years ago, The Royal West of England Academy in Bristol has a full programme of varied exhibitions. The RWA’s stunning grade 2 listed building provides vast beautiful gallery spaces showcasing the academy’s fine art collection, solo and multiartist exhibitions including 2 open exhibitions a year. One of these open exhibitions rotates between the disciplines of sculpture, painting, photography and printmaking. The first Open Photography exhibition in 2008 included over 400 photographs and was hugely popular with visitors. Following the success of this show, the academy opened submissions for its eagerly awaited Open Photography 2 exhibition in December 2010.

Over 1600 entries were received. The resulting exhibition of over 300 images opened on 19th February 2011 and included work from invited artists Barry Cawston, Richard Cox and Sachiyo Nishimura in addition to a massively varied body of work from the general submission. In common with all good open submission shows, Open Photography 2 allowed photographers of all levels of experience to exhibit their work in the same space.

At the preview, as the crowds swelled up the stairs into the bright elegant gallery, the general consensus was that the exhibition looked fantastic. The exhibition highlighted the diversity within photography as a medium.

We asked Barry Cawston for his views on the show, “It was fantastic to exhibit 5 large scale photographs at such a prestigious institution and in such a high quality and eclectic exhibition. The resulting press coverage has been superb and I have had a feature on my photography in The Independent magazine.”

Vignette met up with 8 of the artists who had images selected.

Luke Archer

Paul Blakemore

Light and dark is the basis of photography and the simplicity of this is I feel is often over looked. What interests me is how total darkness can still create a sense of space.

Looking forward to seeing my pictures in a white wall gallery space as usually these prints are stored in a dusty old Bridewell police custody department in Bristol!

www.lukearcherphotography.co.uk

www.neatstudios.co.uk

Mark Blower

Patrick Coughlan

Jim Johnston

I took this shot in Knowle West, the whole estate was buzzing with England’s World Cup hopes that were about to be shattered. This typifies the passion of last year’s World Cup.

‘Streak’ is from a series of images I made in the thick fog bound landscape of East Anglia in December last year.

The notion of a landscape as both constant and variable interests me.

www.markblowerphotography.co.uk

www.patrickcoughlan.org

I was really pleased to get a couple of prints into the RWA Open Photography show as I thought the standard this year was so high. To win best Urban Landscape was unexpected and I am grateful to everyone who voted for me.

Jade French

Sarah Macfarlane

Michael Reeves

I am really thrilled to be exhibiting at the RWA alongside so many great photographers. This image is one of my favourites. I love the way it gives the illusion of an impressionist painting.

Friends and I spent a lovely evening dining in this beautiful courtyard restaurant whilst travelling through South East Asia.

It was quite a surprise to turn a corner and find this period advertisement.

Juxtaposing it with a passing tram seemed an appropriate way of representing the flux of time in modern-day Prague.

RWA Open Photography 2: 19th February – 5th April 2011 www.rwa.org.uk

www.jadefrench.com

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RWA Open Photography 2

www.redkidz.co.nz/things

www.jimjohnston.co.uk

www.michaelreevesphotography.com

01 01_ The Tenement Block by Barry Cawston 02_ Great Western by Jim Johnston 01_

02_

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RWA Open Photography 2

VIGNETTE

03_

05_

04_

03_ Streak by Patrick Coughlan 04_ Handrail by Paul Blakemore 05_ One night in Bangkok by Sarah Macfarlane

12

RWA Open Photography 2

06_ An Englishman’s Home by Mark Blower 07_ Tram and Pepsi-Cola by Michael Reeves 08_ Brandon Hill by Jade French 09_ Meg by Luke Archer

06_

08_

07_

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RWA Open Photography 2

09_

VIGNETTE

Portfolio Review Nathaniel White is 18 and lives in Bristol. He is applying to study photography at university in 2012.

01_

02_

Martin Edwards has fingers in a number of photographic pies: he is a lecturer in photography at City of Bristol College, a freelance photographer, regular exhibitor and is involved in community arts and photography projects www.martinedwardsphotography.co.uk.

A beautiful set of pictures, full of atmosphere and displaying a good understanding of lighting and mood.

The monochromatic theme of the photographs has impact.

The two using natural light – the window 04_ and bar 03_ - are atmospheric and suggest a slightly melancholy narrative, with a good sense of personal engagement and style.

The studio portrait of the young woman with a cigarette 02_ is well lit, with clear eyes and good exposure.

Cigarette should be in the process of being lit, perhaps, to make composition less static.

