Category Archives: colour

International Color Awards 2020

Two Honourable Mentions and Five Nominations

Thrilled to share that the judges of the 13th International Color Awards have kindly awarded two of my images and nominated a further five, out of the 6093 entries received.

Wonderful to see such a wide reaching panel, comprised of jury members from Newsweek, New York; Apartheid Museum, Johannesburg; The Art Channel, London; Netflix, Los Angeles; Koller Auctions, Zurich; Preus Museum, Norway; Galerie Mitterrand, Paris; Fila, New York; Wieden & Kennedy, Portland; Kolle Rebbe, Hamburg; Fox Broadcasting Network, Los Angeles; Gallery Kong, Seoul; Mini / BMW Group, London; and the Royal Academy Of Art, The Hague, Netherlands.

Honourable Mentions


A lady photographs her friend using a smartphone. Upper deck of the Snog frozen yoghurt bus. South Bank, London, UK. July 16, 2019. Photo: Edmond Terakopian
  • Lumix S1R
  • Lumix S Pro 24-70mm f2.8 lens


A Surreal Stream. A bubble performance by a street entertainer. Daily Life, London, UK. October 07, 2019. Photo: Edmond Terakopian
  • Lumix G9
  • Leica DG 10-25mm Vario Summilux



A Piccadilly Ballerina Jonquil timepiece, modelled by Mona Ali. British luxury timepiece creator Backes & Strauss (founded in 1789). 21-22 Grosvenor Street, Mayfair, London, UK. July 17, 2019. Photo: Edmond Terakopian
  • Lumix S1R
  • Lumix S Pro 24-70mm f2.8

Fine Art

Natural History; A Bridge To Our Past. A portrait of Andre Sanganoo-Dixon with a 3D printed replica of the dinosaur skull of the Natural History Museum’s iconic Diplodocus carnegii. London, UK. May 09, 2019. Photo: Edmond Terakopian
  • Lumix S1R
  • Lumix S Pro 50mm f1.4
  • Elinchrom monolight


Fashion designer and independent British luxury brand, Joshua Kane, in his flagship store at 68 Great Portland Street, London, UK. July 23, 2019. Photo: Edmond Terakopian
  • Lumix S1R
  • Lumix S Pro 24-70mm f2.8


Jan Hellebrand assembles a mechanical clock after a full dissasembly and service. The Clock Gallery, Pitshanger Lane, Ealing, London, UK. July 16, 2019. Photo: Edmond Terakopian
  • Lumix S1
  • Lumix S Pro 24-70mm f2.8


In Armenian mythology, the pomegranate is celebrated as a symbol of life and is also believed to keep us safe from evil spirits. It has religious connotations to Christianity and is seen as the blood of Christ. The mythology of ancient Greece regarded this fruit as the symbol of life, marriage and rebirth. The fruit is also used as a holy symbol and respected in zoroastrian worshipping ceremonies and rituals.The pomegranate symbolises the soul’s immortality and the perfection of nature for Zoroastrians. For Muslims, the pomegranate is also a symbol of beauty, it is said to give beauty to those who eat it. Prophet Mohammed has advised pregnant women to eat pomegranates if they wanted beautiful children. Placement of pomegranate trees in the gardens of Eden, brings meaning for Muslims, who as a result believe that it is a holy tree. The Jewish mysticism called Kabbala reveres the pomegranate in many of its rituals. In modern Turkey today, many families throw a pomegranate on the floor and “crack” it on the New Year’s Eve to have a plentiful new year. Pomegranate still life. London, UK. July 16, 2019. Photo: Edmond Terakopian
  • Lumix S1R
  • Lumix S Pro 24-70mm f2.8

As a side note, when putting together this blog post’s images, I was quite surprised at just how many of these images were made using the extremely versatile, new Lumix S Pro 24-70mm f2.8 lens. In fact these were all shot using a pre-production lens ahead of its release. Some of these images were also used in the Panasonic Lumix international launch campaign for the lens, which I was commissioned to shoot.

Winning Image In The 12th International Color Awards

Merit of Excellence

Light and shadows make patterns and shapes in the Tate Modern Turbine Hall, Bankside. London, UK. April 26, 2018. Photo: Edmond Terakopian

Very happy to share that one of my images has won second place, a “Merit Of Excellence”, in the Professional Category of the Silhouette section, in the 12th International Color Awards. The image was kindly chosen by judges from 7241 entries, from 79 countries.

Many congratulations on all the other winners and nominees and my thanks to the judges for their hard work.

It was shot on my Panasonic Lumix G9 with a Leica DG 50-200mm f2.8-4.0 lens (giving an equivalent of 100-400mm). The raw image was processed using Lightroom and finished in Alienskin Exposure X4 on my Mac Pro, using calibrated Eizo CG monitors for colour accuracy.

DataColor Webinar Recording

Reportage & Street Photography

For those who couldn’t join in live on my webinar earlier this week, courtesy of DataColor, here’s a recording of the webinar. It lacks the Q&A which went on for around 30 minutes after, so feel free to post questions here instead.

