He refuses to take photos of a gay wedding. Virginia says he’s allowed.

He refuses to take photos of a gay wedding. Virginia says he’s allowed.

A Virginia photographer can refuse to take pictures of same-sex weddings and say so on his website after the settlement of a federal lawsuit that challenged the state’s ban on discrimination against gay and transgender people.

The state committed in a filing in the U.S. Court of Appeals for the Fourth Circuit to not require Bob Updegrove “to offer or provide photography celebrating same-sex weddings” or prevent him from expressing that position in promotional materials. The settlement specifically cited the Supreme Court’s landmark decision in the case of Colorado web design company 303 Creative, in which the six conservatives on the court ruled that the First Amendment allows some businesses to refuse to work for same-sex couples.

Updegrove’s case shows how the high court’s ruling on free speech will affect anti-discrimination laws throughout the country and how Virginia continues to be a hub for conservative pushback to progressive policies. In both Updegrove’s and the 303 Creative case, the Alliance Defending Freedom, a Christian conservative nonprofit, argued that the work involved was not just a service offered to the public but personal expression.

“Like any other artist, I want to create photography that I believe in,” Updegrove wrote in 2020 Washington Post op-ed after filing his lawsuit. “I believe that marriage is meant to be a unique and sacrificial relationship between one man and one woman that points people to Jesus Christ’s sacrificial covenant with the church.”

The decision is a blow to the Virginia Values Act, a landmark 2020 law that made Virginia the first state in the South to enact wide-ranging protections for LGBTQ people. The bill was signed by then Gov. Ralph Northam (D) and was one of the signature bills after Democrats took control of the state legislature in 2019. Sen. Adam Ebbin (D-Alexandria), who introduced that legislation, said Tuesday that in settling the case, Virginia Attorney General Jason Miyares gave “a sweetheart deal” to “the ultra-right.”

In 2021 Northam was replaced by Republican Gov. Glenn Youngkin, who has rolled back protections for trans students in ways civil rights advocates said violate the legislation.

“Miyares has complained about prosecutors allegedly picking and choosing which laws they enforce, then he made a deal refusing to respect the law he swore to uphold,” Ebbin said. The attorney general has criticized local prosecutors he considers insufficiently tough on criminal defendants and tried to give his office the power to prosecute some violent crimes.

Miyares said in a statement that the settlement was simply respecting the U.S. Supreme Court decision. “The Supreme Court made clear … that the government cannot compel people like Mr. Updegrove to speak contrary to their conscience,” Miyares said. “As Attorney General, my highest duty is to the federal Constitution.” A spokesperson added that Miyares has not given up his authority to enforce the Virginia Values Act generally.

But Ebbin argued there was no reason to concede this case when a federal judge had already dismissed Updegrove’s lawsuit as lacking evidence that he needed protection from the law. That decision had been on appeal.

Updegrove “has never been approached by anyone seeking his photography services for a same-sex wedding,” Judge Claude M. Hilton wrote in 2021, and “never previously engaged in the type of speech that he claims is currently being chilled.”

These are “made-up lawsuits” that “divide Virginians,” Ebbin said.

In the U.S. Supreme Court case, there was also no indication that the plaintiff had been asked to do work for a same-sex couple. These and other cases brought by the group were pre-enforcement challenges, arguing anti-discrimination laws have a coercive effect on businesses that involve expressive, creative work. The U.S. Supreme Court said it was “more than enough” to raise First Amendment concerns that the website designer could face sanctions under Colorado’s anti-discrimination law.

But the decision was also rooted in the details of that case, in which the plaintiff said each website would be customized to express her personal views and a lower court accepted that the websites were “pure speech.” Unlike Virginia’s law, Colorado’s anti-discrimination law that had been enforced, in another case that ended up before the U.S. Supreme Court.

“303 Creative relied heavily on factual stipulations — agreements between the parties — that were specific to the case,” said Nelson Tebbe, a professor at Cornell Law School who studies religion and free speech. For that reason, it’s “a matter of debate among scholars” how broadly lower courts will apply the ruling.

“My own judgment is that 303 Creative will be enforced in cases concerning wedding photographers and other vendors as well,” he said.

