Shadows and Light Magazine

05

W I N T E R 2 0 1 8 : L O V E

2

S H A D O W S A N D L I G H T M A G A Z I N E

A Magazine For the Emerging Photographer

3

Shadows and Light Magazine is an international print and digital magazine. We are a quarterly publication featuring fine art photography from around the world,

created by both prominent professionals, and talented amateurs, students and photography lovers yet to be discovered. After teaching College and seeing many

emerging photographers struggling to get their first publication and fighting to get exposure, we started Shadows and Light Magazine in 2016 with the

mission to promote creative photographers worldwide.

SHADOWS AND LIGHT MAGAZINE - WINTER 2018

CONTENTS

08

14

EDGARAS VAICIKEVICIUSFeatured Photographer

Wet Plate Collodion Orbsby Faye Griffiths

30

Pretty Dolls are not just what some may thinkby Michel Fouarge / Patrick Somny

40 How to plan and produce a photoshoot

with less than a $20 budgetby Christine Szeredy

Miroi t ee - a Photo Essayby Christine Eckard

22

4 | Shadows and Light Magazine


56 Studio L ighting Techniques: Using a one Strobe flash l ight setupby Bruce Smith

52 THE SECRET GARDENby Kimberly Kraut

48 BECOMING ONEby Debdatta Chakraborty

44 Lisa MArie GonzalezEmerging Photographer to Watch

Shadows and Light Magazine | 5


59 The Road Ahead - a Photo Essay about Charlestownby Wendy Mogul

68

Frozen Momentsby Amit Mukherjee

74 Windows into Texasby Shannon Siver

Nigh t P ho t ogr a p h y - Pa r t 2by Grant Collier

66



Shadows and light magazineShadows and Light Magazine is

an international print and digital contemporary fine art photogrpahy magazine, featuring contemporary

fine art photography, featuring diverse bodies of work created by established and emerging artists from around the

world. Each quarterly print/on-line issue focuses on a central theme celebrating

fine art photography.

ContributorsAmit Mukherjee

Debdatta ChakrabortyChristine Eckard

Grant CollierKimberly Krauk

Lothar SiebelMichel Fouarge

Wendy Mogul

Featured PhotographersEdgaras Vaicikevicius - page 8

MLisa Marie Gonzalez - page 44

How to Editorials Studio Lighting Technique

Bruce Smith - page 56

How to plan and produce a photoshoot with less than a $20 BudgetChristine Szeredy - page 40

Night PhotographyGrant Collier - page 68

Publisher & Art DirectorChristine Szeredy

EditorShawn Stevens

Cover ImagesFront Cover by Michel FouargeBack Cover by Michel Fouarge

SubmitPlease read our Submission Guidlines on

how to submit images to our contest or for publication at

www.shadowsandlightmag.com

85 Contest W IN T ER 2018 - THEME | L OV E

Jury | Bruce Smith | Michel Fouarge | Grant Collier

1) AMATEUR AND PROFESSIONALCategory Animals/Wildlife

Category Creative Portraits/Composites

Category Fashion/Portrait

Category Fine Art

Category Landscape/Nature

Category Photo Journalism

Category Wedding/Family Portraits

2) HIGH SCHOOL/COLLEGECategory Fine Art

Category Landscape/Nature

Category Portraits/Photo Journalism

82 Remebmberby Lothar Siebel

NE X T CON T E S T: IS SUE 06 - THEME | ENCH A N T ED

Juror | TBD

Deadline March 31, 2017

for more information go to our website: www.shadowsandlightmag.com



Edgaras Vaicikevicius

FEATURED PHOTOGRAPHER

www.500px.com/EdgarasV

www.lensculture.com/edgaras-vaicikevicius

www.flickr.com/photos/edgarasvaicikevicius

My name is Edgaras Vaicikevičius and I am a photographer from Lithuania. I do not consider my-

self to be a professional photographer, but an observer, watching from a distance. I try not to interrupt a moment, but just record it and remain unnoticed. Social documentary photography allows me to express myself and show people the way I see the world, which consists of beautiful moments, sad moments, small gestures, and big events. Sometimes these things last for a long time and sometimes there is just a moment that can never be repeated.

