So much foliage.
Isn’t there something so magical about fall, something that just makes you want to sip a pumpkin spice latte in a meadow? Though many regions are still a few weeks away from Peak Leaf, plenty of deep reds, bright yellows and vivid oranges have already popped up around the world. And, of course, dedicated photographers have made sure to document these changing colors on Instagram using the hashtag #foliage.
Here, a look at some of the best #foliage photos we’ve seen so far. (Note: we did not account for the fact that some of these photos are heavily filtered. Nature is incredible, yes, but keep in mind that sometimes nature is even more incredible when you really up the contrast.)
The images, depicting the newlyweds and the wedding party, were reportedly taken by photographer Frank Ataman
Thirteen original negatives of photographs taken at John F. Kennedy’s wedding were auctioned off on Wednesday for a sum of $37,073.
Boston-based RR Auction said the negatives, which have probably never been published, were sold to a Las Vegas doctor who chose to remain anonymous.
The images show Kennedy and his new bride, Jacqueline Bouvier, cutting their wedding cake and leaving the church, and a couple of others show the entire wedding party posing outside, the Associated Press reported.
The wedding took place on Sept. 12, 1953, in Newport, R.I., and was attended by nearly 2,000 people. Kennedy was still in his first term as a U.S. Senator, and wouldn’t go on to become President until more than seven years later.
According to RR Auction, the images were taken by freelance photographer Frank Ataman, although the negatives were found in another photographer’s darkroom.
Other items related to the Kennedys sold on Wednesday included a holiday card signed by the couple just days before the President’s November 1963 assassination. It fetched $19,500.
Khalik Allah, a 29-year-old filmmaker and photographer who documents the streets of Harlem at night, has been photographing the corner of 125th and Lexington since 2012; armed with little more than a manual camera and a few rolls of film.
Street photography can often be a daunting or awkward experience – especially when you’re trying to photograph people who might be skeptical of what you are doing and why. However, for this street artist, photography is an immersive experience where he has built hundreds of relationships with members of the community.
One of the methods Allah uses to gain access to the lives of so many people is to show them a book of his past photographs, a technique learned from one of his influencers, photographer Bruce Davidson.
“Carrying a book of 4×6 prints for people to see has given me entry [in the lives] of some of the most hardcore people in the world. They can relate to that,” Allah says. “That helped me build a tighter bond with the community.”
Once given permission, the Harlem-based photographer will often tell his subjects to picture something meaningful while posing for a portrait. “I’ll tell a person that I stop in the street to think about something that they went through in their life that was difficult and project that through their eyes,” says Allah, who describes himself as a spiritual photographer tasked with helping people heal through photography.
“I tell people that my camera is a healing mechanism,” Allah says. “Let me photograph it and take it away from you.”
Khalik Allah is street photographer based in Harlem, N.Y.
The image of the Dear Leader is tightly controlled by North Korean government's Korean Central News Agency, which has fashioned a sunny disposition for the country's mysterious leader. Kim has dropped out of view in recent weeks as many speculate about his health.
From presidential selfies to human towers, here's a handful of photos to get your weekend started right
Most of the time, today’s smartphones do a great job of capturing everyday moments in their default full automatic modes. However, there are times when adjusting your phone’s camera settings can make a huge difference. Check out these simple fixes to five of the most common photo mistakes and start taking better pictures.
1. Out of focus photos
When you don’t want the subject of your photo to be in the center of your image, your phone’s camera will often focus on the wrong spot. The fastest, easiest solution is to tap your subject on the screen to focus — an option that’s available on the iPhone and most Android phones. You can also press and hold on a spot to lock in focus and exposure and then move the phone to compose your shot. You can turn on face detection as well, and your phone will find and focus on the people in the scene.
2. Blurry fast-action/sports shots
When your subject is moving, like an athlete running down the field, movement can cause the image to blur. If you have an Android phone, like the HTC One M8 or the Samsung Galaxy S5, or Windows Phone, like the Nokia Lumia 1520, you can combat this by raising the ISO setting. With a higher ISO, the shutter speed can be faster, making it easier to freeze the action.
3. Dark faces in backlit and bright outdoor shots
In Auto mode, your camera tries to ensure that everything in your photo will be reasonably well lit. But when the person in the shot is back-lit or you’re shooting at a sunny beach or in a snowy setting, the background is much brighter than the people in your photo, so they can come out far too dark. For this problem, there are a few things you can do to make your photo turn out right.
