KENNETT SQUARE, Pa. (CBS) — A picture is worth a thousand words, and sometimes a few hundred shares too.

Phoenixville couple Joey Chowanec and Kristin Beshada went viral after a photographer snapped some pictures of their engagement, unknown to them, and then used the power of social media to get in touch with them.

Here’s what happened: last month, Chowanec popped the question to Beshada, his longtime girlfriend, at one of their favorite spots: Longwood Gardens.

“I had a whole speech in my head, froze up. I didn’t say anything that I planned on saying,” Joey said. “And I just stood there for a couple of seconds. And then I was like, I should just get down on one knee.”

Joey’s mom manned the iPhone camera – capturing the moment.  

But the couple would soon learn someone else also snapped some photos of the moment – that would go viral.

That someone was Laura Reiger, a photographer based in Leesport, Pennsylvania.

She was at Longwood Gardens taking senior portraits in the same spot.

“As i turned around, he was on one knee proposing to her. Like, oh, so cute. I couldn’t resist, so I hopped behind the moms and just snapped a photo.”

Reiger says she wasn’t able to connect with the couple at Longwood and share these pictures.

So she turned to social media later that day, posting the photos on Facebook and asking “does anyone know this couple?”

And within 30 minutes, she found an answer.

“One of my friends from nursing school, she actually tagged me in something…so I clicked on that. and I was just like, oh my goodness,” Beshada said.

The couple has been together a little over two years after meeting on Hinge.

The couple says friends in different Facebook groups saw the post and reached out too.

“I was super excited. I was just like, this is the best. what are the chances that someone you know, snapped such beautiful pictures of us?” Beshada said.

Some would call this story the power of social media.

“Everybody knows somebody who knows you, we’re all a lot more connected than I guess we think we are,” Reiger said.

Whatever you call it, pure joy is what Reiger’s lens captured of the soon to be Mr. and Mrs. Chowanec.

The couple says they’ll treasure the photos for a lifetime.

“It was really neat just to be part of someone else’s story and let them have those memories from me,” Reiger said.

“It’s obviously a very special moment to us. So for us to have those, I mean, we couldn’t be more thankful,” Chowanec said.

Nikki DeMentri

Nikki DeMentri is a general assignment reporter with CBS Philadelphia. The Central New Jersey native is thrilled she is sharing the stories of where she grew up.

A viral photograph on Reddit claimed to show one of the first photographs taken at Chernobyl after the explosion of the nuclear reactor in Ukraine on April 26, 1986.

The post claimed it was shot 14 hours afterward.

The above photograph was indeed among the first taken just after the disaster occurred. Based on a number of accounts, it was also not the only shot of the site taken on April 26. Igor Kostin, as described by numerous news accounts, shot the picture in question, and by his own retelling was among the first photographers at the scene hours after the disaster.

A flawed nuclear reactor systems test at Chernobyl resulted in massive amounts of radioactive material being released into the environment. As we reported before, the incident, which occurred when Ukraine was part of the Soviet Union, had wide-ranging effects that lasted for decades in regions that included Belarus, the Russian Federation, and Ukraine. Effects included rising thyroid cancer cases among children and psycho-social impacts, including higher rates of depression, alcoholism and anxiety.

The Guardian shared Kostin’s photograph in an online series of images taken in the disaster’s aftermath. The story stated photographers arrived on April 27, 1986, and credited Kostin with the image in question:

The first photo to be taken of the reactor, at 4pm, 14 hours after the explosion. This was taken from the first helicopter to fly over the disaster zone to evaluate radiation levels. The view is foggy due to radiation, which also explains why the shot was not taken too close to the window. Later, radiation experts learnt that at 200 metres above the reactor, levels reached 1500 rems [referring to a unit of radiation dosage], despite the fact that their counters did not exceed 500 rems.

The Guardian date, however, contradicts the dates published in The Associated Press and in Kostin’s own book, which noted that photographers arrived on April 26. The first explosion took place at 1:23 a.m. on April 26. Kostin described getting woken up with a call about the incident on April 26, and leaving his house to take a 45-minute helicopter ride to the site just as the sun was rising.

An Associated Press caption for a different photograph of the reactor taken from an aerial angle by Volodymyr Repik — one of the three photographers at the scene in the helicopter in the immediate aftermath — was also reportedly taken on April 26, 1986, the same day as the explosion. We do not know if this was shot before or after Kostin’s photograph:

Only three Tass [Russian news agency] photographers were allowed in — Volodymyr Repik, Igor Kostin and Valery Zufarov. Two later died of radiation-related illnesses and Kostin suffered from the effects for decades before dying in a car accident in 2015. The Chernobyl nuclear power plant explosion was only about 60 miles from photographer Efrem Lukatsky’s home, but he didn’t learn about it until the next morning from a neighbor. Only a few photographers were allowed to cover the destroyed reactor and desperate cleanup efforts, and all of them paid for it with their health.

