World Photography Day: A Glimpse Into the Lens of Rising Prodigy — Vidyun R Hebbar

World Photography Day: A Glimpse Into the Lens of Rising Prodigy — Vidyun R Hebbar

“If you want to live and thrive, let the spider run alive,” quotes Vidyun R Hebbar, one of India’s budding young photographers, as he takes us through the journey of his lens — capturing spiders, geckos, ants, birds and more in the bustling tapestry of Bengaluru.

Honoured with the prestigious Young Photographer of the Year Award in 2021 at the Wildlife Photographer of the Year competition — often hailed as the ‘Oscars of Wildlife Photography’ — Vidyun, at the tender age of 12, stands as a prodigious talent.

His photographs have also been highly commended in the 2020 edition of Wildlife Photographer of the Year. Adding to his laurels, he recently earned a Special Mention at the NatureInFocus Festival 2023.

On the occasion of World Photography Day 2023, The Weather Channel India brings you an exclusive interview with the young talent. Vidyun takes us on an incredible exploration of his photography journey, unveiling stories that breathe life into his brilliant captures, and his future plans to pursue photography professionally and explore Antarctica someday.

How did you get started with photography? What was your first photograph ever?

It was back in 2014 when photography first caught my interest. My father, who also has a passion for wildlife photography, won the category award under Amphibians and Reptiles at the Wildlife Photographer of the Year competition in 2014.

Seeing my father on the big stage, receiving the award, inspired me a lot. As soon as we returned from the event, I asked if I could try the camera. So, I picked a camera for the first time when I was around three years old and clicked my first photograph — a photo of my father.

I started learning when I was six years old, and I have been pursuing photography ever since, with a focus on nature photography.

Why nature photography? Are there any subjects or elements that you look forward to capturing the most?

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

City Signature

(Vidyun R Hebbar)

It was my father who inspired me to take up nature photography. As for my favourite subject, I would say it is the ‘Signature Spider’. It was this spider image that first got me the Highly Commended Award at the Wildlife Photographer of the Year in the under 10 years category.

This particular spider species is very common in and around Bengaluru, getting its name from the unique way in which it weaves its web. It makes white signatures around its legs that reflect UV rays, making it look bigger to its predators. I find it very interesting as a subject, and since we find it a lot around here, I have ample opportunities to capture it creatively.

Moreover, I am very passionate about macro photography, where I capture small bugs, spiders and butterflies. In macro photography, we go very close to our subject, and the images give us an extreme close-up (one is to one) of the subject.

While I focus more on bugs and geckos, I’m also exploring street photography and creating creative ads for fun.

Do you have a favourite photo? What’s the story behind that shot?

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

Sun Bath

(Vidyun R Hebbar)

It is really difficult to pick one, but apart from the spider captures, I think this photo of a Gecko is very special to me.

I clicked this in Sringeri (a Karnataka town located in the Western Ghats) when I had just begun photography. I remember being very tired after taking several photographs quite early in the morning. Just as we were returning to our grandfather’s car, my father spotted this Gecko, and I got close to it and captured the shot from the car.

Where do you like to click most of your photos? Do you have a favourite spot?

It would be the parks and gardens of Bengaluru. Now we know it as India’s Silicon City, but one of its original nicknames is the ‘Garden City of India.’ I go to parks near my home, and once we choose a spot depending on the light, I’m ready with my camera to click photos. During holidays, we also visit the outskirts of Bengaluru for my captures.

As for spots outside Bengaluru that I love the most, it would be the forest-like areas near my grandfather’s place in Sringeri. There, I get to shoot a lot of rare species and subjects that you wouldn’t find in cities.

You have been awarded the Young Photographer of the Year Award in 2021 and have been highly commended in the Wildlife Photographer of the Year Competition in 2020 as well. How do you feel after getting recognition at such international events?

Blue on green and red. (Vidyun R Hebbar)Blue on green and red. (Vidyun R Hebbar)

Blue on green and red.

(Vidyun R Hebbar)

Winning these awards is always a proud and joyous moment for me. When I get recognition and exposure at such international events and competitions, I’m more motivated to click good images.

Moreover, I love being on the stage. When receiving the awards, speaking in front of such inspiring people is a proud moment for me. I feel happy and elated when people come to congratulate me, discuss my work and click photos with me.

Advertisement

How do you prepare for these international photography events? Have you met any photographers who inspire you at these events?

The process and submissions are mostly online, but when it comes to selecting the photos, firstly I focus on the creativity behind the photos and their uniqueness. It is an added plus if it’s a rare species, but I’m yet to capture one of those.

