James Ferrara

It takes a lot to frighten James Ferrara. When he is not getting up close and personal with sharks, he works for Martin County Fire Rescue, where he has been a firefighter/paramedic for 16 years. Ferrara, 41, who grew up in Port St. Lucie, bought his first camera just eight years ago and taught himself how to shoot. “Some of my dive buddies were really into shark diving, so my first introduction to the photography world was through them,” he says.

He began joining his friends on diving excursions with his camera in tow shooting sharks and has since expanded his portfolio of work to include a variety of other marine life. This past September, he traveled to Moorea, Tahiti to photograph humpback whales. In November, he was in Magdalena Bay in Mexico photographing scores of striped marlin that come to hunt during the area’s annual sardine migration. “It’s such a surreal experience,” says Ferrara. “To be in the water with marlin and watch them hunt and see the speed, it’s just incredible.”

His work has garnered acclaim from Oceanographic Magazine, where he was a finalist in the publication’s annual Ocean Photographer of the Year competition in both 2021 and 2023. His stunning photographs are regularly on view at the Kona Kai Resort art gallery in Key Largo.

Ferrara is currently planning a trip to Antarctica in 2025, where he will spend a month on a sailboat photographing cold-water marine life including leopard seals, penguins, humpback whales, and orcas. jferraragallery.com; @jferraragallery 

Cassandra Scott

The water has long been home to North Palm Beach native Cassandra Scott. “My parents have a house on the Intracoastal with a canal, so I spent my childhood hanging out back there with the critters,” she says. Now 36, she still hangs out with critters—though they are a lot bigger than the lizards, snakes, and horseshoe crabs from her youth. Through her work as an environmental advocate, Scott documents and photographs sharks in an effort to bring much-needed attention to these often-misunderstood creatures.

Scott always knew she wanted to work with animals and spent some time in college studying biology, engineering, and photography. Then one day, she received a phone call that would set a path for her to pursue her passion. “A buddy was working on one of the shark-diving boats out of Jupiter and asked if I wanted to work on it,” she recalls. She jumped at the opportunity.

Since then, she has gravitated toward conservation and, for the past three years, has been working with the American Shark Conservancy to collect data on sharks. With the goal of better understanding how humans and sharks interact and the impact we have on one another, she photographs the diverse marine life she encounters off the coast of Jupiter. “We have shelves right in our area with the warm waters of the Gulf Stream coming through and bringing lots of different types of creatures—everything from tiny corals to big sharks,” says Scott. “It’s just a big highway. You never know what you are going to see. It’s fun to be able to show people what is under the water and get them excited to go on a dive.”

In 2022, she was contacted by the Georgia Aquarium in Atlanta, where her photography is currently on display. americansharkconservancy.org; @covascott 

Lazaro Ruda

Stuart resident Lazaro “Laz” Ruda has been fascinated by underwater life for as long as he can remember. “There is this picture of me and my mom on the beach when I was little,” he recalls. “I have a pacifier in my mouth, and I’m wearing a mask.”

Born in Spain, Ruda, now 50, was 5 months old when his parents moved to Florida. He grew up in Miami, then moved to North Palm Beach in 2005 and bought his first underwater camera while working as a dive master at Scuba Adventures. “People would always ask me what I saw underwater,” he says. Ruda figured answering that question would be easier if he could show them photos of his encounters.

His passion became a career when he was invited to Jupiter’s ArtiGras festival in 2012 as one of the show’s emerging artists. Ruda now sells his work at art festivals throughout Florida during season as well as on his website.

His vast portfolio of work spans everything from dolphins, manatees, and humpback whales to starfish, seahorses, and jellyfish, most of his photographs captured off the coast of South Florida. “I know the reefs here very well,” he says. “The Breakers Reef is one of my favorites. I’ve had a lot of special experiences there.”

Ruda currently lives on a sailboat on the Intracoastal and hopes to take a trip around the world on the boat soon to continue exploring. “There’s wonder everywhere you look,” he says. “Being underwater is a very special place for me. It makes me really
appreciate nature and enjoy the little things.” thelivingsea.com; @thelivingsea

There is a pervasive myth within the photography community: the correlation between Instagram followers and financial success. This topic is especially pertinent for emerging photographers who may fall into the trap of equating social media popularity with career achievement, overlooking the multifaceted nature of building a sustainable photography business. This fantastic and important video tackles the topic. 

