6 months ago

Netjets Volume 4 2018


STEVE McCURRY PHOTOGRAPHER ▲ Clockwise from top left: TRIBE Kere VILLAGE Hagareto Capturing the essence of this man was no easy feat. Making sure I was close enough to the subject while working with him to gauge a level of comfort is important to the creation of such a portrait. A photographer does not merely take an engaging portrait, but here it is the intertwining relationship of the man’s gaze, my presence and the camera. In establishing a relationship where we both felt comfortable, only then was I able to photograph this man and his unwavering disposition. TRIBE Himakauve VILLAGE Korekoreto Here the shape and tonality of the mask intertwines with the body paint to lure the viewer to dig deeper about the tribe. To capture the tribesman’s essence, I needed to get very close to my subject. Using a shallow depth of field and short focal length, the tribesman stands out from the background. Thus, providing a deeper emphasis on the light and form of the subject. TRIBE Kere VILLAGE Hagareto What brought me to make this photograph, was the overall mood of this woman. Wearing traditional tribal paint and feather headdress, she seemed calm and steadfast. The stern look on her face emanates a sense of strength and solemn dignity among her tribe. TRIBE Gimisave VILLAGE Geremiyaka I wanted to highlight the difference between the child’s disposition and the playfulness of the costume. Orange bamboo shoots outward from the elder’s hand. While the boy conveys to us a sense of melancholy. This dynamic allows to see through the traditional garb and into the eyes of those that live it. Born in 1950 in Philadelphia, McCurry originally studied film at Pennsylvania State University before embarking on a career in local newspapers. Travelling to India with just two bags – one for clothes, the other for film – he ventured further into Asia, eventually crossing into rebel territories in Afghanistan, as the Soviets were preparing to invade. The award-winning images he smuggled out would be published in The New York Times and Paris Match and he would go on to cover conflicts around the globe. In 1984, his “Afghan Girl”, the green-eyed adolescent from Nasir Bagh refugee camp with the penetrating stare, graced the cover of National Geographic and became an iconic image. Since then McCurry has taken that unerring ability to capture authentic emotion at the heart of subjects beyond war zones, documenting vanishing cultures, ancient traditions and contemporary culture alike. For his latest project the photographer has entered an exclusive partnership with luxe cruise line Silversea to produce a portfolio of work for which he travels to the most intriguing parts of the world and captures them in all their beauty.So far, this has taken him from the Virunga Mountains of central Africa to Svalbard in northern Norway, from Sicilian villages to the bustling city of Istanbul, and, as demonstrated on these pages, to Papua New Guinea, to produce timeless images of cultures that seem far removed from our everyday life. STEVE McCURRY PORTRAIT BY BRUNO BARBEY 80 NetJets

INSIDE VIEW “ A photographer does not merely take an engaging portrait, but here it is the intertwining relationship of the man’s gaze, my presence and the camera ” ▲ TRIBE Gimisave VILLAGE Geremiyaka The quiet nature of this little boy is accented only by the soft light that powders his face. In low light, I worked towards striking a balance between detail captured and the mood of the subject. It is essential that this feeling is harnessed and reproduced. 81 NetJets

September | October | November 2009 Volume 33, Number 4
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