The Amsterdam Museum (Amsterdam Historic Museum) recently put the Marokkaanse Boot, a Moroccan themed boat at Amsterdam Gay Pride, on display in the museums recent history section.
Shown are the costumes of the Boot participants by Dutch designer Corné Gabriëls. The museum went to me for images, since I documented the Marokkaanse Boot during Amsterdam Gay Pride 2014 fairly well.
I think it is great that the museum recognizes this topic -gay rights- and is proud of it’s role in Amsterdam history.
They choose this image, showing the Marokkaanse boot during Amsterdam Pride 2014 canal parade.
For the New Scientist, Dutch edition, I was working on the new April 2015 issue. Featuring the scientific approach on running and exercising. Dolf Jansen, Dutch comedian and tv-presenter, and avid marathon runner was asked to do a test at the Asics Running Lab and tell about his training experiences as the main story.
It was the first time I got assigned by New Scientist and thrilled to start off immediately with the cover.
The oxygen mask did very well in the image, resulting in a scientific, clinical look and feel. To gain cover exposure, they finally went for the mix of a more visible (well-known) face, the mask and physical strain.
Oh, and i got interviewed about the cover shoot too:
After sitting in front a of Retina, or High-DPI monitor for a while now I had concerns about how non-optimized images were displayed. From a photographers standpoint, you want to have your images shown the best way available.
For non Retina users, this it what how non-optimized images (or probably better said websites) look on a Retina screen:
Right now I am making a slow move towards a full optimized website. Starting with the blog section, which is Retina ready at the moment.
One note about Retina; once you are in, you never want to get back. Text, graphics, the overall experience, it is so much better. On-screen images on the other hand, i am not really convinced. Optimized imagery looks painstakingly sharp, very digital, very clinical. It has a huge influence on the look and feel of an image. I don’t know the exact figures, but given the fact that media consumption on the web is on the rise (and print is in decline), High-DPI monitors are probably the biggest change in how the viewer perceives photography since the transition from analogue to digital.
Ukrainian director Myroslav Slaboshpytskiy and his spous Elena during photo shoot for IFFR.
And the image used in the Daily Tiger, the festival’s daily newspaper (click for bigger image):
For the International Film Festival Rotterdam (IFFR) I am currently working with a whole team of photographers, editors, reporters and designers on the Daily Tiger, the festival’s daily newspaper.
It’s quite an endurance to work for 10-days straight on those tight deadlines. But working in this team makes it all more than good.
Folia Magazine, an independent publication for the University of Amsterdam I frequently work for, recently got redesigned. With art directors at Vruchtvlees we worked on the photography for the new cover.
They wanted to go for a clean and more graphical shot. In support of the redesign leaning heavily on typography. Vegetables on the cover are digital altered (but all were thrown in air).
Besides the cover photography, we did a lot of additional work for dedicated use on the Foliaweb website and for use in their blog posts.
Currently working for the International Documentary Film Festival Amsterdam (IDFA). One of this festival highlights is the feature length documentary CITIZENFOUR by director Laura Poitras, -the- film about Edward Snowden. It was interesting to hear the story about the process of making this complicated film.
> Read more about the documentary CITIZENFOUR, or on iMDB
> Read more about the International Documentary Film Festival Amsterdam (IDFA)
When Folia Magazines departing editor-in-chief Jim Jansen asked me to accompany him for his last interview for the magazine, I suspected I was in for a treat.
The interviewee was Arnon Grunberg, Dutch author and columnist. Beside his literary works, I have always held him in high regards because of his commentary on contemporary (Dutch) issues in his columns. And for awesome projects like Les vacances de Monsieur Grunberg.
With Folia Magazines art-director Pascal Tieman we decided to go for a different angle; instead of color portraits, high contrast black and white images which he completed with colored gradients.