Try setting your flash on so that it fires with each shot. In an outdoor scene, the flash can help light up faces even when the sun is shining. This is called a “fill flash.”
Another way to bring out details in all parts of a photo is to turn on HDR (high dynamic range). This mode takes overexposed and underexposed images and merges them together to bring out details in the light and dark areas of the photo. Most smartphones will have an HDR mode.
If neither of those options work, you can try manually adjusting the exposure to brighten or darken the overall photo. You’ll find this option on some smartphones, like the iPhone, HTC One M8, Samsung Galaxy S5 and Nokia Lumia 920, which let you manually adjust exposure.
4. Dark, grainy low light shots
Getting a good shot in low light usually requires lengthening the exposure, which leads to blurriness from you or your subject moving. Taking shots too quickly results in under-exposed images. There are a few things you can try, though.
Like with fast action shots, you can try bumping up the ISO setting, an option on some Android and Windows phones. The higher the ISO, the faster the camera sees the scene with the available light. So you can take photos faster, which reduces the blur caused by camera shake.
Low light is another shooting scenario where HDR mode can help. In this mode, the camera takes two or three shots at different exposures and merges them together to get detail in the brightest and darkest areas of the shot. Because the camera is taking a few shots, it’s important that nothing changes between each shot or the resulting image will be blurry. So reserve HDR mode for landscapes and group shots.
5. Cluttered backgrounds
When you’re focused on the subject of your photos, sometimes you don’t notice what’s going on in the background. Then, when you look at the actual picture, we see a ton of distracting detail that ruins the overall effect of the image.
A few smartphones let you blur the background or foreground of an image — or even select your focus after you’ve taken your shot.
Phones like the Nokia Lumia 1020 accomplish this manually by letting you select the aperture. Lower numbers equal a shallower depth of field – you can turn distracting backgrounds into fuzzy abstract patterns that make your subject in the foreground the focus of attention. The Lumia 920, 1020 and 1520 also have Nokia Refocus (see the demo below), which lets you refocus your shot after taking it, blurring the other areas of the photo.
The Google Camera app (preloaded on some phones), which runs on Android 4.4 KitKat phones, also lets you refocus your shot after you take it with a feature called Lens Blur, as does the Magic Focus feature on the LG G3. Samsung has a similar feature called “Selective Focus,” which lets you set what you want to be in focus and make the rest of your shot blurred before you take the shot.
This article was written by Suzanne Kantra and originally appeared on Techlicious.
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From tintypes to Vermeer, here's how the past shapes and influences modern photography by Deborah Willis.
TIME LightBox’s curators series invites top photography curators from around the world to present and discuss photography of their choosing in an effort to learn more about their curatorial preferences and the path from individual images to full-fledged exhibitions. This month, TIME invited Deborah Willis, Chair of the Department of Photography & Imaging at New York University’s Tisch School of the Arts to discuss how the past both shapes and influences modern photography.
Memory, it could be said, is central to the practice of making images. And images that create tension between conceptualizing and producing work about the past are especially exciting for me. As a curator, one of the most powerful experiences I have had has been finding photographers who embrace the idea of memory in their explorations of the complexities of everyday life. Indeed, to me, many of the best contemporary photographers use art history and social history to explore the political, social, and historical framed by moral responsibility.
I’d like to look how today’s photographers take their inspiration from varied sources and rework themes by using collective memory, new media, and old technologies that appear unrelated but are filtered through the modern sensibility of these photographers’ lens.
Ed Drew’s tintype series Afghanistan, Combat Zone Tintype was made between April and June 2013 in the Helmand River Province, Afghanistan, between combat missions during his deployment with his helicopter Combat Rescue Unit. Drew pays homage to both American Civil War photographers and soldiers who posed proudly in studios and on battlegrounds wearing their uniforms and carrying their gear and weapons. This historical, technological return and the memory of manhood and patriotism during war are powerful.
Margaret Stratton’s A Spy in the House that Castro Built presents an unraveling puzzle of conflicting identities in today’s Cuba including all-inclusive luxury resorts and the romantic ruins of the city of Havana. From pin ups in a tobacco warehouse storage room to a colorfully painted house at night with a dog standing guard on a pointed roof, these images reflect upon Cuba’s complex economic reality through the idealization of labor and leisure life.
Contemporary mural sized portraits pasted on buildings are the powerful presence of Sheila Pree Bright’s public billboard portrait project 1960 Who. The series depicts former civil rights activists of the Atlanta Student Movement and Freedom Riders. The billboards reconnect the places transformed by these faces of the movement within the communities they changed.