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

Living in Harmony

(Vidyun R Hebbar)

Also, my father and I are part of a forum called Creative Nature Photography. It is a collective of many acclaimed photographers. Here we upload creative images, and the senior photographers are always there to mentor us with their suggestions. In fact, their guidance and support have also helped me improve my work and think creatively for competitions.

I also enjoy meeting senior photographers at competitive events. Recently, at the NatureInFocus Ceremony, I had the opportunity to interact with Dhritiman Mukherjee, who is a senior wildlife photographer. His journey and work motivate me to explore photography more.

Tell us about the recent ‘Special Mention’ you received at the NatureInFocus Festival 2023. What is the story behind Gecko’s Garage?

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

Gecko’s Garage/ A Peep

(Vidyun R Hebbar)

Well, Gecko’s Garage is definitely one of my favourite stories. At the time, we were vacationing in the Andaman Islands. We had stopped at a hotel in Diglipur and were having dinner. I looked up, hoping to see some stars, but all I saw was the ceiling and the lamp, and suddenly this green emerald Gecko caught my attention.

After we finished dinner, my mind was still stuck on the gecko. I remember thinking what a great photo it would be. So, while everyone was busy, I just took my camera, climbed up a table and clicked the Gecko hiding in the lamp.

What are the challenges you face as a young photographer? How do you balance school life with photography?

Mostly, I photograph on weekends and holidays, and spend some time after school processing and editing my images. But a major challenge with macro photography is that we have to go quite close to the subject. There’s always a chance that it might get disturbed and fly away, so I have to be very vigilant and cautious while approaching them.

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)
(Vidyun R Hebbar)

Although sometimes the subjects are ready to cooperate, and I think spiders are the most cooperative subjects. That’s also because they don’t want their prey to spot any vibrations around them, so they don’t move a lot, especially among arthropods. But then dragonflies are very jumpy and quite difficult to capture, so you have to approach them at a snail’s pace.

For a young photographer like you, we’re sure sky’s the limit. Do you look forward to pursuing professional photography in the future? What do you dream to achieve as a photographer?

Definitely! I plan to pursue photography professionally; in fact, I want to be a wildlife photographer. But there are a few fields that I find equally interesting like geology, especially collecting and photographing rocks. I also hope that I could train to become an astronaut one day, so I can pursue astrophotography.

Among these plans is my dream to visit Antarctica someday, to shoot underwater images, explore the difficult terrain, and even see if I can find spiders and capture unique and endemic species — or even discover a new species!

Are there any other images or memorable images or anecdotes that you would like to share with us?

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

The Reflection

(Vidyun R Hebbar)

I’m also fascinated by birds, although they are very difficult to capture, I try and capture them whenever I have the chance. Among birds, this grey wagtail is one of my favourite captures so far, I shot this during the lockdown in 2020. I was surprised to find it playing and looking at itself in the mirror of cars and trucks every day. This is one of the best images I had captured back then, and it was a fascinating experience.

But, I think there are a few more spider images that have been some of the most memorable ones for me to shoot. This image is called ‘Dome Home’, and it was particularly hard to capture because of high-speed winds and vehicles moving in the background. I remember getting only three good shots out of the hundreds of images I captured that day.

Dome Home. (Vidyun R. Hebbar)Dome Home. (Vidyun R. Hebbar)

Dome Home

(Vidyun R Hebbar)

But the one with the spider right in front of Pikachu has to be my favourite. The spider was right in front of the painting, and I thought it would be a great image if I framed it well with colours in the background. That’s how I got this shot which looks like Pikachu is ready to gobble up the spider.

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

Pikachu eating a spider

(Vidyun R Hebbar)

Then there’s a tunnel spider that I clicked at my native place, and I really loved how it turned out, looking like it was sitting amidst glittering jewels, with the dewdrop background.

Gecko's Garage (Vidyun Hebbar)Gecko's Garage (Vidyun Hebbar)

House of Lights

(Vidyun R Hebbar)

I wish my friends and other people would not be so scared of spiders and lizards. I hope to specialise in arachnology (the study of spiders) to spread awareness about these friendly beings and their importance to our environment.

For more of Vidyun’s amazing work, check out his website ​and Instagram.

**

For weather, science, and COVID-19 updates on the go, download The Weather Channel App (on Android and iOS store). It’s free!

‘Offensive’ murals can be covered up despite artist’s objections, Second Circuit rules

‘Offensive’ murals can be covered up despite artist’s objections, Second Circuit rules

A federal law protecting artists from having their works destroyed doesn’t mean their art can’t be covered up.