I have always been interested in a variety of art forms. I graduated from Vilnius Col-lege in Higher Education with a bachelor’s degree in music. A few years later, I was un-expectedly drawn to photogrpahy, which quickly became my passion. My first cam-era was a simple film camera that I bought when I was 26. Since then, I have attended a large number of workshops and classes, and visited every photo gallery that I came across to learn as much as possible about the art of photogrpahy.







I love life, I love what I do, and photography is the tool I use to express this love by capturing images of everyday life around us. I love street photography and capturing the city, the build-ings, the streets, the various modes of transportation, the peo-ple, the energy, the stress and the speed. Streets are bustling places, full of people going about their daily lives, and often in a hurry. That is why people miss a lot of interesting things such as small details, the lines, shapes, shadows, and reflections that make a moment and place unique, invisible city residents, the trees, the animals, the birds, and of course the people in the midst of their lives, moments, and emotions.





Through my lens, I can see and record so many things that generally go unnoticed each day.

Life is varied and colorful, but most of my photographs are in black and white. I like that black and white allows the viewer to concentrate on the image itself, rather than the color.

My photography is a reflection of who I am, what I see, and what my life is all about. Photography is my life. It is freedom. It is an experi-ence. It is an opportunity.

I have been entering competitions for several years to receive feed-back on my work. I am most proud of the Humanity Photo Award 2013 (China), Ariano International Film Festival 2014 (Italy), and making the Shortlist for the Alfred Fried Photography Award 2016 (Austria). My photographs have been published in photography magazines in sev-eral countries.




The “City” is the continuing theme of my photographic work, particularly the architecture and changing light

found in such man-made environments.

My series of Orbs was created using Wet Plate Collodion methods as part of my fi-nal body of work for a Master in Fine Art at Aberystwyth University. The photographic series resulted from revisiting a number of places where I have lived and loved. Docu-menting the changes over time in each of these urban places became a process of re-connection for me personally. However, the intention was also to capture something of the atmosphere and sensibility of those

places that will resonate with the viewer.

The locations across the United Kingdom have been a long and enduring source of inspiration. The different styles of architec-ture and materials used to create these fa-miliar places are significant to the location and place themselves. Through various projects, I complied images and notes of the subtle differences I observed in the towns and cities. From the design features con-ceived by the skilled craftsmen who origi-nally created them, it is possible to tell which side of the river you are on, county you are travelling through, or country you are in.

Photography by Faye Griffiths

Wet Plate Collodion Orbs







Some of these small details can be found in the lampposts and iron-work around the cities. I can walk the same route through a city and notice something new each time.

From a technical point of view, I use the historic process of Wet Plate Collodion. The process has technical and aesthetic qualities different from that of digital and other negative processes. Indeed, on the BBC Four series Britain in Focus: A Photographic History, the Photogra-pher John Brewer said, “Wet Plate Collodion is like Victorian Polaroid”. The speed, unpredictability and fragility in the processing stages cer-tainly support this view. Exposure times and the sensitivity to light can be manipulated to distort the image and consequently engender a certain nostalgic or romantic emotional response to each scene.

I am firstly inspired by the connections I have with a location-how the structures, smells, and sound of the place stick in my mind, and secondly, by how I can capture that moment through photograph-ic processes that have developed and grown since these cities were forged.








Model - Jade Sawyer


Photography by Michel Fouarge / Patrick Somny


Model - Jade Sawyer





Model - Claire Sonia





Model - Claire Sonia




Model - NoemieLousada



Makeup

Laetissia Morocutti

Hair

Stéphane Piccioni

Styling

Katja Jost

Casting Director

Nanda Lux

Agency

Models Fabric

Loction Manager

Gerd Beiling



The relationship between a young girl and her reflection: A photo essay.

The girl saw her reflection everywhere she went and felt like it was stalking her. Discovering a con-nection to milk changed the way she felt about her reflection; her new love for, milk allowed her to escape the image in the mirror.

