King Charles snaps up Hugo Burnand as first official photographer

King Charles snaps up Hugo Burnand as first official photographer

King Charles has granted a portrait photographer with a Royal Warrant for the first time.

Hugo Burnand told The Independent that he aims to give the public a true sense of who the royals really are through his official portraits.

Palace insiders said he is grateful to have been “trusted and supported” enough to take official photographs of the family at their milestone occasions and now to be granted this official seal of approval.

“I always want people when they’re looking at the subjects in my photographs to feel that they could be in conversation with that person,” he said.

“So they really feel emotion and a connection with the person they are looking at.”

The photographer, who is famed for capturing other famous faces including Michael Jackson and Victoria Beckham, began his royal work with none other than Queen Camilla.

This was back when she was still Camilla Parker Bowles and the Tatler photographer of more than two decades got the job through a recommendation.

Hugo Burnand is the first portrait photographer to receive a royal warrant (Getty Images)

Camilla was so impressed with the results that she asked Burnand to photograph her 2005 wedding to King Charles. He was also the official photographer at the Coronation

“[Charles] liked what I did at the wedding enough to ask me to take some pictures of him and then the boys,” a busy Burnand explained on his way to the Royal Portraits exhibition.

The event at The King’s Gallery, which opens today (17 May), is of particular significance for Burnand as it features “the first photographs that were taken of the members of the royal family in the Victorian era”.

“It’s really fascinating because [it goes] right through until today and obviously I’ve taken quite a few pictures of the current Monarchy,” he said.

The photographer’s work has just gone on display at The King’s Gallery (Yui Mok/PA Wire)

Opening up about his 20-year relationship with the family, Burnand says that the biggest challenge he faces when taking portraits of the royals is time because they, have such busy right schedules.

But he wouldn’t have it any other way and says he has come to care for each member of the family witty great affection and admiration

“When the time came for Prince William to marry Catherine, they asked me if I would do that wedding [too], so it’s been a progression,” he said of his career.

“So when it came to photographing the Coronation, I felt like I had been doing [their] milestone event photography for almost 20 years.

“It was really nice to be supported and trusted enough to be given the opportunity.”

Burnand has been capturing royal milestones for over two decades (Getty Images)

Burnand explained that he is following in the footsteps of a “wonderful photographer” who had a royal warrant to photograph the late Queen Elizabeth’s racehorses.

“But I am the first human portrait photographer,” he said.

As Burnand’s job primarily centres around the royal’s milestone events, his job has not been affected by the family’s current health troubles.

“I recently took a portrait of the King which I think might be released quite soon – maybe around his official birthday.

“I just take pictures, smile and let them decide what they’re going to do with them.”

Burnand believes a new portrait of the king could be released around his official birthday in June (PA)

With such a limited timeframe to get the historic pictures, Burnand admitted his job is made easier by the relationship he has established with King Charles.

“We get on incredibly well,” he said. “Over 20 years, we’ve built up a relationship that means we don’t necessarily have to talk everything through from square one because I already know some of the things he likes and doesn’t like.

“And he knows what I’m capable of doing, which makes the relationship through the camera work quite well.”

Royal Warrants can last up to five years and permit those in possession of them to use the coat of arms of whoever granted the honour.

Three Rivers Avian Center hosting Spring Birds of Prey Photography Workshop on May 18

Three Rivers Avian Center hosting Spring Birds of Prey Photography Workshop on May 18

Hinton, WV (WOAY)- Three Rivers Avian Center is hosting a Spring Birds of Prey Workshop on Saturday, May 18, and there’s still time for you to join. 

The workshop offers bird lovers the golden opportunity to photograph eagles, hawks, falcons, owls, and more. 

Professional photographer Steve Rotch will provide participants with technical tips on how to take great wildlife photos.

TRAC co-directors Ron and Wendy Perrone will handle the lovely models to ensure they don’t fly the coop. 

The event is open to both professional and amateur photographers. 

The proceeds from the workshop will help the center continue rehabilitating injured wild birds so they can return to their homes in the great outdoors. 

The cost of attending the workshop for the whole day from 9 am to 4 pm is 100 dollars.  

However, you also have the option to attend just one session for 50 dollars. 

The morning session will be from 9 am to noon, and the evening session is from 1 pm to 4 pm. 

You can visit stevenrotsch.com for more information or to sign up. 