BURLINGTON, Vt. (CN) — The Vermont Law School can cover up murals that it believes are racially insensitive even though the artist objects, the Second Circuit held Friday in a case that pitted artistic freedom against the post-George Floyd effort to rectify images of the past that no longer reflect contemporary social attitudes.

Although a 1990 federal law protects artists against having their works modified or destroyed, the law “does not mandate the preservation of art at all costs and without due regard for the rights of others,” U.S. Circuit Chief Judge Debra Livingston wrote in a unanimous 39-page opinion.

At issue are two 8-by-24-foot murals painted in 1993 by artist Samuel Kerson, who is white, depicting the history of slavery and of the Underground Railroad in Vermont. Although the murals were initially praised, by 2001 they began drawing criticism for their images of black people.

According to the ruling, the art was derided as “depicting enslaved African people in a cartoonish, almost animalistic style” with “large lips, startled eyes, big hips and muscles eerily similar to ‘Sambos’ or other racist … caricatures.”

Matters came to a head after the 2020 George Floyd protests, when more than 100 students, alumni, faculty and staff signed a petition asking to have the murals removed.

Kerson objected and claimed that removing the murals would violate the Visual Artists Rights Act of 1990, which prohibits the “destruction … distortion, mutilation, or other modification” of certain artworks without the artist’s permission.

Because the murals were painted directly on the walls of the school’s community center, the school determined that it couldn’t move them without destroying them, so it proposed instead erecting a wall of opaque acoustic panels two inches in front of them that would permanently remove them from view.

Kerson sued, but the Second Circuit sided with the law school, reading the statute literally and finding that blocking anyone from seeing the murals doesn’t “destroy” or “modify” them.

“There is no dispute that after the acoustic panels were affixed to the wall of the Chase Community Center, the murals remained fully intact,” Livingston wrote.

“Indeed, the wall was designed so as to not touch the murals and thus did not physically alter them whatsoever, let alone ruin them or render them unrepairable. Thus, [the law school] plainly did not destroy the murals by erecting a barrier shielding them from view.”

Livingston also held that, under the law, “modification … does not encompass merely concealing an artwork from view in a manner that does not otherwise alter the work.”

“In the context of a work of art,” she wrote, “‘modifications’ clearly include certain alterations to the work itself, such as an additional brush stroke, erasure of content, or reorganization of a movable component. Modification, as conventionally understood, does not include concealing a work of art behind a solid barrier, assuming the work remains intact while hidden from view.”

The 1990 law applies only to works created after its passage, so the ruling will have no effect on Confederate statues and other antique monuments. But there is no shortage of controversy over more contemporary works.

Just last year in Georgetown, Texas, for instance, a mural painted by high school students on the side of a building in the town square generated protests because it promotes LGBTQ rights. Similar issues were raised in Grant, Michigan, over a mural on the wall of a middle school health center.

A tattoo parlor in Midvale, Utah, was also criticized last year for an outdoor mural that some said contained erotic content.

In 2018, Dartmouth College removed a 1930s mural showing drunken Native Americans being swindled out of their land rights. Similar criticism has been brought to bear against other Depression-era murals, including one at a Chicago school administration building showing Native Americans serving a white man and one at a San Francisco high school depicting George Washington next to black slaves and a dead Native American.

Read the Top 8

Sign up for the Top 8, a roundup of the day’s top stories delivered directly to your inbox Monday through Friday.

Photographer who caught Prince Louis covering ears during Jubilee up for award

Photographer who caught Prince Louis covering ears during Jubilee up for award

A photographer who captured the moment Prince Louis covered his ears during a flypast for the late Queen’s Platinum Jubilee has been shortlisted for a prestigious award.

Aaron Chown, of the PA news agency, is among three people nominated for Royal Photographer of the Year at the annual UK Picture Editors Guild Awards.

Fellow PA photographer Jane Barlow, who took one of the last public pictures of the late Queen, has been shortlisted for Arts and Entertainment Photographer of the Year.

The photograph of the late monarch smiling beside a fireplace at Balmoral before meeting then-prime minister Liz Truss on September 6, just two days before the Queen died, is recognisable to millions.

PA’s Danny Lawson is shortlisted for Business Photographer of the Year and Regional Photographer of the Year, while agency colleague Mike Egerton is in the running for Sports Photographer of the Year.

Others on the shortlist include PA photographers James Manning and Jordan Pettitt, who are both shortlisted for Young Photographer of the Year.