Along with sexual orientation and gender identity, the Virginia Values Act bars discrimination “on the basis of race, color, religion, national origin, sex, pregnancy, childbirth or related medical conditions, age, marital status, disability, or status as a veteran.” Violators can be fined $50,000, or twice that for repeated acts of discrimination.

A Post investigation found that several vendors represented by ADF had done little or no wedding work before or after their suits for the right to refuse same-sex couples. Updegrove has photographed weddings for many years, along with conservative political events; he said in court filings he attends the same church as an ADF founder. When the group began representing him, it dropped a similar case involving a man who had incorporated a photography business less than a month earlier. That plaintiff has since moved to a different state and works for a tech company.

“We commend Attorney General Miyares and his office for agreeing that state officials cannot punish Bob for exercising his First Amendment rights,” ADF Legal Counsel Johannes Widmalm-Delphonse said.

Winter Park Resort, CO, Partners with Native Skiers and Artists to Honor our Connection to Snow, Water, and Land

Winter Park Resort, CO, Partners with Native Skiers and Artists to Honor our Connection to Snow, Water, and Land

The backdrop of the snow stake incorporates the same four outlines of Longs Peak, Mount Blue Sky, Byers Peak, and Parry Peak — grounding us in the four directions that anchor Winter Park. A river reminds us of the snow’s journey: from powder day to runoff in the Colorado River which then sustains all living things downstream. The ruler and backdrop feature patterns created by artists Jordan Craig and Vernan Kee. Credit: Resort

Winter Park Resort in Colorado has unveiled a new art installation in partnership with Native and Indigenous artists, skiers, riders, and outdoor stewards. The project was developed after four years of discussions, designs, and collaboration on ways to raise awareness of Winter Park’s sense of place, original Native and Indigenous heritage, and snow’s vital importance that extends far beyond recreation.

Winter Park Resort partnered with NativesOutdoors, a Native-owned athletic and creative collective, to identify artists and Indigenous views to guide the project.

The project is named There Is Snow On The Ground, which is the English translation of the Arapaho word “heniiniini’ (pronounced hee nee nee neh).” Comprised of four separate elements, the multifaceted installation tells the story of snow and acts as a catalyst for critical conversations on water, recreation, and land. The four components are: 1. a focal piece installed in front of Sunspot Mountaintop Lodge, 2. a redesign of the Winter Park snow stake, 3. redesigns of Eagle Wind trail signs, and 4. the addition of Native and Indigenous perspectives to historical trail markers.

The focal piece showcases four mountain outlines – Longs Peak, Mount Blue Sky, Byers Peak, and Parry Peak – a nod to prominent peaks to the north, south, west, and east of Winter Park. Those peaks are part of the watersheds that collect melting snowpack each spring and provide life-sustaining resources to ecosystems and communities for hundreds of miles downstream. The piece also incorporates the outline of a river winding down from the peaks to nourish a garden bed that will house native plant species in the summer. The word “heniiniini’” is boldly displayed with a pattern created by artists Jordan Craig, Tesuque Pueblo/Diné/Southern Ute, and Vernan Kee, Diné/Navajo and visual art director for NativesOutdoors.

The structure exists to remind us of the role snow plays in our lives, cultures, and ecosystems. The use of the word “heniiniini’” embeds the Arapaho language into the project and serves to honor the longstanding relationships Indigenous peoples have had with the landscape long before it was called Winter Park. It is the hope of the artists and the resort that this installation sparks conversations about surrounding landscapes and the role we all play in them.

To complement the main piece, the Winter Park snow stake has been redesigned to include the same four mountain outlines as well as patterns created by Native artists. The purpose of the snow stake is to measure daily snow accumulation throughout the year. The other two components of the project, the trail signs and historical markers, are still works in progress.

“Snow on the ground here at Winter Park is important for much more than just fun and recreation. Snow on the ground creates a vital resource — water — for communities and millions of people downstream. There Is Snow On The Ground is a project that will hopefully make people stop and think about the intersection of snow, water, recreation, heritage and history, and sense-of-place here at Winter Park, and join in our collective effort to steward this amazing mountain community.”