Kostin detailed the experience in his book “Chernobyl: Confessions of a Reporter.” He wrote that he was a photographer for Novosti agency not Tass (though they were both state-owned). All of his photographs from that day were damaged with the exception of the above image:                     

I opened the window, mechanically, as I always do, in order to avoid reflections. I got my camera ready and took a photograph. A big puff of hot air filled the cabin of the helicopter. At once, I wanted to scrape the bottom of my throat. It was a new and strange feeling. I swallowed my saliva with difficulty. Probably the toxic smoke of the fire. I stopped myself from coughing and pointed my lens towards the ground. I made my first shots, about twenty of them. Suddenly, my camera locked. I forced the release button, but nothing. The mechanism had the flu. I was furious. I jammed it fiercely for a few seconds, in vain. The pilot flew one more time over the plant. Unable to take more photos, we flew back without even touching down. All that trouble for only twenty photographs! In Kiev, while developing it, the film was covered with an opaque surface. Almost all the photographs are entirely black, as if the camera had been opened in full light and the film exposed. I did not understand it then, but it was due to the radioactivity. Marie Curie had been confronted by the same experience when she isolated radium. The radiation makes an impression on the film or the photographic plates. Only the first photographs seemed less damaged. Undoubtedly they had been protected by the roll casing. Struggling with the film, I ended up obtaining an acceptable photograph that I sent to Moscow, to the Novosti agency main office. It was not published. But by then I already knew that I was going to return to Chernobyl to take photographs.

The photograph in question can be found on page 6 of the book, which is available on The Internet Archive. The caption stated: “This is the only photo in the world taken the same day as the accident.”

Yet another photographer was present that day, according to other reports. A 2006 BBC story shared an account by Anatoly Rasskazov, who was a staff photographer at the plant and who was reportedly allowed in on the day of the explosion. Rasskazov described how he shot photographs from the air and on the ground:

There were rumours of a minor accident at the station, but I cleaned the windows of our flat in Pripyat as usual. Then at about 9am I was summoned urgently to the station.

No-one believed that something so awful could occur.

I went down into the bunker where the authorities were working, and I understood that they did not really know whether the active zone of the reactor was destroyed or not. They wanted pictures taken from above to see what had really happened.

In the helicopter, there were two soldiers and two civilians from Atomenergo, who had flown down from Moscow. There was so much ash flying around, it was impossible to take photographs through the glass. I said, “Comrades, we have to open the window.” They protested, saying it would contaminate the helicopter. They knew what it was, the material rising up from the reactor.

But the window was opened. I leaned out with my camera, a wide-format Kiev-6, and a soldier held my legs to stop me falling. Then I doubled up with a Zenit.

He went on to describe how he took a number of pictures from the ground by driving around in a fire engine and drove up close to the ruins of one of the reactors. However, when he tried to develop his photographs, he faced a similar challenge to Kostin’s:

I develop the first film, from the Zenit, and it is black, completely burnt out by radiation – probably from the graphite block. I think, “That’s it. It’s all over.” But the second film, from the other camera was successful, only slightly clouded. When I got to the station the First Department [security] took the prints, numbered them and took the films. “Everything you saw and heard – keep your mouth locked!” they said. From the photographs it was clear that the active zone was badly damaged. Until May, no-one else was allowed to take pictures.

Rasskazov suffered serious health complications in the decades after his time photographing the ruins at Chernobyl. His photographs were eventually published in a book, but he said that he was never credited with them. The photographs can be seen in the BBC article here. Per the Chernobyl Museum website (via Google Translate), we learned he photographed the destroyed power unit around 3 p.m. on April 26.

Anna Korolevska, who was a deputy director for the Chernobyl Museum in Kyiv, Ukraine, told NBC News in 2011 that Rasskazov made a video of the destroyed reactor and submitted it to a special commission working in a bunker close to the plant, and that the Soviet secret police seized his photographs submitted later. Only two of his photographs were published in 1987, without crediting him, according to NBC News.

We reached out to the Chernobyl Museum in Kyiv for more information about Kostin and Rasskazov. We will update this post accordingly.

In short, while Kostin took one of the first photographs of the Chernobyl disaster, other professionals also shot photographs on the day of the incident.

Here’s a kitten in a baby carriage and bonnet, photographed in 1930 by Alton Blackington. What an adorable photo—and what a great sport the cat was.

If I tried to put a bonnet on my cat, I would not walk away unscathed.

I’d like to be this level of tucked-in when I go to bed every night, please. 

This wildlife photo demonstrates how preparation, observation, and extensive knowledge of the subject are key when it comes to capturing the perfect moment. 

