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Refinement and Completion blog II

Updated: 6 days ago

Photographers inspiration

Francis Giacobetti

Born: 1939 (age 85 years), Marseille, France

Giacobetti revolutionized nude photography and videography, notably through his untouched work for Lui magazine under various pseudonyms. His fusion of genre photography with artistry, seen in projects like the Pirelli calendars and portraits of famous personalities, earned him acclaim. Giacobetti's distinct style blurs the lines between photography and painting, captivating art enthusiasts with its profound portrayal of human beauty.

I chose this photographer because he was the first to photograph the irises of celebrities. I was curious about his technique and how he positioned the iris and portrait in a single photograph. He is an inspiration for me and for my signature project called UNIC.

Follow Francis Giacobetti (@francisgiacobetti_official) on instagram

Sam Mellish

Sam is an experienced freelance photographer specializing in commercial and editorial photography, boasting over a decade in the industry. Known for delivering high-quality images, he collaborates with clients ranging from local businesses to multinational corporations.

His portfolio showcases versatility, from capturing extreme sports to crafting visual narratives for corporate campaigns. Sam's adaptability and creative vision shine through in his work.

Highlights of his career include coverage of major sporting events like the Olympics, where he's provided extensive coverage for Team GB and other national teams. His images, featured in leading publications, are lauded for their precision and artistry in capturing the moment.

Beyond commercial work, Sam pursues personal projects to explore different themes and styles, always seeking new challenges to push his craft's boundaries.

With a commitment to excellence, Sam continues to inspire with his captivating imagery and unique perspective.

The next photographer chosen as inspiration is Sam Mellish because I really like the contrast in his images, and I was very interested in how he combines images into diptychs and triptychs. It's a technique I'll probably use in my project.

Follow Sam Mellish (@sammellishphoto) on Instagram

Blair Bunting

Blair Bunting is a renowned advertising photographer and commercial photographer in Arizona, specializing in sports portraits of athletes.

I couldn't find much information about the photographer, but there are numerous campaigns featuring their images.

Photographer Blair Bunting creates a distinctively commercial photograph where editing and artificial lights are used quite a bit because the focus is on presenting a product. It's not just about the athlete anymore, who is in the background; it's about the product. Everything has to be perfect in every detail to attract the buyer. It's a completely different style, and I really like the lights placed behind the subject to emphasize the athlete's shapes (silhouette).

Raymond Depardon is a French photographer, photojournalist and documentary filmmaker. Wikipedia

Born: 6 July 1942 (age 81 years), Villefranche-sur-Saone, France

Raymond began his photographic journey at 12 on his family estate in Garet. He apprenticed under a photographer-optician before moving to Paris in 1958.

In 1960, he joined the Dalmas agency as a photojournalist, later co-founding the Gamma agency in 1966. Noteworthy was his coverage of the abduction of François Claustre in Chad, showcasing his versatility as a documentarian and filmmaker.

Alongside photography, Raymond ventured into documentary filmmaking, with notable works like "Une Partie de Campagne" and "San Clemente" in the early 1970s. Joining Magnum in 1978 marked a pivotal moment, leading to acclaimed publications like "Notes" and "Correspondance New Yorkaise."

He received the Grand Prix National de la Photographie in 1991 and the César Award for Best Documentary in 1995 for "Délits Flagrants." Raymond dedicated himself to depicting French rural life, creating a trilogy of films on the subject.

His prolific career has been celebrated with exhibitions and publications, including a significant retrospective in Paris in 2000. Engaging in multidisciplinary projects and assuming roles like artistic director for Rencontres Internationales d’Arles in 2006, Raymond's legacy inspires generations of visual artists with eighteen films and forty-seven published volumes to his credit.

Sports photography, especially on film, has always fascinated me. This renowned giant of photography captured historic moments with analog cameras, and his images convey movement, even in challenging lighting conditions. I was curious about the angles he used to capture the subject in motion. Personally, I've experimented with some techniques at football matches using a 35mm analog camera. Additionally, I managed to find his contact sheet from the Montreal Olympics, where the sequence of frames can be observed.


The photograph used together with AI to improve player performance is a fascinating development, especially considering the increasing global use of artificial intelligence. In the world of sports, particularly in American football, AI is extensively used to monitor athlete performance.

My personal opinion is that AI won't "yet" affect the photographer. While AI technology is very advanced, it still can't be as efficient and competitive as a human photographer. Additionally, in sports, there's a focus on photojournalism, meaning images can't be altered; only cropping and color correction are allowed, while adding or removing elements from the image is strictly prohibited. Sports photographers have been working in much the same way for almost 20 years: they shoot, upload images into software for cropping and adjusting lighting, add metadata, and deliver the image almost in real-time. Once uploaded, the editor selects the images for publication. Here, AI comes into play with new software versions; the editor no longer needs as much time and as many people to select images, as the software can search for exactly what it needs using keywords, reducing personnel and search times. This brings the first negative impact with job losses.

Lately, I've spoken with several renowned photographers, and they all complain about the same thing: a lack of contracts, while clients complain about high photography prices. For commercial purposes, more and more clients are opting for AI to avoid directly owning image rights and to avoid using human persons.

Slowly but surely, modernization will bring changes to sports photography. Is it good or bad for us photographers? The good news is that we're using AI and very fast techniques to upload, modify, and send our work online. In the last 4 years, Photoshop has made huge strides in processing images, with new options for alteration. But there's also a downside: recently, I photographed athletes jumping from trampolines and noticed an amazing change. In underwater photography, there used to be divers with cameras filming the jumps, but now these people have disappeared. We only have cameras fixed in the water, without any human help to capture images. I don't know if it's good or bad, and my research isn't meant to give a verdict, just to make us aware of the changes and form our own personal opinions.

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