– Sky Foulkes, president of Winter Park Resort

“Native nations and people have deep roots when it comes to connecting with the land and water and all the natural resources they provide. It’s been embedded in our culture for centuries and continues to this day. For Native people, skiing can be a space for that connection and to experience the joy with these elements that have always been a part of our cultures.”

– Connor Ryan, Lakota professional skier, filmmaker, and Winter Park ambassador

In 2021 Winter Park published a statement that acknowledged the resort was on historical and ancestral Native and Indigenous land. While the land acknowledgment was a foundational step toward recognizing the role Native and Indigenous people play in our past, present and future connection to the land and water, There Is Snow On The Ground builds on that and deepens the resort’s commitment to keeping access open to all people, regardless of gender, ancestral background, race, ethnicity, or religion.

Winter Park 23/24 trail map with new Wild Spur Express chair.

Mike Arron obituary

Mike Arron obituary

My father, Mike Arron, who has died aged 94, was a Manchester-based press photographer. He spent most of his career as a freelance covering major news stories, some of them harrowing.

He covered the disasters at Aberfan (1966), Ibrox (1971), Manchester airport (1985) and Lockerbie (1988), as well as the Troubles in Northern Ireland. He rarely spoke of such experiences but was determined to show the world what had happened.

Mike was born in the Levenshulme area of Manchester to Joan (nee Ford), who was employed in service in Cheshire houses, and Morris, a master tailor; he had fled a pogrom of Jews in Lithuania in the late 1880s.

Brought up in Hale, Cheshire, where he attended Bradbury boys school, Mike started experimenting with photography as a young teenager. His parents let him have a darkroom in their back bedroom but banned him from trying out flashgun powder in the house after various dangerous incidents.

A Mike Arron photograph featuring his wife, Shirley, playing draughts with the family boxer, Max

He left school at 15 to work at the Northern Press photographic agency in Hale, where, during the second world war, his first commission was to photograph German and Italian prisoners being held at a local camp. Cycling there with a large, old-fashioned Thornton Pickard reflex camera and glass plates balanced on his handle bars, he became friendly with the prisoners and would have tea with them.

In 1947 he signed up with the RAF for his two years of national service, and asked to go into the photographic unit. The officer in charge refused to write down his request on the relevant form, so when he had to leave the room for a short while, Mike liked to tell the tale of how he nipped round to the other side of the desk and wrote it in himself.

He got the posting he wanted, and was sent to Germany, where he was tasked with cataloguing photographs from the Nuremberg trials and of Belsen concentration camp. Despite the disturbing circumstances he developed a love of Germany, and indeed of continental Europe, which remained with him for the rest of his life.

Margaret Thatcher taking tea with cub scouts in Lancashire, taken by Mike Arron in the 1980s

After the RAF Mike gradually established himself as a freelance photographer. He was away from home a lot, but outside work, family and friends were very much his focus. He finally hung up his cameras at the age of 72, when he came home from a job complaining that a PR person had annoyed him so much that he was calling it a day.

Mike married Shirley Newton in 1959 after they had met at a dance in Alderley Edge, Cheshire. At their wedding she refused to wear a white dress because he refused to wear top hat and tails – and that was pretty much how they carried on for 58 years; very different but very together.

For many years Shirley ran the business side of Mike’s activities from home, and in retirement they became regular crown green bowlers. He also enjoyed fly fishing in the remotest parts of Caithness and Sutherland.

Shirley died in 2017. He is survived by me and his three grandchildren, Tom, Lucy and Neil. A son, Simon, died in 2022.

DDW23: The Perpetual Motion that Drives Kiki Van Eijk and Joost Van Bleiswijk

DDW23: The Perpetual Motion that Drives Kiki Van Eijk and Joost Van Bleiswijk

Kiki Van Eijk and Joost Van Bleiswijk, otherwise known as Kiki and Joost, opened up their workshop during Dutch Design Week 2023 for an exhibition entitled Perpetuum Mobile, Latin for “perpetual motion.” It’s a nod to the prolific, dynamic, and ever-evolving output from the design duo – separately, as a team, and in collaboration with others. Work from the past two decades was showcased in the expansive space that lies at the heart of their creative expression – a voluminous space that they had purpose-built entirely from wood, without the use of any glues, nails, or screws.

