“Firecracker Symphony” by Victor Tan. Photo Essay Winner.
Once again, the Mobile Photography Awards is proving that good photography isn’t limited to owning a DSLR. Since 2011, the contest has been showcasing the creative possibilities of mobile photography and the 13th annual contest is no different. Shanghai-based photographer Yajun Hu took home the top prize for his portfolio of street photography, all taken using a Xiaomi Ultra 13.
Hu’s work focuses on the small coincidences of life, whether it’s a person being framed by a reflection or a fountain cleverly covering part of someone’s body. Daniel Berman, the founder of the Mobile Photography Awards, exudes enthusiasm for Hu’s work, describing it as being “distinguished by a unique interplay of shadows, colors, and shapes, infusing the compositions with depth and emotion.” He adds, “Each photograph serves as a piece of a larger narrative, contributing to a rich tapestry of urban storytelling.”
In addition to Hu, other photographers were singled out in 12 different categories, ranging from Landscapes to Portraits to Architecture. Each category celebrates the distinctive qualities of mobile photography, highlighting its accessibility, immediacy, and portability.
This year, photographers from over 80 different countries entered the competition, which just shows how widespread the use of phone photography has become. Scroll down to view more winners and get inspired to use your camera’s phone creatively.
“Broken Portrait” by Yajun Hu. MPA Photographer of the Year and Winner, Black & White. Shot on Xiaomi 13 Ultra.
Image by Yajun Hu. MPA Photographer of the Year. Shot on Xiaomi 13 Ultra.
Image by Yajun Hu. MPA Photographer of the Year. Shot on Xiaomi 13 Ultra.
“Wonder Kelingking Beach” by Yuepeng Bao. Winner, Travel & Transportation. Shot on iPhone 14 Pro Max.
“The Void” by Wei Wei. Winner, Architecture & Design. Shot on Xiaomi 13 Ultra 1.
“Tetris” by Roy Pan. Winner, Silhouettes. Shot on iPhone 13 Pro.
“The Violinist Returning Home at Night” by Queenie Cheen. Winner, Portraits and Self-Portraits. Shot on Vivo X90 Pro Plus.
“Playground” by Chang Nianzu. Winner, Street Photography. Shot on Xiaomi 13 Pro.
“Golden Mountains” by Di Lu. Winner, Landscapes & Wildlife. Shot on Oppo S6 Pro.
“Beyond the Green” by Hollyn Johnson. Winners, Macro & Details. Shot on Samsung S22 Ultra.
“Cadet Obstacle Course” by Elliot Ferguson. Winner, People. Shot on iPhone XR.
“Forge by Melissa Johnston. Winner, VisualFX & Digital Art. Shot on iPhone 14 Pro.
“Light Up” by Wai Ying Kwok. Winner, The Darkness/Noir. Shot on Samsung Galaxy S23.
“The Falls” by Ryan Cardone. Winner, Water/Snow/Ice. Shot on iPhone 12 Pro.
Mobile Photography Awards: Website | Facebook | Instagram
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(AP Photo/Adam Bird)
Pulitzer Prize-winning photographer David Hume Kennerly resigned from the Gerald R. Ford Presidential Foundation after it failed to honor Liz Cheney with their top prize.
“It was a painful decision to resign from the Gerald R. Ford Presidential Foundation, but necessary. I hope more people around the country will follow [Liz Cheney]’s example and speak out about the threat to our democracy. Time to step up,” Kennerly wrote on X, formerly Twitter.
In a letter to fellow trustees, Kennerly suggested Cheney’s nomination for the Gerald R. Ford Medal for Distinguished Public Service was dropped multiple times over fear Donald Trump could target the organization during a potential second presidency.
Cheney is a vocal critic of Trump and served on the congressional subcommittee investigating the Jan. 6 Capitol riot.
Gleaves Whitney, executive director of the Ford Foundation, claimed in a statement to Politico that Cheney was not accepted because of rumors she could end up running for president.
In his letter, Kennerly suggested Cheney get her very own award.
“After this current divisive era passes, people will remember who stood up for what. But it’s not too late to save the day. If you really want to correct this grievous mistake, create the ‘Gerald R. Ford Commendation for Political Valor,’ and make Liz Cheney its only recipient. That might help right the ship,” he wrote.
Kennerly, a veteran photographer, won a 1972 Pulitzer Prize for photojournalism and has covered conflicts like the Vietnam War. He’s photographed numerous presidents and served as Gerald Ford’s photographer while he was president.
Honoring Cheney, he argued, would also honor the values of Ford.