In the final image 01_, three women appear to be acting out a scene, with something being passed to a hand. I don’t find this one so satisfactory, as it leaves unresolved questions about the image, somehow incomplete.

03_

04_

Lisa Furness is a freelance commercial and fine-art photographer. She also teaches photography to people of all ages and is a prominent member of the Bristol arts scene, coordinating Easton Arts Trail and chairing Bristol photography collective Second Look. www.flickr.com/lisafurness 01_ Brilliantly reminiscent of Caravaggio, but I find the subject difficult to understand.

02_ I would suggest cropping in more tightly to lose some of the empty space at the top and to emphasise the face.

It may not be allowed, but I would have liked to see the cigarette lit or maybe a different prop used – unless you are trying to suggest potential unfulfilled?

03_ and 04_ are amazing, don’t change anything and look up Robert Frank.

Overall, a good, stylish set with plenty of promise.

Portfolio Review. For details of how your photographs could be reviewed by our panel see page 2.

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Portfolio Review

Tom Groves London based freelance photographer Tom Groves works in the studio of internationally recognised photographer Martin Parr. Tom previously worked at Magnum Photos and studied photography at Filton College in Bristol. Groves helped set up The Emporium community arts space in Bristol and is currently shooting a project on European Subbuteo players. www.flickr.com/ photos/tomgrovesphoto.

Initially I was under the impression that the first two photos were a series of images taken from a play, as the lighting is thoughtful and specific.

The sequence could perhaps have been made stronger if the post-production had been better, for example, the image of the lad and the pint glass is a black and white image, but an element of green has snuck in there!!

The first image in this series has a warm family feel. However, it could be improved by paying closer attention to the post-production in Photoshop; on the right-hand side of the image the hand has been lightened poorly, and makes the image a lot less appealing.

A certain degree of contextualisation could also help to strengthen the image.

I like the portrait 02_ as it is striking and the photographer shows creativity with the lighting angle. I also love the angle at which the cigarette is being held as it looks as if it’s an extra finger or even a gun barrel! Greater control over the intensity of the light so as not to blow out the highlights would give the image increased definition.

In the third picture I like the vein in the man’s temple as well as the outline of the pint glass which stands out well against the background. It gives an aura of sorrow or thoughtfulness which can be hard to manufacture so gives the impression that the photographer may have a close relationship to the subject.

The final image is nicely balanced and includes a slightly amusing bleakness with the message etched into the condensation, mixing well with the colours and the feel of winter creeping in. The slight hint of the soft red hair against the bluey, green feel is pleasing and it is well composed.

There are some streaks in the shadows which again look to be the result of some questionable post-production.

Attention to detail in this area would maximise the potential impact of the images as the tiniest details can often be the most important.

Festivals

Open Submissions

Belfast, UK

Liverpool, UK

Belfast Photo Festival August 4 - 14 www.visionexposed.com

Look: Liverpool International Photography Festival May 13 – June 26 www.look2011.co.uk

Birmingham, UK

London, UK

Rhubarb International Festival of the Image 2011 dates TBA www.rhubarb-rhubarb.net

World Photography Festival and Sony World Photography Awards April 26 – May 1 www.worldphoto.org/festivals-events/wpo-events/ london

Channel Islands, UK

Guernsey Photography Festival June 1 – 30 www.guernseyphotographyfestival.com Dublin, Ireland

PhotoIreland Festival July 1 – 31 www.photoireland.org

Hereford Photography Festival October 28 – November 26 www.photofest.org

Krakow Photo Month May 13 – June 12 www.photomonth.com/index.php/en

Open Here: Hereford Photography Festival Closing date: 31 May 2011 www.photofest.org/openhere

New York, USA

The Focus Project 2011 Closing date: 16 February 2012 www.focusproject2011.com Travel Photographer of the Year Submissions open May 4 www.tpoty.com

Paris, France

Paris Photo November 9 - 13 www.parisphoto.fr

Landscape Photographer of the Year Closing date: July 2011 www.take-a-view.co.uk

Exhibitions

Online

Bradford

London

The Lives of Great Photographers The National Media Museam www.nationalmediamuseum.org.uk Apr 14 - Sep 4 _Free

Mi Vida Loca by Joseph Rodriguez The Third Floor Gallery www.thirdfloorgallery.com Mar 26 - May 1 _Free

World Photography Exhibition Somerset House www.somersethouse.org.uk Apr 26 - May 22 _£10 / £7 / Kids free

