CHEYENNE — Saturday’s Capitol Avenue Bronze Project civic dedication was the culmination of more than a decade of planning by Cheyenne gallery owner Harvey Deselms.
“Harvey is one of the most committed people, especially with this project, to just making it happen,” said Jolynn Paulsen, a content creator and social media manager for Arts Cheyenne. “This has been a personal project for Harvey, so it’s just really nice to see the community all come together after this.”
BELFAST — Belfast photographer and author Jim Kosinski’s images from the Maine coast will be on exhibit at the Belfast Free Library, 106 High St., during the month of July. “A Celebration of Light” explores being outdoors in the brilliant natural beauty of our shores, featuring content from Cape Neddick to Jonesport.
Black and white, cyanotype, inkjet and other print making approaches will be on view with images made from film (35mm and large format), digital and pinhole cameras.
“Owls Head, Trail’s End, 1977” by Jim Kosinski.
UNIVERSITY PARK, Pa. — The following is a list of non-tenure-line faculty promotions at Penn State, effective July 1, 2023.
The list of tenure-line faculty promotions is available here.
All images © ARTECHOUSE, shared with permission
How do we perceive light? Immersing viewers in a 360-degree view of the cosmos, Beyond the Light at New York’s ARTECHOUSE meshes artistic expression, technology, and scientific discoveries to explore how light travels through space and time. The cinematic experience utilizes cavernous architecture and screens featuring the highest resolution currently available to present a collaboration with NASA, artistically rendering data captured by the James Webb Space Telescope into radiant, psychedelic visuals.
ARTECHOUSE saw the potential to use state-of-the-art equipment to portray galactic phenomena that is typically invisible to the naked eye. “We believe that art, science, and technology can come together to offer a fascinating experience, and this exhibition is a perfect example of the convergence of these worlds,” says co-founder Sandro Kereselidze. “Conceptualized through many in-person and virtual sessions with NASA’s team of scientists and specialists, this exhibition takes science and data that already exists and brings it to life artistically in a way that’s never been done before.”
Beyond the Light continues in New York City through the summer and will open at ARTECHOUSE’s Washington, D.C., location in the fall. Find more on its website.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Immersing Viewers in Galactic Phenomena, ‘Beyond the Light’ Revels in the Intersection of Art and Science appeared first on Colossal.
Sarah Dees pulls several yellow-tinged booklets out of plastic bags. Flipping through one titled “Life Among the Indians,” she points out sections on ceremonies and customs. Toward the back are ads for so-called “Indian remedies,” products like “Kickapoo Indian Sagwa” and “Kickapoo Indian Worm Killer.”
Dees, an assistant professor of American religions at Iowa State University, explains the booklets were part of a larger marketing campaign by the Kickapoo Indian Medicine Company. It was founded in 1881 by two Euro-American men, one of whom claimed a Kickapoo healer had saved his life with “Sagwa” and divulged its secret ingredients.
“While the Kickapoo Indian Medicine Company no longer exists, there are many examples today of companies that appropriate Indigenous cultures to turn a profit,” says Dees. “By examining these historical instances of cultural appropriation, we can better understand more recent forms that have spread over the course of the 19th and 21st centuries and grapple with tough questions about appropriation vs. appreciation.”
In a new peer-reviewed paper, Dees emphasizes it’s common for people to draw from other cultures. But misrepresenting cultures or “hijacking narratives” for economic gain can cause harm, especially when unequal power dynamics are at play. Dees shows how the Kickapoo Indian Medicine Company pushed stereotypes and claimed authority on Indigenous cultures to sell products to non-Native consumers.
She also highlights several ironies. As “Indian remedies” became mainstream, the U.S. government rolled out policies to restrict Indigenous healing and spiritual practices, which Dees explains are often intertwined.
In the late 1800s, Dees says there was growing interest in “medicines purported to draw on Native American medicinal knowledge.” Part of this was a backlash to the Industrial Revolution and Western medicine’s harsh, sometimes deadly treatments, like bloodletting and mercury compounds.