“When Ford was in office people still recall his commitment to our allies, the rule of law, and meeting the challenge posed by tyrannical leaders. By saying that we stand with Liz Cheney in the name of Gerald Ford to support her critical,” he wrote.
Kennerly finished the letter by accusing the group of not standing up to a real “threat to democracy.”
“Today I am resigning from the Gerald R. Ford board as a trustee. If the foundation that bears the name of Gerald R. Ford won’t stand up to this real threat to our democracy, who will?” he wrote.
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The 38th annual International Festival of Fashion, Photography & Accessories, hosted at the Villa Noailles in Hyères, France, celebrates international talent by giving emerging creatives a platform to showcase their work. The festival was first established in 1985, and is supported by respected partners in the industry and judged by a prestigious panel of respected names in fashion and design.
CHANEL has been a major partner in the festival since 2014, and le19M since 2020, with both partners committed to supporting young minds in the industry and providing grants and mentorship to guide the budding careers of the next generation of designers. Among the awards given out during the festival, the le19M L’Atelier des Matières Prize stands out. The prestigious achievement highlights the value of recycled materials from luxury products, and encourages circular design through transformation. Designer Petra Fagerstrom was awarded this honour, a collection of fabrics and leathers worth 10,000 euros, in addition to taking home the Mercedes-Benz Sustainability Prize.
The young designer’s collection included military garments and parachutes, inspired heavily by her grandmother—who served as a parachutist. Fagerstrom described the creation of her collection as “a tricky process, especially given my Russian- Ukrainian heritage and the political climate.” With this in mind, Fagerstrom made it a point to “navigate and adapt the collection to cope with the situation as it evolved.” Fagerstrom collaborated with Hubert Barrère, creative director of Lesage (CHANEL’s embroidery atelier), on one of the looks from her collection. Under his mentorship she was able to appreciate “the time and craftsmanship that go into embroidery,” as well as the “intricacies of the process.” Their pairing guided Fagerstrom to execute her vision for the collection, and the designer says that Barrère “understood my work from the start,” making their collaboration seamless.
Barrère sat on the fashion jury at the festival, seeing it as a “great opportunity to not only talk about fashion, but to support a new generation of designers.” He described the festival as “crucial for the new generation to know we exist and understand what’s possible for them.” He emphasized that the participation of young designers is “essential for our future.” He first met Fagerstrom in February 2023, with a tight time frame for the project: “we had about a month in reality to create something amazing for her.” Their goal of exploring the illusion of pleating came to life through embroidery—Barrère described the process as “akin to a cinematic approach,” he was overjoyed with the outcome.
As a young voice in the industry, Fagerstrom described the recognition as overwhelming. “The fact that my work resonated with the jury is incredibly rewarding,” she says. “It’s challenging to make your voice heard when starting out. This experience has been meaningful and has given me a platform to express myself.”
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When Robert Weinberg graduated from Denver’s George Washington High School during the outbreak of the Vietnam War, he hoped to become a social worker. So, he joined Volunteers in Service to America (VISTA), now more commonly known as AmeriCorps, to gain experience in the field. But after VISTA moved him to St. Louis to help unemployed locals find jobs, Weinberg stumbled upon a new passion: He purchased a Canon FX film camera to photograph the people he encountered.
What began as a hobby eventually led to a lifetime of capturing the Mile High City—which is set to be commemorated by the Rocky Mountain Jewish Historical Society and University of Denver’s Beck Archives next month. Weinberg will receive a Heritage Award—given to Jewish Colorado photographers—on Monday, May 20.
Following his stint with VISTA, Weinberg returned to Denver and worked in camera stores throughout the city while taking on freelance photography assignments for various news outlets, such as the Intermountain Jewish News. “I’m very much a journalist and enjoy photographing people and showing what they’re doing, their lives, their energies,” Weinberg says. He’s been the man behind the lens of poignant Colorado images, including a portrait (below) of Reverend Leon Kelly Jr., founder of Open Door Youth Gang Alternatives, and a shot of Pope Saint John Paul II meeting with President Bill Clinton at Regis University in 1993 for World Youth Day.
Weinberg began documenting Denverites in a more whimsical way in the ’70s. Inspired by American portrait photographer Philippe Halsman, Weinberg set out to master the art of “jumpology,” or photographing people jumping—something that Halsman believed coaxed his subjects into showing their true selves. “It’s fun; people love it,” Weinberg says. “If you know who Jake Jabs [CEO of American Furniture Warehouse] is, I even got him to jump once.”
