GAINESVILLE, Fla. (WCJB) – Marion County Sheriff’s deputies are charging a Georgia resident with numerous counts of inappropriate behavior with a minor.

These charges include the sale of obscene material with a minor, promoting sexual performance by a child, obscene communication using a computer to seduce, solicit, or lure the child, and human trafficking for commercial sexual activity of a child.

Zachary Colbert, 33, was arrested Saturday morning and is being held at the Marion County Jail.

Marion County Sheriff’s deputies started their investigation on Colbert back in mid-March, when a minor brought forward her online conversations with him.

The 17-year-old girl was concerned about the messages she shared with Colbert since they involved drugs and sexual activity.

The minor had admitted to previously messaging older men for money. She claims to have met them on Addchat, a dating app. However, the minor says she never had to do anything with the older men for money, besides chat with them.

She said during this time Colbert reached out to her.

The two had been Facebook friends for almost ten years at the time of the incident.

The two continued to talk over Facebook Messenger, Snapchat, and text between mid-January and late February.

The girl claims she felt uncomfortable when Colbert would call her “pretty” and repeatedly asked her for photos.

When asked for inappropriate pictures, the teen asked for money in exchange. The girl sent a photograph over Facebook messenger and was paid by Colbert. He then offered to send her pictures, and when she declined, he sent three unsolicited inappropriate photos to her.

The teen told investigators she believed Colbert lived in the Allatoona or Cartersville area of Georgia, and had a daughter around eight-years-old. She said she was “grossed out” by Colbert asking for these pictures, knowing he had a young daughter, and his daughter’s friends visited frequently.

Marion County Sheriff’s deputies issued a warrant for Colbert.

Colbert turned himself in to Bartow County Sheriff’s Office in Georgia. He was then brought to Marion County jail where he is being held without bail.

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FHSU Athletics

LAS VEGAS, Nev. – Ryan Prickett, Fort Hays State University Sports Information Director, was named among the Best of NCAA Division II for the annual College Sports Communicators (CSC) Photographer of the Year honor, announced in June. This is the second-straight year Prickett has been honored by CSC for his photography work after being named the CSC College Division Photographer of the Year in 2023.

This was just the second year CSC bestowed honors for the photography work of its membership as part of its annual Creative and Digital Design Awards. Prickett was the first to receive CSC Photographer of the Year honors in the College Division when the inaugural edition of the honor was awarded in 2023. The College Division combines NCAA Divisions II and III, the NAIA, Canadian institutions, and the NJCAA (the levels combined consist of about 1,500 colleges nationwide), while the University Division is all NCAA Division I schools. This year’ s CSC Photographer of the Year award in the College Division went to Hannah Robb of St. Olaf College, an NCAA Division III member institution in Minnesota. The Photographer of the Year honor in the University Division went to Malloreigh Yingling from the University of Richmond.

A change to the award this year was CSC creating a “Best Of” list for three of the levels in the College Division, since the division includes all colleges that are not NCAA Division I members. Listed first in NCAA Division II this year was Brittany Iamele of Eckerd College (Fla.). Prickett was tabbed No. 2 and fellow MIAA athletic communications professional Gene Cassell, Assistant AD for Communications at Washburn University, was listed No. 3.

See Prickett’s Portfolio Submission Here (Download to View)

With this honor, Prickett now has 19 total Citations of Excellence from CSC for his work on publications, design, and photography. Prickett has received six “Best in the Nation” honors from CSC (formerly CoSIDA), which includes five for publications and one for photography last year. He is entering his 20th year as Sports Information Director at Fort Hays State in 2024-25.Only photos from the 2023-24 athletic calendar year were eligible for review. Prickett is limited in the amount of gameday/event photography he does during a year, since his primary responsibilities involve media relations, official stats, writing, and various other operations covering and promoting FHSU’s 17 sports. He has also done all studio photography for each sport each of the last two years. Prickett has assembled a talented group of assistants, student workers, and volunteers who often photograph events for FHSU, but he enjoys getting behind the camera as well when having the chance to do so.

“Skateboarding depends almost solely on good architecture,” says photographer Adam Jason Cohen. That dependence on strong, sculptural form (think the smooth incline of a perfect concrete bowl, the perfectly kinky slope of a rail, the just-so lip of a ledge) is what led him to base his latest photographic campaign, which spotlights the biggest Bauhaus icons in the Knoll archive, around some of greater Los Angeles’ most famous skate spots, including the legendary Venice Beach Skatepark.