 

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Lebohang Kganye Wins Deutsche Börse Photography Prize 2024

Lebohang Kganye Wins Deutsche Börse Photography Prize 2024

The prestigious Deutsche Börse Photography Foundation Prize has been awarded to South African artist Lebohang Kganye, celebrating her profound exploration of personal and national history through photography. The announcement was made during a special ceremony at The Photographers’ Gallery in London, with Justine Simons, Deputy Mayor for Culture and the Creative Industries, presenting the £30,000 prize.

Kganye’s acclaimed exhibition, “Haufi nana? I’ve come to take you home,” held at Foam in Amsterdam, secured her the award. The exhibition delves into home, belonging, and identity themes, reflecting the complex histories of post-apartheid South Africa. Her multifaceted artistic practice blends photography, sculpture, performance, theatre, and moving images to create evocative large-scale installations.

The exhibition’s title, “Haufi nana?”—”Too close?” in Sesotho—invites viewers to reimagine notions of space and separation. Kganye’s installation at The Photographers’ Gallery features life-sized cut-out figures of her family, meticulously crafted from photo album images. This work poignantly addresses the forced migrations and altered identities imposed by apartheid laws.

Upon receiving the prize, Kganye expressed her honour and acknowledged the critical engagement of her fellow shortlisted artists with contemporary issues. Clare Grafik, Acting Director of The Photographers’ Gallery and Chair of the Jury, praised Kganye’s innovative use of photography and highlighted her work’s emotional and political resonance.

Anne-Marie Beckmann, Director of the Deutsche Börse Photography Foundation, also commended Kganye, noting the significance of her exploration of family history and its broader implications. Beckmann emphasised the powerful conversations about displacement, hidden histories, and the evolving nature of photography that the shortlisted artists’ works provoke.

The 2024 shortlisted artists—VALIE EXPORT, Gauri Gill & Rajesh Vangad, and Hrair Sarkissian—received £5,000. Their works are exhibited at The Photographers’ Gallery until June 2, 2024, before moving to the Deutsche Börse Photography Foundation in Frankfurt.

This year marks the 20th anniversary of the partnership between The Photographers’ Gallery and Deutsche Börse and the 25th anniversary of the Art Collection Deutsche Börse. The ongoing collaboration underscores a shared commitment to promoting contemporary photography and fostering cultural dialogue through art.

The Deutsche Börse Photography Foundation Prize, established in 1996, has become one of the most significant international arts awards. It recognises exceptional contributions to contemporary photography and continues to celebrate and support artists who challenge and redefine the boundaries of the medium.

For more information and to view the exhibition, visit The Photographers’ Gallery or the Deutsche Börse Photography Foundation websites.

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Judy Chicago’s illuminated epic, Elton John’s best shots and an earshredding blast – the week in art

Judy Chicago’s illuminated epic, Elton John’s best shots and an earshredding blast – the week in art

Exhibition of the week

Judy Chicago: Revelations
An illuminated manuscript that Chicago started in the 1970s and is only now being published reveals the thinking behind her renowned work The Dinner Party.
Serpentine North, London, 23 May to 1 September

Also showing

Fragile Beauty
Photographs from the collection of Elton John and David Furnish range from 1950s jazz portraits to eerie reportage of 9/11.
V&A, London, 18 May to 5 January

The Vinyl Factory – Reverb
This huge immersive exhibition of sound and art should set your eardrums popping.
180 Studios, Strand, London, 23 May to 28 September

Sunlight: Roger Ackling
Survey of a pioneering British artist who made sculpture in and of the land.
Norwich Castle and Museum, 18 May to 22 September

Anne Desmet: Kaleidoscope/London
Abstract and intricate woodcuts that reflect on contemporary matters including climate change.
Guildhall Art Gallery, London, until 8 September

Image of the week

The Kunstsilo in Kristiansand, Norway – ‘an incredible phallic landmark!’ according to the ‘trillion dollar man’ Nicolae Tangen, head of Norway’s sovereign wealth fund, who co-funded the gallery, once a grain silo. “We walked around town thinking, ‘Where would be nice to have our museum?’,” Tangen adds. “Then there it was.” Read the full story here.

