Frederick photographer Brodie Ledford featured in national competition | Arts & entertainment


Brodie Ledford says it was a Christmas gift he’d bought for his wife that led to his career in photography.

The 41-year-old Frederick native always loved video cameras and taking photos, but it wasn’t until he purchased a camera for his wife, Dara, a fine arts major in college with a focus on photography, that he became enamored with the art form.

For their Christmas together after she graduated college, Ledford “went out and bought her a brand new DSLR [digital] camera,” he said.

“The funny thing is, the second she opened it, I started playing with it,” he said during a phone interview. “And that camera then became mine. The rest, as they say, is history. That was nearly 17 years ago.”

Today, Ledford owns Brodie Ledford Studios in Frederick and was recently featured in a photography competition called Creator Series. Ledford was one of 10 photographers selected to be part of the 11-episode series, available to stream online.

In each episode, the photographers were challenged in various aspects of photography, from lighting to composition to posing — and they were given only 10 minutes to get the shot.

The web series, which can be viewed on YouTube, was judged by Canon Explorers of Light photographers: Sal Cincotta, an award-winning wedding and portrait photographer; Laretta Houston, who is known for shooting the Tyra Banks Sports Illustrated Swimsuit Edition; and Vanessa Joy, a renowned wedding photographer. The series was based in St. Louis, where Cincotta, the show’s producer and host, owns his studio.

Ledford entered the contest after seeing a promo for Creator Series at ShutterFest, a large photography conference. He admits he had reservations about entering a competition that would be broadcast worldwide. He considers himself a private person. But he decided to apply anyway.

After applying, Ledford was then interviewed. His portfolio and online presence also were reviewed before he got to the next round. Then he had a submit a 90-second video that explained “why us.” But after sending in the video, several weeks went by, and Ledford assumed he hadn’t been chosen.

“Then when I finally had lost all hope, I got an email saying ‘congratulations, you’re in,’” he recalled. “I was completely shocked, and I was excited and terrified all at the same time.”

He spent July shooting the series in St. Louis. It premiered online in August.

His biggest adjustment was learning how to use the Canon gear that was required for the series because, of course, it was sponsored by Canon.

Cincotta was each photographer’s assistant throughout the series.

“It’s a little bit intimidating because he’s absolutely fantastic,” Ledford said. “He’s one of those guys who expects the best because he is there as the best, and he’s known to be amazing.”

The photographers being allowed only 10 minutes to shoot their assignments for the day made it all the more challenging. Normally, setting up a studio shot can take up to an hour, Ledford said. “We basically had 10 minutes to pick the gear we wanted, set the shot up, talk to the model about what we were looking for, coach the model and then shoot it.”

Then, the photographers were asked to immediately hand over their memory cards.

It wasn’t until every photographer finished their shoot that the contestants could see the photos they’d shot and work on them further. They got 30 minutes to select and edit the images. But, Ledford said, realistically, by the time he would select his images, he would only have 15 minutes, on average, to edit.

“The images that were created are mind-blowing to me — that it was done in such a short period of time,” Ledford said. “That’s where the challenge was.”

The cards were given to the judges who then selected the best and the worst. Every week someone was sent home.

“My favorite competition was probably the reflections competition,” where a model was reflected in a mirror or window, for example, he said. “Because it was something that was outside of what I would normally do.”

The entire competition, he said, was challenging because it forced the photographers to try a type of photography they normally don’t do every day.

He said the series really showed that there’s more to photography than people realize.

“I think the biggest thing that is difficult for photographers is that people think that the cameras have a magic button because they don’t see the behind-the-scenes stuff,” he said. “People don’t see the editing process. They don’t see all the lighting. They don’t understand setting [the camera] on manual mode, not on auto mode.”

Ledford credits his wife for getting him into photography as a profession, and he dabbled in it while he held a full-time job as a store manager for Best Buy.

“My wife would take my photos, and she would make photo books for me and just keep, you know, pushing me and say, ‘Hey, look, it’s great stuff,’” he said.