Coming to you from Prince Meyson, this insightful video challenges the widespread belief that a large Instagram following is indicative of a photographer’s financial well-being. Meyson shares his personal experiences and observations, pointing out that many photographers with significant online presences are not necessarily the ones landing lucrative commercial projects. He emphasizes that some of the most financially successful photographers often have minimal social media activity, suggesting that the key to substantial earnings lies beyond the realm of likes and follows. This perspective is crucial for photographers starting out in the professional realm, urging them to consider a broader strategy for their careers that goes beyond digital popularity.

Meyson further elaborates on the importance of diversifying income streams and not relying solely on social media metrics as a measure of success. He provides examples of how photographers can monetize their audience through selling products like retouching actions and presets, while also highlighting the importance of pursuing commercial gigs that may not always come from online visibility. This advice is invaluable for anyone looking to bridge the gap between online influence and tangible financial success. Meyson’s candid discussion serves as a reminder that a successful photography career is built on more than just a digital following—it requires business acumen, networking, and a diversified approach to income. Check out the video above for the full rundown from Meyson.

On March 6, the Greenwich Historical Society will unveil a groundbreaking exhibition titled LIFE: Six Women Photographers, spotlighting the monumental contributions of six pioneering women to the realm of photojournalism through their work with LIFE magazine. These photographers include Margaret Bourke-White, Marie Hansen, Martha Holmes, Lisa Larsen, Nina Leen, and Hansel Mieth, whose lenses captured the essence of 20th-century American and global events, shaping the public’s perception of the world around them. Curated by the New York Historical Society, the exhibit not only celebrates their achievements but also delves into the intricacies of their creative processes, offering an unparalleled glimpse into the evolution of modern photojournalism.

Trailblazers Behind the Lens

The exhibition presents over 70 photographs that narrate the rich tapestry of global cultural and political events from the unique perspectives of these six remarkable women. Their work spans a diverse range of subjects, from the rise of U.S. industrial power and the evolving role of women and families in society to critical moments like World War II, race relations, labor movements, and the Cold War era. Through their cameras, these photographers not only documented history but also influenced the discourse of the times, bridging the gap between the public and the often distant or abstract events shaping their world.

The Art of Storytelling Through Photography

This exhibition does more than display iconic images; it reveals the collaborative process between photographers and LIFE magazine’s editors in crafting compelling visual narratives. Visitors will have the opportunity to explore the editing journey through a selection of published and unpublished photographs, vintage prints, copy prints, and contact sheets. Additionally, memorabilia such as memos, correspondence, and other items from the “Time Inc.” Records shed light on the meticulous process behind the magazine’s legendary photo essays. This behind-the-scenes look offers a deeper understanding of how photojournalism operates as a powerful storytelling medium.

Extending the Conversation

Complementing the visual feast, the Greenwich Historical Society has curated a series of engaging lectures, workshops, discussions, and film screenings. These events aim to foster a deeper connection between the community and the rich history of photojournalism, encouraging dialogue on its impact and evolution. The full program schedule, available online, promises to enrich the exhibition experience, offering attendees various avenues to explore the themes presented in the photographs and their relevance to contemporary media landscapes.

As this exhibition opens its doors, it not only pays homage to the influential work of these six women photographers but also invites reflection on the power of photography in shaping public perception and understanding. It reminds us of the enduring impact of visual storytelling in navigating the complexities of the world. Through the lenses of these pioneering photojournalists, we are offered a rare opportunity to revisit and reassess the pivotal moments of the 20th century, fostering an appreciation for the art and craft of photojournalism that continues to inform and inspire.

