The Valley Reporter – Local artist fell in love with photography at an early age

The Valley Reporter – Local artist fell in love with photography at an early age

Local photographer Barrie Fisher took her first photo at 10 years old, after her father gifted her a Kowa camera and some 35mm film. Fisher went outdoors, lined up her family’s dogs and horses, and took the first shot. “It was like all my senses became attuned,” she said, “and I knew this was what I wanted to do for the rest of my life.”

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Today, Fisher works out of a large space at 182 Mad River Green in Waitsfield, open by appointment and otherwise limited hours. Her gallery is filled with portraits of families, kids, and pets – some of which she shot herself, while others were brought to her for extensive editing. Much of her work, once edited, has a dreamlike quality. This is especially true for her composite photography, where bits and pieces of original photographs – animals, leaves, and feathers, for example – are layered and combined into a single image. She said that the process of manipulating photos has “taken me to places that aren’t of this earth, and I just love the fantasy of it all.”

Fisher also teaches classes and workshops, photographs wedding and other events, and sells photograph-based souvenirs at the Waitsfield and Stowe farmers markets.

PHOTOGRAPHY AND SKIING

Fischer said that for much of her life, she got to merge the two things she loves – photography and skiing. Her parents founded a ski area called Catamount in Hillsdale, New York, where her family lived, in 1939. Later, they created another called Jiminy Peak in Hancock, Massachusetts. Fisher started skiing at 2 years old, then racing at 5. She got a scholarship to Berkshire School – a private boarding school in Sheffield, Massachusetts, and remembers acting as the school photographer. “The camera was part of me – an extension of me, and I never put it down,” she said.

After graduating high school, Fisher was on the road a lot, photographing World Cup ski races across different countries. She shot black and white slide film, with her photos printed in the publication Ski Racing International – based in Waitsfield at the time.   

She skied while photographing races, “backwards, forwards, whatever I had to do to get the shot,” she said. She would return home to the Berkshires to process her film, or build a darkroom wherever she was on the road. “I would find the chemicals and lock myself in a bathroom,” she recalled. 

She took college classes during that time, studying photography, printmaking, pottery, and other mediums across five different schools in the United States. She said she wasn’t concerned about earning a degree, but wanted to approach her education more playfully, learning about different perspectives on art practice that were coming out of each institution.  

DIGITAL PHOTOGRAPHY

In the late 1990s, Fisher transitioned to digital photography. Shortly after, she moved to Warren from Hood River, Oregon, buying a house on the Mad River. That marked her fourth stint of living in The Valley.

About a year and a half ago, Fisher sold her home in Warren, moved in with a friend, and bought her gallery and studio space in Waitsfield. She said that each time she enters the space, she thanks it, and everything in it. Each time she takes a photo, too, she thanks her camera. “It’s so much about that for me,” she said. “It’s the gratitude of getting to do something I really love.”

 

Brad Weimer Photography 5-31-24 Corvallis Regionals game 21.JPG

Brad Weimer Photography 5-31-24 Corvallis Regionals game 21.JPG
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Ai-powered Robot Adds Special Touch To Wedding Photography | Mysuru News

Ai-powered Robot Adds Special Touch To Wedding Photography | Mysuru News

Mysuru: Heralding a new era in the world of wedding photography, an AI-powered robot took on the role of photo and videographer, capturing images at a marriage reception with unprecedented precision.
Siddayya Swamy, a BE graduate hailing from Aurad town in Bidar district, and his fiancée Kavya, a resident of Periyapatna, exchanged vows on Saturday. Their special moments were captured by an extraordinary guest – a robot—seamlessly recording every heartfelt moment.
This innovative marvel, weighing between 85 to 90 kg, represents the base version of what could become a staple in wedding photography.
“The photos and videos were captured using advanced facial recognition technology powered by Artificial Intelligence,” explained Siddu, a 28-year-old civil engineering graduate with a passion for photography.
The guests for the event watched in awe as robot deftly navigated the event, overcoming the myriad challenges that human photographers often face during such grand occasions ensuring that every smile, and every joyous celebration was preserved in vivid detail.