He and his wife, who is also a photographer, cofounded Brodie Ledford Studios, and when someone asked if he did weddings, it became his first professional gig. After a while, his wife again encouraged him to take the leap full-time into his new passion.

“I walked away from that life, and I was able to do what I want to do now,” he said. “And it’s unbelievable.”

Ledford’s business is considered a luxury, service-based company, where he focuses on client relationships.

“There are a lot of people out there that take pictures, and there’s a huge difference between a picture taker and a professional photographer,” he said. “I really pride myself on the fact that we focus on the experience for the client, and our clients truly do become like friends and family.”

Asia-Pacific’s Largest Photography Fair Will Host Its Inaugural New York Edition Next Fall


Photofairs, Asia’s largest photography fair, will make its debut in New York next year.

Event organizer Creo has announced the first Photofairs New York will take place from September 8–10, 2023 at the Javits Center, just next door to the Armory Show. Held in partnership with Angus Montgomery Arts, the fair will showcase photography, film, and virtual reality works, spotlighting about 100 international galleries. Exhibitor applications are now open.

“We have great admiration for the Armory Show and its long-standing track record,” Creo CEO Scott Gray told Artnet News. “Bringing the unique offerings of the two fairs together under one roof will be mutually beneficial.” The Javits Center, he said, is “a purpose-built exhibition center well suited to the requirements of galleries and visitors alike.”

According to Jeff Rosenheim, the Metropolitan Museum of Art’s photography curator, the city itself is likely to be receptive. “New York’s enthusiasm for photography is almost unbounded,” he noted in Creo’s press release. “This will bring new energy to the fall season in New York.”

The 2017 edition of Photofairs Shanghai at the Shanghai Exhibition Centre. Photo by Simon Song/South China Morning Post via Getty Images

Gray founded Creo in 2007 as the World Photography Organization, a company whose roster now encompasses the Sony World Photography Awards, Sony Future Filmmaker Awards, and Photo London. He currently also serves as CEO of Angus Montgomery Arts, which oversees India Art Fair, Taipei Dangdai, and Art Düsseldorf, among other fairs.

“Creo has since grown in scope, furthering its mission of developing meaningful opportunities for creatives and expanding the reach of its cultural activities to film and contemporary art,” Gray explained.

In 2014, Creo launched the now-signature Photofairs Shanghai. Between 2017 and 2019, the group tried hosting two rounds of a San Francisco edition, but gave up after learning it cost more than $1 million to produce.

Photofairs New York will organize exhibitors into four sections. “Galleries” will encompass all exhibitors chosen by Creo’s Selection Committee, comprising of international galleries, and the fair’s Advisory Group of international collectors—who will also cultivate an audience of buyers for the event. International fair partner Meta Media Group will expand the fair’s global footprint.

Photo courtesy of Photofairs New York.

Meanwhile, the “Platform” section will hold space for booths by galleries that have logged less than eight years in the business and artists aged under 35. “Screen” will showcase galleries working in new technologies such as VR and NFTs. “Film” will focus on moving image as a medium.

Since photography has gone from a technically specialized skill to a widely embraced medium, Gray reflected, “I believe there is demand for a new fair in photo-based works and new technologies, which really reflects current market trends and explores how we interact with digital culture.” Creo is looking to further embrace experimental practices and seminal photographers alike—and catch both seasoned and emerging collectors.

 

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UNCG photography students working to share view of the world through the eyes of the blind


GREENSBORO, N.C. (WGHP) — Tens of thousands of people drive or walk by a large rick building on West Gate City Boulevard in Greensboro every day. Many, with no knowledge of what goes on inside. But under that roof, hundreds of people with a similar impairment found a new way of navigating the workforce.

“Some people have gone through some things, some people have experienced some great lifestyle changes,” said Sherrie Thompson, a receptionist at the operation.