Kiki: Carpet Special, 2000 Photo: Katie Treggiden

Handmade from 100% felted wool, this rug was inspired by the strange proportions seen within 19th-century dolls’ houses. Kiki developed the technique herself to mimic a giant embroidery stitch, and the giant rose is a nod to the archetypical image of 19th-century English doll house carpets. This piece was part of Kiki’s graduate collection “We’re Living in a Doll’s House,” and marked the rehabilitation of 100% wool felt carpets into the Dutch design scene, which until then, had been written off as old-fashioned.

A modernist cube style dolls house on a plinth features two floors, an external staircase and a pool wrapped around two sides.

Kiki x Ikonic Toys: Kiki’s Dollhouse, Prototype, 2023

23 years after developing the Carpet Special, inspired by the proportions of a dolls’ house, Kiki has designed the house they might furnish – a modern update to the traditional Victorian model and prototype for Ikonic, a Dutch designer toy brand.

A collection on stools with 'scribbled' style bases made from connecting pieces of metal stand on a rug which is hung on the wall and extends onto the floor. The rug with white with a black scribbled design. On each table is a light made from intersecting flat ovals, edged with gold.

Joost x Ice Carpet: Sketch Carpet, 2014, Sketch Carpet, 2020, Sketch Stool, 2019 Photo: Katie Treggiden

Joost’s Sketch Collection, pictured above on the Sketch Carpet, was inspired by his knowledge and passion for abstract expressionist paintings. Made using a spontaneous and expressive approach to cutting, bending, shaping, and welding in the workshop, this gestural way of working lends itself to powerful shapes.

A wall hanging in a lavender colour featured a design made from large irregular shapes in yellow, blue, mint green and a rusty-pink as well as crack-like lines. A low-slung chair is on the floor in front of the wall hanging.

Kiki x Spectrum: PUK SZ 19 2019, Raku Knit Fragments, 2022 Photo: Katie Treggiden

Designed in collaboration with Borre Akkersdijk, the co-founder of the Dutch textile innovation studio of clothing brand Byborre, Raku Knit Fragments is a wall hanging inspired by the Japanese technique of raku, in which ceramics are fired; removed from the kiln resulting in cracks in the glaze; and then submerged in smoke. Kiki wanted to translate this ancient ceramic process into sensory textile pieces which emulate the spontaneity of raku in a softer medium.

A black wall-hanging featured as red criss-cross design over large areas of grey patterned with pink dots and lines.

Kiki: Raku Knits, 2022 Photo: Katie Treggiden

Another piece in the same series, also created in collaboration with Borre Akkersdijk, expands on her extensive research into the 16th-century Japanese tradition and is inspired by the colors, shapes, and textures of her own raku-fired ceramic collection.

Three large wooden beams edged in neon pink are set at a 45 degree angle with the floor, so that they intersect each other. Horizontal polished metal shelves are inset into them at the front.

Joost: Beam Sketch Collection, 2023 Photo: Katie Treggiden

The construction of a new exhibition space – an addition to the current workshop, which had to be cleared for this show – inspired Joost to develop Beam Sketch – this new sculptural shelving unit. Wooden beams are often marked with neon pink spray paint during the construction process – Joost applied the idea of “form follows construction” to create this bold collection.

Colorful sculptures are formed on a cube base with straight and curved tubes, and perforated metal 'sails' set into them.

Joost: Tinkered Collection, 2023 Photo: Katie Treggiden

Tinkered is a series of sculptural pieces that Joost has created to explore and embrace the dynamics of a world that is becoming more abstract and unpredictable by the day, with “known social and political structures and systems giving way to spontaneous experiments and new archetypes.”

Vases that look like they are made from paper candy bags are affixed to a wooden wall in a row, some have flowers and foliage in them.