Photographers from The Times, the Daily Telegraph, Getty Images, the Yorkshire Post, Reuters, AFP, and freelances Jeff Moore, Ryan Jenkinson and Samir Hussein are also among those nominated.

Pictures by Mr Chown, Mr Pettitt, Ms Barlow and PA photographic colleagues Victoria Jones and Jonathan Brady are among 20 nominated for Photo of the Year, which will be decided by a public vote.

Those who register to vote before September 3 will get the chance to win a two-night stay in a London hotel.

A spokesman for the UK Picture Editors Guild Awards said: “Photographers working on behalf of the press risk their lives in war zones and bring us the news as it breaks.

Their work fills the pages of the newspapers daily and so often their work goes unrecognised.”

The awards ceremony will be held at the Honourable Artillery Company grounds in the City of London on October 16, and people can vote at imago.ws/IMAGOPhotographoftheyear.

Two modern artists with very different works find a commonality in their message

Two modern artists with very different works find a commonality in their message

From the humor of Indigenous people to the self-determination of Black homesteaders. Vibrant colors, to the contrasting basics of black and white.

Two artists are showcased this summer at the Museum of Contemporary Art Denver. And while they may seem very different and disconnected, the opposite is actually quite true.

They are Tomashi Jackson: Across the Universe and Anna Tsouhlarakis: Indigenous Absurdities.

MCA calls Tomashi Jackson: Across the Universe a mid-career survey of nearly a decade of Jackson’s work across disciplines and provides an overview of the threads in Jackson’s practice and her varied use of materials.

Anna Tsouhlarakis: Indigenous Absurdities features new work by the Boulder-based artist as she explores Native American identity. To redefine Native art, Tsouhlarakis uses video, performance, sculpture, photography, and installation to push aesthetic and intellectual boundaries.

Curators found that both artists are deeply engaged in cultural conversations

Planning for these exhibitions goes back as early as 2019, and includes trips to Miami and  Greece. That only heightened the energy in the spaces during the installation in MCA Denver. 

Miranda Lash, the Ellen Bruss Senior Curator at MCA Denver, oversaw Jackson’s exhibit.  She said with less than a week left for installation, both artists were in the space. “They met each other and immediately hit it off, and started talking about their shared interests. And by the end, Tomashi was taking selfies with Anna. And, they were both talking about their respective time studying at Yale and participating in the Skowhegan residency. So it was very cool to see them connect.” 

Leilani Lynch, the associate curator at MCA Denver, worked on Tsouhlarakis’s exhibit. She agrees that installation time holds a special place in the exhibition process. “Because so much of the work prior to that takes place through studio visits or virtually, and just a lot of coordination and email, phone calls. And then you’re really on the ground, your feet are there, you’re standing up, you’re looking at the works in space.” 

Photo by Scott Bauer.
Anna Tsouhlarakis, Not Too Loud, 2020. Found wood, IKEA remnants, porcupine quills, steer horns, sinew, resin, plaster 30 inches x 14 inches x 8 inches.

Lynch said this was especially true for Anna Tsouhlarakis as this was the first time seeing everything done. “And I know in Tomashi’s case, there were works that she hadn’t seen in person for a long time. And so it’s kind of a homecoming of all the works just kind of coming together in space.”

The way these exhibitions communicate with one another was by design. Both artists are deeply engaged in cultural conversations around specific communities and deep histories, involving systemic racism, and how we can push forward as a community in conversations. 

Lynch also noted the aesthetic contrast. “Tomashi uses a lot of color to explore the various themes and subject matter in her work. Whereas Anna, sort of stays with a more minimalist black and white palette, with some sort of natural colored exceptions. So I also liked how that, thinking about how that would play out, visually in the spaces.”

Across the Universe derived from one of the artist’s favorite works

The name for Tomashi Jackson’s exhibition, Across the Universe, was derived from one of the artist’s favorite pieces from her last body of work, called The Great Society, which opened at Tilton Gallery in New York in November of 2022.

“I painted black, halftone lines of an audience rising to their feet after Nina Simone performed ‘To be Young, Gifted and Black’ at Morehouse College in 1969,” Tomashi Jackson said.  “It looks like a universe. It looks like a starry night. It looks like a number of things. And, a lot of my pieces take their titles from music that I love, or that I loved along with my mother. And, I was a big Beatles fan in high school, and ‘Across the Universe’ was kind of a natural conclusion for me.”

Courtesy photo.
Tomashi Jackson.

