There is an incredible documentary about one of my photographic heroes, Tish Murtha. Tish was a documentary photographer who grew up in the abject poverty of England’s Northeast. There are important lessons we can all learn from her work.

During the 1980s, the Northeast of England, where I live now, suffered immeasurably from the damage caused by Thatcherite economics. Those policies destroyed the local industries. The then Prime Minister’s claim that “there was no such thing as society” was reflected in how entire communities were left impoverished by the government’s failure to replace those struggling industries with meaningful employment. Similar experiences were felt worldwide in the countries that embraced neoliberalism, where all that mattered was profit.

Yet, as is sometimes the case, a photographer arose from the ashes of ruination who could create powerful images from that socioeconomic disaster.

As a young woman, Tish’s skills with a camera were recognized by her photography tutor who encouraged her to study further. Subsequently, she won a scholarship to attend the University of Wales, Newport, famed for its photography courses.

She photographed the people around her with brutal honesty. Her images regularly highlighted the damage economic policies did to local communities. The impact of her photography was made even more powerful by her belonging to that environment and not being “parachuted in,” a criticism aimed at other documentary photographers who seem to look down their noses at the working classes.

The obvious comparison to Tish’s work is Martin Parr’s study, “The Last Resort,” shot around the same time. Great though I think his photos are, Parr’s work is often criticized as looking down on a working-class world alien to him. Some say his photos lack the compassion and intimacy that Tish Murtha’s photographs display. I disagree and see Parr’s photos as valid observations from his viewpoint. However, Tish’s images go further, displaying a deep care for those trapped in poverty that can only be portrayed honestly by someone who is part of that world. They shout out that something’s wrong with the world and cry to us to fix it.

One of the most striking things about Tish’s work was her eye for composition. In documentary photography especially, this is challenging to get right, especially when multiple people are in a frame. The layout of her photos is perfect, which shows that she could place herself in the right place and anticipate the action. Her photos are not posed but are a record of what was happening around her. Moreover, I would argue that her ability to capture the decisive moment outshone Cartier-Bresson, who coined the phrase.

I think there are several lessons that we can learn from her story.

Firstly, it is incredibly difficult for photographic artists to earn a living. It’s different if a photographer mass-produces images for clients, such as a wedding, product, or school portrait photography. However, photographers like Tish who produce documentary photography of everyday life, no matter how powerful and historically important those images, usually cannot rely on commercial success alone. I know several fabulous professional artists and photographers for whom the main source of income is a second job that subsidizes their photography.

This is even more true for women photographers. Inequality and prejudice based on gender as well as race and religion are still profuse in our industry around the world. Gladly, here in the UK and many other countries, we can see an upsurge in the number of excellent women photographers. Nevertheless, there is still an imbalance and a long way to go before parity is achieved. That’s partly because those with obtuse attitudes toward equality still stand in the way.

Secondly, outside the area of sausage-machine photography, the purse strings are held by relatively few people in the art world. Grant processes are highly competitive, applications are often needlessly complex, thus inaccessible to many. Furthermore, funding decisions sometimes seem arbitrary. Because the finances are held by what is sometimes considered an elite class, grants may be denied to those who have no personal relationship with those who hold the money.

As is the case with many areas of photography and life, success is not solely achieved by merit but because of a self-perpetuating condition that continuously rewards and engages those already at the top. The same applies to gear; people buy the most popular brand for no other reason than it is fashionable to do so. Similarly, although there should be plenty of room at the top, a degree of gatekeeping ensures little possibility of talented photographers ascending to those top rungs.

The third lesson is that the most powerful images are often the ones that convey difficult messages. When you look at the works of Tish Murtha, Dorothea Lange, Robert Capa, and Don McCullin, they hit home because of their humanity and genuine sympathy for the hardships being experienced by the subjects.

Some genres, such as documentary photography, are more powerful than others. Of course, the emotions evoked by hard-hitting photos are not the only valid feelings we get from photographs. However, one cannot usually expect to feel the same anger, passion, sympathy, fear, or sadness you would when seeing images of human suffering when viewing a picture of a flower, a bird on a stick, or a lamb frolicking in a field.