Bristol

Glasgow

Wildlife Photographer of the Year Bristol Museum & Art Gallery www.bristol.gov.uk Feb 19 - Jun 5 _Free

China through the lens of John Thomson 1868 - 1872 The Burrell Collection www.glasgowlife.org.uk Feb 4 - June 12 _Free

Waterline: Cruising Photography 1925-1970 National Maritime Museum www.nmm.ac.uk Until Apr 24 _Free

Magical Consciousness Arnolfini www.arnolfini.org.uk May 12 - Jul 3 _Free

Italy/Milan

Cardiff Anarcadia : Ruth Maclennan Ffotogallery www.ffotogallery.org Apr 21 - Jun 4 _Free Patagonia : Ken Griffiths Ffotogallery www.ffotogallery.org Jun 11 - Jul 9 _Free

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British Wildlife Photography Awards Closing date: 2 June 2011 www.bwpawards.org

Krakow, Poland

New York Photo Festival May 11 – 15 www.newyorkphotofestival.com

Hereford, UK

Taylor Wessing Photographic Portrait Prize Submissions open April www.npg.org.uk/photoprize The world-famous Taylor Wessing Photographic Portrait Prize opens for Submission in April.

Showcasing the very best in contemporary portrait photography with attractive prizes to match.

Paolo Pellegrin: Dies Irae Foundation Forma for Photography www.formafoto.it Jan 18 - May 20

Liverpool Airports for the lights, shadows & particles The Bluecoat www.thebluecoat.org.uk Feb 25 - May 1 _Free

Festivals/Open Submissions

London Photograph Fair Holiday Inn Bloomsbury www.photofair.co.uk Sun May 15 _Entry £3 Hoppé Portraits: Society, Studio & Street National Portrait Gallery www.npg.org.uk Feb 17 - May 30 _£11/£10/£9

Deutsche Börse Photography Prize 2011 Ambika P3 at the University of Westminster www.photonet.org.uk Apr 6 - May 1 _Free

Russia/Moscow Fellini. Grand-parade Multimedia Art Museam www.mdf.ru/english Feb 23 - May 10

USA/San Francisco Picturing Modernity Museam of Modern Art www.sfmoma.org Feb 26 - Jun 7

VIGNETTE

JPG Magazine An online and physical magazine, made for and by photographers. www.jpgmag.com

Julie Blackmon Beautifully surreal depictions of family life with an enchanting twist. www.julieblackmon.com

DIY Photography Inspiring tips, tricks, techniques, camera hacks & projects for you to Do It Yourself! www.diyphotography.net

Vivian Maier Posthumously discovered archive of amazing Chicago street photography from the 1950s to the 1990s. www.vivianmaier.blogspot.com

Loretta Lux Elongated limbs, oversized heads, cool gazes and isolated locations feature prominently in Lux’s spooky portraits. www.lorettalux.de

Wee Planets French photographer Alexandre Duret-Lutz turns panoramic landscapes into tiny worlds. www.flickr.com/photos/gadl

Photojojo In their words “The best photo tips, DIY projects, and gear in the whole wide world”. www.photojojo.com

Choose Film The online community dedicated to film photography www.choosefilm.com

VNTLERS

OPEN PHOTOGRAPHY 2

T HE N O M A DIC G A LL ERY

20 February – 5 April 2011 Exhibitions, workshops and events Royal West of England Academy, Bristol

Exhibition open Monday to Saturday 10am-5.30pm Sunday 2-5pm (last entry 30 mins before close) Admission £4, concessions £2.50, under 16s free Saturday 12 March free entry

www.antlersgallery.com facebook.com/antlersgallery

www.rwa.org.uk / 0117 973 5129 @RWABristol

Barry Cawston: Junkyard Kyushu

LIVEMUSICFILM CAFÉ BAR

HARBOURSIDE

ARNOLFINI EVENTS BOOKSHOPART DANCE INSPIRE CULTURE

EXHIBITIONS

Arnolfini Centre for Contemporary Arts Admission to the galleries is free

Galleries open: Tue–Sun & Bank Holiday Mon 11am–6pm

16 NARROW QUAY, BRISTOL BS1 4QA

WWW.ARNOLFINI.ORG.UK

Bookshop open: Tue–Sun & Bank Holiday Mon from 11am

Café Bar open daily: From 10am

Ffotogallery is the national development agency for photography and lens-based media in Wales.

Gallery at Turner House, Penarth (nr Cardiff) EXHIBITIONS / EVENTS / PUBLICATIONS / COURSES www.ffotogallery.org / info@ffotogallery.org

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