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Ron Edmonds, AP Pulitzer-winning photographer at Reagan shooting, dies at 77

Ron Edmonds, AP Pulitzer-winning photographer at Reagan shooting, dies at 77

Ron Edmonds, an Associated Press photographer who captured history outside the Washington Hilton in 1981 with Pulitzer Prize-winning images of the assassination attempt on President Ronald Reagan and agents wrestling shooter John W. Hinkley Jr. to the sidewalk, died May 31 at a hospital in Falls Church, Va. He was 77.

He died of pneumonia linked to a bacterial infection, said his wife, Grace Feliciano Edmonds.

Mr. Edmonds, assigned to cover the president, was the only news photographer able to chronicle the full sweep of events on March 30, 1981, from the sounds of gunshots — which Mr. Edmonds at first thought might be celebratory firecrackers — to the chaotic moments that followed.

He directed his lens across the top of the presidential limousine for a sequence of frames showing Reagan wincing and then being pushed inside the vehicle. Mr. Edmonds then swung around to the sidewalk, snapping images of Hinkley under a pile of bodies and Secret Service agents on alert with their weapons drawn. Also on the ground were the others wounded by Hinkley’s .22-caliber revolver: press secretary James Brady, Secret Service Agent Timothy McCarthy and D.C. police canine officer Thomas Delahanty.

“Everything happened in such a quick, split-second. If you looked to your right to see what the shot, what the noise was, and looked back, the president was already gone,” Mr. Edmonds told the AP for a retrospective story. “The president immediately, when the first pop went off, he kind of grimaced in his face and that’s when I pushed the shutter down.”

The coverage won the Pulitzer for spot news photography. “I wish it had been for a picture that had not been of violence, of people being hurt,” he said after the award was announced in April 1982.

He said he almost missed Reagan’s exit from the hotel. The presidential entourage had left after Reagan finished a speech to AFL-CIO union members. The escalators to the lobby were packed as a ballroom emptied out. Mr. Edmonds recalled pushing and elbowing his way through the crowd to get in position by the limousine.

Some journalists were still inside the hotel when Reagan appeared. Mr. Edmonds expected a routine few seconds — a smiling nod to the onlookers by Reagan and then back to the White House.

But he was always ready for some kind of unexpected expression or gesture by Reagan that could make the wire. “He came. He waved. I made one image,” Mr. Edmonds recalled in a 2021 interview with PBS Hawaiʻi. “And then bangs went off.”

The presidential motorcade roared away, including the press van. If the van had stayed, Mr. Edmonds would have needed to jump aboard — and miss the events unfolding in front of the Hilton. “My job was to stay with the president,” he said. “Never leave the president.”

This time, he was left behind. Meanwhile, in the presidential limousine, Secret Service agent Jerry Parr radioed that “Rawhide is okay,” Reagan’s Secret Service code name, and that they were returning to “crown,” code for the White House, according to transcripts released in 2011.

Reagan’s condition, however, deteriorated rapidly. He was struggling to breathe and frothy blood — a sign of a pulmonary wounds — coated his lips, Parr later said. They changed course to head to the nearest trauma center, George Washington University Hospital.

Reagan underwent chest surgery to stop internal bleeding and remove the bullet fragment, lodged near his heart.

Mr. Edmonds, meanwhile, was heading back to the AP bureau at the White House, unaware of the severity of Reagan’s condition. He thought his coverage was a failure.

“I was sure I was going to be in big trouble,” he said, “because I knew that I had never seen Hinkley’s face. I knew that I had pictures of them wrestling with him, but they had initially pulled his jacket over his head.”

Photo class

Ronald Allen Edmonds was born on June 16, 1946, in Richmond, Calif., and was raised in Sacramento. His father was a truck driver, and his mother was a homemaker.

He took a photography class at a community college in 1968 and a professor encouraged Mr. Edmonds to photograph antiwar demonstrations in Sacramento. He sold an image to United Press International for $25.

“I saw it in the newspaper the next day, and I knew what I wanted to do for a living,” he wrote in a 2013 essay.