Inspired by Dutch artist Johannes Vermeer’s celebrated 1665 painting Girl with the Pearl Earring, Ethiopian photographer Awol Erizku pays homage to the classic beauty by repositioning a contemporary black model as Girl with the Bamboo Earring (2011). Erizku’s stunning Portrait of a Muslim Boy (2014), set off against an alluring, red painted brick wall, resonates primarily because of the intensity of his subject’s self conscious yet self assured gaze.
Delphine Fawundu’s Deconstructing SHE examines the destructive impact of media on ideas of beauty and self. Fawundu’s self portraits depict transformed identities such as blue eyes and silky hair on the black female body.
Beauty as defined within a close community is the focus of Alison Malone and Gerard Gaskin’s projects. Malone grew up in a family with strong Masonic roots. In The Daughters of Job, she documents the rituals and dress in a secret society of girls, the daughters and granddaughters of Freemasons, ranging in age from 10 to 20 years old. “The images are concerned with the psychology of identity formation through traditional ritual and role-playing within a patriarchal organization,” Malone writes. “They observe the girls in the society and the spaces where these rites occur.”
Gerard Gaskin’s work looks at the notion of transformation as he turns his lens on what it means to be desired—and at the same time what it feels like to be alienated. His work, an ongoing investigation of gender/race/class and stereotyping in the ballroom or “house” culture of LGBTQ drag balls, is grounded in fashion and beauty. Gaskin’s “close-up” of the life provides a fascinating chronology of the ‘ball life’ from make up to dress up. These documentary-style images are filled with hope, voyeurism, and struggle as they explore ideas of longing, beauty and desire.
In the late eighteenth century, silhouette portraits were a popular method of portraiture. Susan kae Grant’s reminiscent Shadow Portraits, which trace back stylistically to Grant’s fascination with shadows in her ongoing body of work Night Journey, enable the viewer to experience the romanticism found in these early works while addressing dreams, memory, and the unconscious.
This brief introduction to new portraits recently produced presents photography as an art form and as a vehicle of popular culture. By arranging these photographers in two thematic groupings, I hope to highlight the significance of the photographic image as performative.
Deborah Willis, Ph.D. is the Chair of the Department of Photography & Imaging at New York University’s Tisch School of the Arts
Myles Little is an associate photo editor at TIME.
Martin Schoeller's portrait of Vanessa Redgrave, shot in 1988, established the photographer's iconic style and jump-started his career
In the latest installment in our series, “The Photo That Made Me,” in which a photographer discusses the one picture that jump-started his or her career, or simply sparked a lifelong interest in photography, TIME LightBox talks with photographer Martin Schoeller.
Schoeller is world famous for his close-up portraiture, and here he writes about his 1998 photograph of Vanessa Redgrave – one of the earliest iterations of his now signature style.
This photo really changed things for me.
Here’s a bit of background: In 1996 I worked for Annie Leibovitz, and after that I went out on my own. I’d make portraits of my friends as well as people on street corners – often on the Lower East Side. I actually set up studio on the street and build a portfolio of stark straight up portraits. But they didn’t allow for much expression, they just seemed a little cold looking. It wasn’t very profitable, and I went broke a few times in 1997 and 1998.
A little later, I came across the Kino Fluorescent lighting system (a sort of fluorescent tube lighting) and started to incorporate it into my work. This started to change things: these lights really bring out a subject’s eyes. And because I had adopted the style of a super close up portrait, my work started to stick out. Back then the mainstream thing to do was a more distanced shot with a perfect background and styling – and it was also a time when Photoshop was really becoming a big part of things.
People noticed my work. Pretty quickly, places like Worth magazine and Fortune magazine started hiring me. It seemed I could do these portraits anywhere. They were actually pretty unusual for their time. Then Time Out New York hired me. They asked me to photograph Vanessa Redgrave, but I only had ten minutes. I made a super tight portrait.
It changed everything: I went from only being assigned five jobs in 1998 – three of which were weddings – to all of sudden doing 127 jobs 1999.
I think this picture got editors’ attention. It was a mix of the right magazine (everybody would check out that publication), the right subject and the right picture, with its unusual close-up style. It was just perfect timing, too. This photo helped broaden the spectrum of my photography and started my career as I know it today.
Martin Schoeller is a New York-based staff photographer for the New Yorker.
As told to LightBox reporter/producer Richard Conway