All posts by Srbija FOTO

Stories Seen Through a Glass Plate – Edward Reeves

By Elizabeth Roberts

© Edward Reeves Studio
© Edward Reeves Studio

Built in 1855, the Edward Reeves Studio in Sussex, England is believed to be the oldest continuously operated photography studio in the world. And now, people have the chance to trace not only its history but also that of the town and the history of commercial photography, through the exhibit, “Stories Seen Through a Glass Plate,” part of the ongoing Brighton Photo Biennial.

© Edward Reeves
© Edward Reeves

Being a fourth generation photographic studio, housed in the same building it began in, is in itself unusual but when it was discovered that the Reeves family had kept almost every single photograph since 1858, interest began to rise…

The Edward Reeves archive has been meticulously cared for since 1858 to the present.
The building to the right of the church is where the family business began and continues today.

© Edward Reeves signature
© Edward Reeves signature

Certainly unique in the UK, very likely unique in Europe, and possibly unique in the world, the Edward Reeves Archive is taking on a very special significance.

Having been meticulously kept, nearly complete with paperwork and cataloguing since 1858, it is today owned by Tom Reeves, great-grandson of the original Edward Reeves, who continues to run the family business from the premises in Lewes High Street where it has been since it opened.

© Edward Reeves today
© Edward Reeves today

The archive, which contains around 105,000 glass plate negatives and about 100,000 film negatives plus digital files, is today being brought to life by Brigitte Lardinois. As deputy director of the Photography and Archive Research Centre at the University of the Arts in London, and senior research fellow in photography at London College of Communications (she was also for 10 years cultural director at Magnum, London), she is ideally qualified for the job.
“Obviously there has been a lot of interest in the archive over the years, but Tom was reluctant to allow anyone to investigate it. But I put a good case to him and he agreed, largely because I proposed a holistic approach – and that I came from an academic background – I don’t work for a dealer or other interested party.”
Having taken advice from world leading glass conservators, Brigitte’s plan is not to digitise the glass plates but, instead, to start with the paperwork.

“The plates have always been stored in the same place and the walls are thick – and even today there is no central heating,” Brigitte explains.
“The ledgers are all numbered and correspond with the boxes in which the plates are stored, but they also hold a lot of other information which will be incredibly useful when put into a database,” she explains.

© Edward Reeves Archive
© Edward Reeves Archive

“Half of the pictures are portraits – and you can trace generations through the archive – but what I am extra excited about is that the other half of the pictures show life in Lewes since the 1850s. There are even estate agents pictures. So when it does eventually go online people will be able to trace their relatives, and even the history of their houses – as well as it being a fascinating and original historical resource.”

This autumn will see the first real airing of material from the archive with an exhibition of lightboxes in the shop windows of Lewes.
“It will be part of the Brighton Photo Biennial and the title will be “Stories as Seen Through a Glass Plate”, which reflects a competition that was set up in Lewes in 1870 for the best window display,” says Brigitte. “The idea is to make a trail up Station Street to the Tourist Office where it will branch off to the left and right along the High Street. The aim is to show pictures of the original shops and life on the High Street between the 1850s and 1970.” The exhibition will be on throughout October and promises to offer both historical and photographic treats.

For more information visit:

The most successful domestic author of Salon Shadow 2014 – Branislav Backovic

© Branislav Backović
© Branislav Backović

Branislav Backovic, photo-biography

Known under the pseudonym Backo, he was born in Loznica, Serbia in 1951.

He is a Member of the Photo section “Karadzic” in Loznica the from the establishment in 1980, when he engaged in the exhibiting and artistic photography with occasional time breaks.

He has participated in over 200 group exhibitions and Salons of art photography in the country and abroad (under the auspices of the Photo Association of Serbia and international photographic associations FIAP, PSA, UPI, ISF, etc.).

On photographic salons and exhibitions of art photography has won more than 70 awards, diplomas, medals, various rewards, certificates and commendations.

Also, in front of FSS, he is participated in international photographic biennale of art photography in the composition of national teams of Serbia.

He has had six solo exhibitions and more digital projection images. In the last eight years he was an active exhibitor, was ranked in 2011 and 2012 among the top ten most successful exhibitor in Serbia.