The Kickapoo Indian Medicine Company advertised its remedies as harmless (because they were all natural) but also powerful in their ability to help people “achieve total well-being.” The company frequently did this by exploiting the image of the “noble savage,” a trope of an Indigenous person uncorrupted by civilization, morally pure and living in harmony with nature.
Dees says one of the reasons this stereotype is problematic is because it suggests Indigenous people must stay in the past to be authentic.
The number of Indian medicine companies declined with the Pure Food and Drug Act of 1906. But interest in Native American healing practices by non-Native people resurfaced again during the latter half of the 20th century. Dees explains an eclectic set of practices emerged with the New Age movement, which drew from earlier spiritualist ideas (e.g., seances, hypnotism,) eastern religions, old European pagan traditions and Indigenous ceremonies.
“One of the big critiques of New Age practices is that they’re very individualistic. It’s this idea that you can buy a blessing or pay $1,000 for a sweat lodge for your own personal betterment when Indigenous religious practices are communal and specific to a nation or a subgroup within that nation,” says Dees.
This extraction of spiritual practices makes it harder for Indigenous communities to control narratives about the history and purpose of their traditions. Some also worry that sharing certain ceremonies and sacred sites with outsiders reduces their potency.
In her paper, Dees points to the 1993 Lakota Summit in which 500 members passed the “Declaration of War against Exploiters of Lakota Spirituality.” It denounced the long process of “having [their] most precious Lakota ceremonies and spiritual practices desecrated, mocked and abused by non-Indian ‘wannabes,’ hucksters, cultists, commercial profiteers and self-styled ‘New Age shamans’ and their followers.”
Whether it’s Victoria’s Secret models wearing headdresses or sage smudge sticks sold on Amazon, companies continue to profit from Indigenous cultures and healing practices. But Dees says there’s also been more interest in finding the line between cultural appreciation and cultural appropriation.
“If someone’s curious or unsure, I really encourage going to the source and finding multiple perspectives. You can learn a lot from Indigenous artists, writers and musicians because they’re going to share stories from their lives and communities that they feel comfortable sharing,” says Dees. “But also, I think it’s good to remember that sometimes there are multiple perspectives. People’s outlooks within one nation may differ greatly.”
She also recommends that people who are interested in Native designs support Indigenous artists rather than buy ‘Native-inspired’ knockoffs.
More information:
Dees, Sarah. Before and Beyond the New Age: Historical Appropriation of Native American Medicine and Spirituality / Antes Y Más Allá De La Nueva Era: Apropiación Histórica De La Medicina Y La Espiritualidad De Los Nativos Americanos. American Religion, vol. 4 no. 2, 2023, p. 17-44. Project MUSE muse.jhu.edu/article/896071
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From 19th century ‘Indian remedies’ to New Age spirituality, research explores historical appropriation (2023, June 12)
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KALAMAZOO, Mich. — FBI Detroit asked for help from the public Monday in providing information related to an ongoing child pornography case.
David Yellen, a well-known gymnastics photographer and videographer, was arrested June 1 on two charges of possession and distribution of child pornography, according to FBI Detroit.
The charges stem from a complaint that alleged Yellen traded sexually explicit photos of minors online, investigators said.
Yellen had been contracted by multiple gymnastics academies in Michigan, and was contracted by the United States Women’s Gymnastics Judges Association to create training materials and films for new judges, according to FBI Detroit.
As of Monday, Yellen lives in Michigan, but has traveled nationally as a gymnastics photographer and videographer, investigators said.
Anyone with relevant information related to this investigation is asked to fill out a FBI Detroit questionnaire online or contact FBI Detroit through email.
In addition, if you or a loved one are feeling distressed, you’re encouraged to call the 24/7 National Suicide Prevention Lifeline by calling or texting 988, or by going online.
Within the rarefied business of art, it’s quite possible that no one in recent memory has accrued more influence while staying further away from the spotlight than James Murdoch.