This is Tomashi Jackson’s first exhibition in Colorado, but she spent significant time here to develop the new works for this show. “I’m really in love with Colorado. They brought me out here last summer for a residency, a partnership with Swoon Art House that is a product of the Scintilla Foundation, a philanthropic arts and humanities-focused foundation based in Boulder,” Jackson said. She was given six weeks to explore and meet people.

“When I got here last summer. I was so moved, as I continued to learn more and more about the history of the organization before there was a big fancy building and the community-centered programs and efforts and strategies that were founded before the museum had this building,” Jackson said.  “I really left here quite hopeful. I wasn’t expecting to leave with my heart so full, but the people that I’ve met here and the places that I’ve been, the working people who’ve embraced me, I just fell in love.”

Jackson created new pieces specific to Colorado, with additional inspiration from the documentary, This is Not Who We Are. “I really ended up focusing on images of Black people in Colorado from the 1800s to the present, producing spaces for self-determination, facilitating spaces for joy, for peace, and for self-determination,” Jackson said. That includes images from the Deerfield Colony, images of Black tourists who visited Pikes Peak in 1925, intersected with an image of Black young adults gathered in a lectern in Boulder for what at the time had been organized as Saturday Freedom Schools.

Artist highlights how humor can infiltrate a community and culture

Boulder-based artist Anna Tsouhlarakis also created new works specifically for this exhibition at MCA Denver. This began through a 2021 award from Creative Capital, a New York-based foundation. Tsouhlarakis said she knew early on that she wanted this project to focus on indigenous humor. “But not just be about jokes or ideas of humor, but, the kind of ways that humor infiltrates a community or culture,” Tsouhlarakis said. “And absurdity seemed to be a way to kind of encapsulate that larger idea of how humor infiltrates a people, a community.”

Courtesy photo.
Anna Tsouhlarakis

For Indigenous Absurdities, Tsouhlarakis has created six sculptures, six large-scale collages, and one video installation. She describes her pallet as monotone. “I’ve always had a very complicated relationship with color. I think a lot of my work deals with native identity, and I feel like color, specifically, skin tone tends to be a big part of the conversation when we talk about culture and identity and those types of things. And I feel like it can really skew a conversation and kind of push it one way or another,” Tsouhlarakis said. “That’s not something I’m interested in talking about. And so early on I kind of decided that the palette that I would be using would be more minimalist kind of across my practice.”

Tsouhlarakis said she hopes one of the biggest takeaways is that Natives aren’t only serious people. “People know that natives are still around and that we’re here, but that we’re not all just serious while we have attorneys and people doing fights about water and land and for our native children, that there is this other side of us that is a bit goofy and ridiculous and that we can make connections through that as well,” Tsouhlarakis said.  

You can see the current exhibits, Tomashi Jackson: Across the Universe and Anna Tsouhlarakis: Indigenous Absurdities, open now through Sunday, Sept. 10.

VIDEO: KeyBank Art House at Edgewater Grand Opening

VIDEO: KeyBank Art House at Edgewater Grand Opening
JAMESTOWN, NY – Empire State Development, KeyBank and The Resource Center Friday announced the opening of the KeyBank Art House at Edgewater, the new home of The Resource Center’s award-winning art program for people with disabilities in Jamestown.

Wedding Photographer Spent a Year in Jail After Pleading the Fifth

Wedding Photographer Spent a Year in Jail After Pleading the Fifth
[embedded content]

As reported by WFLA, longtime Florida wedding photographer Michael Zoumberos spent nearly a year in jail for civil contempt because he refused to cooperate with federal investigators concerning a major DEA scandal that included Zoumberos’ brother, former DEA agent George Zoumberos.

Before discussing what Michael Zoumberos experienced, it is essential to discuss what led to the professional photographer with 20 years of experience being involved with federal law enforcement in the first place.

Disgraced DEA Agent José Irizarry Leaves Wake of Destruction and Stories on his Path to Prison

In December 2021, Miami-based DEA special agent, José Irizarry, was sentenced to 12 years for operating a money laundering and fraud scheme. Irizarry, who was 46 at the time, pleaded guilty to all crimes in his 19-count indictment, including conspiracy to commit money laundering, honest services wire fraud, bank fraud, and aggravated identity theft.

Per Irizarry’s plea, his crimes began in 2010. Irizarry used his position as a special agent in the DEA to move about $9 million in funds used for undercover DEA money laundering schemes to enrich himself and co-conspirators. Irizarry also used his position to receive bribes and kickbacks worth at least $1 million.

Unsurprisingly, the United States Department of Justice wanted to bring additional people to justice. After all, Irizarry did not act alone.