MIROITEEPhotography by Christine Eckard








36







produce a photoshootHow to plan and


with less than a $20 budgetBY CHRISTINE SZEREDY

A couple years ago I had a a photo shoot on a football field. It was a last minute request from a pro-ducer; she gave me only 30 minutes notice. No one had done any planning so I had no idea what I was getting into or what I was suppose to shoot. Not suprisingly, no one had bothered to check the

weather and within 40 minutes a thunderstorm came rolling in. Wind and rain from every direction took out my softboxes. All of my super expensive lights quit working and only my cheap back up light seem to resist the weather conditions. Needless to say, it was a disaster! I have done photo shoots in this kind of weath-er before, but I always had a system in place to protect my equipment. That night, I thought I burned out $6000 worth of lights. Luckily, one of the players paid attention and made sure my lights stayed covered. There are two important things to learn from my experience: 1) Plan your photo shoot because when working on location the unexpected can happen, and often does, and 2) having the right model and people around you is crucial.

Model: Adam Warren



with less than a $20 budget

My favorite scenes to create are Fairytale images. They often re-quire creating a different world, which I enjoy them so much. For these images it is important to carefully plan so you can create the image you want and keep costs down. Think about the story you want to tell. What kind of world are you trying to create? What type and how many locations do you need? What kind and how many models will help you do it? Will you need anything else to create the desired scene?

Location You can either build the entire scene in a studio, or find a place

that helps create the world you want to shoot. I am a big fan of locations, as I personally do not like to be in a studio. It is real-ly hard for me to work inside. Many times I have set up a tent on site and used it as my little outside studio. For some reason being in nature makes me more creative. Models that work with me on a regular basis know they cannot be afraid to get dirty. Another advantage to shooting outside is that it is generally free. Make sure to ask permission if you want to shoot on pri-vate land. It is important for you to to figure out where you are the most comfortable and creative. This will help you create yourbest art.

The cost of production can sometimes feel like a big obstacle. In many cases, when photographers are first starting out they are intimidated by the cost of equipment. Many are under the impression that they need to have the best and newest items available to them in order to get good re-sults. However the equipment does not take the picture, it is the photographer who creates the art. A good photographer can take a great picture with any camera. There are occasions, such as night photography, where it is crucial to have a tripod, but do you really need the latest Gizo model that costs you $800 or more? I have never felt that way. I have always believed in keeping it simple. You would be surprised what you can do with a few a little creativity.

Model: Bobbi Smith


Model: Kaleena Marie Ramsey

Model: Brandy Maye and Melissa Mero - Makup: Deedy Lazorko


PropsIn many of my pictures, the location is not enough

to set the scene and create the world that I want to shoot. In these cases, I use props to manipulate the environment. The worlds you create can be sim-ple and pretty, or dark and dramatic. I love creating imaginary worlds. I sometimes spend days gather-ing the right props to create the image I have in my head. You do not need a big budget; you can cre-ate so much for a few dollars. You can find what you need in thrift stores, and use found objects found in nature, in alleys on the site of the road. If you are crafty, you can also make props from found or pur-chased items. You can borrow things too! There are many ways to use your creativity to build the world you need for the story you want to tell.


Model: Kaleena Marie Ramsey


Casting a modelIt is important to choose a model that will help

complete your vision in not only appearance, but also behavior. Before I work with someone new, I usually check out their Facebook to see how they look with-out makeup and get a feeling for their personalities. I stay away from working with girls that take too many selfies. My rule for casting is if they have selfies mak-ing a “duckface” they are absolutely wrong for the type of work I do.

Eventually, everyone learns the type of model who works best for them. For me, it is all about the bone structure and eyes. I do not respond to forced sexu-ality, and I am more drawn to people who are natu-ral and comfortable with themselves, because I have

found that those models help me create the images that I want to create.

Almost every photographer I know has at least one person they keep photographing. When I have found such models, I felt comfortable enough with them to try new techniques, they seemed to naturally under-stand me and my vision, and/or I was fascinated with their face. When you find someone you want to work with over and over again, keep them close as they will inspire you. So when you cast a model make sure he or she fits your vision and maybe he or she will become that person for you!