In August 1967, a 50-year-old Irving Penn rented a building in Sausalito, California—a picturesque Bay Area enclave straddling San Francisco—with north-facing windows and made it his studio. The renowned photographer—who, by that time, had already established himself as a foremost image-maker of his generation, revolutionizing fashion and portrait photography as we know it today—was on assignment for Look magazine to document S.F.’s Summer of Love. He photographed the Haight-Ashbury crowd for the job: Hells Angels (whose members rode their Harleys into the freight elevator of his Sausalito space to be shot in front of a concrete wall), hippie communes, local rock acts, and members of the San Francisco Dancers’ Workshop.

The photographs from that trip, which ended up being published in an eight-page spread in 1968’s Look, are now part of an expansive retrospective of Penn’s seven-decade oeuvre. Originally shown at The Metropolitan Museum of Art in New York, “Irving Penn” has traveled back to the Bay, landing at San Francisco’s de Young Museum from March 16 through July 21. This iteration of the exhibition features a newly enhanced section dedicated to Penn’s photographs from the 1967 Summer of Love, but that’s far from the only draw.

With more than 195 photographs mounted, the show is the most comprehensive gathering of Penn’s works to date, exploring not only his masterful photos of Marlene Dietrich, Audrey Hepburn, Issey Miyake, Truman Capote, and Joan Didion, but also his arresting still lifes, which bookend his career. Below, browse through a selection of the works on view at “Irving Penn.”

Irving Penn, Balenciaga Rose Dress, Paris, 1967.

Irving Penn. Audrey Hepburn, Paris, 1951.

Irving Penn, Still Life with Watermelon, New York, 1947.

Irving Penn, Issey Miyake, New York, May 16, 1988.

Irving Penn, Rochas Mermaid Dress (Lisa Fonssagrives-Penn), Paris, 1950.

Irving Penn, Joe Louis, February 15, 1948.

Irving Penn, Woman in Chicken Hat (Lisa Fonssagrives-Penn), New York, 1949.

Irving Penn. Rock Groups (Big Brother and the Holding Company and The Grateful Dead), San Francisco, 1967.

Irving Penn, Hells Angel (Doug), San Francisco, 1967.

Irving Penn. Hippie Family (Kelley), San Francisco, 1967.

Footage has surfaced of an angry priest yelling at a wedding photographer — as a petition, calling on clergymen to stop their “rude” and “aggressive” behavior toward snappers, was signed more than 900 times in the U.K.

Last week, over 900 people signed a petition started by photographer Rachel Roberts, declaring that “problematic” vicars are a “huge issue” in their industry and need to be more considerate.

@julieannewhytephotograph

Debated if I should put this out there, but this happens way to often to photographers & videographers, before I started recording I was only in this place for 2 minutes – he marched over to me to tell me not to take photos ect & I was explaining that I have been paid by the couple & I have to take photos – this is the responce to that, then he stands so close me trying to intimidate me. This is not even half of what he done, he was then apparently looking for me after ceremony, I was not hiding from him. Pointing fingers in my face, so many witnesses to prove I said & done nothing. Carfin Grotto – Father Grant.

♬ original sound – Diaryofaweddingphotographer ❥

The petition stated that vicars are often “rude, humiliating, aggressive, and abusive” to wedding photographers in the U.K. and make it difficult for them to take photos inside church premises.

The petition comes after a viral TikTok video, posted by wedding photographer Julieanne Whyte, shows an intimidating priest yelling at her to prevent her from taking shots.

Whyte says she initially debated posting the video, which has amassed over 2.6 million views, but knew that she had to highlight the abusive incident as “this happens way too often to photographers and videographers” in her industry.

Tension Between Wedding Photographers and Clergy

In an interview with the BBC, Roberts said she was driven to start the petition after seeing a video on social media of a wedding photographer being “spoken to really aggressively” by a vicar in front of a church full of “horrified” wedding guests.

Roberts, who has been a wedding photographer for six years, says she has had clergy members ask her to hide behind pillars or to stay at the back of the church and only take one photo.

The wedding photographer says that one vicar threatened to pause the ceremony and kick her out if she took photos at the wrong time.

Meanwhile, another vicar demanded she stay in one place and not make any noise — but allowed children to freely roam in the church and play in the aisles.

Roberts says that the tension between photographers and the clergy had been an ongoing issue in the wedding photography industry for a long time.