His interest in photography by the themes is: Life, Portrait, Street Life, reportage, landscape urban motives, landscapes, sports and experimental images, as well as photos from the orthodox and religious motives.

As Photojournalist of Belgrade “Evening News” in 2001, he published thousands of photographs in their publications. His photographs have been published in many national and international magazines, travel magazines, publications, sports magazines, in national and international monographs and illustrations for books, catalogs, calendars, postcards, as well as large prints for exhibition stands, billboards, etc…

He was a photography editor of “Loznica News” and tourism journal magazine “AŠ.”
In The Youth Center in Loznica he is running the office for youth and leads a photography school called “Through the Lens of Youth” supported by the Ministry of Youth and Sports of the Republic of Serbia. His photographs can be seen on the social networks and more sites on the Internet.

As a Member of the Photo Association of Serbia his vocation is KMF (candidate master of photography), as well as international photographic Association in FIAP (Federation Internationale de l’Art Photographique), which has the title as the artist of photography – Artiste FIAP (AFIAP).

Best Author of Shadow 2014 – Nils Erik Jerlemar

© Nils-Erik Jerlemar
© Nils-Erik Jerlemar

Nils-Erik Jerlemar
PSA PID Galaxy 9, CP Galaxy 5, MP 2*, SCP 4*, SMP3*

I live in Malmö, in the southest part of Sweden, and started photography in 1969, and became a member of the Photographic Society of Malmö in 1972, and have been a member since then.

In May 2013, I was elected president of the National Association of Swedish Photography
(Riksförbundet Svensk Fotografi – RSF).

I have judged, and been a member of the exhibition committee, 5 international salons, organized by the Photographic Society of Malmö, during the years 1978-1986.

I was the Exhibition Chairman, and member of the jury, in our 6th-13th International Salons in 2006-2013, and I have been commissioned to lead the work for 2014, and I have also been a member of the juries in several International Salons.

I got my first acceptance in an International Salon in 1974, and after a break 1986, to pursue my professional life, I started competing internationally again in March 2004.

It has been rather successfully, with the following results and awards:


More than 600 International Awards and more than 6000 accepted works.
Top 25 PSA Who’s Who Large Color Prints 2005, 2006, 2007, 2008, 2010, 2011 and 2012

Top 25 PSA Who’s Who Large Monochrome Prints 2011

Top 25 PSA Who’s Who Electronic Imaging Division 2006, 2007, 2008, 2009, 2010, 2011 and

Top 25 PSA Who’s Who Color Projected Imaging Division 2008, 2009, 2010, 2011, 2012 and

Top 25 PSA Who’s Who Monochrome Projected Imaging Division 2013

Top 25 PSA Who’s Who Small Color Prints 2010, 2011 and 2013

Top 25 PSA Who’s Who Small Monochrome Prints 2011

John Clang – Singapoore’s Andy Warhal of Photography Art

© John Clang

John Clang is a photographer/visual artist.

He was born Ang Choon Leng in Singapore, earned his moniker in 1990 while in the National Service as his badge read C.L.Ang.

In the early 90s, being a Singaporean was extremely difficult to secure meetings locally. However, when he introduced himself as Clang, people were more receptive to meet him, thinking that he was from Europe. It must have been a great disappointment when they met him.
In 1999, he relocated to New York and was represented by Art + Commerce from 2002 to 2007.

Clang’s first exhibition, at age 20, was a duo-show at the controversial (and now defunct)
Singapore art group 5th Passage Artists. In 2001, he had his first solo exhibition at the Diane Von
Furstenberg Foundation in New York. He has since participated in more than 20 solo and group
exhibitions internationally. An installation of his personal work is in the permanent collection at
the Singapore Art Museum and his artwork is also collected by private collectors from around the

A visionary in his own right, Clang continues to push the medium of photography to critical and
popular acclaim. Nuanced yet startling, simple yet profound; these seeming “images of the
mundane” that Clang created lift from the flow of an ordinary existence, seep into the cracks of
our collective consciousness — and tear it apart.