Irizarry’s Former Partner, George Zoumberos, Implicated During Investigation

During the probe into José Irizarry, law enforcement looked at one of Irizarry’s former partners, George Zoumberos, the brother of photographer Michael Zoumberos.

[embedded content]

“The probe is focused in part on George Zoumberos, one of Irizarry’s former partners who traveled overseas extensively for money laundering investigations. Irizarry told AP that Zoumberos enjoyed unfettered access to so-called commission funds and improperly tapped that money for personal purchases and unwarranted trips, using names of people that didn’t exist in DEA reports justifying the excesses,” wrote the Associated Press late last year.

Irizarry says numerous DEA colleagues joined him in his exploits, including on extravagant trips worldwide.

“The way Irizarry tells it, dozens of other federal agents, prosecutors, informants and in some cases cartel smugglers themselves were all in on the three-continent joyride known as ‘Team America’ that chose cities for money laundering pick-ups mostly for party purposes or to coincide with Real Madrid soccer or Rafael Nadal tennis matches. That included stops along the way in VIP rooms of Caribbean strip joints, Amsterdam’s red-light district and aboard a Colombian yacht that launched with plenty of booze and more than a dozen prostitutes,” explains AP.

Irizarry said that the United States’ war on drugs is unwinnable and that agents know they are “not making a difference.”

While his claims may have been part of a play to get a reduced jail sentence or just further smear the DEA’s image, U.S. Justice Department took Irizarry’s confessions and claims very seriously and has spent considerable effort trying to corroborate or disprove Irizarry’s many assertions.

George Zoumberos, who was arrested and briefly detained in connection with allegations of sexual assault in Madrid in 2018, lost his gun, badge, and security clearance in 2019 for invoking his Fifth Amendment rights to not self-incriminate.

Federal Investigators Subpoena Photographer Michael Zoumberos and he Pleads the Fifth

Authorities remained interested in George Zoumberos and subpoenaed his brother, photographer Michael Zoumberos.

Michael, who allegedly traveled at times with DEA agents, was offered immunity in exchange for cooperation with the investigation. However, he refused to testify, leading to his imprisonment in the Pinellas County Jail outside Tampa beginning in March 2022.

“I didn’t do anything wrong, but I’m not going to talk about my brother,” Michael Zoumberos told AP during a jailhouse interview last year. “I’m basically being held as a political prisoner of the FBI. They want to coerce me into cooperating.”

Zoumberos was held for “civil contempt,” as ruled by a Tampa-area federal judge.

Despite the DOJ offering him immunity, Zoumberos’ attorney advised that he plead the fifth because Zoumberos could inadvertently commit perjury while on the stand. The investigation concerned events that dated back about six years, so his attorney was concerned that Zoumberos could misremember or misspeak.

It is worth noting that the DOJ defines perjury as a declarant “willfully” making a false statement, that the declarant believed that what they were saying was untrue, and that the statement was related to a material fact. Misremembering a detail is not, in and of itself, perjury.

Civil Contempt as a Judicial Weapon

In any case, Michael Zoumberos kept his silence, and federal judges used their legal authority against him to pressure his cooperation. Federal judges can keep individuals in jail for up to 18 months on civil contempt charges to compel a person’s testimony.

“Zoumberos said the ordeal left him questioning the judicial system, even if the judge had the power to lock him up,” reports WFLA in a second article.

“They’re treating me like a criminal. I didn’t do anything wrong,” Zoumberos says. “I’m in a room without an attorney, without a judge. It’s scary.”

Federal investigators decided to release Michael Zoumberos in March, but Zoumberos only realized that he could leave when his jail-issued debit card did not work when he tried to make a phone call from inside prison. When Zoumberos asked a correctional officer why his card was not working, he was told it was because he was free. “Zoumberos’ nightmare ended as oddly as it started,” writes WFLA.

While happy to be released, he has found it hard to escape his experience. One fellow inmate was convinced Zoumberos was an undercover cop and threatened to “bash” his “skull in.” While held without bail, Zoumberos could not see his wife and business partner, Rebecca Zoumberos.

Michael Zoumberos is Free but Jail has Left a Mark

“I don’t know what’s reality and what’s not,” Zoumberos remarks. “I never could fathom that you could be put in jail for a year. In maximum security and a psych ward without having a criminal charge.”

Michael Zoumberos’ brother, George, was never charged and is no longer a DEA agent.

A quick look at the Zoumberos’ wedding photography website, Limelight Photography, shows that the couple and their staff have had a busy summer.