Cohen notes that the level of scrutiny and precision present in a proper skate spot provides a clear parallel to the artistry-meets-function ethos that drove the influential Bauhaus movement. And though this project was one of combined passions for him as a lifelong skateboarder and design fan, it was for a specific purpose too, as Knoll is reimagining some of its most famous Bauhaus designs as part of a “contemporary reframing” of the movement’s ideals, and tapped Cohen — who, besides having worked with the brand before, has also shot for Arc’Teryx, adidas and Nike — to communicate that ethos visually.

The new collection reimagines some of Mies van der Rohe and Marcel Breuer‘s most famous designs. van der Rohe’s MR Chair and MR Table, along with Breuer’s Wassily Chair, Laccio Table, Cesca Chair and Cesca Stool, have been presented in white, black, and extra-special dark red color schemes, all of which have roots in the Bauhaus institution. The tonal, fully saturated white and black schemes do away with the movement’s signature cold silver steel in favor of a monochromatic look that nods to Bauhaus designers’ appreciation for reflected or absorbed light, enhanced geometric forms and defined edges; while the dark red, done up in an ultra-matte finish, was offered on the MR chair almost 100 years ago.

“Through artful juxtaposition, we aim to highlight the contemporary POV on classic Bauhaus design that the new color update represents,” says Suzanne Michaels, Knoll’s senior director of brand creative. Below, Michels and Cohen discuss the shoot’s inspiration, the parallels between design and skateboarding, and the challenge of balancing timeless items with a contemporary feel.

What drew you to shoot these pieces at the Venice Beach skatepark?

Suzanne Michaels: The photo and video shoot spanned four locations across Los Angeles, including the Venice Beach skatepark and a commercial plaza in Koreatown that’s well known by skateboarders for its curves and slopes. All of these locations speak the same Bauhaus-rooted language—curves, concrete, tubular steel—and present beautiful opportunities to reflect the form and geometry of the furniture.

The pieces in this new release are not just furniture; they are works of art held in collections of museums worldwide. We aimed to create a campaign that respects the furniture, its designers, and the community of design fans who—like us—will be stoked to see these nearly 100-year-old icons through an entirely new lens.

The shoot takes iconic Bauhaus designs from their original context and introduces them into spaces they wouldn’t usually be seen in. What’s the impetus behind this ethos and what do you hope to communicate by doing it?

SM: Like the color update itself, the campaign concept is a contemporary reframing of iconic Bauhaus-era design. It sees celebrated pieces by Mies van der Rohe and Marcel Breuer through a new lens, placing them in abstract urban environments that reflect Bauhaus ideals — industrial materials like concrete, tubular steel, and glass; architectural language like slab concrete and curves. Through artful juxtaposition, we aim to highlight the contemporary POV on classic Bauhaus design that the new color update represents.

What do you think makes these designs so timeless — and so versatile? Do those qualities come out when you’re shooting them?

Adam Jason Cohen: Almost every night, I watch a film on my television that was manufactured last year, and the piece of furniture I’m sitting on is seventy-five years old. Some of the chairs we highlighted in this campaign are nearly a century old, and thinking about that in a world where we buy new phones or cars every couple of years is astounding. The way these objects sit in a vacuum, the first thing that comes to mind is their timelessness. What I thought was challenging was keeping that timeless sentiment but also making sure the objects were living in the now, maintaining relevance.

Do you think there’s a conversation to be had about how introducing these pieces into different spaces, like the Venice Beach skatepark, can pique the interest of a different demographic that may not already be interested in furniture?

SM: I think we are speaking to people who value design and are likely familiar with the original furniture pieces. But this work taps into a resurgence of passion for Bauhaus design — specifically the tubular steel furniture pioneered by Breuer and Mies — that we’re seeing in a new generation of design fans.

The concept shows the furniture in our present-day built environment side-by-side with photography of the Bauhaus School in Dessau, Germany — its geometries, colors, and materials. On one hand, the collection’s design roots are clear; on the other, the new color update propels it to present day.

Concrete skateparks like Venice Beach and chairs like the Wassily and MR have some similarities: they invoke a sense of flow, but have sharp, instantly recognizable angles. Was that a through line you always had in mind when conceptualizing the shoot?

