Saison photographique de l’Epau 2020 1er juillet – 1er novembre 2020

Saison photographique de l’Epau 2020 1er juillet – 1er novembre 2020

L’Abbaye Royale de l’Epau, le cœur de la Saison Photo

1er juillet – 1er novembre 2020

Imagine – Erik JOHANSSON – Leap of Faith

« Imagine »
Virtuose du montage, l’artiste crée des images digitales extrêmement réalistes de scènes complétement improbables, entre illusionnisme et surréalisme. Avec des hotomontages empreints de poésie, le photographe suédois interpelle. Chaque photographie nous invite à découvrir le monde avec un nouveau regard et offre une autre façon de considérer le monde. En alliant vie quotidienne et photo de paysage il nous ouvre les portes d’un monde onirique où les lois de la physique n’existent plus

Pour la huitième année consécutive, la photographie investit la programmation culturelle proposée par le Conseil départemental de la Sarthe, notamment au sein de l’Abbaye Royale de l’Epau, dont il est propriétaire, mais aussi avec la saison photo hors les murs qui s’exporte cette année encore sur les grilles de l’Hôtel du Département. 

De juillet à novembre, un parcours photographique extérieur présentera dans le parc de l’abbaye les regards croisés de 5 photographes professionnels. Chaque projet sera installé dans un espace particulier avec une scénographie permettant un dialogue harmonieux entre la photographie, le bâtiment et son écrin de verdure. 

Dans le cadre de la biennale 2019-2020 d’animations culturelles et patrimoniales départementales construite autour du thème de « l’itinérance », les photographes invités interrogeront, de manière troublante ou insolite, nos rapports à l’environnement, aux autres, à notre mémoire collective, à nos représentations et aux évolutions de la société

EMMANUEL SAUVAITRE
« Le monde de la nuit »

Passionné par la nature depuis son enfance, ce photographe sarthois ressent très rapidement l’envie d’immortaliser la vie sauvage. L’artiste se passionne pour la prise de vue nocturne, et invite à découvrir ce petit monde mystérieux qui ne sort qu’à la nuit tombée

FAUSTO PODAVINI
« Omo change »

Classée au Patrimoine mondial de l’Unesco, la vallée de l’Omo dans le sud de l’Ethiopie, est l’un de ces endroits mythiques qui depuis longtemps fascine.
La construction du barrage Gilgel Gibe III par le gouvernement éthiopien en 2008 a fortement modifié les habitudes ancestrales des ethnies qui peuplaient ces forêts. Le photographe italien a suivi pendant plus de six ans les conséquences de l’apparition de ce barrage sur la région et ses habitants

NYANI QUARMYNE
« We Were Once Three Miles From The Sea »

Cette série témoigne puissamment du quotidien des habitants du village de Totope, sur la côte atlantique du Ghana, à l’heure où le sable a envahi leurs habitations.
Le photographe Ghanéo australien est parti à la rencontre des habitants qui se retrouvent contraints d’abandonner leurs foyers avant qu’ils ne soient emportés par l’océan. En à peine six années, le changement climatique a radicalement transformé leur lieu de vie et leur existence

BRUNO LASNIER
« Les icebergs sont encore libres d’ouvrir les yeux »

Difficile au Groenland de se déplacer autrement que par la mer. Elle apporte presque tout.
Depuis le hublot d’un bateau, Bruno Lasnier observe la dérive des icebergs. Ceux-ci ne nous apparaissent qu’à travers le cadre des fenêtres d’un bateau, magnifiés et profondément mystérieux. Cet artiste français nous invite au voyage dans l’Icefjord, un no man’s land improbable qui n’est ni fleuve, ni mer, à la fois glace, eau douce et eau salée.

 

Informations pratiques :

Horaires Abbaye Royale de l’Epau
– De septembre à juin du mercredi au dimanche de 11h à 18h (dernières entrées à 17h30) Ouverture différenciée « l’Abbaye rien que pour vous » les lundis uniquement sur réservation.
– Juillet et août du mercredi au lundi de 10h à 19h (dernières entrées à 18h30) Fermé les mardis.
/!\ Fermetures exceptionnelles : 9 juillet et 14 juillet

Horaires Espace restauration
– Du 1er juillet au 31 août du mercredi au lundi de 14h à 19h. 