Mr. Edmonds freelanced in California before taking a job at the Honolulu Star-Bulletin in 1971. At an Elvis Presley concert in Honolulu in 1973, manager “Colonel” Tom Parker banned press coverage. The newspaper successfully fought the no-media rule.

“The colorful, cigar-chomping Parker escorted me to my seat — along with a 250-pound Samoan security guard to keep me there,” Mr. Edmonds wrote. “’The lawyers said I have to let you shoot pictures,’ the Colonel growled, ‘but I don’t have to let you move around.’”

Mr. Edmonds joined UPI in 1978 in Sacramento. In 1980, during Reagan’s presidential campaign, the AP offered Mr. Edmonds a spot in the news agency’s Washington bureau. In a 29-year career with the AP, Mr. Edmonds covered four presidential administrations and events including Super Bowls and Olympics.

In 2013, he received a Lifetime Achievement Award from the White House News Photographers Association.

Survivors include his wife of 45 years, the former Grace Feliciano; a daughter, Ashley Edmonds, a Washington attorney; a brother; and a sister. He lived in Annandale, Va.

“I’ve had some days where I got up and practically every newspaper in the world had my picture on the front page,” Mr. Edmonds once said. “That’s pretty awesome.”

AP photographer Ron Edmonds, who took Pulitzer-winning photos of Reagan shooting, has died

AP photographer Ron Edmonds, who took Pulitzer-winning photos of Reagan shooting, has died

WASHINGTON — Newly assigned to cover the Reagan White House, Associated Press photographer Ron Edmonds knew the most important part of the job was to keep watch on the president “at all times.”

He did that for 28 years.

But there was never a day like March 30, 1981. That was when Mr. Edmonds, who died Friday night in Virginia at age 77, took a series of images for the ages.

President Ronald Reagan had just spoken to members of the AFL-CIO at a Hilton hotel not far from the White House. As Reagan emerged from the hotel, John Hinckley Jr. used a revolver to fire at the president, his aides and his protective detail.

Mr. Edmonds was in place for an exclusive series of pictures taken across the roof of Reagan’s limousine as Reagan was struck and then shoved down and into the vehicle. It sped to the hospital where doctors saved the president’s life.

That coverage and those indelible images won Mr. Edmonds the Pulitzer for spot news photography.

President Reagan winced and raised his left arm as he was shot in Washington on Monday, March 30, 1981.RON EDMONDS/Associated Press

“I wish it had been for a picture that had not been of violence, of people being hurt,” he said when the award was announced on April 12, 1982.

Mr. Edmonds was summoned to the Oval Office for a chat with the president the next day. Reagan joked, Mr. Edmonds said, that photographers always asked him for “just one more” picture. He could replay the shooting scene, the president said, but this time he would use a stuntman.

In a first-person retrospective three decades later, Mr. Edmonds said in an AP video that the fateful day was shaping up like one of the thousands of events he had covered during Reagan’s campaign: “Meet and greet, a little speech, shake some hands. I actually thought it was going to be a rather boring event.’’

Outside, however, the photographer heard what sounded like firecrackers.

Secret Service agents and police officers swarmed John Hinckley, obscured from view, after he attempted an assassination on Ronald Reagan outside the Washington Hilton hotel. Ron Edmonds/Associated Press

“Everything happened in such a quick, split-second. If you looked to your right to see what the shot, what the noise was, and looked back, the president was already gone. The president immediately, when the first pop went off, he kind of grimaced in his face and that’s when I pushed the shutter down,’’ Mr. Edmonds recalled.

Would it be blurry because Reagan was whisked away so fast? Mr. Edmonds had to wait until the film was processed so he could see the negatives and know whether he had anything.

“You did the best you could with the abilities that you’ve got,” he said. Of this, he was sure: “I had the camera on him and I mean I saw everything through the viewfinder.’’

AP’s executive editor, Julie Pace, said that “Ron brought some of the most significant moments in the history of the American presidency to life for people around the world. Working with Ron was also an honor for any journalist who had the opportunity. He was generous with his time and advice, and he had the respect of his colleagues, competitors and those he covered.”