Late in 2020, Murdoch’s private investment company, Lupa Systems, closed on a deal to become the new “anchor shareholder” of MCH Group, the Swiss parent company of Art Basel. The pact, which gave Lupa Systems the option to acquire up to a 49 percent stake in MCH Group, effectively made Murdoch and his team the firmest hands in steering the world’s best known, most prestigious art fair.
Yet the art world at large knew vanishingly little about Murdoch as a person, a professional, or least of all, an art patron at the time. (It’s not hard to imagine why Murdoch would prefer to keep a low profile; James is the fourth of six children of billionaire media mogul Rupert Murdoch, whose infamy as a magnate of ultra-conservative press outlets is rivaled only by the drama of his personal life.)
Still, this blank space triggered tremendous speculation about even the most basic aspects of his interest in MCH Group or Art Basel. Lupa Systems did little to change this dynamic over the next two and a half years, as neither Murdoch himself nor any of his most trusted colleagues went on the record with the art press to discuss their vision for the companies.
But that all changed this May, when Murdoch agreed to sit down with Artnet News art business editor Tim Schneider for an extended interview just ahead of the 2023 edition of Art Basel. Below is an excerpt of their conversation about his longstanding interest in the brand, his thoughts about the business of culture, and what the latter might mean for Art Basel and MCH Group’s next moves.
Note: This excerpt has been edited for clarity. To hear the full audio version, tune into the episode on the Art Angle podcast.
Lawrence Weiner, OUT OF SIGHT. Courtesy Art Basel.
So we’re recording this interview on May 18, 2023, which is about two and a half years since Lupa Systems closed on its investments in MCH Group. Over that time period, you’ve taken on an almost Wizard of Oz status in the art world as this all-powerful presence behind the curtain that no one has really heard from. So I’m just wondering, why come out from behind the curtain now?
If I’m remembering the story, the reveal of the wizard from behind the curtain is not a great moment for him. I hope it hasn’t been that secretive or in any way elusive. I try to be reasonably quiet and try to get on with the work that’s at hand. And since we invested in MCH Group, we’ve been working with the team there, and with the other investors, and trying to get on with that.
So there’s no real magic to any kind of reveal, nor is there anything sinister or secretive going on behind said curtain. It’s just getting on with the work of what we hope is building a really exciting business.
For the record, I didn’t mean to imply that there was anything sinister happening there. It’s just that if you leave a bunch of journalists alone, as you know, and don’t give them all that much information, they’re going to start speculating. Mystery is a powerful thing.
That’s very true.
MCH Group was not Lupa Systems’ first investment, but it does seem to be an important one based on what I’ve gathered from talking to you in preparation for this interview. Why MCH Group? Lupa Systems, I’m sure, could get in the room with practically anybody in the art world they wanted to. Was this always a particular property that you were interested in, or was there a larger set of options that you went through before deciding that this is where you wanted to focus?
To be honest, I had been focused on, or at least trying to learn about, MCH Group for some years before, and the reason is largely around some of the things that we were doing in our sports business.
It struck me that a lot of the most exciting sports businesses, whether that’s Formula One or IPL [India Premier League] cricket or what have you, they have in some ways the character of a traveling circus. Formula One is probably the best example, where it sets down in a city, there’s lots of different events that happen. There’s a race, there’s culture, people come from all over, and then they pick up and they go to the next town or city, much like a traveling circus.
That ability to convene a broader community—it’s not just the super fans, the tifosi for Ferrari coming and doing this. It’s actually more about this broader moment in a city where something happens with some center of gravity in it. It could be really great and fun for that city, it could be really lucrative for the city and for the owners of the rights, etc. Also, as more and more of our lives are synthetic or digital, the ability to create that [physical] center of gravity goes up because I think it probably becomes scarcer.