Tarifs Abbaye Royale de l’Epau
Adultes : 5.5€
Tarif réduit (demandeur d’emploi, étudiant et PMR) : 4€ Tarif famille : 13€ (2 adultes + 2 ados)
Adolescent (10-17ans) : 3€ Visite guidée : supplément 2€ Gratuit pour les moins de 10 ans

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BETTER PHOTOGRAPHY MAGAZINE PHOTO OF THE YEAR 2020

BETTER PHOTOGRAPHY MAGAZINE PHOTO OF THE YEAR 2020

Nature-ChristianVizl

A Photo Comp with Scores and Feedback for Everyone

Better Photography Magazine Photo of the Year 2020 closes 22 August 2020

It’s great to win a photo competition, but what about everyone else? Better Photography Magazine’s Photo of the Year 2020 is a competition with a difference because every entrant gets a score and a judge’s comment.

This makes the Photo of the Year competition great value for everyone who enters.

“It can be hard to know how good your photos really are”, explained Better Photography’s editor and chief judge, Peter Eastway. “Social media is great for getting likes and hearts, but what do the experts think? It’s only when you enter a competition and your photos are judged anonymously that you get honest feedback from judges with experience.The problem is, many competitions don’t even give you a score, let alone feedback to help you improve your photography.”

Peter has years of experience as both an entrant and a judge, having won the AIPP Australian Professional Photographer of the Year twice, and later being the chairman of the Australian Professional Photography Awards.

“My own photography developed by entering photography competitions and then attending the public judging sessions and listening to what the judges had to say. It was this feedback that helped me improve, no matter the results. In fact, the single biggest influence in my work as a photographer has been entering photo competitions every year.”

To give enthusiast photographers the same type of experience, Peter has engaged David Oliver and Tony Hewitt as co-­‐judges. All three are Grand Masters of Photography.

“While we don’t have a public judging, we can provide a score, an award (Bronze, Silver or Gold for scores over 75%), and an expert comment to give the entrant some guidance on how his or her photo could be improved.”

The Photo of the Year offers four category prizes of AUS $750 (landscape, portraiture, travel and nature) and one overall prize of AUS $2000, making a total prize pool of AUS $5000. Entry is just AUS

$20 (less than US $15) per photograph, with every fifth entry free.

Entries close on 15 August 2020, with late entries up until 22 August 2020 and the results will be announced on 30 September 2020. The winning images will also be published in Better Photography Magazine.

For more information and to enter, visit www.betterphotographyphotocomp.com

Creative-MarcelVanBalken

Portrait-PollyFenton

Landscape-Allen Koppe

Travel-KentOlsson

Sport-AlainSchroeder

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Guest Blog: DASHA ARTS

Guest Blog: DASHA ARTS

Guest Blog. Dasha Arts

Forget everything you knew about Art.

The world of art is so changed that it has narrowed to a point that can be called an art mafia.

Collecting maybe is a thing of the past, because true collectors are gradually leaving for another world, and their children and grandchildren are people who photograph food for insta. For them, the ultimate goal is how expensive sell paintings or photographs from the collection of his father or grandfather and buy with this money a mountain of unnecessary things. Or another option, for example, to buy a banana for a very round sum, to proudly say to his friends: – Heard about a banana? I bought it, lol!

It is completely paradoxical that among such a huge number of talents all over the world, they sell banana, not in the market – but in the gallery!

It is very difficult for young talents and 98% of them will never be able to be heard and recognized. Although, among them there are many worthy artists. In order to get into these same 2%, artists are likely to have to join the art mafia. Order a millionth marketing, find people who will tell other people that this work needs to be bought. Remember the movie 1 + 1, where one of the main characters decided to make money on art, before having nothing to do with it. He did it thanks to connections and it really works.