Artist Statement:

The mundane and the commonplace attract me — I always profess an affinity for subject matters closely related to my daily life. I resonate with subject matters closely related to my daily life. I often dwell upon urban and contemporary themes and landscapes; be it the city or its inhabitants. Intrigued by subtle changes in my environment, I find a corresponding shift in my feelings and thoughts. Hence, my images are a poetic reflection of myself in response to the nuanced changes in my environment.

In series like Silhouette/Urban Intervention (Black Tape), Strangers, Time, Out of Context, Beijing/NYC, Remembering Strangers, My Twilight Window and Self-reflection, I grapple with issues of estrangement and intimacy in an urban space; the displacement of familiar urban objects, views and perspectives; as well as our sense of identity and place in this world.

My images express an organic and poetic response to the nuanced shifts in my environment.My oeuvre reads like a visual diary, documenting my personal growth and critical thinking processes.

The deeply personal also occupies my work, specifically the themes of memory, identity and longing as a son living overseas for years and separated from my family back home. Many of my series narrate my inner landscape and narrative of emotional conflicts, specifically the themes of memory, identity and longing as a Singaporean in New York separated from my family. In series like Erasure and Guilt, I respectively explore the fears when contemplating the death of a loved one, and the guilt of disappointing our loved ones. Explorations of identity can also take a turn for the playful and provocative—as evidenced in lighter series like Beon Sleeps and Me and Friends.

Ultimately, a good photograph is one that brings us face to face with our own existence. It pulls the stranger standing next to us into the intimate radius of our life. It collapses the beauty and strangeness around us into one. It connects. A good photograph does all these.

See the interview with J. Clang by Sally Clarke:

Interview with J. Clang
Interview with J. Clang

New Flat Lens Could Revolutionize Cameras as We Know Them!

Flat lens offers a perfect image

By Jakob Schiller

A new ultra-thin, flat lens focuses light without imparting the optical distortions of conventional lenses. Artist’s rendition courtesy of Francesco Aieta.

Camera lenses might look radically different in a couple years thanks to a new technology developed by a group of physicists at the Harvard School of Engineering and Applied Sciences (SEAS).

Using a very thin wafer of silicon the scientists have created a flat lens that is only 60 nanometers thick and does away with the normal curved glass we’re used to seeing on most cameras.

“Our website almost went down because of all the hits,” says Federico Capasso, the principal investigator on the project and a Robert L. Wallace Professor of Applied Physics and Vinton Hayes Senior Research Fellow in Electrical Engineering at SEAS. “People are seeing the revolutionary potential.”
Curved glass is currently used to make camera lenses because it can bend the light coming from many angles in such a way that it all ends up at the same focal point, be that a slice of 35mm film or an electric sensor.
The problem with curved glass is that it produces aberrations, or distortions. Capasso says that oftentimes the light captured at the very edges of a curved glass lens does not line up correctly with the rest of the light, creating a fuzzy focus at the edge of the frame.
To correct this, these lenses use extra pieces of glass, adding weight and mass.

On the flat lens created by Capasso and his colleagues, a series of small nano structures, what they call nanoantennas, are systematically arranged on the silicon wafer and when the light hits these antennas they do the job of refracting the light so that it all ends up on the same focal plane.
“What we’ve done is create an artificial refraction process,” Capasso says.
The angle at which the light is refracted — more at the edges than in the middle, just like a curved glass lens — depends on the shape, size, and orientation of the antennas, he says.

The antennas on the current lens can only focus one wavelength of light. But Capasso says the team plans to eventually build broadband antennas that can handle normal white light, which is polychromatic, or made up of multiple wavelengths.

We’re guessing that normal lenses won’t leave the market anytime soon, but the possibility of a new, mass-produced lens that eliminates aberrations and bulk is certainly something to look forward to.
“It’s extremely exciting,” Capasso says.

Left to right: Francesco Aieta, Federico Capasso, and Patrice Genevet. (Photo by Eliza Grinnell, SEAS Communications.)

Applied physicists at the Harvard School of Engineering and Applied Sciences (SEAS) have created an ultrathin, flat lens that focuses light without imparting the distortions of conventional lenses.