She started the petition in a bid to make sure something was done to reset the relationship between vicars and photographers.

Clearly, Roberts is not the only one to feel this way — as hundreds of wedding photographers reportedly signed the petition in a little over a week.

In an interview with The Times of London., former U.K. Archbishop of Canterbury Dr. Rowan Williams admitted that some vicars can be a “complete pain” and “over-controlling” with photographers. But he says it is “not unreasonable” to ask photographers to be respectful.

Back in 2013, a video from the U.S. of a minister stopping a ceremony to tell off photographers caused a stir and is well worth a rewatch.

Image credits: Julieanne Whyte.
 

Have you ever had the experience of seeing graffiti as beautiful in cities when traveling? But then in our home town, graffiti can be seen as an eyesore? When we look into the past, we’re looking into a foreign country, as the saying goes. For us, the subways of 70’s New York may well be seen as beautiful. Gordon Matta-Clark’s GRAFFITI ARCHIVE 1972/73 bring together some of the photographer’s best images from a bygone ere. Here’s more from Brooklyn Street Art:

Instead of simply documenting, [Gordon Matta-Clark] delved into the graffiti scene with an artist’s eye, capturing the raw and spontaneous energy of the city’s youth. His photographs from 1972 and 1973 reveal the early days of graffiti, where the art form was more about personal expression and claiming space in a rapidly changing city than about the notoriety it would later bring.

Roger Gastman, a key figure in the graffiti community, has played a crucial role in bringing this collection to light…. “What really resonates with me is the sense of pride I feel to be able to share these photos,” he says. It’s not just about showcasing graffiti—it’s a genuine homage to real history, a glimpse into the ‘who,’ ‘what,’ and ‘where’ of these vibrant stories etched onto walls and trains. I can’t help but feel happiness, knowing that Gordon Matta-Clark had the foresight to capture these moments and that his estate entrusted us to put this show together—it has truly felt like a collaboration,” says Gastman.

See more!

Photographers may want to prepare for California’s superbloom season — as it is expected to be “impressive” for a second year in a row.

California is known for its superbloom season, a rare phenomenon in which a burst of colourful wildflowers blanket a desert region.

Superblooms tend to occur after an unusually wet rainy season, as heavy rain transforms the sometimes desert-like terrain, resulting in an incredible floral explosion.

Last year, California’s dazzling superbloom was so extensive that it was even visible from space. And the superbloom season is predicted to be just as vibrant again in 2024.

According to the San Francisco Chronicle, wildflowers will open up into a rare kaleidoscope of color — starting in Southern California desert once the rains subside. The region’s landscapes will then be covered in densely packed blankets of purple and blue, red, and gold wildflowers.

‘Take Photos, Not Flowers’

The spectacle is expected to draw thousands of visitors, who flock to enjoy the natural spectacle.

In a statement, California state officials say they welcome photographers who want to take pictures of the Superbloom. However, they have urged visitors to stay on designated paths and trails and asked tourists not to pick flowers.

“In recent years, California has been lucky to see spectacular wildflower blooms in many public lands, including in state parks,” State Parks Director Armando Quintero says in a statement.

“We welcome all Californians and visitors from around the world to experience this fleeting natural phenomenon and ask all to keep the ‘Beauty in the Bloom’ by staying on designated trails and taking only photos, not flowers.”

San Francisco Chronicle reports that the wildflower season typically begins at the end of February and can last until early May, depending on the location and weather conditions.

According to park officials, Anza-Borrego State Park, located in San Diego County, has already begun to see some of its native wildflowers sprout, such as primrose, phacelia and wooly sunflower, at the center and southern edge of its lands.

From there the flowers will barnstorm north, park by park, to Antelope Valley California Poppy Reserve, Red Rock Canyon State Park, Chino Hills State Park and Fort Tejon State Park.

The question of whether this year’s superbloom can beat the previous season depends on the weather patterns over the coming months.

Last year, PetaPixel published tips on how photographers can truly capture the beauty of California’s superbloom.

 
Image credits: Header photo licensed via Depositphotos.