In the 1990s, Weinberg started losing his sight due to a condition called cone-rod dystrophy, which deteriorates retina cells in the eye, and today, he is legally blind. “Emotionally and psychologically, it’s just going to tear you up,” he says. “It’s like going back to school. You have to learn all kinds of new things to become independent.”
Over the years, Weinberg has focused his energies on becoming a mentor within the blind community, partnering with organizations like Colorado Center for the Blind, Colorado Talking Book Library, and AfterSight. “It’s a very difficult thing to deal with, and it’s important to work with people who have dealt with it,” he says. “It’s going to affect your life like you cannot believe.”
Although his progressive vision disorder prompted him to leave the photojournalism profession, he still picks up the camera as a hobby, thanks to some remaining peripheral vision. Now, Weinberg uses digital cameras instead of film, enables autofocus, sometimes uses a magnifier, and makes sure the lighting conditions are just right. “A lot of times I’m just pointing my camera in a certain direction, and I get what I get,” he says. Since losing his sight, however, Weinberg has continued to capture poignant images, including a black-and-white portrait of local dance maven Cleo Parker Robinson teaching a class and candid photos of children learning to use canes at the Anchor Center for Blind Children.
In 2023, History Colorado featured an exhibit on Weinberg’s work, complete with braille labels that he created to accompany his photographs. And this year, on May 20, the Rocky Mountain Jewish Historical Society and University of Denver’s Beck Archives will present Weinberg with an award for his life’s work at the BMH-BJ Congregation, a synagogue in Washington Virginia Vale, at its 30th annual Heritage Award Dinner.
“To have somebody say ‘You did a lot’ is really meaningful,” Weinberg says. “I was just trying to make a living, but I had a lot of fun doing it.”
If you want to celebrate this Mile High City artist, tickets to the Heritage Award Dinner (May 20, 2024) can be bought online ($180 per person). Proceeds benefit the Rocky Mountain Jewish Historical Society.
If you’re part of the analog renaissance, you might have a Polaroid or two posted on your fridge or mirror, but, for the majority of people today, photography is an art consumed and shared almost exclusively online.
That relationship between the medium — which, increasingly, is experiencing a resurgence of analog-film popularity — and its digital dissemination is the theme behind a new photography exhibit at Latitude 53.
Aptly titled IRL (In Real Life for those not as fluent in internet lingo), the exhibit, which runs until May 11, brings the work of four Edmonton photographers off the small screens of their Instagram pages, websites and laptops and onto the walls of Latitude 53’s gallery.
“There are loads of artists working with photography in the community, but they don’t tend to work in print,” says Adam Waldron-Blain, the program manager with Latitude 53. “It’s very common for people to post those photos on Instagram or have a private practice that’s primarily digital.”
IRL brings a new way of consuming digital photography by changing the way in which the audience consumes the photo, according to Waldron-Blain. Photos in the exhibit are blown up as large as 40 inches by 60 inches and then pasted flat against the walls of the gallery.
“We’re playing with that [transference from digital to physical] with the way the show is installed,” he says. “They sort of have a feeling that resembles the experience of scrolling or viewing things online even though they aren’t digital.”
Lexi Pendzich is among the four photographers exhibiting their work at IRL (the other three being Jordon Hon, Wesley O’Driscoll and Salem Zurch). Pendzich, whose work focuses on portraiture of women and Queer people in Edmonton’s skateboarding subculture, says the different way of viewing her work has created new dimensions in viewership.
“It brings more presence,” Pendzich says. “Going from looking at these small negatives to uploading a digital image to then the quality … in physical print is really cool. It’s more all-encompassing and an engaging experience.”
April 10, 2024
Soule (Chippewas of the Thames First Nation) was a professional body piercer and tattoo artist for about 15 years, working in shops across the world. He now juggles various artistic endeavors, painting, sculpting, installations, music, and his clothing line, CHIPPEWAR.
During the spring to fall seasons, you can catch him on the powwow trail, traveling to various powwows across the United States and Canada to sell his art, clothing, and other merchandise.
Soule recently talked to Native News Online about his transition from tattooing and body piercing to multimedia work sparked by the Idle No More movement — an Indigenous-led social and environmental justice movement, his creative process, and what advice he would give to aspiring Native artists.
What inspired you to become an artist?
I worked as a body piercer and tattoo artist for about 15 years before I shifted my focus to artwork around 2012. This change was influenced by the emergence of the Idle No More movement, which inspired me to contribute to sharing messages from the Indigenous community through my art.
What are you looking forward to the most by having your art showcased alongside other local artists at the Artist Project?