What we learned

A Leonora Carrington painting sold for £22.5m in record for UK-born female artist

Artist Benediktas Gylys was surprised by the rowdy behavior his video portal linking New York and Dublin attracted

South African artist Lebohang Kganye has won the Deutsche Börse photography prize

Many spectacular buildings were never made

Jonathan Yeo’s portrait of Charles III is formulaic flattery

The London show Now You See Us: Women Artists in Britain is seismic

Palestinian artist Maisara Baroud does a Gaza drawing every day

Francis Bacon loathed his art dealers

There’s still no plan to restore Glasgow’s burnt-out School of Art

Tate Britain has acquired its first painting by pioneering artist Louise Jopling

Masterpiece of the week

The Virgin and Child with Saint John by Bernardino Luini, probably late 1510s

This painting shows how Leonardo da Vinci electrified and obsessed people in his lifetime, just as he grabs us today. It is a frank imitation of his style and imagery. Luini was based in Milan, where Leonardo worked for years, and must have looked long at the paintings of the Tuscan genius. This scene is a pastiche of Leonardo’s compositions of Mary with Jesus and the young John the Baptist. It even includes a depiction of rock strata inspired by Leonardo: yet Luini probably didn’t know that Leonardo’s images of geology grew out of detailed, highly subversive research into fossils and the history of the Earth. He reduces Leonardo’s true strangeness to a more conventional Christian art. Could Luini, as has been claimed, be the real painter of the record-breaking religious icon Salvator Mundi?
National Gallery, London

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This zine is a capsule of intimate memories

This zine is a capsule of intimate memories

We’re Just Trying to Learn How to Love by Hamza Ashraf is a deeply personal collection of ephemera spanning three years

17May 2024

For most of us, there comes a point in our youth when we begin to feel flushed of romantic love. It begins with a search for closeness. Then, a rush of romance and lust that can quickly tumble into jealousy, resentment, and heartbreak. Emotions collide and spiral, against and with one another, with nothing but blind trust as guidance. With each bump and blip, we gradually untangle these experiences, learning about ourselves and how we relate to others. 

This journey of first loves and self-discovery is the subject of Hamza Ashraf’s multi-disciplinary documentary project. Three years in the making, the autobiographical work has spanned film, installation and photography, made and exhibited in their current home city, Leeds. Now, the project reaches its finale in a zine format: We’re Just Trying to Learn How to Love. A flow of text and image, it presents a mix of archival photos and reenacted memories, intertwined with poems and diary entries. We see Polaroids of intimate moments shared between lovers, alongside confessions in black biro, scrawled onto journal pages. 

As an object, this zine encapsulates a formative era in Ashraf’s life, navigating love, friendships, and leaving home for the first time. At 19, they moved from Qatar to study art and filmmaking in Leeds. This change, along with a yearning for intimacy – inevitably heightened by Covid-19 restrictions – inspired their artistic output. They tell Dazed, “I was fascinated with how we were all trying to navigate this weird tug and pull of how to be intimate, and how to have relationships with people.”

Growing up, Ashraf’s uncle had intensely documented their family life. “There are endless film rolls, cassettes and photos, packed away in a huge box that I love to rummage through,” they say. “I always hoped one day, when I got to move abroad, I would do the same and build my own archive as a way to mark my experiences.”

Ashraf worked almost exclusively with analogue cameras, from point-and-shoots to medium format, Super 8, VHS camcorders, and Polaroids. The slowness of film, combined with its ties to nostalgia and ephemerality, appealed to them. They explain, “I wanted it to feel as though you were finding a box of memories from someone’s past life.”

In 2022, Ashraf held their first exhibition of the work, with their then-collective D&I. Presenting the film on various TV screens, they invited viewers to journal as a real-time response to the work. The result was transformative. “I realised that subconsciously, we’re all going through the same experiences in our own specific ways… That gave me comfort.”

Following the final installation of their film work, Ashraf launched the zine in April 2024. “I always thought the ending should be when I’d moved on from my codependency, and welcomed all the precious and lovely things in my life,” they confide. “Coincidentally, I ended up falling in love in the midst of that.” 

The zine ends with tender images of Ashraf with their current partner. “I ended up looking back at everything with a mature lens,” they say. There is a sense of poetry in the project’s final form. After years of expressing the motions of love and self-discovery, a sense of peace in the stillness. After all the heartache, situationships, lost loves and search for belonging, “in a way, this zine is like a final goodbye to all of it”. 

Hamza Ashraf’s We’re Just Trying to Learn How to Love is available to order here now