Zero Light Photography.

Marius Janse van Rensburg and Bazil Raubach are two of the photographers who covered the all drama productions of this year’s National Arts Festival in Grahamstown. We were able to interview Marius in person and consult Bazil through the wonders of modern technology.

PiX: That sounds like a wonderful assignment, how long have you guys been photographing the National Arts Festival? Bazil: I have been personally shooting for the Festival for the last couple of years as an official festival photographer. We supply images for the media office for use in press releases, their blog sites, newspapers and magazine usage.

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Ever decreasing circles -getting close to wildlife

Wildlife photography is often considered the domain of extreme long lenses. These great bazooka-like lumps of glass, metal and engineering plastic that cost a fortune and weigh a proverbial ton are seen as an easy solution when your subjects are shy, skittish and difficult or dangerous to approach.

While there are times long lenses are unavoidable, anyone who has ever worked with super telephotos will tell you that far from being an easy solution they are especially challenging to use well. The high levels of magnification they achieve means that every tiny movement

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Were All Photographers. Are We All Photographers?

Once Google Glass takes off, people may utter, “Glass, take a picture,” more often than talk to each other. It is already happening, come to think of it. Pictures are serving the role of conversations… I went to this cafe. I am at a party I am stupid. Instead of narrating such stories with a touch of drama, we Instagram our lives straight into everyone’s timeline. Photography was always a language. But earlier, it was used to make a statement. Now there are statements, with a lot of chatter and small talk in between. So considering the millions of stray

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How did it happen that a columnist for Forbes magazine and a businessman who runs his own strategy consultancy, started to document the world using photography?

It wasn’t a conscious decision, but a gradual process. If you had asked me about ten years ago: “Would photography play important role in your life? Would it take the role of writing has in your life?” I would have said: “No.” Long before I started my column at Forbes, I was a reporter (also at Forbes) and I’ve been a history buff all my life. Over the years, photography has become my preferred


Visioneers Gallery

Expanding The Audience

United Photo Industries’ massive public exhibitions bring modern photography to accessible public spaces

In an era when the resolution of smartphone cameras has reached an astonishing 41 megapixels, and photo filter apps can render even the most mundane moment into a Technicolor feast for the eyes, digital photography may seem to be reaching a saturation point. Surprisingly, however, as digital imagery pervades all aspects of our lives, the reverence for photography in the art world has risen to new levels as proven in the sale of a fine-art photograph by Andreas Gursky auctioned for $4.5 million at

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Travel Photography

The secret to good travel photography is simplicity.

Go Travel!

As far back as 1912, Captain Robert Scott, one of history’s great explorers, realised that photography could complement his travel records in an unprecedented way during his much publicised South Pole expedition. Sadly, Scott died on the return trip, but his photographs survived as a testimony to his bravery. Since then, the interdependence between travel and photography has developed to such an extent that today, they’re almost mutually inclusive. And yet, the one doesn’t necessarily guarantee a good experience of the other.

So, what’s the secret to good travel photography?

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If you are a photographer, you want people to be looking at one thing, and one thing only — the pictures. Content, content, content. Make them big, choose them well and edit HARD. You have two nice portraits of the same person? Choose the best one…simple as that. Using two different pictures of the same thing makes your work look weak. I can’t stand it when someone says to me, ‘Oh, I’m not sure about this next one.’ If you’re not sure, why should I be? Be 100% sure of 100% of your images. Remember ‘IF IN DOUBT, LEAVE IT


THE TROUBLES, the conflict between Unionists and Loyalists in Northern Ireland, began in the 1960s and only really ended in the 1990s after years of negotiation. The Troubles also gave rise to a new wave of photography as people sought to use art to process what was happening to their country.

With his new book, called Northern Ireland: 30 Years of Photography, Colin Graham is exploring this work. Taking 1980 as his starting point, Graham traces the developments in photography through turbulent times.

‘Collectively, these images show a sceptical interrogation of what the politics of Northern Ireland have done to the place,’ says Graham. ‘They’re not looking at political events or figures, but at the effects that high politics has on local lives and spaces.’


The book progresses from 1980 right up to the late 2000s, and in the earlier images we see the beginnings of a complex

Continue reading THE TROUBLES, the conflict between Unionists and Loyalists in Northern Ireland, began in the 1960s and only really ended in the 1990s after years of negotiation. The Troubles also gave rise to a new wave of photography as people sought to use art to process what was happening to their country.

The New Breed

Despite reaching the goals he initially set out to achieve, such as appearing in BBC Wildlife Magazine, pursuing wildlife photography full time is no longer Jules Cox’s ambition.

«You look at these things through rose tinted spectacles when you start out», he says. «You see people like Danny Green, Laurie Campbell and David Tippling, and you think, ‘Wow! What a life that must be’, but then you look at the reality of how competitive it is, and what the market rate for images is, and you say, «Ok … if I’m going to be able to put food on the

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The Go-To Guy

“Become the guy that makes good stuff, knows I people, and makes things happen, and you’re the one they’re going to hire», says Northampton shire-based Adam Duckworth, whose client list ranges from Las-toilet to Suzuki and the Royal Horticultural Society. «Then, once they’ve hired you, you need to over deliver.

«There’s no point looking back to how the industry used to be: it’s about working out what the new normal is, and how you can add value to the things that you do.

«For me, it’s about knowing how editors think, and what the issues are in their market, and

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