Secret Service agent Timothy J. McCarthy, foreground; Washington policeman, Thomas K. Delehanty, center; and presidential press secretary James Brady, background, lay wounded on the street after the shooting.RON EDMONDS/Associated Press

Honored in 2013 by the White House News Photographers Association with its Lifetime Achievement Award, Mr. Edmonds traced the arc of his career.

“I decided to take a photography class in 1968 and it literally changed my life,” Mr. Edmonds wrote. A newspaper photographer turned college professor encouraged Mr. Edmonds to photograph antiwar demonstrations in Sacramento, California.

Mr. Edmonds sold one of his images for $25 to United Press International. “I saw it in the newspaper the next day, and I knew what I wanted to do for a living.

He freelanced in California before taking a job at the Honolulu Star-Bulletin. Five years later came a promotion to chief photographer.

Mr. Edmonds, who was born June 6, 1946, in California, met his wife, Grace, when she joined the newspaper in 1975 to cover courts. She survives him, as does their daughter Ashley.

“Opting for a bigger pond,” he wrote, Mr. Edmonds joined UPI in Sacramento in 1978 as a newspicture bureau manager.

The AP came calling during Reagan’s presidential campaign in 1980 with an opening in the Washington bureau. “It was a dream come true to work at the White House with legends in the craft,” Mr. Edmonds wrote.

The Pulitzer, he noted, was earned on only his second day as the AP’s White House photographer covering Reagan.

“The most important element of my job was to watch the president at all times, and I think, on that day, I did everything I was supposed to do,” Mr. Edmonds wrote.

“Still, I was convinced I was in trouble with my bosses because I had failed to get a picture of John Hinckley Jr. When I got word to call the president of the AP in New York, I assumed the worst. He told me, ‘You nailed it, kid.’ I got a $50-a-week merit raise. My bureau chief, Pulitzer Prize-winning journalist Walter Mears, jokingly complained that he had only gotten a $25-a-week raise for his Pulitzer.”

Mr. Edmonds retired in 2009, when he was the AP’s senior White House photographer. He had covered presidents and the world, Super Bowls and the Olympics.

“Ron was a very dedicated photojournalist who helped me a lot when I first started in Washington by teaching me how to cover the White House beat for the AP,” said Pablo Martínez Monsiváis, assistant chief of bureau for photography in Washington. “I am very fortunate to have had him as a coworker and friend for all these years.”

Elton John and David Furnish’s Immense Photography Collection |

Elton John and David Furnish’s Immense Photography Collection |

Elton John and his husband David Furnish have collected over 7,000 pieces of fine art photography over the past thirty years.

John and Furnish are some of the biggest collectors of photography in the world. They both have a passion for photography and the impact that a beautiful image can have. John speaks about how seeing fashion photography as fine art changed everything for him. Being a celebrity himself, John has been photographed countless times and never paid attention to photography until he was with a friend at an art exhibition. As his friend was purchasing photos, John started to look at photography as art. John purchased ten photos that night.

One of the featured series in the video is Nan Golden’s “Thanksgiving,” which depicts the AIDS epidemic, drug addiction, and abuse. John recalls his addictions and how he was drawn to this series. John and Furnish also have an AIDS foundation, so the subject matter is important to both of them.

John and Furnish also have several prints from African American photographers who have been very underrepresented until now. As you may know, photographers like Tyler Mitchell and Wardell Milan are making a big mark in photography and the fine art photography world.

Robert Mapplethorpe is John and Furnish’s most collected artist, with over one hundred prints. One Mapplethorpe image is always hanging in each of their homes.

There are so many great images discussed in this video and so many great photographers. The power of a photograph is undeniable, and the importance of capturing a moment in time is how we will remember the significance of that period. As John says, “Nothing speaks the truth like a photograph.”

Pulitzer Prize-winning AP Photographer Ron Edmonds Dies. His Images Of Reagan Shooting Are Indelible

Pulitzer Prize-winning AP Photographer Ron Edmonds Dies. His Images Of Reagan Shooting Are Indelible

WASHINGTON: Newly assigned to cover the Reagan White House, Associated Press photographer Ron Edmonds knew the most important part of the job was to keep watch on the president “at all times.”

He did that for 28 years.