It is unfortunate that many cannot take a good job, for example, to become the editor-in-chief of a magazine, a leading designer or director. Most likely, you will hear the phrase: – Sorry, but this place is occupied by the son (or daughter) of an important person, or – You are too young, wait for old age.

So, what to do for those 98% who have only talent.? Do not despair, you need to update ideas!
After all, the world has changed! it’s unfortunate that only the phrase “Hungry Artist” remained the same.

I will try to give you 5 tips on how to make a difference and look at the world of art in 2020.

Tips for the lazy:

  1. Banana is already sold. Glue another fruit to the wall.
  2. The potato has already been sold. Take a photo of another vegetable.
  3. Find for yourself a sheikh and persuade you to buy your entire collection.
  4. Wait until you receive a letter from an agent or art dealer. If nothing has come within 10 years, wait another 10.
  5. Do not work in art

And now tips for talent and enthusiasts!

  • Adjust to the art market, but do not change your style.The theme should be relevant, but in your style. Try to beat an interesting news or item. Meditate!
  • Do it high quality. Many galleries complain of low-quality art. Take the time to create something unique.
  • Engage in marketing yourself! Nobody knows better about you than you yourself! Register on sites dedicated to your topic. Delight subscribers with new artworks. Take part in contests. Send letters to interesting companies – sooner or later they will answer you.
  • Instagram. A separate point, because everything goes there. Watch the hashtags. Update information and posts – you will succeed!
  • Believe in yourself! Keep believing in yourself! Well, just in case – look for a sheikh.

What is missing now is the place where talents can turn. There are many galleries that say that they will promote you, but at the same time, they will set a large bill for the provision of services, without giving any guarantee of a positive result.

DASHA’s idea is to create a home for the artist. A place where everyone can share their art, show a curator, get feedback and appreciation. Get the opportunity to exhibit, sell and support what is primarily needed by young talents.

Dream project Dasha’s art is the prospect of showing real talents, both to collectors and companies and people who love art. This is a global project that can put art on the rails on which it should be. And even if there appears an image of a banana or potato, most likely it will be a protest, but it is executed as a real art!

For the implementation of such a global project, while there is no funding, it is a matter of time. But We hope that DASHA’s voice will sound loud all over the world right now!–

DASHA ART TEAM
www.dashafoto.com

    Follow Dasha Arts

     

    The International Landscape Photographer of the Year 2019

    The International Landscape Photographer of the Year 2019

     THE 5th INTERNATIONAL LANDSCAPE PHOTOGRAPHER OF THE YEAR 2018

    Professional and amateur photographers worldwide were invited to enter the fifth International Landscape Photographer of the Year competition for a chance to share in the prize pool, including US$10,000 cash.

    From nearly 3000 entries from 863 photographers, the winner of the fifth International Landscape Photographer of the Year (based on a folio submission of at least 4 images) is Adam Gibbs from Canada.

    What makes a great landscape photographer? Persistence? Experience? Luck? Passion? Looking at Adam Gibbs’ winning portfolio, we can see a diversity of views, an understanding of light and the expert use of framing and composition. From sandy aerials to icy mountain locations, Adam’s portfolio demonstrates a range of topics, an essential component when it comes to convincing our judges that you are the International Landscape Photographer of  the Year.

    Adam Gibbs lives part-time between New Westminster, British Columbia and Parksville, Vancouver Island, Canada.

    “I’ve been a professional photographer since 1992 and up until 2014, my primary source of income was photographing gardens for gardening publications, but since then I have been a full-time nature photographer.” Adam says he was originally inspired by a nature photography book written by John Shaw in the 1980s.  

    “Since I’m still a bit old school from the film days, I tend to try and capture the majority of my images in a single frame. I don’t have strong views on image manipulation, other than I find more joy in capturing great light and composition on site, rather than creating something that didn’t exist when I took the photo. My love of nature and the outdoors is much stronger than my desire to make images, so for me, pictures taken at the moment have far more integrity and personal meaning than those made later in a computer. “I generally try to keep the image accurate to form and not use too much post-processing, although when the light is not great, I’ll use a few more tricks to bring the best out of an image. I use Lightroom Classic CC and Photoshop CC 2019 for all of my work.”  