Model: Bobbi Smith



LISA MARIE GONZALEZ

Photographer To Watch

Photography by Lisa Marie GonzalezPhotography and Editing: Lisa Marie Gonzalez - Keysto Photography

Models: Jennifer Ryan, Tiffany Brock and Sara Tabor

Website: www.keystophotography.com

Facebook: @KeystoPhotography

Instagram: @lisawheels89



I am the founder and artist behind Keys to Design & Photogra-phy. Although based in southwest Florida, USA, I enjoy traveling, so my services are not bound to one location. Creativity comes to

me through many forms, but my main inspiration stems from fairy-tales and stories.

I am wheelchair bound, but I do not let that affect my art. I have been told all my life that there are things that I will never be able to do, but this did not stop me from pushing myself to try. This contrib-uted to the development of my artistic passion and identity. Although drawn to many mediums, I am most passionate about photography and digital design. I would classify myself as a natural light photogra-pher, with a primary focus on fine art photography. Bringing my ideas and stories to life and creating memorable pieces such as custom designs for clients gives me joy.


Since I was a kid, I have been interested in photography. I re-member always using any money I received for Christmas or my birthday to buy myself a disposable camera to take pictures of pla-ces, scenery, and my friends. I have always loved capturing moments.

It was not until my sophomore year in college that I could finally afford my own DSLR camera. That was the moment when I truly saw the possibilities of this art form and I was completely captivated. Not long after that, I created my first fine art photo and have not looked back since. Photography makes my soul smile. Creating images that tell stories and expressing visual poetry takes me to my happy place.



[


Photography by Debdatta Chakraborty

Instagram: @cdebdatta

B e c o m i n g O n e








Photography by Kimberly Krauk

Model: Aubrey Woodman

Wardrobe/Styling: Kimberly Krauk

Facebook: @ZoomPhotographyKimberlyKrauk


THE SECRET GARDEN








Website: www.brucesmithphotographer.com

Instagram/Twitter: #brucesmithphoto

Facebook: @ brucesmithphotographyacademy

Bruce Smith specializes in fashion photography, fine art boudoir and nude portraiture, celebrity portraits, general portraiture and headshot photography in most major cities in Europe including Bordeaux, Paris, Monaco and London. He shares his knowledge and 40-plus years of experience as a profession-al fashion and fine-art nudes' photographer, with other photographers during his 1-2-1 photography master classes, courses and workshops. Bruce also speaks on a regular basis at arts institutions, univer-sities and photographic societies and demonstrates shoots during photography events, conventions and expos.

STUDIO LIGHTING TECHNIQUES:

Using a one strobe flash light setup

BY BRUCE SMITH



As with most, if not all of my fashion lighting setups, I try to keep it simple but effective. A simple setup using one flash head, a small octa light, small

softbox or a beauty dish can give you amazing results. For the images above I used a 500 watt Profoto head, a one meter octa light with the in-ner diffuser, but without the front diffuser to give the light a crisp edge. The Profoto head was set up slightly higher than my model’s head position to the side, as close to her as I could get it without it being in the frame.

The background is a white backdrop 6–8 feet behind my model. It is dark because the light of the flash head is falling off, over the distance to the backdrop in relation to the model (the inverse square law). A little light falling onto the back-

ground and the shadow of the model creates a nice separation between the background and the model. On either side of the model there are two 8 ft x 4 ft black polyboards taped together to cre-ate L’s. These will prevent any light from the flash head that bounces off the studio walls from hit-ting the model, which would reduce the contrast between the background and model.

The image was shot on black and white film, not digital, so no retouching at all.

Camera: Nikon D300Lens: Nikon 17mm to 55mm f2.8ISO: 200Shutter: 125th secAperture: f8




Photography by Wendy Mogul

Website: www.wendymogulphotography.com

Facebook: @wendymogulrealestatephotographer

Instagram: @ wendymogulphotography

The Road Aheada Photo Essay about Charlestown












Photography

Amit Mukherjee

Frozen Moments


Website: www.gcollier.com

Books: www.collierpublishing.com

Stock Pictures: www.coloradopics.com

The recent solar eclipse in North America put a lot of attention on photography of astronomical phe-nomena. Solar eclipses are rare, but many other phenomena are more common and make great sub-jects for night photography. Grant Collier provides some guidance to help you successfully photograph the Milky Way.