At a mere 60 nanometers thick, the flat lens is essentially two-dimensional, yet its focusing power approaches the ultimate physical limit set by the laws of diffraction.
The results have been published online in the journal Nano Letters.
“Our flat lens opens up a new type of technology,” says principal investigator Federico Capasso, Robert L. Wallace Professor of Applied Physics and Vinton Hayes Senior Research Fellow in Electrical Engineering at SEAS. “We’re presenting a new way of making lenses.

Capasso and his collaborators at SEAS create the flat lens by plating a very thin wafer of silicon with a nanometer-thin layer of gold. Next, they strip away parts of the gold layer to leave behind an array of V-shaped structures, evenly spaced in rows across the surface. When Capasso’s group shines a laser onto the flat lens, these structures act as nanoantennas that capture the incoming light and hold onto it briefly before releasing it again. Those delays, which are precisely tuned across the surface of the lens, change the direction of the light in the same way that a thick glass lens would, with an important distinction.

The flat lens eliminates optical aberrations such as the “fish-eye” effect that results from conventional wide-angle lenses. Astigmatism and coma aberrations also do not occur with the flat lens, so the resulting image or signal is completely accurate and does not require any complex corrective techniques.
“In the future we can potentially replace all the bulk components in the majority of optical systems with just flat surfaces,” says lead author Francesco Aieta, a visiting graduate student from the Università Politecnica delle Marche in Italy. “It certainly captures the imagination.”

Left: A micrograph of the flat lens (diameter approximately 1 mm) made of silicon. The surface is coated with concentric rings of gold optical nanoantennas (inset) which impart different delays to the light traversing the lens. Right:The colored rings show the magnitude of the phase delay corresponding to each ring. (Image courtesy of Francesco Aieta.

Don McCullin – The Legend of War Photography

© Don McCullin
© Don McCullin

Don McCullin is an internationally famous photojournalist. He was born in 1935 in Finsbury Park in London, but left school at 15 without qualifications. During National Service in the RAF, he became a photographer. He later bought his own camera, but his mother had to buy it back after he pawned it. This was the camera with which he took his first published photo – of ‘The Guvners’, a local Finsbury Park gang, one of whose number had committed a murder – which appeared in The Observer in 1959.

He worked for The Observer for several years, and was delighted when they asked him to cover the Cypruswar in 1964. This was the beginning of his long career as a photographer of war and other human disasters.

Between 1966 and 1984, he worked for The Sunday Times Magazine. Pre-Murdoch, The Sunday Times was at the cutting edge of investigative, critical journalism. During the period of his finest magazine work, McCullin worked under Editor-in-Chief Harold Evans and Art Editor David King. His assignments included Biafra, the Belgian Congo, the Northern Irish ‘Troubles’, Bangladesh, the Lebanese civil war, El Salvador, and the Russian invasion of Afghanistan. But he is most famous for his photos of Vietnam and Cambodia.

‘You have to bear witness’
McCullin faced no restrictions, yet his work, in projecting the realities of war into millions of living-rooms back home, contributed substantially to the growth of anti-war feeling. One reason was that McCullin’s sympathies were with the victims – the poor, the dispossessed, and ordinary soldiers on both sides.

© Don McCullin
© Don McCullin

McCullin is scathing about working as an ‘embedded’ journalist. ‘We spent years photographing dying soldiers in Vietnam, and they are not going to have that anymore… you have to bear witness. You cannot just look away.’

When he was refused permission to go to the Falklands in 1982, he assumed it was due to some kind of censorship. In fact, as he now knows, it was just down to bureaucracy: the Army had simply run out of press passes. Even so, an era was coming to an end. There has been no reporting from recent conflicts in Iraq or Afghanistan comparable with that of McCullin in Vietnam.

‘Carrying pieces of human flesh’
McCullin took huge risks in order to take his photographs. He was threatened with a knife at a Muslim checkpoint in Beirut for having a Falangist press pass, blinded by CS gas during a riot in Derry, and wounded by fragments of mortar shell inCambodia. But he reports having been most frightened when arrested by Idi Amin’s thugs in Uganda and taken to a notorious prison where they were murdering hundreds of people every day with sledgehammers.