    Adam is currently using a Nikon D850 along with 14-24mm, 16-35mm, 24-120mm and 70- 200mm lenses. 

    “And I l love the Breakthrough Photography filters, especially the Dark X4 CPL filters that combine a 3 or 6 stop ND filter with a polariser into one filter. “Most definitely, light is the key to great photography. If I don’t have great light, then I search out subjects that go with the light at hand.”  

    When we asked Adam if he had any secret locations worth investigating as a landscape photographer, he was quick to nominate one of his homes, Vancouver Island. “It is an exceptional place. The landscape is rugged, but not in your face and extremely challenging, especially the forests. I love it. However, other than the popular Canadian Rockies, the rest of British Columbia and Canada itself are highly underrated, in my opinion, as prime photo destinations for those seeking raw wilderness experiences.  

    “And entering contests such as the International Landscape Photographer of the Year is an excellent way to gain recognition from your peers and the general public. It’s also a great way to get your work out there in front of the world to see – and the chance of winning a major prize is always appealing! “I have entered many contests in the past. I tend to enter in waves. Some years I’ll enter a few and other years none. Of course, not placing in a contest is disappointing, especially if you believe that your image is the best that you have ever taken. However, I don’t take it personally because I know that judging in itself is a long and sometimes arduous process. The results are almost always contentious and, of course, subjective, but in the end, I am usually happy for the winners as they have gained the things that I enjoy about winning contests, recognition from their peers.  

    “After all, landscape photography is not generally considered a competitive pursuit, but an opportunity to enjoy nature and make a few images along the way.”

    Saison photographique de l’Epau 2020 1er juillet – 1er novembre 2020

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    The International Landscape Photographer of the Year 2019

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    Open Walls Arles

    Open Walls Arles

    Open Walls Arles

     Calling emerging and established photographers to submit work responding to the theme: Growth

    British Journal of Photography in collaboration with Galerie Huit Arles have announced the second edition of OpenWalls Arles, an award aimed at creating opportunities for emerging and established photographers. We are searching for up to 52 photographers to be exhibited as part of a group show at Galerie Huit Arles alongside Les Rencontres d’Arles 2020.

     

    For the first time, the award is split into two categories. In the Series category, photographers are invited to enter a body of work, consisting of up to 10 images. Two winners will be chosen from this category and their series will be exhibited alongside the 50 winning images that are selected from the Single Image category. The group show at Galerie Huit Arles will run throughout July 2020.

     

    We are calling photographers to respond to the theme: Growth. We will award 50 winning images, and two bodies of work that convey a sense of change or transition; whether this be personal growth, or the changes we witness around us.

    © Birgit Püve, OpenWalls 2019 Shortlist

    © Alma Haser, Nick Ballon, Save the Children, OpenWalls 2019 Shortlist

    Prizes

    Single Image category 

    • 50 winning images will be exhibited as part of a group show at Galerie Huit Arles in Arles, France alongside Les Rencontres d’Arles in July 2020
    • Receive international press coverage
    • Be featured on BJP-online
    • Have your worked judged by industry leaders Series category
    • Two winning series will be exhibited as part of the group show at Galerie Huit Arles in Arles, France alongside Les Rencontres d’Arles in July 2020
    • The two winners from this category will be flown to Arles for the opening of the exhibition, with return flights and two nights of accommodation included
    • Receive international press coverage
    • Be featured on BJP-online
    • Have your worked judged by industry leaders

      Key Dates

      • Calls Open: 29 May 2019
      • Calls Close: 25 July 2019 23:59 (UK time)
      • Winner and shortlist announcement: Spring 2020
      • Exhibition at Galerie Huit Arles, France, July 2020

      © Lance Henderstein, OpenWalls 2019 Shortlist

      © Adriana Granado, OpenWalls 2019 Shortlist

      What’s next for Skylum

      Alex Tspeko, Skylum’s CEO, gave us an exclusive interview about AI and the new software developements.