PHOTOGRAPHING THE FULL BAND OF THE MILKY WAY

NIGHT PHO T OGR APH Y

PART 2

BY GRANT COLLIER



Our small blue planet is located on a spiral arm far out from the center of the Milky Way Galaxy. Looking to-wards the galactic center, which con-

tains millions of stars clustered together, affords one of the most spectacular sights imaginable. While the naked eye sees the Milky Way as a hazy band in the sky known simply as the Milky Way, photos with longer exposures can resolve a bril-liant array of stars and interstellar clouds.

If you enjoy photographing the Milky Way, the winter months can seem especially long. During these months, the Sun is between the Earth and the center of the galaxy, so only the fainter parts of the Milky Way are visible. It can still be photo-

graphed, but the shots won’t likely be as dramatic as they are at other times of the year.

Fortunately, the bright galactic center becomes visible again in the spring. In March, it rises shortly before dawn in the Northern Hemisphere. Every day, it rises a little earlier in the night, and by June it will be rising about the same time that the sun sets.

The great thing about photographing the Milky Way in the spring and early summer months is that you can capture the full band of the Milky Way arcing across the sky. By August, the Milky Way will appear too high in the sky in the North-ern Hemisphere to capture the full arc.



In the Southern Hemisphere, there is a longer time frame to capture the full band of the Milky Way. From about Febru-ary to June, it can be captured in the southern part of the sky just after the galactic center rises above the horizon. From about June to September, you can capture it just before it sets in the west.

Since the Milky Way spans such a large portion of the sky, you will need to stitch together multiple images to capture all of it in one photograph. I ex-plain how to do this below.

EQUIPMENT

There is some specialized equipment you can use to capture stitched images of the Milky Way, such as a panoram-ic tripod head, a leveling base, and even a robotic camera mount. However, the majority of the time you do not need any special equipment. Anyone with a good tripod and a DSLR can capture the full arc of the Milky Way.

You can use any lens from about 14 mm to 50 mm to capture your images. Using a longer lens, like 50 mm, will re-quire taking and stitching a lot more images together. This can be more time-consuming, but you will also capture much larg-er image files with greater de-tail and less noise.

Lenses with a very wide aper-ture, like f1.4 or f2.8 are ideal. It is also helpful to have a tripod with a bubble level on top of its legs and a tripod head that has a rotating base.

The Rokinon: 35mm f/1.4, all manual lens,

works great for this kind of photography.

PLANNING YOUR SHOTS

You can previsualize how the Milky Way will appear at any time and location using a pro-gram called Stellarium. This program can be downloaded for free at http://www.stellar-ium.org/. It can also be pur-chased as an iTunes or Android app, or you can use other apps like PhotoPills or Sky Safari.

The best time to shoot im-ages of the Milky Way is under no moon. If the moon is out, its light will obscure the stars and the Milky Way will not look as impressive. One exception to this is if you want the moon to illuminate the foreground. A moon that is about 20% illumi-nated will still afford successful shots; the moon must be direct-ly behind you so it obscures the stars as little as possible. You must get far away from any city

lights when shooting images of the Milky Way. Light pollution will not only obscure the Milky Way, but also create an unnatu-ral color cast in the image. And, of course, check the weather forecast to make sure there will be clear skies.

COMPOSITION

Once you know how the Milky Way will appear and have de-

termined the best time to shoot it, you need to decide where to take your photograph. Al-though the full band of the Milky Way can be spectacular on its own, your images will be more compelling if you include an interesting foreground. In the Northern Hemisphere, you should find a composition fac-ing east, since that is where the shallow arc of the Milky Way will be visible shortly after it rises. If possible, I recommend ar-



riving before it gets dark to set up your shot. It is much easier to determine the best composition and focus your camera when it is still light out.

CAMERA SETTINGS

Use the rule of 500 to calculate the ex-posure time for your images. Simply di-vide 500 by the focal length of your lens to get the number of seconds to expose the shot. For example, for a 50 mm lens, take 500 / 50 = 10 seconds per exposure.