He survived; but damaged. He has a head full of demons, and bears a heavy burden of doubt and guilt. ‘Sometimes it felt like I was carrying pieces of human flesh back home with me, not negatives. It’s as if you are carrying the suffering of the people you have photographed.’

McCullin was dismissed from The Sunday Times shortly after it was taken over by Rupert Murdoch in 1981. Harold Evans resigned citing differences over editorial independence in 1982, and the photographer was then sacked by replacement editor Andrew Neil after he complained publicly about the newspaper’s lack of serious foreign and social coverage under the new regime.

Don McCullin now lives in Somerset with his third wife. He has five children by this and earlier marriages. These days, he spends much of his time taking landscape photos.

Don McCullin speaks exclusively with Military Times about his experiences at the Battle of Hue, as a major 50-year retrospective exhibition of his life and work opens at the Imperial War Museum London.

What’s a NAS Drive?

  • 1080p Full HD Video Transcoding on the Fly
  • Up to 24 TB Personal Multimedia Bank
  • Concurrent Multi-Channel Streaming
  • DLNA®-Certified Media Server
  • 1 6GHz Dual Core CPU with Floating Point Unit
  • Over 112 45 MB/s Reading, 101 21 MB/s Writing1
  • Running on Synology DiskStation Manager (DSM)

The storage, protection and accessibility of assets have always been an issue for working photographers.

Some contend it was more problematic in the film days when an image often only existed in the form of an original and perhaps one copy. Yet the issues storage of digital data are more complex and go beyond merely the risk of a mechanical failure resulting in corruption or, worse, a complete loss Back-up is undoubtedly an essential component of any work practice involving digital image files, but so are accessibility – especially as an archive inevitably expands – and, increasingly, the ability to share images, often across multiple platforms

Originally developed for other applications, the NAS drive or NAS server is, in fact, ideally suited to the requirements of many photographic businesses.

The initials stand for Network Attached Storage, and these devices are specifically designed for the storing and serving of files. This degree of specialization – versus a more general-purpose server – delivers a number of key benefits such as faster data access while, being network attached, a NAS drive is a convenient way of sharing files across multiple computers.

Typically, a NAS drive or server contains multiple hard drives arranged into independent and redundant storage ‘containers’ to facilitate RAID (redundant array of independent disks)back-up protocols.

Unlike rack-mounted storage and back-up systems, NAS drives are comparatively compact stand-alone units and are becoming increasingly more affordable. Consequently, they are ideally suited to handling large amounts of data and, importantly, multi-media data such as video and images. Expansion PlanPerhaps the best way to appreciate the potential of adopting a NAS drive is to take a look at an actual product and its features.

Synology is actively marketing its DiskStation NAS servers to photographers and other imaging professionals.

The DiskStation line-up is extensive and ranges from models suited to the home those designed for small to medium-sized businesses The DS1813+ model is in the latter category and provides plenty of scope for expanding its storage capabilities which is an important consideration for both video makers (especially with 4K on the horizon) and photographers using cameras with very high resolution sensors (such as the Nikon D800E or digital medium format systems).

The DS1813+ can be connected to up to eight dedicated HDD expansion units for additional storage,easily increasing capacity up to 48 TB. These internal expansion bays are hot-swappable and screw less (using locating clips instead). Additionally, external drives can be connected via the two USB 3 0 and fourUSB 2 0 ports. Alternatively, two eSATA ports allow for Synology’s own expansion drives to be connected, giving up to 90 TB of storage in total Even eight expansion bays may seem like a lot (there is a five-bay model called the DS1513+ if you think so), but image data storage requirements are almost increasing logorithmetricaly so it pays to think ahead Interestingly, if you do mix and match drives, it’s possible to create a‘Hybrid RAID’ array. A dual-core Intel Atom CPU and an expandable RAM capacity (up to 40 GB) enable this device to easily handle power-intensive applications such as video transcoding.

With link aggregation, the DS1813+ can deliver up to an average of 352 39 MB/second reading– no that’s not a typo – and a 211 88 MB/second writing speed under the standard RAID 5 configuration in a Windows environment.

