Welcome to the Macro Photography Competition
Submit Your BEST Images in the 2017 Awards.
Macro photography represents a unique way to capture the bare-bones essence of a given subject, proving that sometimes up close and personal really is the way to go. A good macro brings the viewer in for an intimate look at details that could easily be missed when they’re merely one part of the big picture, so to speak.
We’re looking for submissions that exhibit all the hallmarks of skilled macro photography, including an understanding of the ideal amount of sharpness and exposure needed to bring a close-up to vivid life. Our judges are also looking skill in use of color, perspective, and composition – the building blocks of excellent macro work.
Allan Markman is a 67-year-old passionate about photography, from New York. For nearly 2 years he’s been collecting and arranging tiny and abandoned objects that he uses before they decayed and decomposed, losing what he assumed was their beauty. Confronted with the poignancy and impermanence of their nature, he learned to see these changes as beautiful in and of themselves. His projects are an echo to the precepts of the Japanese philosophy Wabi-sabi. The universe helped to transform the perception of the overlooked, humble, transitory and trod upon into objects that offer a beauty, clarity, and radiance that might otherwise never have been revealed.
Markman has quite a few key accomplishments under his belt such as (but not limited to): formerly Art Direct of the Grafic Design Department at the United Nations in New York and finalist in the 2016 Critical Mass Competition.
“For a while I had been photographing and then colorizing the shapes formed from the cracks in sidewalks, spending a lot of time looking down at the ground. Consequently, I began to find bits of detritus that I took home and photographed in traditional macro style—very close, simple studies of abandoned objects from nature and man, such as acorns, shells, rusted washers, screws, berries, or leaves. At some point it dawned on me to combine and compose these commonplace artifacts into tiny yet transporting still lives. ‘Still Life’ was no bigger than 3-4in.”
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