Generally, you will want to use the wid-est aperture on your lens when shooting

the stitched images. In addition, use the highest native ISO that does not cause any highlights to be blown out. As long as you do not have any close foreground objects in the shot, you can focus at in-finity.

I have found that a white balance of about 3800K works well at night with no moon out. However, as long as you are shooting in RAW, you can set it to Day-light and adjust the white balance later. Turn off Long Exposure Noise Reduction, as it can take too long, so the stars may move too much between the exposures making it difficult to stitch the images to-gether.



TAKING THE PHOTOS

You will need to make sure that your camera is level using a bub-ble level or your camera’s built-in leveling feature. Ideally, you will also want to make sure your tri-pod head is mounted on a level surface by using a bubble level on top of your tripod legs or a lev-eling head. This will ensure that your camera remains level as you turn it. Before beginning the stitched image, I recommend tak-ing a test shot. Point your camera towards the brightest part of the scene you will be photographing and take an image using the cam-era settings you have decided on. Check the histogram to make sure you are not overexposing the image. If you are, lower the ISO until you are not clipping the highlights. In addition, zoom in

on your shot and make sure ev-erything is in sharp focus.

If everything looks okay, start taking your stitched image. I al-

ways recommend capturing a wider view of the scene than you want in your final image. This will allow for cropping the image after

you stitch it, since the stitched im-ages will never be perfectly rect-angular. Thus, it is always better to capture too much of the scene than too little.

Position your camera to take an image of the far bottom left corner of the scene you want to capture. After you take the first shot, you



Grant Collier has been working as a professional photographer for 20 years and has been shooting pho-tos at night for 12 years. He is the author of 11 books and has just released a new book titled "Collier’s Guide to Night Photography in the Great Outdoors". He has also produced a new series of instructional videos called Collier’s Guide to Post-Processing Night Photos.

ABOUT THE AUTHORwww.gcollier.com

will need to quickly rotate your cam-era to the right before taking the sec-ond shot. Make sure to leave plenty of overlap between the images to make it easier for the software to stitch the images. Continue taking shots and rotating the camera to the right until you have captured the entire make it easier for the software to stitch the images. Continue taking shots and ro-tating the camera to the right until you have captured the entire horizontal field of view desired.

STITCHING WITH LIGHTROOM

You can stitch images within Lightroom CC. Sim-ply select all of the images you want to stitch, right-click on them and select Photomerge > Panorama. Lightroom will then attempt to stitch the images. Occasionally, Lightroom will be unable to stitch the images together. If this happens, I recommend

trying a free program for PCs called Image Compo-site Editor. Once the images are stitched, you can process them like any other image. I provide detai-led information on post-processing night photos in my instructional videos, which are available at 65% off through the SnapNDeal below.

www.snapndeals.com


Windows into Texas was created by Carol and Shannon Siver and features Photogrpahy by

Shannon Siver

Website: www.windowsintotexas.com

Windows Into Texas

IMAGES AND STORIES OF TRAVELING THE GREAT STATE OF TEXAS

MADE IN TEXAS



Windows Into Texas is a place to share images from around the state of Texas and provide thoughts and feedback. Im-ages on the site illustrate the immense size and the great di-

versity in the geography throughout the state. Images from West Texas may show mountains or a desert climate. This is a dramatic difference from East Texas with its forest and lakes. The pan handle of Texas pro-vides images of open prairie and miles of cotton fields.

South Texas offers a mix of images of desert climate and fields of ag-riculture. The Gulf Coast shows coastal communities and views of the Gulf of Mexico. The beaches and coast are uniquely Texan. In the sum-mer months, images from the Gulf Coast offer blue skies except for the almost daily thunderstorms, that fill the afternoon skies with dark, powerful clouds. During the winter months a thick cloud deck and bit-ing cold winds afford of a completely different environment. There is a peaceful feeling in all of these places.

West Texas -The images here show the Big Bend region of West Tex-as. The scale and the powerful landscape are impossible to appreciate until you visit the area and take in the sights, sounds and smells. In this area is possible to drive miles of open highway and not pass another car. There may not be Internet access or cell coverage in many places, and there may be only one or two AM radio stations. Mountains can be seen in the distance and the stripes on the highway seem to go forever. The sunrises and sunsets are almost always spectacular, on a clear night, you can see thousands of stars and the Milky Way stretching across the sky.