Image credits: Header photo licensed via Depositphotos.

Santa Fe Indian Market Announces Best of Show Winners

Santa Fe Indian Market Announces Best of Show Winners

Artist Jennifer Tafoya (Santa Clara Pueblo) is awarded Best of Show at Santa Fe Indian Market’s 2023 Awards Luncheon in the Pottery Classification

SANTA FE, N.M., Aug. 18, 2023 /PRNewswire/ — Santa Fe Indian Market is pleased to announce this year’s Best of Show, Best of Classification and Special Award winners in a variety of classifications. Since 1922, Santa Fe Indian Market, the world’s largest and most prestigious Native North American art market, has awarded Best of Show winners to the nation’s exceptional Indigenous artists in a variety of juried categories.

Over 60 judges, experts in various mediums, spent most of the day Thursday, August 17, reviewing and critiquing this year’s entries and determining the winners. The announcement of the Best of Show, Best of Class and Special Award winners was made public at the Best of Show Ceremony on Friday afternoon. 

All the Best of Show winners’ extraordinary artwork is available this weekend during Santa Fe Indian Market on the Plaza in downtown Santa Fe.

The 2023 Best of Classification winners are:
Class I: Jewelry
Lyndon Tsosie (Navajo)
“Untitled” Silver Sea turtle pendant with movable flippers
4 ½ x 3 in.

Sterling stamped silver, inlay: coral, turquoise, lapis, Boulder opal, hand-fabricated

Class II: Pottery {BEST OF SHOW}
Jennifer Tafoya (Santa Clara Pueblo)
Caught by Surprise” etched black pot with dinosaurs.
4 ¼ x 4 ¼ in.

Hand-dug Santa Clara Clay, coil method, stone polished, etched and then painted with hand-dug natural clay paint

Class III: Painting, Drawing, Graphics & Photography 
Dan HorseChief (Pawnee/ Cherokee)
 “Judgement Day Manifest, The Greasy Grass 1976 Keough’s Stand.”Painting.
24 x 36 in.

Water-based oil on canvas

Class IV: Wooden Pueblo Figurative Carving & Sculpture
Arthur Holmes Jr. (Hopi)
Talavi Morning Katsina
18 ½ x 9 ½ in.

Root of cottonwood tree, fine wood burner, knives and oil paint

Class V: Sculpture
Ryan Benally (Navajo)
“Dreamscapes of Love” 3-dimensional sculpture. 
 Dimensions: 5 ft 8 x 22 x 12 in.

Calcite Onyx, black Indian granite, hand-carved stone, electric and hand tools

Class VI: Textiles
TahNibaa Naataanii (Navajo)
“Autumn Rose Carnival” Navajo weaving created using 2 sheds. Shawl and purse.
Dimensions: 16 ½ x 62 in.

Sheep wool with 26 aniline acid dyes in different colors

Class VII: Diverse Arts
Victoria G. Adams (Southern Cheyenne/ Arapaho)
“Sundance on Muddy Creek” Tripod with glass containers, diverse artwork/sculpture.
64 x 36 x 32 in.

Copper, Deerskin, American Indian-head pennies, dating from 1878 to 1910; glass, steel chain, wrought-iron, wood, acrylic paint, cotton fabric, sweet grass, snake root, Big Medicine, bee balm, sweet pine, sage, yellow ochre pigment, red ochre pigment, Ammonite fossils, sterling silver, mother-of-pearl beads, photographs, Edward Sheriff Curtis photo gravures

Class VIII: Beadwork & Quillwork
Jackie Larson Bread (Blackfeet)
“We Are Fierce” Blackfeet horse mask.
18 x 15 x 23 in.

Wool, seed beads, brass beads and bells, wood, plexiglass, satin, lane stitch, applique stitch and edge stitch

Class IX: Youth (Artists aged 17 and under)
Aydrian Day (HoChunk/Anishinaabe/Lakota)
Father’s Love (Ate Iyocicila) Lakota style cradle board.
24 x 9 in.

Size 11 true-cut sterling silver beads, 24-karat beads, smoked hide, brass sequins, pine and cotton

Class XI: Basketry
Carol Emarthle Douglas (Northern Arapaho- Seminole)
“Skywoman Watches” Coiled waxed linen basket.
7 x 9 ½ x 9 ½ in.