Fourthly, photos have real power. It’s useful to remember that photography can be used not just to raise awareness but to bring about social change. Tish’s work and the poverty she recorded were even discussed in the British Parliament.

On a brighter note, the fifth and final thing we can learn from Tish’s story is that our best photos come from the familiarity of our environments. Tish was part of that world. Because she belonged to it, she was accepted by the people she photographed and could portray their lives with brutal honesty and compassion. Similarly, the best photos we can take happen because we are very familiar with the environment in which we live and the subject we shoot. We instinctively know how the light will fall, how the subjects will behave, and where we should place our camera. No matter where you live, there is always something you can learn to photograph better than anyone else.

Tragically, Tish Murtha died relatively young in 2013, aged just 56 years. At the end of her life, she struggled to make a living. It’s ironic that she was unemployed, not receiving any grants for the projects she wanted to undertake, and unable to pay her bills. She applied for menial retail jobs that she didn’t get because she lacked experience in areas other than her photography. It seems our society failed her, and was consequently denied more photographs from an enormous talent.

I strongly recommend you look at the Tish Murtha website and more images stored on the British Culture Archive.  For those photographers who have access to the BBC iPlayer, the documentary, Tish, can be seen here. It is both uplifting and heartbreaking.

I thank Tish’s daughter, Ella, for allowing me to use the photos to illustrate this article.

Submissions are open for the upcoming Acton Agua Dulce Arts Council photography show!

The juried exhibit, which will run from May 6 through June 22 at the Acton Agua Dulce Library, is open to all photographers, professional and amateur, and is an opportunity to share your artistic perspective with the community.

There is no time limit for when the photo was taken, and no theme. Photographers may enter up to 4 photos, with a maximum framed size of 48” X 48”, according to Acton Agua Dulce Arts Council officials.

Application forms with hanging instructions are available here, or upon request by emailing aadacinfo@gmail.com.

The entry deadline is Friday, April 26, 2024.

For more information, or to be added to the mailing list for upcoming events, email aadacinfo@gmail.com.

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KUWAIT: Through the eyes of vibrant young talents originating from Kuwait, China, and all around the globe, the opening ceremony of the International Youth Photography Exhibition was hosted by Chinese Cultural Center of Kuwait and co-partnered by Kuwait Society for Photography Arts on Monday. Bearing the theme of “Joint visions, shared future,” the exhibition, which is scheduled to run for one month, paints a canvas of captured moments from the diverse perspectives of photographers from over 50 countries, each eager to reflect the splendid beauty of their own homelands.

Photographers, art enthusiasts, and diplomats are invited from both countries to delve into the rich exchange of cultures and civilizations depicted beyond the photos, fostering mutual understanding across various facets of life. “The Exhibition is a vivid demonstration between China and Kuwait for their strategic partnership after both countries signed such relationship six years ago,” said Xia Jianfeng, director of Chinese Cultural Center in Kuwait.

The purpose of the event aligns with the aim of the center to implement cultural and tourism agreements signed between the governments of both countries, inviting visitors from Kuwait and all walks of life. “A photo can tell rich story about China and other parts of the world. This is why such activities are quite meaningful for us,” Xia told Kuwait Times. He added, “Seeing is believing. After visiting our exhibition today and later exploring China, I am certain you’ll discover that China is even more beautiful than what you see in photos.”

Having visited China multiple times, exploring their homes and lands, Suad Al-Hamar, president of the Kuwait Society for Photography Arts confirmed that what is depicted in the photos is genuine and authentic, referring to them as “spontaneous and realistic shots.” She felt deeply moved by the emotions conveyed through the pictures, from family bonding to happiness, innocence, and unity. “I’ve experienced this life firsthand in China, and life there is more beautiful than what’s shown in the photos,” she concluded.