Kiki x Cor Unum: Soft Candy Bag, 2023 Photo: Katie Treggiden

Inspired by the soft lines of a bag of candy bag, these are actually ceramic vases. The idea came from childhood memories of visiting fairs in her hometown of Tegelen and Kiki began the conception of Soft Candy Bag with a carefully stitched textile, then cast it in clay, giving it the playful appearance that is her trademark.

Three scatter pillows are on a wooden shelf. One is black, one is grass green and one is lavender in color. Each has a series of colorful and uneven shapes on the front.

Kiki x Weef: College Cushions, 2023 Photo: Katie Treggiden

Cutting, pasting, layering, and patching different elements created a vibrant and colorful composition in the Collage Cushions for Weeef. “As we expand this patchwork onto a larger canvas, we weave a series of playful, textured cushions that breathe life into the space,” says Kiki. “Each cushion tells a unique story, a fusion of diverse textiles that harmonize into a visual and tactile object.”

A 3D printed concrete bench features a horizontal surface intersected by a repeating S-shaped line that forms both the legs and the backrest.

Kiki & Joost x Singer Laren: The Line of Beauty and Grace, 2022 Photo: Katie Treggiden

When the Dutch museum Singer-Laren commissioned Kiki and Joost to create an outdoor bench for its new extension, they reached for the 18th-century text The Analysis of Beauty by William Hogarth for inspiration. In it, he refers to a “serpentine” line – a wavy or winding line as opposed to one that is either straight or simply curved – as “the line of beauty” or “the line of grace.” “According to the theory, S-shaped curved lines indicate liveliness and activity as opposed to straight lines, parallel lines or right-angled intersecting lines, which signify stillness, death or inanimate objects,” say the designers. “The town of Lauren, in North Holland, is already known for a lively artist community, so The Line of Beauty and Grace is a homage to the artistic frenzy of the area and its unique museum.”

A knotted rope with horizontal ceramic bars starts in a chaotic form at the top and gradually resolves itself into a grid as it moved down. The whole thing is hung on a wooden wall next to a darkened window.

Kiki: Structuring Chaos Photo: Katie Treggiden

Structuring Chaos is Kiki’s exploration of the tension between order and chaos and the tension between them – sailing knots that are held together with raku-fired ceramic elements. “These ceramic elements symbolize anchoring ourselves in life and the ropes are meticulously crafted by hand – a process as time-consuming as it is meditative,” says Kiki. “These colorful ropes act as conductors of harmony, emerging from the friction – Structuring Chaos resonates with the human desire for control and order in an unpredictable world.”

A sculptural form comprises a green hat-shaped base with a curvilinear loop and line emerging out of it that is made from a series of overzied tubular beads in various shades of yellow and green.

Kiki: Ko Tinker Sculpture, 2023 Photo: Katie Treggiden

Inspired by the Friedrich Fröbel quote, “Play is not mere playfulness; it possesses a high seriousness and deep significance,” Kiki turned to her 6-year-old son Ko for inspiration for her Ko Tinker Sculpture – hence its name. Her aim was to capture the freedom children experience when they play without constraints, allowing their minds – and hers – to wander into previously unexplored territories. “This body of work celebrates the art of play, discovery, and following one’s emotions to create freely,” she says. “Fear has no place here. It is a world of openness and purity, characterized by a delightful flow.”

Four linear vertical brass light fittings are affixed to a wooden wall.

Joost: Brassbars Photo: Katie Treggiden

Exploring the creative potential of left-over brass components, Joost tapped into a wellspring of inspiration that evolved into the Brassbars series of wall lamps. “These lamps capture the reflections and treatments of this precious material,” he says. “A slender strip of light enhances the overall aesthetics, casting a gentle glow that accentuates the brass’s exquisite features, making these lamps both a source of illumination and works of art.”

Katie Treggiden is a purpose-driven journalist, author and, podcaster championing a circular approach to design – because Planet Earth needs better stories. She is also the founder and director of Making Design Circular, a program and membership community for designer-makers who want to join the circular economy. With 20 years’ experience in the creative industries, she regularly contributes to publications such as The Guardian, Crafts Magazine and Monocle24 – as well as being Editor at Large for Design Milk. She is currently exploring the question ‘can craft save the world?’ through an emerging body of work that includes her fifth book, Wasted: When Trash Becomes Treasure (Ludion, 2020), and a podcast, Circular with Katie Treggiden.