The business is Industries Of The Blind, a non-profit that’s secured several large contracts since its first one-million-dollar contract in 1962. Presently, workers construct anything from pens to items for the U.S. Army. Its mission statement is “To provide opportunities for employment and personal development for people who are blind or visually impaired to achieve greater independence.

“I still have a very good memory of how things used to be,” Thompson said.

When she was 19, Thompson said she was a freshman in college, engaged, with a baby on the way. In a matter of three weeks, an overabundance of fluid on her brain and spine stole her sight.

“I’ve had to experience not-so-good things, but to be where I am now, I wouldn’t trade it for anything, honestly,” she said.

While Thompson and colleague Michelle Torain both lost their vision after being able to see for much of their lives, their stories are dramatically different.

“I woke up on February the 14, 2013, I woke up blind,” Torain said. “I cried for three days. I shut my door and I cried for three days. Just cried, cried, cried.”

Torain said she lost her vision due to hereditary Type 2 Diabetes. While also out of her control, her first major life challenge happened about 48 years earlier.

“When I was three months old my mother gave me away,” she detailed.

It was a cold October night, when she said her birth mother left her on her father’s sister’s doorstep. She said her aunt kept hearing a crying child, and after checking her house, opened the door to find Torain with her one bottle and a blanket. Her aunt’s dog had found her first and laid on top of her to protect her from the cold.

“How I got saved was by that dog. That dog laid on top of me and kept me warm,” she said.

Though Thompson and Torain’s life stories have few mutual details, both were about to share them with students who meet just across the train tracks running behind Industries Of The Blind.

“They’re talented students,” Thompson said. “I want to see how they’re going to put their minds to it.”

Industries of the Blind has teamed up with students at UNC Greensboro to create pieces of art demonstrating what the world looks like through the eyes of the visually impaired. This year, they’re doing so through photography.

“We start talking and it’s like how do I transform that into something physical,” said UNCG senior Jenna Futrell, who’s been paired with Thompson.

The students interview the employees, learning about their lives and perception of the world in an attempt to bring it to light, even though their view has long been dark.

“I still have a very good memory of how things used to be,” Thompson said, saying her every day is similar to waking up in your room at night, trying to make your way through the room with only shadows as guides.

“I can see shadows, I can see the light,” Torain said, glancing up at the light FOX8 used while interviewing her.

“You want to make sure it’s perfect because it is about someone else,” Futrell said.

The students will complete their projects in a few weeks. Once they’re completed, they’ll be put up on the side of the Industries Of The Blind building, just as previous students’ projects have been.

“It just brings tears to my eyes when I talk about this story, because it hurts me. It really hurts,” Torain said. “It hurts.”

For more information about Industries of the Blind, click here.

The Human-Nature Relationship | Vogue


Eleonora Strano

Eleonora Strano is a Franco-Italian photographer based in France. Her work explores themes such as isolation and invisibility whether it is geographical, cultural, environmental, social, political or visual. Her images are often imprinted by nostalgia, memory and time. In 2019, her work was exhibited at Espace de l’Art Concret in Mouans-Sartoux, as part of “Des marches, démarches” curated by FRAC PACA, and has been part of Jeune Création in Romainville, Circulation(s) in Paris and the 37th edition of the Festival international de mode, de photographie et d’accessoires in Hyères. She was nominated as one of the 31 women photographers to watch for in 2019 by the British Journal of Photography, one of the 250 photographers of 2020 by the PhMuseum, and has been listed as one of the 150 emerging European photographers of 2021 by GUP Magazine. Eleonora Strano is a member of Eyes on Talents, Hans Lucas, Women Photograph and Blink, and works in the South of France. In parallel to her work with the media as a photojournalist, she develops artistic projects among which is a photographic commission launched by Université Côte d’Azur in Nice, Villa Arson and Académie 5 about biocontrol. She is currently working on her next project about shipwrecks, memory and the Anthropocene in Saint-Pierre et Miquelon for which she was the recipient of the BnF grant Radioscopie de la France.



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