The exhibition is initiated and organized by the Chinese Ministry of Culture and Tourism and has been undertaken by numerous Chinese cultural centers worldwide. Many of the participating countries, including Kuwait, are part of a joint agreement known as the “Belt and Road Initiative,” an ambitious plan aimed at enhancing communication and coordination, improving infrastructure connectivity, facilitating trade, promoting financial integration, and fostering people-to-people exchanges between China and the rest of the world.

Much has changed since we first learned about the amazing Anthony Schmidt in 2020. He is older now, of course, all of 16. He treasures his driver’s license, owns two classic cars, slicks back his dark hair, enjoys wearing leather jackets and sunglasses, and has seen his fame rise right along with his height. Anthony is no longer just a local celebrity in and around his hometown of Woodinville, Washington; he now has nearly 750,000 followers on Facebook, and 250,000 on Instagram.

The teenager never asked for any of this, but when you have an obsession that runs deep and reveals talent that few others possess, it’s difficult to avoid the limelight. Anthony has autism, a developmental disorder that, in his case, makes him hyper-focused on what interests him. And what interests him most are cars and photography. He’s skillfully meshed the two passions through his use of forced perspective photography, a technique that turns Anthony’s extensive collection of die-cast miniature cars into images that appear real.

The secret behind his realistic optical illusions?

“It’s because of his autism that he’s able to do this,” his mother, Ramona Schmidt, told People magazine. “His visual perception is off the charts whenever it’s tested. People with autism are visual thinkers and very detailed people. It’s an advantage for him. And the photography is such a good boost for his self-esteem.”

Ramona Schmidt also points out that people with autism can be more awkward in social settings, and some (like Anthony) suffer from misophonia—a severe sensitivity to specific soft sounds, like hearing others chew or rustle paper. Anthony sometimes wears headphones to deal with the disorder.

“Imagine what it’s like for him at school,” his mother says on Facebook. “… Imagine eating in the cafeteria, gum chewing. Everything that’s perfectly normal and common in school becomes excruciating. Of all the things he has to cope with, this one is the one I wish I could take away from him.”

Anthony has always overcome obstacles, and he continues to do so. Every day he painstakingly modifies his model cars (if he wants them to look like barn finds) and meticulously places them in settings that make them appear life-sized, using only an iPhone for photography. Nothing is photoshopped. 

His hobby has blossomed into a web-based business in which he sells calendars, books, clothing, postcards, and prints at anthonyschmidtphotography.com. You can also follow his work on Facebook and Instagram.

Anthony’s photography has become so popular that, in addition to his real-life 1959 Studebaker Silver Hawk, he received a 1957 Ford Custom 300, nicknamed “Betty,” from a gentleman named Greg Wilkinson. Wilkinson, who was also diagnosed with autism at a young age, was so moved by Anthony’s photography that he gifted him the Ford.

Then, last Halloween, Anthony met musician Craig Martin at a Trunk or Treat event where Martin was showing his black 1987 Buick Grand National. Martin’s grandson has autism, so he and Anthony immediately connected. Martin offered to write a song to accompany Anthony’s photography for online posting.

“He sent me the first mix of the song, and I nearly fell off my chair,” Ramona Schmidt shared in the video description of “Here I Am … I Am Me” on YouTube. “It was so much more than I ever expected. The quality of the vocals and the music itself are amazing, but the subject matter is so heartfelt and moving and describes Anthony perfectly, even mentioning his ’57 Ford and Silver Hawk. Anthony got a huge kick out of that part.”

Martin called it “probably the hardest song I’ve ever written with a pre-determined subject matter. Especially trying to say something through the eyes of Anthony or my grandson, Peyton. I’m not them and I can only speculate how they might view life around them. At times, when I was recording and mixing this song, I would get choked up.”

Anthony’s amazing story and incredible talent have the same effect on us. You can be sure you haven’t heard the last of this talented automotive photographer.

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Wildlife photography and videography are fields that not only require technical skill and patience but also a deep understanding of animal behavior and a commitment to conservation. Professionals use a variety of techniques and technologies to capture stunning images of elusive creatures without disturbing their natural environments.