And it struck me that there are very, very few real convening centers of gravity in the culture space that have the scale and brand and immediate understanding of a brand as Art Basel. So I had been looking at MCH Group and the Art Basel business for a while, and obviously learned that the business was majority-owned by a group of cantons and so on. So I figured it would be pretty hard to get involved.
Then events intervened. I started to build a relationship with some of the key stakeholders. The openness around potentially having new investors in that business was something that emerged over time as I talked to them and built some trust. And then obviously COVID happened. So it became a real opportunity to not just be able to really help the business but also to become a real partner in the business going forward.
So for me, it actually felt like a pretty natural place to go. When I set up our holding company here, we always wanted to have one or two real focuses—things that were more substantial holdings with more involvement and support. MCH and Art Basel really seemed like a real logical place to start to develop that part of the business.
James Murdoch, then-CEO of 21st Century Fox CEO James Murdoch, at the Vanity Fair New Establishment Summit in 2015. Photo by Mike Windle/Getty Images for Vanity Fair.
I want to key in for a second on the distinction that you and I are both drawing between MCH Group and Art Basel, because it struck me in doing research for this interview that, in the general press, this investment is almost never referred to as an investment in MCH Group. It is almost uniformly described as an investment in Art Basel.
That’s natural, because it’s the most prominent brand in the group to the international press. I think in Switzerland they talk about MCH Group, and they talk about some of the other assets there, but Art Basel is the most recognizable brand.
Should we read into that answer that you don’t necessarily think about Art Basel as being the one gem in this larger portfolio? That you’re really looking at everything that MCH Group has done and can do in a cohesive way?
I think it’s clear that Art Basel is the most prominent brand and the most prominent business in there. MCH has a broader portfolio of both live-marketing event businesses that are global in various other areas, and some more traditional messe [trade fair] businesses. I think Art Basel is clearly a model but also an opportunity to think about a brand within the group that is very, very focused on its cultural and artistic community, that is taking that brand and making it a global brand, be it Art Basel in Basel, in Miami Beach, in Hong Kong, or now in Paris with Paris+. These are really exciting attributes of that business, and I also think attributes that will be added to over time in terms of capabilities. So I think it’s clearly the most prominent business within that group, but there are other things to be done.
It sounds like you’re essentially talking about a dual understanding or dual interpretation of what MCH Group can be. On the one hand, you’re talking about it being enticing because it is a live events business in an increasingly digital world. But on the other hand, you’re also talking about it as being a global brand that has the potential to do all these other things besides just live events. Is that fair?
I wouldn’t worry too much about MCH and the things that might happen there versus Art Basel. Right now, the Art Basel piece of it is a core focus because it’s the biggest brand globally in the group. There are other businesses there, so I don’t want to shortchange things, but I think Art Basel is just an incredible example of how powerful culture can be in convening and, if I think about the impact of bringing a major fair like Art Basel to Miami or something like that, how powerful it can be in the broader community. I don’t just mean in the city but also in the cultural life of the city: the other events and other things that come out that can kind of be chaotic and raucous but are also part and parcel of that ‘traveling circus’ notion.
Now, in today’s age, you don’t go and say, “I’m just going to go have a live event and I’m going to go away.” The question is, how do you build connectivity to those brands? How do you build connectivity within that community? How do you serve that community better? You might have a center of gravity in a live event. But not everyone can go to the live event, or people want to have connectivity across the calendar.
One of the reasons why Paris was so interesting was that it really plugged an autumn hole for us. So now we have a major event in each of the seasons, if you will, and in different parts of the world, and I think that just helps build more connective tissue within that community and around the Art Basel brand, which we want to enhance further.
neugerriemschneider gallery’s presentation at Art Basel Miami Beach 2022. Courtesy of Art Basel
In my mind, that really seems to be a defining characteristic of Art Basel historically. I interviewed Marc Spiegler, the former global director of Art Basel, on this podcast a few months ago, and we had a long conversation about how one of the things that really struck him about Art Basel Miami Beach when he was still covering it as a journalist was that, like a lot of people, he didn’t really understand how much else was already happening in Miami from a cultural perspective. It took this signal event to start to pull together all these different threads.
