A throwback of Sharmila Tagore’s shoot. (courtesy: bombaybasanti)

New Delhi:

Hindi film veteran Sharmila Tagore was at her unfiltered best on Karan Johar’s chat show Koffee With Karan 8. The veteran actress attended the show with her son Saif Ali Khan. At the beginning of the show, Karan Johar spoke about her “famous bikini shot” – a photoshoot she did for a magazine back in the 60s. She also made headlines for the swimsuit she wore in the film An Evening In Paris. “Your famous bikini shot… You know the shot I am talking about. Nobody else wanted it to happen. Even the photographer had some anxiety issues about doing that,” Karan Johar said.

Sharmila Tagore replied, “Yes I do.” Saif Ali Khan added, “People in my boarding school used to ask me, is that your mum? I was very proud of it.” Sharmila Tagore added, “Yes, the photographer was slightly worried and I just thought I looked very nice. It really hurt me later because everybody interpreted it in such a way that I was upwardly mobile, I was trying to catch eyeballs. I didn’t feel like that. When it came out in Filmfare, I was in London and I was unaware till Shakti (Samanta) ji called me and said, will you come back quickly? There are terrible things happening here. He said if you want to be in the public eye, this is not the way to go.”

Sharmila Tagore mentioned that she sent a telegram to Tiger Pataudi. “I was very upset with all this… Completely opposite of what I thought would happen so, I sent a telegram because those days you could send telegrams. So, I sent it to Tiger and he said, I am sure you are looking very nice. So that was my support.”

“In many ways, you perhaps experienced trolling also first. A version of trolling, of what happens on social media now,” joked Karan Johar. “Totally, I can’t tell you…I believe questions were asked in the Parliament. It was not pleasant for me and learning I did. And after that, I was very careful and I chose Aradhana. It was RRR of our time,” Sharmila Tagore added.

Passion projects

Conversing with photographer Patrick Smyth

by Bondo Wyszpolski

Intrigued by the grimacing heads sculpted by Franz Xavier Messerschmidt in the late 18th century (and by the Getty’s “Vexed Man” in particular), Reidar Schopp invited several photographers to his San Pedro studio in order to shoot one another in facial poses — frowns, scowls, sneers — that would have made Messerschmidt proud. I too was invited, to stop by and observe, but pretty soon I’d entered the fray and was posing and photographing as well.

Matriarch from the Kayan tribe in Myanmar, March 2019, prior to the coup. Photo by Patrick Smyth

That was how I first met Patrick Smyth, a member of PADA (Photographers and Digital Artists), one of the seven artist groups associated with the Palos Verdes Art Center. We didn’t exchange more than a few words that day (despite scowling or sneering at one another), but that chance encounter several months ago led to us sitting in his Torrance backyard and discussing his photographs. It’s an extensive body of work, the images artful, often colorful, crisp and precise.

Therefore one would expect to hear tales of art classes, darkroom adventures and photography courses, let alone accounts of hours spent in photo galleries. But, no, it didn’t unfold in quite that way.

“I’m a full-time chemical engineer,” Smyth says, “and this is just a passion I have.”

If so, it’s a passion that most people — and I think most photographers — would envy.

Smyth was born and raised in a town of about a thousand people, tucked away in mid-America Kansas.

Patrick Smyth. Photo by Bondo Wyszpolski

“I went through 8th grade there. My father was an educator and my mother was in education as well.” Then they moved a couple of states west. “So I went to high school in Littleton, Colorado, and I went to the Colorado School of Mines, which is a small engineering school in Golden, Colorado.” That’s where he picked up a bachelor of science degree in chemical engineering. “Then I came out here as an engineer, and have been here since 1980.”

And you’ve been an engineer all that time?

“Yes.”

So you should be retiring at some point soon?

“Well, I’m still enjoying it,” Smyth replies. “I like mentoring the young engineers. I want to be in a position to retire to something, not necessarily away from something.” And what that means is: “Photography and more photography and travel.”

Homeschooled

Looking at Smyth’s body of work, one may be forgiven for assuming that he also has a background in the visual arts.