Big Bend National Park has spectacular views of mountains, valleys, canyons and unique rock formations. At the edge of the park, the Rio Grande River defines the border between the United States and Mexi-co. The areas of green on both sides of the river look like an oasis. Visit the nearby towns of Terlingua and Lajitas and local residents may tell you about the history of the area. These images only begin to provide a sense of the landscape and the beauty of West Texas.

Knowing so much beauty is around us is part of what make us proud to be Texan and gives us the spirit of Texas.













R e m e m b e rBY LOTHAR SIEBEL




The contest was judged by jury consiting of:

B R U C E S M I T H

Bruce Smith specializes in fashion photography, fine art boudoir and nude portraiture, celebrity portraits, general portraiture and headshot photography in most major cities in Europe including Bordeaux, Paris, Monaco and London. He shares his knowledge and 40-plus years of experience as a professional fashion and fine-art nudes' photographer, with other photographers during his 1-2-1 photography master classes, courses and workshops. Bruce also speaks on a regular basis at arts institutions, universities and pho-tographic societies and demonstrates shoots during photography events, conventions and expos.

M I C H E L F O UA R G E

Michel Fouarge is a photographer and artist based out of Luxem-bourg. In the past, Michel was an international male model. Leaving this chapter more or less behind, he is now focusing on his devel-opment as a visual artist. His artwork is made from thousands of objects and colors that create a fantastic world somewhere be-tween magical and psychedelic. He has been the judge for the Lux-embourg Art Prize.

G R A N T C O L L I E R

Grant Collier has been working as a professional photographer for 20 years and has been shooting photos at night for 12 years. He is the author of 11 books and has just released a new book titled "Col-lier’s Guide to Night Photography in the Great Outdoors." He has also produced a new series of instructional videos called Collier’s Guide to Post-Processing Night Photos.

contestwinners of the



WINTER 2018 - PROFESSIONAL & AMATEUR - THEME | LOVE

Second Place:

Third Place

First Place:

Category: Animals/Wildlife

Photographer: Jack RobertsonCountry: IndiaTitle: Companion

Photographer: Carol Diane MirandaCountry: USATitle: Up Close and Personal

Photographer: Carol Diane MirandaCountry: USATitle: When majestic creatures meet majestic machins in the wild

Photographer: Rupert MackieCountry: CanadaTitle: The Squirrel's Gaze

Photographer: Jack RobertsonCountry: UKTitle: Enjoying Autumn




First Place:

Category: Creative Portraits/Composites

Second Place:

Photographer: Sarah DowdCountry: USATitle: Lost in Time

Photographer: Marta LitynskaCountry: PolandTitle: My Sweet Beauty II

Photographer: Jamie SheehyCountry: UKTitle: Love Is Holding Someone Else's Bag

Third Place:

Photographer: Marta LitynskaCountry: PolandTitle: My Sweet Beauty I

Photographer: Jaydee NiallCountry: UKTitle: Love is Exploring Together




First Place:

Category: Fashion/Portrait

Photographer: Molly SchenkelCountry: USATitle: Woman of Black

Second Place:

Photographer: Evgeny MatveevCountry: Russian FederationTitle: Varya

Photographer: Hayley MooreCountry: USATitle: Girl of the Garden

Photographer: Daria AmaranthCountry: Russian FederationTitle: Cardiogram

Photographer: Kestas VenzlauskasCountry: LithuanuaTitle: Blessing




Third Place

Category: Fashion/Portrait

Photographer: Evgeny MatveevCountry: Russian FederationTitle: Zoya

Photographer: Alex RoibuCountry: ItalyTitle: Giulia

Photographer: Kestas VenzlauskasCountry: LithuanuaTitle: Doubts

INTERNATIONAL CALL FOR ENTRIES

Spring 2018 - Issue 06 - Theme | Enchanted

Juror | TBD

Categories: HIGH SCHOOL/COLLEGE or PROFESSIONAL & AMATEUR

Deadline: March 31, 2018

Nominees will be announced April 09, 2018 and the Winners will be announced April 12, 2018