It sounds to me like you’re talking about something that is essentially that same dynamic playing out on a larger scale now in these different markets over time.
I hope so, and I think encouraging that is important.
The Miami example is an interesting one. I think you put it very well: a signal event that helps you realize what else is going on, but it also can be a catalyst.
It’s not just about the fair itself, although obviously our focus is to make it as excellent a service for the community as we can. But it also becomes a catalyst for a broader engagement with the community from a creative perspective. Because of the authenticity of the brand, and because people understand to some extent what they’re going to get in each fair—each location obviously is a very different flavor, which is good—I think it’s something that hopefully gives the business the permission to start to grow the way it thinks about engagement with the city and with the community in general.
I think there’s other cultural events that aren’t art fairs that the Art Basel brand can also be thinking about over time. It’s early days. We’ve been invested for, as you said before, some two and a half years. A lot of that was just coming out of this COVID period, kind of rebuilding, supporting the team, trying to move through this.
So the next phase of it, I think, is going to be one more characterized by development and innovation. I’m very excited about it. As I said before, I think these events are very rare at this level of quality and with this level of authenticity. The folks who run Art Basel and MCH really understand how precious that is. Keeping that focus on quality is fundamental.
Late in 2021, Art Basel began providing industry expertise and promotional support in collaboration with regional art events in the Asia Pacific, namely Art Week Tokyo in November of 2021 and Singapore’s S.E.A. Focus fair in January of 2022. Also, in January 2022, MCH Group acquired a 15 percent stake in the parent company of the ART S.G. fair in Singapore, which debuted this year after a long gestation period.
Now, these are very different projects from one another, and they’re also very different from if MCH Group or Art Basel were to expand again in Asia by launching another new wholly owned art fair of their own in a new city. How do these kinds of alternative or more nuanced engagements with new markets fit into MCH Group’s future?
I don’t want to get too much into the weeds on how the company is thinking about those things, but those are partnerships that are all valuable and important to the group, and in some ways, it’s important to understand those local markets and to have local partners there as you start to think through the future. So it’s worthwhile having these things at different levels.
But I also think in the future there are ways to think about the Art Basel brand, not just about the signal events, meaning the big fairs. I’m not sure how many big fairs the market sustains. Paris we thought was just an incredible opportunity, particularly ahead of going back into the Grand Palais next year after its renovation. But I think there’s an appetite for culture and particularly for really exciting, new, and challenging storytelling, whether it’s fine art or film or what have you. I think there’s a real appetite for that everywhere.
So the combination of the curatorial excellence, the brand, the commercial knowhow, etc., that can all be developed—and much of it is there—can lead to other types of experiences that will emerge in different places as we move forward. If you look at the growth in the immersive environments today, where you have people touring shows around the world and selling tickets, from the Van Gogh immersive business to the Museum of Ice Cream, I think there’s a real appetite and a demand for things that are different and new, and you want to be in the business of working with creators that are developing new ideas for these communities as you go along. It’s the same reason why we partnered with, and invested in, the Tribeca Festival, which is an audience festival really focused on independent storytellers across film, television, multimedia, technology, immersive, games. That is a platform for creators to really showcase work that may not be available to people otherwise.
An enormous Van Gogh self-portrait greets visitors to “Immersive Van Gogh.” Photo by Ben Davis.
I’m glad you brought that up because I wanted to talk about Tribeca’s relationship to MCH Group in terms of how you’re thinking about these cultural properties and how this concept of storytelling plays out in each of them. You just mentioned how diverse the programming in the Tribeca Festival is. People listening to this may not realize that what they probably know still as the Tribeca Film Festival no longer actually has “film” in the name. It’s just the Tribeca Festival, and that seems to be a very deliberate move on the part of the company under Lupa Systems’ management or influence—however you want to put it—to signal that this is about something bigger, broader, more expansive than it used to be, and maybe there are more possibilities here to get interested in and to connect with an audience through.