Titled Center of Attraction, photographer Ujjwal Mukherjee shot the scene with a Canon EOS 50D and a EF 300mm F/2.8L IS USM lens (at 1/4000sec, f/3.5, ISO400). 

1. The right moment

Ujjwal’s initial goal was to capture the extraordinary, but wildlife photographers can often wait for hours for that perfect moment. “Good wildlife shots are the ones that have some elements in them that stand out from the more familiar and common scenes,” Ujjwal says. “I was happy I had pressed the shutter at just the right time, otherwise this image would have lost its uniqueness.”

2. Crucial focus

The focal point is clearly in the centre of the shot, which is important for creating some kind of balance for the eye in this busy environment. Sharp and out-of-focus elements make the impala in the middle stand out, directing the viewer’s gaze towards it. To achieve this result, Ujjwal adjusted the camera settings. “I used a longer focal-length lens and a larger aperture and, hence, I could keep the background blurry and soft mostly by using the in-camera settings,” he explains.

3. Decisive composition 

 The standout element of the shot is the impala in the centre, even though there are many other subjects in the frame. “This image is an example of where a considered composition of breaking the ‘Rule of Thirds’ has produced a better image,” Ujjwal says. “The Impala making eye contact with the viewer while the rest of the herd is evenly distributed left and right breaks the pattern and gives the image strength.”

4. Defined crop

Without Ujjwal’s decision to tightly crop the original shot, the image as a whole would lose its effect. The repetitive shapes are essential and it is through these that a connection is made between the viewer and the eye contact from the impala. “It was important not to keep much empty background space behind the impalas,” he says. “That would have gone against my visual strategy and affected the overall balance of the composition.”

Ujjwal Mukherjee

Indian-based photographer Ujjwal Mukherjee focuses on travel, landscape and wildlife subjects. As a photographer for the past 24 years, he has been fortunate enough to travel to many parts of the world, providing amazing photographic opportunities.

“My inspiration for creating photographs always comes from the observation of the wonders of nature”

In an age where digital art and photography are increasingly consumed appreciated, many photographers, professionals, and hobbyists alike, contemplate venturing into the world of selling their prints online. This video sheds light on this journey, offering valuable insights and practical advice for those looking to transform their photographic talents into income.

Coming to you from Scott French, this helpful video discusses getting started selling photo prints, including a common hurdle many face: entering the online print market with little to no social media following. French who started from scratch, emphasizes the importance of building a social media presence. It’s not just about showcasing your work; it’s about engaging with an audience and turning followers into potential buyers. 

One critical aspect highlighted in the video is the choice of platform for selling prints. While online marketplaces like Etsy and PixArt offer a starting point, they come with their own set of challenges, including fierce competition and limited control over pricing and presentation. French suggests setting up a personal e-commerce website, offering a more stable and controlled environment for sales.

The video also delves into the logistics of print selling. The decision between print-on-demand services and self-printing involves considering factors like quality control, packaging, and shipping. For French, print-on-demand was a practical choice, though he advises thorough testing before committing to a service. I personally use print-on-demand and am thankful for the convenience.

Encouragingly, French found good success, demonstrating the potential of online print selling. However, as the video concludes, this success doesn’t come passively. It requires persistent marketing and promotion, underlining the fact that prints don’t just sell themselves. Check out the video above for the full rundown from French. 



Art
History
Photography

#art history
#black and white
#books
#Frida Kahlo

In her short lifetime, Frida Kahlo (1907-1954) collected an incredibly vast archive of photographs. Her father, Guillermo Kahlo, had been one of Mexico’s most well-known photographers, documenting architecture, industry, and himself, and his legacy certainly influenced the artist’s enduring interest in self-portraiture and image-making.

While Frida fostered a prodigious artistic practice of her own, she also amassed more than 6,000 photos taken by friends, family, colleagues, and sometimes, herself. Within her trove are snapshots of Mexico and her life, particularly moments shared with her husband, the artist Diego Rivera. Compiled in a recently reissued book, the collection offers unparalleled insight into the influential couple’s life and work.

Frida Kahlo: Her Photos was originally published by Editorial RM in 2010 and out of print until its re-release in October. Containing annotations and notes, the tome features hundreds of black-and-white images that, before 2004, had been hidden in storage in the artist’s Mexico City home. This edition once again offers audiences the opportunity to better understand the bonds, preferences, and daily minutiae of two of the most important artists of the 20th century.

Spanish and English versions of Frida Kahlo: Her Photos are available on Bookshop.

Frida painting the portrait of her father Guillermo Kahlo (1951). Photo by Giséle Freud

Revolutionaries

Diego Rivera with his models, Nieves Orozco and Inesita

Diego Rivera (1933). Photo by Esther Born

#art history
#black and white
#books
#Frida Kahlo

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