Through the eyes of Caleb Carr, teen photographer

Through the eyes of Caleb Carr, teen photographer

“Quiet and thoughtful” is how I’d describe my first meeting with 15-year-old Caleb Carr, a relatively new Camden Hills Regional High School student to the Midcoast from Massachusetts.

Turns out that’s an apt description for his photography, as well.

As we chatted in the school library, I got to know him a little bit and what he’s drawn to in life, and behind the lens.

“When I was in Massachusetts, I focused on sports and aviation, which is what I was interested in,” he said.

Hockey and football are his two favorite sports and he brings his Panasonic Lumix fz300 camera to capture the action in the games. But, once he and his family moved to Camden, Caleb started to really look around—and found that capturing images in nature was just as rewarding.

 He got the camera for his birthday but admits he didn’t know much about photography at the time. 

“I wasn’t super serious about it at first, but then I attended some Zoom meetings on photography and this guy who taught it worked for major magazines and taught us how to use the camera better,” he said.

This sparked an interest in knowing the camera’s settings and how he could master them. He began teaching himself how to take quality photos through YouTube tutorials and using the online photo editor, Adobe Lightroom.

Simultaneously, he began to explore the Midcoast from all angles and paid special attention to objects and scenes that weren’t obvious to everyone else.

“I have more nature photos now because I’m surrounded by it here,” he said. “I like natural photography and don’t alter too much of it except to preserve the colors. I find these little spots and try to capture images that aren’t necessarily seen by everybody.”

The following are a few of his photographs and what was the inspiration behind capturing the image.

Island

P1370091.jpeg
Photo by Caleb Carr

When taking this photo, I was drawn to the isolation of this island. Most photos of Maiden’s Cliff are focused on the cross that overlooks the Midcoast, but I wanted to look past that and focus on the smaller unnoticed features of Megunticook Lake.

Raft

P1360360.jpeg
Photo by Caleb Carr

While at Hosmer Pond this past summer, I was able to capture the sunset across the water. It created an amazing scene with the raft and the quiet pond. I did some color grading to make the light off the raft billets pop.

Lobster boat

IMG_4866.jpeg
Photo by Caleb Carr

While in Camden, I noticed The Gladys Wink tied up at the dock. They were unloading the boat and it appeared that no one noticed that compared to the other things happening in the harbor.

Hockey

P1280713.jpeg
Photo by Caleb Carr

After being beaten by Sandwich the previous season, Norwell was back for revenge in the MIAA D4 final. Timmy Ward, the star player of Norwell crosses over in front of the bench preparing to receive a pass.

Rockport Harbor

P1360622.jpeg
Photo by Caleb Carr

I was just walking around Rockport for several hours, exploring, and I came across a gap in the bushes. When approaching it, I realized it created a window into Rockport harbor. It was a perspective that goes unnoticed and I wanted to bring attention to how pretty it is.

At 15, not many people know what they want to do, but Caleb is pretty serious about pursuing photography. Knowing that he loves to shoot sports, we offered him a guest column to cover the high school sports games, such as in this recent story. A chance mention of his photography on Midcoast Message Board led to this story and to a guest column—one never knows the opportunities that await, until you manifest your intent. For Caleb’s thoughtful approach to nature, beauty, and hidden gems, his photography career is only beginning.

Hail To The Rad Kids is an ongoing feature highlighting teens in the Midcoast with special talent. 


Kay Stephens can be reached at news@penbaypilot.com

Open Planet Is a Growing Library of 4,500 Free Videos Documenting Nature and Climate Issues Around the World

Open Planet Is a Growing Library of 4,500 Free Videos Documenting Nature and Climate Issues Around the World

Climate science has a communication problem. Abstract data, figures, and projections into the distant future can be tough to comprehend. Without effective storytelling tools to convey the severity of the crisis and what’s at stake if we don’t act, it can be difficult to motivate the broader public to advocate for change.