Well, first of all, they’re separate businesses, and with Tribeca Enterprises, the company behind the Tribeca Festival, the founder, Jane Rosenthal, runs the business. She’s our partner. She and Bob [de Niro] founded it some 20-odd years ago after 9/11. Obviously the story is reasonably well known, but it was really her vision to expand that. And she started particularly with the immersive work and the other things there because I think—and I agree with this—she found that the canvas, if you will, is so broad in terms of what storytellers are doing.
Really interesting storytelling, whether it’s in video games or more traditional filmic storytelling, was something that really could be conceived of as one, again, kind of cultural platform where those creators feel like they can highlight their work, and then we can bring a large audience to that experience. Film is obviously still a central part of it, but we take a broader view of what that creative landscape looks like, and hopefully that leads to different kinds of collaborations between artists in the future.
It leads to different ways to be able to connect those artists with the community at large, and to connect other brands to that community as well. Our investment in Tribeca was actually right before COVID. Then we had a couple of years of doing outdoor [programming]. We did drive-in theaters the first year to try to get people to have something that was fun and good out there. That was hard. And then we went back to a live event. Most of it was outdoor in the beginning. Now it’s getting back into using theaters more and other things, as we did last year.
For me anyway, it comes from the same place, which is that these convening opportunities for people who are really passionate about the creative arts in whatever medium are, if not unique, then rare, and the opportunity for growth is in developing them over time and thinking about what the other possibilities are, whether that’s in new markets, or whether that’s in growing the kinds of services or other things that you can provide to that community.
Most of the events businesses have some tickets, they have some sponsorship, they do things like that. They pay some rent. At Art Basel, we pay rent and we charge rent, we provide other services to mount the event, we help connect people, et cetera. I think there’s a lot more we can do to provide, as I said before, this real connective tissue in these communities.
If I look at the customer of a cultural business like this, the customer is the community at large. We have to support the galleries that we work with. We have to support the artists. We have to support collectors and collecting institutions, and we have to be a key part of the community that it takes place in more broadly: the city, the people, the local government, et cetera, that you have to work with.
So I think the customer is complex in that way. And that also creates opportunities, I think, to create new businesses as you go along. Tribeca starts in a few weeks and it’s a really exciting program. Unfortunately it overlaps right with Art Basel, so I don’t get to go and enjoy these events directly as much as I’d like. It’s mostly a lot of meetings. But I’m really excited about the Tribeca brand, as I am about Art Basel. I think they’re brands that are, in a weird way, bigger than the businesses, and that’s a real opportunity for growth.
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Global leaders and key decision makers to convene and identify how destinations can attract talent, tourism, investment, and improve quality of life for communities
HOUSTON , June 12, 2023 /PRNewswire/ — Houston has been selected to host the 2024 City Nation Place Americas Conference, as announced by City Nation Place Founder and Director Clare Dewhirst during the organization’s conference in New Orleans on Thursday.
The Houston event will gather some of the world’s leading place branding experts who are breaking down the silos between tourism, economic development, and city governance in order to create authentic place branding and marketing narratives for destinations.
“We are pleased to bring our annual conference to Houston, a city that is collaborating across placemaking organizations in business, tourism and other arenas to build a better place,” said Ms. Dewhirst. “In choosing host cities for our event, we look for those places that not only have the capacity to accommodate us, but also a great placemaking story that our attendees can learn from. We know that’s the case in Houston and we’re looking forward to Spring 2024.”
The 8th Annual City Nation Place Americas Conference in Houston also will feature a multi-day program that includes new research case studies focusing on topics such as collaborative approaches between economic and tourism development teams, community engagement tactics, infusing or evolving a brand’s story, and effective ways to promote quality of life, among others.
A detailed agenda outlining the 2024 keynote speakers and panels will be revealed at a later date.