But there was never a day like March 30, 1981. That was when Edmonds, who died Friday night in Virginia at age 77, took a series of images for the ages.

President Ronald Reagan had just spoken to members of the AFL-CIO at a Hilton hotel not far from the White House. As Reagan emerged from the hotel, John Hinckley Jr. used a revolver to fire at the president, his aides and his protective detail.

Edmonds was in place for an exclusive series of pictures taken across the roof of Reagan’s limousine as Reagan was struck and then shoved down and into the vehicle. It sped to the hospital where doctors saved the president’s life.

That coverage and those indelible images won Edmonds the Pulitzer for spot news photography.

“I wish it had been for a picture that had not been of violence, of people being hurt,” he said when the award was announced on April 12, 1982.

Edmonds was summoned to the Oval Office for a chat with the president the next day. Reagan joked, Edmonds said, that photographers always asked him for “just one more” picture. He could replay the shooting scene, the president said, but this time he would use a stuntman.

In a first-person retrospective three decades later, Edmonds said in an AP video that the fateful day was shaping up like one of the thousands of events he had covered during Reagan’s campaign: “Meet and greet, a little speech, shake some hands. I actually thought it was going to be a rather boring event.’’

Outside, however, the photographer heard what sounded like firecrackers.

“Everything happened in such a quick, split-second. If you looked to your right to see what the shot, what the noise was, and looked back, the president was already gone. The president immediately, when the first pop went off, he kind of grimaced in his face and that’s when I pushed the shutter down,’’ Edmonds recalled.

Would it be blurry because Reagan was whisked away so fast? Edmonds had to wait until the film was processed so he could see the negatives and know whether he had anything.

“You did the best you could with the abilities that you’ve got,” he said. Of this, he was sure: “I had the camera on him and I mean I saw everything through the viewfinder.’’

AP’s executive editor, Julie Pace, said that “Ron brought some of the most significant moments in the history of the American presidency to life for people around the world. Working with Ron was also an honor for any journalist who had the opportunity. He was generous with his time and advice, and he had the respect of his colleagues, competitors and those he covered.”

Honored in 2013 by the White House News Photographers Association with its Lifetime Achievement Award, Edmonds traced the arc of his career.

“I decided to take a photography class in 1968 and it literally changed my life,” Edmonds wrote. A newspaper photographer turned college professor encouraged Edmonds to photograph antiwar demonstrations in Sacramento, California.

Edmonds sold one of his images for $25 to United Press International. “I saw it in the newspaper the next day, and I knew what I wanted to do for a living.

He freelanced in California before taking a job at the Honolulu Star-Bulletin. Five years later came a promotion to chief photographer.

Edmonds, who was born June 6, 1946, in California, met his wife, Grace, when she joined the newspaper in 1975 to cover courts. She survives him, as does their daughter Ashley.

“Opting for a bigger pond,” he wrote, Edmonds joined UPI in Sacramento in 1978 as a newspicture bureau manager.

The AP came calling during Reagan’s presidential campaign in 1980 with an opening in the Washington bureau. “It was a dream come true to work at the White House with legends in the craft,” Edmonds wrote.

The Pulitzer, he noted, was earned on only his second day as the AP’s White House photographer covering Reagan.

“The most important element of my job was to watch the president at all times, and I think, on that day, I did everything I was supposed to do,” Edmonds wrote.

“Still, I was convinced I was in trouble with my bosses because I had failed to get a picture of John Hinckley Jr. When I got word to call the president of the AP in New York, I assumed the worst. He told me, ‘You nailed it, kid.’ I got a $50-a-week merit raise. My bureau chief, Pulitzer Prize-winning journalist Walter Mears, jokingly complained that he had only gotten a $25-a-week raise for his Pulitzer.”

Edmonds retired in 2009, when he was the AP’s senior White House photographer. He had covered presidents and the world, Super Bowls and the Olympics.

“Ron was a very dedicated photojournalist who helped me a lot when I first started in Washington by teaching me how to cover the White House beat for the AP,” said Pablo Martínez Monsiváis, assistant chief of bureau for photography in Washington. “I am very fortunate to have had him as a coworker and friend for all these years.”

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