For the Artist’s Project, I won’t be emphasizing sales pitches. It’ll simply showcase my paintings and the neon signs I create. I’ve taken on this space mainly to expose my work to potentially thousands of people. This isn’t my first time participating; it’s probably my third or fourth. Honestly, it’s never been financially rewarding—I usually end up losing money. However, I see it as a chance to promote and market my work rather than focusing on sales. My art, which blends Indigenous themes with pop culture, might not always find the right market here. Still, I attend to make connections, meet new people, and network with fellow artists. That’s what matters to me more than just selling my work.
Can you tell us about any specific pieces or collections you’ll be showcasing at the Artist Project and what inspired them?
I’ll be displaying nine of my neon signs from a series I call ‘Max Versus.’ They’re inspired by the old Mad Magazine spoofs on products. For example, I’ve taken a product like Mr. Clean and changed it to ‘Mr. Genocide Magic Eraser,’ featuring Johnny McDonald. Another sign is a spoof on a Canadian Dry soda can, titled ‘Caniduh Lies,’ renamed ‘Ginger Tails.’ There’s also ‘Chief Rezardee,’ a play on Chef Boyardee, featuring a canned moose stew. In total, there are nine of these neon signs. Additionally, I’ll be showcasing a variety of skateboards and my movie poster works. For instance, ‘They Lie’ and ‘Indian Boy in the Temple of Doom’ highlight the residential school system and the Catholic Church’s impact on Indigenous children. The exhibition will include larger paintings, neon signs, and skateboard artwork.
Could you share some insights into the creative process behind your artwork and clothing designs?
All of my work is based on pop culture references. Growing up in a non-Indigenous home, I spent my time watching TV and watching movies and listening to music. I didn’t know much about my culture or where I came from initially. As I started learning and reconnecting, I found a way to incorporate Indigenous themes into pop culture references. It became a means of Indigenizing what I knew about pop culture while also addressing the lack of Indigenous representation and the misrepresentation in film and television. I also grew up skateboarding, reading Mad Magazine, and watching various movies, so my work is a combination of all those influences.
Soule’s neon sign series, ‘Max Versus, ‘ imbues recognizable products with a narrative twist. (photos/Instagram)
What challenges have you faced as an Indigenous artist navigating the art world, and how have you overcome them?
The biggest challenge for any Indigenous artist is that we earn 30 to 40 percent less than non-Indigenous artists in Canada. The art market here tends to favor traditional Indigenous art, creating closed spaces for Indigenous artists. When opportunities do arise, they often expect traditional Indigenous art, which doesn’t align with my pop culture and pop art style. This has made it difficult for me to fit into their expectations. Curators, museums, and galleries struggle with defining what traditional Indigenous art looks like. It’s been a significant challenge. Most of my progress has come from my own initiative—about 90 percent of it involves me opening doors for myself or self-producing.
Can you share any upcoming projects or exhibitions you’re particularly excited about after the Artist Project?
I have two upcoming exhibitions. One begins later this month, towards the last week of April, at Museum London in London, Ontario. They’ll be displaying 14 of my movie poster paintings in the museum. Then, on June 14th, in Quebec City, my buffalo skulls exhibition returns. This time, it’ll be indoors, set up in the basement of a 200-year-old brick or stone building in Old Quebec City. It’ll be quite interesting to set up all those skulls and images in that space. It’s fun and exciting to see this exhibition in a different setting. I’ll be figuring it out as I go, as I’ve never even been in space until I set it up.
What advice would you give to aspiring Indigenous artists?
Just do it. Follow your instincts and create the artwork you’re drawn to. Be original with your ideas, put new spins on things, and just go for it. Don’t let anything hold you back from pursuing your art.
Here’s What’s Going in Indian Country, April 6 — April 11
‘Grounded by Our Roots,’ A New Indigenous Art Exhibition, Opens at the American Museum of Natural History
Native American Speed Skier Ross Anderson Inducted into Hall of Fame; Makes History
Olympian Billy Mills and Running Strong for American Indian Youth To Host Native American Arts Festival in Downtown Sacramento
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Opinions expressed by Entrepreneur contributors are their own.
As an entrepreneur, you are familiar with the quest to build something that works financially, preferably in the long term. Stock photography, a market evaluated at $4 billion in 2023, has been a reliable passive income source for years. But with AI-generated content emerging, should you trade off your camera for a photoshop-like algorithm?
Stock photography is a proven way to monetize your artistic vision. Platforms connect you to a vast marketplace of millions of potential buyers. You upload your work once and earn from it repeatedly and indefinitely. One image alone can earn you hundreds or thousands of dollars from royalty-free sales.
Moreover, stock photo platforms provide licensing agreements, indemnification and a clear legal framework for your business, reducing subsequent legal risks for all parties involved.