“Placemaking is a part of our business in promoting the Houston region – working each day to ensure that we remain an attractive destination and growing that reputation,” said Houston First Corporation President and CEO Michael Heckman. “That’s why we are excited to welcome placemaking leaders from across the U.S. and Canada to Houston for this conference. Hosting our colleagues from many different destinations gives us an opportunity to showcase the best of Houston and glean new best practices from others while at the same time demonstrating our own position as a leading global destination.”
City Nation Place provides a forum for municipalities and destinations to collaborate and share best practice on place branding and place marketing strategies in order to generate sustainable tourism and economic development, improve the quality of life for citizens, and encourage global cooperation.
To learn more about City Nation Place’s team and how they are helping places improve their destination marketing strategies, visit www.citynationplace.com.
About Houston First
Houston First Corp (HFC) is a local government corporation and the official destination marketing organization for the country’s fourth largest city. In addition to serving as operator for the George R. Brown Convention Center and some of Houston’s most prominent art, entertainment, and event venues, HFC is focused on promoting the city’s vibrancy and rich tapestry of culture. By harnessing the city’s collective energy, ambition, and creativity, including its diverse culinary scene, world-renowned performing arts, medical and space innovation, and elite filming locations, HFC is solidifying Houston as a premier national and global destination. For the latest news and info regarding HFC, visit www.houstonfirst.com.
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Jennie Bui-McCoy
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Crowd-funded projects mix excitement – because they can represent genuine innovation – and frustration – because things take a long time to make it from idea to reality. They don’t usually present the chance to get you shot, but this one, by Stockcam, definitely does!
• You could consider a stabilizer with camera controls like the Ronin RS3 Mini.
The offering is available for early birds at Indegogo, but Stockcam has also created a page to look for early enthusiasts for the gun-shaped camera cage.
OK, we can see some conceivable advantages to the design when it comes to holding the camera steady with the shoulder rest, and there are places for fill lights or microphones to easily be attached. There are mounts for a couple of lenses in the adjustable shoulder rest, There is even a tripod mount.
It might even actually make a lot of sense. After all, guns are designed to be steady when aiming. Guns, though, tend to be associated with another purpose, and here is where we run into a problem. One heavily exaggerated by the Stockcam campaign images which don’t exactly steer away from the soldier look!
Size-wise, the ‘gun’ is 500mm long, a similar length to the legendary AK-47 popular with terrorists (at least in 80s movies), rather than the longer but more accurate M4 that US soldiers use today, which is about twice as long again.
That makes sense – here the ‘scope’ (or camera) is the key component, and the butt provides the stabilizing element resting on the photographer’s body. The thing is, through the eyes of a nervous law enforcer, will that be obvious? Or will it cause panic in public places? It looks very gun-like, and a slightly chunky-looking scope isn’t dissuade a nervous officer (and people get nervous when you wave a ‘gun’ around).
In the US alone, law enforcers shot and killed 1,097 people in 2022 – a trend that is steadily rising. That’s just the police. What about worried folk trying to protect their property? We live in a time of heightened concern and there are plenty of armed citizens in some countries, including the US.
Holding this in your hands is essentially handing someone an excuse to walk away from a 2nd-degree murder (manslaughter) inquiry with no punishment. In 2014 at 12-year-old boy, Tamir Rice, was shot by a police officer because he had a toy gun. There were other aspects, but in the inquiry it was noted that the toy didn’t have an ‘orange tip’ that would make it easy for the police officer to see that it was a toy.
Guess what, nor does the Stockcam. In fact, it is needlessly gun-like. Instead of a safety switch, it has a similar switch to choose focus modes. The shutter is, of course, connected to a trigger. And it is called “Fun and engaging” by its designers. That just feels a bit wrong.
So it’s a tool, being marketed a bit like a toy, that might get you shot. Still, I bet it feels somehow more powerful and important to hold it than a traditional rig!
By all means, give it some thought, or be proud to be a photographer and choose something from our best camera rigs guide.