      2018 was a great year for Skylum, and 2019 has been full of new products and improvements. Can you tell us about how Skylum is moving forward?
      2018 was a year of changes. And the first half of 2019 was full of changes and challenges as well. At the end of last December, we launched Luminar 3, the long-awaited update to our flagship product. Luminar 3 includes a Library so users can easily manage and edit their images in one place. Most people were happy with it, but some still preferred the old workflow. They wanted a tool that allowed them to stick with their existing workflow but that also offered our new AI-powered features. That’s why we decided to launch a new product, Luminar Flex. This was a new direction for us, but it was what our users wanted.
We also recently launched a new product called AirMagic — an automatic image enhancer for drone photos. This was a totally new niche for us. Drone photography is popular, but it requires a different editing approach. We had to invest a lot in figuring that out. In other words, we’ve been exploring new directions to expand the business and not simply sticking with our proven products. We believe this has made us stronger.
This year, we’re continuing to work on Luminar to make it a better “place” for photographers of all skill levels. In autumn, we’ll be launching a new version of the software with updated editing functionality and even an updated UI. You also can expect more innovative AI-powered features in Luminar in the near future. I can’t reveal all the details yet, but I’m sure photographers and artists will enjoy it a lot. Moreover, our team is working on Luminar Cloud, business-to-business cloud-based solutions for affordably automating image processing using technologies from the Skylum AI Lab. We’ll provide tools that save time and money for businesses small and large, whether it’s a real estate business that needs quality HDR photos for their listings or an online retailer that wants to batch edit product photos. We’ll help companies automate the monotonous traditional post-processing techniques. And, of course, we’re thinking about going mobile. It’s perfectly clear to everyone that mobile apps are the present and the future. But it’s too early for any details. AI is now one of the biggest trends in imaging software.

      Can you tell us about Skylum’s AI strategy?
      I think that AI will occupy an increasingly prominent place in image processing. It’s inevitable. We’ll spend less and less time on routines, for instance, masking and fixing white balance, exposure, and clarity. I believe that AI technologies can make the lives of artists easier and save a lot of time by automating the most common tasks of a photographer. So instead of spending plenty of time on editing photos, our users can get stunning images in seconds. At Skylum, we see our mission as automating photo editing with Artificial Intelligence. Our goal is to completely replace traditional editing techniques with the help of new AI technologies that will not only be smarter but also give significantly better results. Accent AI 2.0, which we recently released, shows our approach to the future of photo editing. We want to make learning how to edit images unnecessary thanks to intuitive AI filters. We’re also working hard to create AI tools that will help businesses automate editing and cut costs using AI-powered solutions with Luminar Cloud. For example, we’ll soon be launching a suite of cloud-based tools that use Skylum’s award-winning technologies to automatically breathe life into photographs.

      Serif, with Affinity Photo and Affinity Designer, and Adobe, which is now launching the full Photoshop for iPad, are taking the most significant spots in the growing mobile market. Does Skylum have any mobile plans for Luminar?
      Before Affinity Photo, Affinity Designer, and Adobe Photoshop there were Pixelmator, SnapSeed, Enlight and other amazing apps working on mobile platforms like iPad and iPhone. The main thing that stopped us from entering this niche before was that we understood that users behave differently on mobile devices than on desktops. And they expect other features and follow another workflow. I’m really glad that Adobe and Affinity are coming out with mobile options, as photographers don’t limit themselves to one editing tool. They’re looking for as many tools as they need to achieve their creative results. Unfortunately, lots of new players who bring their applications to the market copy each other and do not add any value for users. So answering the question – we will definitely come out with Luminar for both iPad and iPhone, but only after we release Luminar 4, which is scheduled at the end of this year. And after we release Luminar Cloud, which will be in beta testing in July. Right now, we already have several prototypes of Luminar for mobile platforms, but we want to make sure that we come out with exactly those features that will bring additional value to users – that will bring something new to photographers and artists. And once we have these new, unique, and interesting solutions ready, it won’t matter how many apps already exist on the market since we’ll bring people something that no one else has given. Skylum’s philosophy is not to copy, not to duplicate, but to create and introduce new value. And we are now forming this value.