Waxed linen, thread, hemp, beads

2023 Special Award Winners
Excellence in traditional Hopi carvings: Shawn Deel
Excellence in lapidary: Benson Manygoats
Excellence in contemporary Hopi carvings: Arthur Holmes Jr.
Raw materials: Dominque Toya
Traditional Pottery Award: Delores Juanico
Mark Tahbo Memorial Award: Garrett Maho
Tony Da’ Memorial Award: Virgil Ortiz
Make Me Smile Youth Award: Aydrian Day
Margaret Tafoya Memorial Award: Chris Youngblood
Sarafina Tafoya Memorial Award: Sharon Naranjo-Garcia
Mela Youngblood Memorial Award: Chris Youngblood
Oqwa Pi Memorial Award for Excellence in Traditional Pueblo Painting: Rosie Yellowhair
Anita Da’ Memorial Award to Encourage the Work of a Young Potter: Xavian Suazo
IAIA Alumni Award: Terran Last Gun
The Native American Art Magazine Award of Excellence: Jason Garcia

Santa Fe Indian Market’s Best of Show Ceremony was sponsored by JoAnn and Bob Balzer and the Best of Show Luncheon was sponsored by the Institute of American Indian Arts (IAIA). SWAIA is grateful for these generous contributions. A complete list of winners in all classifications will be posted on the SWAIA website this week. Congratulations to all the winners!

About SWAIA:
The Southwestern Association for Indian Arts (SWAIA) is a non-profit organization supporting Native American arts and culture. It creates economic and cultural opportunities for Native North American artists by producing and promoting the Santa Fe Indian Market —the biggest and most prestigious Indian art event in the world since 1922. SWAIA cultivates excellence and innovation across traditional and non-traditional art forms and develops programs and events that support, promote and honor Native American artists year-round. swaia.org 

IG: santafeindianmarket

SOURCE SWAIA/Santa Fe Indian Market

Lomography’s LomoApparat Made Photography Fun Again

Lomography’s LomoApparat Made Photography Fun Again

For me, photography should be equal parts technical and fun. Many of today’s digital cameras are technically miles ahead of anything that was available during the golden era of film photography but many of these cameras are simply not fun. The LomoApparat from Lomography is a simple, 35mm box camera that is both eye-catching and promises to make photography fun again. Does it deliver?

LomoApparat Features via Lomography.com

  • Film Format: 35 mm
  • Focal Length: 21 mm
  • Available Apertures: f10
  • Shutter Speed: 1/100 (N), Bulb (B)
  • Flash: Built In Flash
  • Available ISO Settings: No ISO Adjustment
  • Multiple Exposure: Yes
  • Tripod Mount: Yes
  • Cable Release: No
  • Battery: 1 × AA

Ergonomics & Design

As previously mentioned, the LomoApparat is a box camera – a plastic rectangle that houses a roll of 35mm film and a few controls (if we can call them that). The rear houses a lever to open/close the film back, a multiple exposure switch, and one winder to advance the film. At the top of the camera, you’ll find another winder to rewind the film, a shutter button, and at the front an on/off switch that allows you to shoot normally (1/100 second) or in bulb mode as well as a small button to turn the Flash on and off (it’s on by default). The camera also has a ¼-inch thread for mounting to a tripod which is neat for a simple camera – though a shutter release connection would’ve been a huge bonus when using it on a tripod.

During our testing, we had the opportunity to shoot with the Neubau Edition, an orange and teal colorway with an Italian leather finish to keep things grippy. Combined with the included metal wrist strap, it helps keep everything in place no matter where you’re at. Honestly, it’s the styling of the camera that I found most appealing – it’s simple yes, but still has an eye-catching design that conveys “fun”.

Using the LomoApparat

The beauty of carrying around a camera with a wide-angle field of view and small aperture is that you won’t need to worry about focus (light on the other hand…) as just about everything in the frame will be in focus. That’s the general appeal of the LomoApparat – you carry it with you, point and shoot. At 21mm it’s able to cram a ton into a frame or allow you to get the crew together for an arms-length self-portrait.

Final Thoughts

  • LomoApparat - Multiple Exposure on LomoChrome Purple 400
  • LomoApparat - LomoChrome Purple 400
  • LomoApparat - Closeup Lens Sample
  • LomoApparat - Kaleidoscope Sample

Lately, I’ve been able to test several cameras – from a Sigma fp L to Canon’s vlogging camera, the PowerShot V10 and while all of these cameras have their cool features or even “better” resolution than what I can achieve with the LomoApparat, none of them come close in sparking joy in me as a photographer. No, I will not be using the LomoApparat for client work or even using the output for my articles – but that’s fine. Sometimes photography is not about output but a vibe – and the LomoApparat is a camera that truly gets it.