The team at Open Planet wants to bridge that gap. A collaboration between Studio Silverback and  Carnegie Mellon’s CREATE Lab, the new digital library contains a growing collection of climate and nature footage available for free use. Open Planet currently boasts some 4,500 clips that travel around the globe, from Bird Island off the Georgian coast to Brazil’s Jamari River to Pangti Village in western India. Documenting animals, plants, landscapes, and more, the footage is diverse in subject matter and captures visual evidence of some of the most pressing issues facing the world today. Director Colin Butfield shares:

As filmmakers, we know stories can be powerful agents of change, and with the window for action rapidly closing to address the planetary emergency, there’s never been a greater need for compelling, authentic storytelling. Open Planet will not only present the causes and impacts of climate change and nature loss but also the incredible ingenuity of those driving innovation to keep crucial sustainability targets within reach.

While some videos were created specifically for the platform, others are submitted by filmmakers, broadcasters, and production companies, and new footage is added daily. “Our immediate focus is to significantly grow the Open Planet footage library to cover a wider range of issues and regions globally so that more stories can be told to more audiences,” says Bethany Hutchings, who leads communications and content. “Crucially, our content needs to then reach changemakers around the world to deliver impact on a greater scale.”

Open Planet recently released its first collection focused on India, which has already reached more than 400 million viewers, and the full library is set to launch early next year.

 

a blue ocean expanse

a woman holds a sapling

a snowy mountain

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 Open Planet Is a Growing Library of 4,500 Free Videos Documenting Nature and Climate Issues Around the World appeared first on Colossal.

Myriam Boulos’ portraits of personal and political rebellion

Myriam Boulos’ portraits of personal and political rebellion

If there is one picture from among the series of arresting photographs in Myriam Boulos’ debut monograph which truly encapsulates the spirit of her work, it has to be the book’s striking cover image of two women kissing. “I believe this image contains everything I look for in photography: textures, proximity, resistance and tenderness,” the rising Lebanese photographer tells Dazed. 

What’s Ours (published by Aperture) tells the story of a city and a society in the throes of revolution, captured in Boulos’ distinctive style. Shot over a decade – from 2013 to 2023, when Boulos was in her 20s – the diaristic images distil significant moments during this prolonged period of political and civil unrest. “In October 2019, Lebanon witnessed an unprecedented popular mobilisation that brought together people from different sects, social classes, regions, and nationalities, calling for the fall of Lebanon’s political elite,” Boulos explains. “The uprising was triggered by systemic corruption, repression, growing inequalities, and signs of an imminent economic collapse.”

While this body of work, in which the personal and the political are inextricably entwined, chronicles a revolution – beginning at the 2019 protests against government corruption and austerity and culminating in the Beirut port explosion of August 2020 – it also functions as a visual memoir of defiance, courage and rebellion on a much more deep-seated level. “It is a documentation of intertwined revolutions and attempts of liberation, that go from the intimate to the political,” Boulos tells us in a conversation over email. “The title refers to anyone who is fighting any type of normalised oppression. Family, friends and strangers… As an Arab woman, I always try to deconstruct photography’s colonial and patriarchal practice and to challenge the conventional ways of representing our region in photography.” 

Among other images depicting personal acts of resistance, Boulos and her friends would take nude pictures in the streets of Beirut as a way of reclaiming the space and their freedom. “Taking pictures naked in the streets was a way for me to go from feeling like a stranger in my body and in my city, to feeling so present in both,” she explains. “As a neurodivergent woman who masks a lot, I have always admired – almost envied – people who exist in Beirut’s public spaces as if they were in their own living room.”

During the process of accumulating the series, Boulos didn’t necessarily conceive of it as a body of work. Rather, the act of taking pictures was a means of managing her feelings and mediating and transmitting her experiences. “Taking these pictures was a coping mechanism, a way of expressing myself, and a way of documenting to keep a trace and communicate with the rest of the world,” she says. “During my first years as a photographer, I would experience everything through photography. It was my way of approaching life. Photography is a way of getting closer to things, but also a way of putting boundaries. It is also a way of sharing an intense moment with other people, and then being able to spend hours, days or weeks processing this moment while processing the images through editing, retouching and sequencing. Photography was made for my obsessions. It is a way of exteriorising and organising my mind; a way of expressing myself and communicating with other human beings. Some people use words to be heard, I use images.” 