Enter your best single images or photo essays using mixed light, outdoors scenes, portraits or spontaneous moments. All themes, genres, capture types and photographic processes are welcome.

go to our website for more information: www.shadowsandlightmag.com




First Place:

Category: Fine Art

Photographer: Rahul Kumar Country: HungaryTitle: A Cup of Coffee

Second Place:

Photographer: Rahul Kumar Country: HungaryTitle: On a Merry-Go-Round

Photographer: Farnaz DamnabiCountry: IranTitle: Triangle

Third Place

Photographer: Farnaz DamnabiCountry: IranTitle: Motion

Photographer: Farnaz DamnabiCountry: IranTitle: Stairs and Snow

Photographer: AscorCountry: ColumbiaTitle: Conversaciones Sobre Nostalgia




First Place:

Category: Landscape/Nature

Photographer: Leka HuieCountry: Hong KongTitle: Touching Love

Second Place:

Photographer: Kostas RammosCountry: GreeceTitle: Carobotus

Photographer: LucaCountry: ItalyTitle: Aurora

Third PlacePhotographer: Leka HuieCountry: Hong KongTitle: Honey ... I am Coming

Photographer: Breon AllenCountry: USATitle: Burning Skies




First Place:

Category: Photojournalism

Photographer: Sanghamitra SarkarCountry: IndiaTitle: Krishna and Colours

Second Place:

Photographer: Sourav DasCountry: IndiaTitle: Symbol of Love

Photographer: Sanghamitra SarkarCountry: IndiaTitle: Reaching Out

Third Place

Photographer: Md Rafayat Haque KhanCountry: BangladeshTitle: Bondage of Friendship

Photographer: AscorCountry: ColombiaTitle: Con toda mi alma

Photographer: Amit MukherjeeCountry: IndiaTitle: Untitled



Second Place:

Photographer: Annada MallickCountry: IndiaTitle: Emotion


First Place:

Category: Wedding/Portraits

Photographer: Gobinda PaulCountry: BangladeshTitle: The candle light reveals love

Third PlacePhotographer: Sujan SarkarCountry: IndiaTitle: Mother and Child

Photographer: Ieva SanchezCountry: LithuaniaTitle: Because I have her



Photographer: Austin CarriereCountry: USATitle: People May Be Different Than They Appear

Second Place:

Photographer: AzorkaCountry: Hungary Title: Big Brother

Third Place:

WINTER 2018 - HIGH SCHOOL/ COLLEGE - THEME | OPEN

First Place:

Category: Fine Art

Photographer: Austin CarriereCountry: IndiaTitle: Flight



WINTER 2018 - HIGH SCHOOL/ COLLEGE - THEME | OPEN

Second Place:

Third Place

First Place:

Category: Landscape/Nature

Photographer: Aharon TribelskyCountry: IsraelTitle: Ice and Waves (Iceland)

Photographer: ZwesolowskiCountry: USATitle: Crisp Winter Roads

Photographer: Niki CrawfordCountry: USATitle: Love, me

Photographer: Michelle HowlettCountry: UKTitle: Reflections in Madeira

Photographer: Alec KostovnyCountry: USATitle: White Haze on the Flatirons



WINTER 2018 - HIGH SCHOOL/ COLLEGE - THEME | OPEN THEME

Photographer: Bessie BaudinCountry: FranceTitle: Shamans, Master of Nature

Second Place:

Photographer: Pawan YadavCountry: USATitle: Window Seat

Photographer: Maria AkeshCountry: TurkeyTitle: Reflection

Third PlacePhotographer: Amdad HossainCountry: BangladeshTitle: Its Golden Hour but not Golden Time

Photographer: Claudio EshunCountry: USATitle: Mother Nature

Category: Photojournalism/Portraits

First Place:


SHADOWS AND LIGHT MAGAZINEA Magazine For the Emerging Photographer

Date post:	11-Sep-2021
Category:	Documents
Upload:	others
View:	6 times
Download:	0 times

Shadows and Light Magazine

Documents