There are four Gigabit LAN ports (with Link Aggregation Support) which will provide plenty of bandwidth for imaging-based users. With a PC back-up to the DS1813+ is via Synology’s Data Replicator, but it fully supports MacOS X’s native Time Machine. Synology’s own back-up wizard can back-up information to another Synology NAS or any rsync server (with the option of using an encrypted connection), or to an external hard drive via a USB 3 0 or eSATA connection.

The wizard can also back up your information to the cloud, including Amazon S3, Glacier and STRATO HiDrive.

We’ve only scratched the surface of how this NAS drive can be used, but it’s enough to illustrate the flexibility and capability of these devices.

The Legend lives – Eve Arnold

Eve Arnold (1912-2012) is an American photojournalist and was the first female member of the Magnum Photos agency (in 1951, becoming a full member in 1957).

Arnold was born in Philadelphia, Pennsylvania, to immigrant Russian-Jewish parents, William (born Velvel Sklarski) and Bessie Cohen (born Bosya Laschiner).

Her interest in becoming a photographer began in 1946, when she worked for a photo-finishing plant in New York City. She briefly learned photographic skills in 1948 from Harper’s Bazaar art director, Alexei Brodovitch.

Arnold is best known for her benevolent, intimate images of actress Marilyn Monroe on the set of Monroe’s last (1961) film, The Misfits, but she took many photos of Monroe from 1951 onwards.

An exhibition of previously unseen photos of Monroe was displayed at the Halcyon Gallery in London in May 2005.

Marilyn trusted Arnold more than any other photographer, a relationship that is well-documented.

Due to Arnold’s sympathetic approach towards her subjects and protective nature of them afterwards, she is able to capture a closeness that is not easy for most others to capture. Not only has Arnold photographed VIPs such as Queen Elizabeth II, Malcolm X, and Joan Crawford, she has traveled extensively around the world, photographing in China, Russia, South Africa, and Afghanistan.

In 1980, she had her first solo exhibition which featured her photographic work in China at the Brooklyn Museum in New York City. She also did a series of portraits of American Presidents’ wives.

Eve Arnold’s People 2009 Awards Received Honorary Degree of Doctor of Science, University of St. Andrews, Scotland, 1997. Honorary Degree of Doctor of Letters, Staffordshire University. Doctor of Humanities, Richmond, the American International University in London. Master Photographer, International Center of Photography, NYC. Honorary OBE by the British Government.

Eve Arnold has published eleven books and has had innumerable exhibitions, both in Britain and abroad:

The Unretouched Woman, 1976
Flashback: The 50”s, 1978
In China, 1980
In America, 1983
Marilyn for Ever, 1987
Marilyn Monroe. An Appreciation. Photographs and text by Eve Arnold. 1987
Private View: Inside Baryshnikov”s American Ballet Theatre, 1988
All in a Day”s Work. Photographs by Eve Arnold – 1989
The Great British, 1991
In Retrospect, 1995
Magna Brava: Magnum”s Women Photographers (with Inge Morath, Susan Meiselas, Martine Franck, and Marilyn Silverstone), Nov. 1999

“I found myself in the privileged position of photographing somebody who I had first thought had a gift for the camera, but who turned out had a genius for it.” Eve Arnold

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One motive – two interpretations

POZIVNICA elektronskaPainter Nikica Raicevic and Master of Photography Branislav Strugar met each other participating together in several art colonies. Through mutual conversation its turned out that they both like to visit the same area, the canyon of the river Cijevna, searching for inspiration.

Canyon was so fascinated that they always came back, and after years of work were created two collections of art works, independently of each other. Since they both moving trough the same area, not knowing each other, having met him spontaneously the idea of ​​a joint exhibition titled “One motive – two interpretations”.
Two authors, two visions and two different techniques: oil painting and photography.

Academician Professor Dragan Karadzic are presenting their work in the exhibition catalog. The painter, who in his creative work in addition to traditional painting techniques, used the medium of photography, was the best person to write something about the idea of ​​the exhibition by two authors, Nikica Raičevića and Branislav Strugar.