What’s Ours is a life-affirming, absorbing, world-making photo book; a future classic of the genre. Similar to the seminal photographers she admired while growing up, Boulos’ work delineates the territory of its own imaginative terrain and invites you to enter the world it presents. “Nan Goldin, Helmut Newton, Lisette Model, Diane Arbus, Araki, Daido Moriyama and many more, they all mix the personal and the political through aesthetics that are liberating in themselves,” Boulos concludes. “I love it when a photographer has a universe that is so strong that we don‎’t know how they do it, it’s like magic.”

Myriam Boulos: What’s Ours is published by Aperture and is available here now. 

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Myriam Boulas’ portraits of personal and political rebellion

Myriam Boulas’ portraits of personal and political rebellion

If there is one picture from among the series of arresting photographs in Myriam Boulas’ debut monograph which truly encapsulates the spirit of her work, it has to be the book’s striking cover image of two women kissing. “I believe this image contains everything I look for in photography: textures, proximity, resistance and tenderness,” the rising Lebanese photographer tells Dazed. 

What’s Ours (published by Aperture) tells the story of a city and a society in the throes of revolution, captured in Boulas’s distinctive style. Shot over a decade – from 2013 to 2023, when Boulas was in her 20s – the diaristic images distil significant moments during this prolonged period of political and civil unrest. “In October 2019, Lebanon witnessed an unprecedented popular mobilisation that brought together people from different sects, social classes, regions, and nationalities, calling for the fall of Lebanon’s political elite,” Boulas explains. “The uprising was triggered by systemic corruption, repression, growing inequalities, and signs of an imminent economic collapse.”

While this body of work, in which the personal and the political are inextricably entwined, chronicles a revolution – beginning at the 2019 protests against government corruption and austerity and culminating in the Beirut port explosion of August 2020 – it also functions as a visual memoir of defiance, courage and rebellion on a much more deep-seated level. “It is a documentation of intertwined revolutions and attempts of liberation, that go from the intimate to the political,” Boulas tells us in a conversation over email. “The title refers to anyone who is fighting any type of normalised oppression. Family, friends and strangers… As an Arab woman, I always try to deconstruct photography’s colonial and patriarchal practice and to challenge the conventional ways of representing our region in photography.” 

Among other images depicting personal acts of resistance, Boulas and her friends would take nude pictures in the streets of Beirut as a way of reclaiming the space and their freedom. “Taking pictures naked in the streets was a way for me to go from feeling like a stranger in my body and in my city, to feeling so present in both,” she explains. “As a neurodivergent woman who masks a lot, I have always admired – almost envied – people who exist in Beirut’s public spaces as if they were in their own living room.”

During the process of accumulating the series, Boulas didn’t necessarily conceive of it as a body of work. Rather, the act of taking pictures was a means of managing her feelings and mediating and transmitting her experiences. “Taking these pictures was a coping mechanism, a way of expressing myself, and a way of documenting to keep a trace and communicate with the rest of the world,” she says. “During my first years as a photographer, I would experience everything through photography. It was my way of approaching life. Photography is a way of getting closer to things, but also a way of putting boundaries. It is also a way of sharing an intense moment with other people, and then being able to spend hours, days or weeks processing this moment while processing the images through editing, retouching and sequencing. Photography was made for my obsessions. It is a way of exteriorising and organising my mind; a way of expressing myself and communicating with other human beings. Some people use words to be heard, I use images.” 

What’s Ours is a life-affirming, absorbing, world-making photo book; a future classic of the genre. Similar to the seminal photographers she admired while growing up, Boulas’ work delineates the territory of its own imaginative terrain and invites you to enter the world it presents. “Nan Goldin, Helmut Newton, Lisette Model, Diane Arbus, Araki, Daido Moriyama and many more, they all mix the personal and the political through aesthetics that are liberating in themselves,” Boulas concludes. “I love it when a photographer has a universe that is so strong that we don‎’t know how they do it, it’s like magic.”

Myriam Boulos: What’s Ours is published by Aperture and is available here now. 

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