AJC: I was naturally excited when Knoll approached me about the concept. Although I’m rarely on the board, if ever these days, I’ve spent almost two decades of my life pushing. Skateboarding depends almost solely on good architecture, whether a purpose-built skatepark or an urban plaza. The Knoll Bauhaus collection is dominated by Mies van der Rohe’s and Marcel Breur’s designs, both of whom also happen to be juggernauts in architectural design. Shooting their objects in the context of skate spots and skateparks made sense to me, as both the objects and the spaces require intense scrutiny and precision in their design: the angles, transition, coping, etc. The end product in each case is something unique with maximum functionality.

Do you see any other parallels between furniture and skating?

AJC: What I really think is wonderful about a good piece of furniture and skateboarding is that both are great vehicles for meditation and slowing your mind down. Skateboarding is next to impossible when your mind is going a mile a minute. If you’re mentally elsewhere, good luck landing a trick. Skateboarding taught me how to slow down and focus. I’d like to think a good piece of furniture can do the same. Time moves a bit differently when all of your senses are being satisfied.

What was the most challenging — and the most fun — thing about this shoot?

AJC: I often photograph or direct people and I wanted to make sure to include elements of movement, which, for a chair, isn’t the easiest thing to do. From a technical standpoint, skateboarding is often shot with an extreme fisheye lens, sometimes referred to as a “death lens.” It distorts the sense of scale and it gives life to the subject. Luckily, I own one for my Contax 645 and was able to use it often on this shoot. Suspending the Laccio tables in air and shooting them reminded me of Grant Taylor blasting a backside air five feet over the coping. Telling the Knoll team on set that we were going to pivot and that we needed some high-pound-test fishing line to hang some tables and chairs from a crossbar attached to two C-stands was a pretty fun experience. Shout out to Nick Kartes for being a rigging genius and to the Knoll team for trusting us.

The pieces from this collection are available via the Knoll webstore and authorized Knoll dealers now. Prices range from $730-$5,464 USD

It’s not unheard of for photographers, just like other creatives, to lose themselves into their work or let it take centerstage in their life. Some would commend this life-long commitment to their craft; others would dismiss or even condemn it as an obsession. The latter was the case for a renowned Japanese photographer whose dedication to photography many believe ruined his life.

In the video above, UK-based Tatiana Hopper give us a brief but insightful introduction into the work of Masahisa Fukase (Hokkaido, 1934 – 2012). Hailed as one of the most radical and experimental photographers of post-war Japan, he remains best known for his series and subsequent photobook, Karasu (Ravens/Solitude of Ravens, 1975 – 1985). Hopper touched on this celebrated body of work and his other notable projects to explore his dedication to — or obsession with — documenting everything through photography.

Hopper found that Fukase’s work is a life-long undertaking of documenting life, death, and everything in between. His work touched on a wide range of themes and subjects, such as family, the mundanity of everyday life, love, pain, and horror. However, if there was anything that hinted obsession, it was his 1973 series From Window, which featured his second wife and muse, Yoko Wanibe, whom he married in 1964.

In this series, Fukase photographed Wanibe from their home’s fourth floor window with a telephoto lens as she headed off to work. This went on the entire summer of that year, which many regarded as a “season of compulsion.” However, as Hopper also noted, the series showed only a fraction of Fukase’s photos of his life with Wanibe, and of Wanibe herself.

Many believe that it was this voyeuristic and obsessive documentation that drove Wanibe away from Fukase. “He has only seen me through the lens. I believe that all the photographs of me were unquestionably photographs of himself,” she was quoted as saying about her shutter-happy husband. It’s widely reported that she was completely convinced that Fukase was with her only for the sake of photographing her and their married life. Their divorce in 1976 sent him into a deep and dark depression, which drove him to drink heavily and spiral into frequent negative thoughts about life and himself. However, this dark episode led to Ravens, which is considered as his most important work before he suffered a fall — which left him with permanent brain damage — in 1992.

What do you think of Masahisa Fukase’s so-called obsession with photography? Do you agree with Tatiana Hopper’s introspection into his life and work? Share your thoughts in the comments below!

Additional readings:

Masahisa Fukase’s tale of obsessive love, shot through an apartment window

Masahisa Fukase: Solitude of Ravens