I spoke with Jake Davis, a sought after wildlife photographer, about his work capturing snow leopards for the BBC special, Planet Earth III. He shared the challenges these photographers face and the innovative solutions they employ to bring the wild into our homes.

Understanding Animal Behavior

Jake told me that one of the primary challenges in wildlife photography is understanding and predicting animal behavior. He described how different species react uniquely to cameras and human presence. For instance, cats, both big and small, exhibit a curious nature that can sometimes be leveraged to get captivating close-ups. However, other animals like wolves or bears may be more challenging to photograph due to their cautious nature.

Jake’s approach involves allowing animals to become accustomed to camera equipment, a technique that requires patience but often results in naturalistic shots that do not betray the presence of the observer.

This methodology underscores a crucial balance: capturing a great shot with minimal impact on the animal’s behavior.

Technological Advancements in the Field

Jake shared that the advancement of camera technology has significantly transformed wildlife photography. Camera traps, for instance, have become a staple in capturing images of particularly elusive animals like snow leopards and mountain lions.

These devices can be left in remote areas to record images when triggered by motion sensors. Jake discussed the logistical challenges of using such equipment, including ensuring they are powered for months in extreme conditions without human intervention, sometimes necessitating the help of local individuals to maintain the equipment.

He explained that a properly tuned system can stay powered on lithium batteries for about three months. Eventually, though, the batteries will need to be replaced, and sometimes he hires someone local to do the swap. “I did have a local herder actually do it on one of the trips, and he did a really good job.”

Jake also stressed, though, that it’s not quite as simple as swapping the batteries in your flashlight. “It sounds simple—it’s just switching batteries out. But, there are so many things that have to be perfectly dialed for the whole system to work. It’s really easy for somebody to come in who doesn’t have all that knowledge and do more harm than good.”

We also discussed the ways that artificial intelligence is poised to revolutionize this field further. Future AI-enhanced cameras could adjust settings automatically based on changing light and weather conditions or even detect animal faces and behaviors, initiating recording without the need for physical triggers. This could dramatically increase the efficiency of capturing high-quality footage, especially in variable environmental conditions.

Technical Challenges and Solutions

The unpredictability of natural light and the need for significant post-processing are other hurdles in wildlife photography. Jake mentioned adjusting camera settings such as white balance and exposure to suit the natural lighting, which often involves a compromise between the desired aesthetic and the practical limitations of the environment.

Post-processing plays a pivotal role in wildlife filmmaking, where raw footage is enhanced to emphasize certain elements without distorting the authenticity of the scene. Techniques such as compositing can be used to manage unpredictable elements like weather or to integrate footage shot in different conditions.

Ethical Considerations and Conservation

Ethics are at the heart of wildlife photography. Jakes emphasized that it is crucial to minimize human impact, ensuring that the presence of cameras does not alter animal behavior or endanger their well-being.

The conservation aspect also comes into play, as many wildlife photographers and filmmakers are driven by a desire to highlight the beauty of nature and the urgent need to preserve it. Through their lenses, they advocate for the protection of natural habitats and endangered species.

Tips for Aspiring Wildlife Photographers

For those looking to enter the field, here are a few tips based on the experiences of professionals like Jake:

1. Patience is Paramount: Spend time in the field observing and understanding the behaviors of your subjects.
2. Embrace Technology: Utilize the latest camera technologies and be open to adopting new innovations such as AI.
3. Ethical Practices: Always prioritize the well-being of wildlife over getting the perfect shot.
4. Skill Development: Continuously refine your skills in both shooting and post-processing.
5. Conservation Focus: Use your work to contribute to conservation efforts and raise awareness about environmental issues.

Wildlife photography and videography are not just about capturing stunning images but also about understanding and preserving our world’s natural heritage. Through the lens of dedicated photographers, we gain a glimpse into the intimate lives of creatures around us, fostering a deeper appreciation for our planet’s biodiversity.