Related: How Modern Entrepreneurs Can Capitalize on Image and Video Searches
AI-generated content is the new kid on the block, bringing opportunities and challenges. Many companies have started selling generative AI while needing to learn more about stock photography requirements.
As such, this new exciting frontier is not without its legal difficulties, particularly concerning copyright ownership, the risk of infringing on intellectual property rights and the necessity for consent from people or models — issues that traditionally created content doesn’t raise.
AI tools have been trained and are still mostly training on existing images, raising questions about authors’ permissions. Without clear transparency and compensation mechanisms, most artists have not and still do not green-light their work for AI training or usage, on the contrary. So, how do you know how much or to what extent your AI-prompted image is derivative of another artist’s intellectual property? And what, if any, are the liabilities for you? Can you safely and legally generate images of people? Any unauthorized commercial and even editorial use of an individual’s likeness could have significant legal consequences for you and your clients.
Furthermore, who does the copyright belong to: the AI developers, you, or someone else? A recent ruling says you can’t copyright AI work, so creators using such tools are mere… tools. When using AI to generate content, you may find yourself in a less clear legal position: image prompter versus indisputable copyright owner.
For image entrepreneurs, success lies in creating distinctive visuals. Established industry names have signature styles perfected over the years. The AI mainly replicates techniques and styles in a hyper-realistic way, with results that dilute artistic trademark, perhaps to exhaustion, eventually failing to produce authentic, diverse imagery. The critical question arises: what becomes of creativity when the marketplace is flooded with too-similar-looking images due to the widespread use of AI? Market saturation affects sales, so taking a unique approach to your work becomes a matter of artistic integrity and a necessity for your commercial success.
AI could work for abstract concepts for image shoppers, but conveying authenticity through AI remains difficult. Audiences crave authenticity, and they need relatable visuals. Genuine authenticity comes from the nuanced perspectives of individuals who can understand and capture the broader context. Audiences can not only spot the real versus the fabricated but relying on AI-generated images can backfire heavily on brands or services.
Many customers buy visuals with high SEO results in mind. Original photos with reliable metadata are a big win, and using natural-looking photos will boost user engagement. Because AI-generated content may lead to content removal, original stock photos save your clients from serious SEO headaches.
AI-generated visuals often create ethical dilemmas about deception, misrepresentation and fake news in fields like journalism or historical documentation. Enhancing or modifying reality undermines credibility and authority and can harm your service.
Related: I Tried 3 AI Headshot Generators, 1 Might Work for LinkedIn
Whether you are buying or selling imagery, stock photo platforms remain the most secure and reliable venue for high-quality and ethically sourced content. Stock photography is multifaceted, and AI has just started participating in this landscape.
Explore different platforms, review their content acceptance policies and AI content approaches, and find the one that aligns with your goals and audience. Platforms usually prioritize ethical and legal content, ensure all uploaded images are original and copyright-protected, and review every photo before publication. You can be confident that you are licensing high-quality and ethically sound content.
Moreover, these generative AI platforms are at the forefront of ethical discussions regarding content creation, especially in compensating copyright holders. By incorporating such content under clear ethical guidelines, they set a precedent for using AI and AI-generated content. Creators might be limited to using AI tools that provide full rights or be required to label AI visuals distinctively.
Related: Deepfakes Are Lurking in 2024. Here’s How to Navigate the Ever-growing AI Threat Landscape
AI technology is about progress, and stock photography is ready to accept it, provided it benefits both creative communities and image shoppers. The industry’s common understanding is that AI is a helping tool meant to enhance and enrich users’ needs, whether in creating artwork or enhancing specific designs. AI is great for filling any voids left by photographed imagery, such as futuristic concepts, utopian landscapes, or envisioning hypothetical situations.
However, the lack of an official regulatory system means image entrepreneurs, platforms and content users are still sailing uncharted waters. Before using AI for picture-perfect results, consider their benefits or drawbacks. Like content creation, content generation must be conducted responsibly, with informed judgment, and supported by legal foundations.
Related: What’s Stopping You From Using Generative AI in Your Business?
So, is stock photography still relevant for entrepreneurial creators? Absolutely! AI-generated content is in demand, but quality, authenticity and legal security influence customers to favor stock photography. As technology evolves and legislation eventually introduces regulations, the choice might be up to personal preference, but uniqueness will remain a key differentiator.
Hang on to that camera, leverage platforms like Dreamstime, stay informed, and, most importantly, let your unique storytelling style shine through your lens. That’s how you’ll build a successful image business that thrives over the years and withstands technological advancement.