Datacolor Webinar

My Free Online Seminar On A Few Things Photographic

The sun sets over Margate Sands. Kent. April 15, 2014. Photo: ©Edmond Terakopian

The sun sets over Margate Sands. Kent. April 15, 2014. Photo: ©Edmond Terakopian

Hope you can join me on May 21st, 2014 at 7pm BST (British Summer Time) for my webinar. I’ll be chatting about my photography, workflow and getting accurate colour and focus, amongst other challenges met by today’s digital photographer.

Sign up for free, HERE. Hope to see you online!

My Workflow Using Aperture and Nik Software Plugins

My Workflow Using Aperture and Nik Software Plugins from Edmond Terakopian on Vimeo.

A free online webinar workshop hosted by Nik Software. I’ll show how I use Apple’s Aperture in combination with my favourite plugins from Nik Software; Viveza 2, Silver Efex Pro 2 and Sharpener Pro 3. I’ll also demonstrate how the same plugins work within a Photoshop environment. Regardless of which platform you’re on, you should find something of interest as the plugin interfaces and use are practically the same. This is the recording from the webinar on June 7, 2011.

For those who missed the live webinar on June 7th, 2011, here is a recording of the event. Due to it’s format, sadly we’ve had to cut out the Q&A session, so do keep your eyes on this blog and Nik Software’s pages to find out when the next webinar will be.

Sekonic C-500 Prodigi Colour Meter

Getting Colour Right

Colour; it can be the cause of endless head aches. With digital photography, we’re in many ways quite lucky as we can set custom white balances and even dial in degrees of Kelvin (which is unit for the measurement of temperature and in our case, colour temperature).

However, most photographers are quite lazy in this and will shoot in auto white balance and hope to correct things later in post processing. This is not such a bad thing if one shoots RAW but I’ve seen many colleagues shoot jpeg and then try and correct the most horrendous colour casts and end up ruining perfectly good images as a result. Even for us who do shoot RAW, we’re still reliant on finding a neutral grey to click our white balance tool on and tweak the slider until it looks right. To do this, we’re also relying on our monitors and laptop displays to be accurately calibrated.

In the world of video it gets much more complicated and many times more time consuming. To make things worse, any extreme colour corrections can lead to a degradation in quality as unless you’re shooting with a RED One, you’re not shooting RAW.

The Sekonic C-500 Prodigi Colour Meter. Photo: Edmond Terakopian

For anyone who hasn’t tried it, setting a custom white balance involves photographing a white (or grey) card and choosing that image as a custom setting. This works extremely well and allows for exact colours, even in pretty extreme lighting conditions. The only downside to this is having to stop and either use a white balance tool (EzyBalance) such as those made by Lastolite or try and find a notepad with white paper that is big enough to photograph. An extra step is then needed to set the white balance to custom and finally to choose this image as the reference for the custom white balance. It is rather longwinded.

If shooting on a tripod with creative and spot lighting, it can also be an extra head ache as the camera has to be taken off the tripod, brought to where the light is falling on the subject, white card photographed, then set and finally put back on the tripod and set up again for the shot. Even adjusting power settings or diffusion on lights can change the colour temperature.

This is where a colourmeter comes in to save the day. It involves the photographer holding the light receptor in the light being photographed, with it pointing back towards the camera. A measuring button is then pressed and it gives an exact Kelvin reading of the colour temperature. All you then have to do is to set this on the camera and shoot away. In a photographic situation I also sometimes just make a note of the temperature in different areas I’m working and then input these onto the RAW files when processing them on Aperture 3. Both systems work equally well. Naturally for video work though, one inputs the Kelvin reading into the camera before doing a shot.

Many years ago I tried using a Minolta colourmeter (designed in the days of film) with limited success; it certainly improved upon the auto setting but I still needed to tweak my shots. Sekonic, with the C-500 and C-500R (for pocket wizard connectivity) has brought out the world’s first digital and film colour meter. The spectral sensitivities of film and a digital sensor are different and by catering for both (you can change this in the mode setting) it works perfectly with digital cameras. For film shooters it can also give index readings for filters.

As is my way with tests, I took the Sekonic C-500 out with me on assignments. I used the meter with both a Canon 5D MkII (which uses a CMOS sensor) and a Leica M9 (which uses a CCD) and the results were great. On one event in the Army and Navy Club I photographed in a variety of artificial lighting conditions and the results were pretty much spot on. The meter can be tweaked to work with particular cameras even more accurately.

I also decided to do a set of video tests and using an X-Rite ColorChecker as a test subject, I shot film clips using the Canon 5D MkII in various lighting conditions from bright sunlight to extreme shade and also artificial light. The results again impressed.

All was not perfect though; although the meter has the ability to measure from 2300 to 20,000 Kelvin, it doesn’t seem to work in dim lighting and constantly gave an “Under” message. This happened even if the meter was brought right up to the light.

On the whole though, I have to say that I’m impressed with the meter and in all but the most extreme low light, it worked well. I think that any photographer who works in colour would do well to contemplate getting one of these and it’s an absolute no-brainer for anyone involved in video.