      You’ve acquired Photolumur for its AI technology and launched AirMagic for drone shooters. Why are these apps separated, as they’re using the same technology with different presets?
      Photolemur and AirMagic share a similar interface but are absolutely different in their purpose. Photolemur can be used for all types of images, while the AI algorithms in AirMagic are new and are tailored for drone and aerial photography. AirMagic works by first detecting the drone camera used to produce an image and analyzing its lens and color profile. From there, it makes automatic lens corrections and other camera-specific optimizations. Also, AirMagic is faster and more optimized than Photolemur.

      Is machine learning implemented in Luminar 3.1, allowing improvement with multiple tries, or Is it just a smart detection algorithm?
      Our technologies are based on AI-driven algorithms. We train our neural networks on hundreds of thousands of images taken in different conditions by cameras from Fujifilm, Sony, Olympus, Nikon, Canon, and many other manufacturers. It lets us bring outstanding results for all photographers, regardless of what style they shoot and what gear they’re using. Depending on the project, whether it’s sky improvement or skin detection, we pick specific photos to train neural networks and run tests until we get accurate results. So a photographer doesn’t have to think about dozens of adjustments like fixing the tone, details, exposure, depth, and color. The trained algorithm does it automatically and presents the results.

      You’re now on version 2 of the Accent AI filter. Can you tell us about the improvements, and what will be its evolution possibly in Aurora?
      The original Accent AI was groundbreaking, making a photographer’s workflow not only easier but quicker. It took care of common adjustments to shadows, highlights, contrast, and over a dozen other things. The results were great but weren’t always perfect for every photograph. Colors may not have always been correct, images could be over- or under-processed, and the technology didn’t recognize faces and people. That’s why we created Accent AI 2.0 to manage these problems. With the latest update, Accent AI became completely human-aware. Accent AI 2.0 features facial and object recognition technology, helping photographers create more realistic images. With this update, we’ve connected a new neural network that recognizes objects better. We also added a new “person” class. The latest version analyzes photographs, identifies things like faces, and truly improves an image every time. Finally, Accent AI 2.0 features more careful color corrections, making for more accuracy and quality. It also works better with hidden details. If Accent AI 2.0 can’t make an object look better, it won’t touch it. We’re committed to making photographers’ lives and workflows easier with our AI technologies like Accent AI and AI Sky Enhancer. We believe that AI is helping more people to engage in photography and photo editing at the entry-level and get great photos without having to spend ages learning how to apply manual changes to luminosity, contrast, color, and exposure. Everyone deserves to realize their photographic vision, and Skylum’s AI solutions will allow more of us than ever to do that.

      Do you have any plans on improving Luminar as a full suite and making an all-in-one product from all your different imaging apps?
      Right now our main product is Luminar. It has absorbed almost all the functionality of our previous products. We deliberately stopped developing and supporting other apps like Tonality, Snapselect, Intensify, and Snapheal and put all our energy into building Luminar, which is becoming an all-in-one photography platform. We’re following our mission to make Luminar a convenient platform for everyone who loves to photograph. And this platform will be available on mobile, desktop, and in the cloud, so even businesses will be able to integrate it using an API and implement Luminar’s technologies. So, in a word, Luminar will continue to evolve by adding new filters and new tools for improving and organizing photography. We’ve outgrown the idea of competing with others. We see plainly that our technologies are unique. And now the “complete rather than compete” idea is reflected in our company’s philosophy. We’re ready to integrate with Affinity and Adobe as plugins because everything we do is for the sake of users. With the power of Luminar, artists will get more. So even if users have other tools, Luminar will always be on their list. And with the success of our Luminar Flex plugin, we see that thousands and thousands of Photoshop and Lightroom users buy and download Luminar Flex daily. Despite the fact that they have these great products, they buy Luminar because they see the additional value. Step by step, we’re building a platform that has a set of basic tools along with solutions that no one else has and that bring lots of additional value.

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