“I’ve never studied art,” he says, only adding that while he did indeed enjoy art class in grade school, he was more into sports. However, trips as a youngster with his family to the mountains and so forth instilled in him “a sense of wildlife and landscapes.” And one doesn’t need a Ph.D. from Harvard to appreciate the beauties of nature.

“I’m self-taught,” Smyth replies afterwards when asked where he learned his photographic expertise. He also notes that one can pick up pointers from YouTube. That said, he’s acquired some personal instruction along the way.

Blue hour in Bruges. Photo by Patrick Smyth

For example, while on a trip to London, where his daughter Pilar was studying at the time, Smyth was able to meet Gavin Hoey, whom he’d been following on YouTube. This came about through his wife, Doré, who arranged the meeting as a gift to her husband. They were invited to Hoey’s home, and Smyth received what he says was his first lesson in portrait photography.

Model in a Tuscan barn, the shot inspired after encountering Caravaggio’s works in Rome. Photo by Patrick Smyth

More recently, he and Doré were in Tuscany, Rome and Florence, where Smyth enrolled in a four-day workshop led by Damien Lovegrove, yet another UK photographer, “who wrote a book and got the attention of Martha Stewart.” Smyth also singles out the work of Haze Kware, who lives in France. “I’m attracted to his use of dancers, fabrics, and in Toulouse (where Kware lives) he shoots in the cathedral. I like that.”

But it was also while in Italy that Smyth sought out the paintings of Caravaggio (Michelangelo Merisi da Caravaggio, 1571-1610), known for his chiaroscuro and accentuated shadows.

“I don’t follow particular photographers,” he answers when asked, “but I like to go back to the masters in painting, and really draw inspiration from them.” As for Caravaggio, “I’m intrigued by his darks, and then the tenebrism. I really just discovered that as I started to shoot portraitures.”

And so, while in the Tuscany workshop, which utilized two professional models (a blonde, Leo Leblanche, and a brunette, Mischkah Scott), Smyth was mindful of what he’d observed in the Caravaggios, and I think it’s an influence that he’s called up and utilized, to some degree, ever since. It’s often a mixture of stark lighting and deep shadows.

Ballerina Ellen Bigelow, from their most recent session. Photo by Patrick Smyth

Back in this country, Smyth has been collaborating with ballerina and ballet instructor Ellen Bigelow. He first met her through PADA and photographed her in various colorful kimonos, and subsequently has shot pictures of her in balletic poses inside a rental dance studio in Torrance.

“Ellen’s just been great to work with,” he says, and receptive to his ideas as they try out one pose or another. “Some things will work, some things won’t. I’ve learned that, when you’re shooting a ballerina, what looks great to me may not be technically right for them.” But one thing’s for sure, he’s come up with some striking images of Ellen and hopes there’ll be more.

Wearing many hats

On his website, Smyth’s photographs are grouped by category, and there are quite a few of them: People, Wild Life, Scenics, Fine Art, Fashion, Fun, Places, Flora, Things, Macro, and one called the 100 Hats Project. But is there one category among these that he prefers above the others?

“I found myself not wanting to be in a certain genre,” he says, “and that’s why I have these categories. I’m kind of looking for shiny things, beautiful things, and so it’s not important for me to stay or hang in a certain niche. I think it opens up more of the world in photography,” and he mentions his Macro category which represents his photographic foray into the microscopic world. So in case you were wondering, it’s not all Stonehenge and dancers. “Things like that,” Smyth says, summing it up, “continue to keep it fresh and different.”

In his backyard, a macro shot. “Beauty is all around us. Sometimes we just have to look a little closer.” Photo by Patrick Smyth

In short, he’s open-minded and goes with what moves him at the moment.

And then there’s the 100 hats project, which began as a way of challenging himself, perhaps to test his personal comfort zone, because he’s been reluctant to simply walk up to people and ask if he can take their picture.

Suri tribe woman in the Omo Valley, Ethiopia, adorned in colorful flora and clay. Photo by Patrick Smyth

The theme of the project (which I imagine he could still add to) is “characters with hats/hats with character.” Although some of the capped and hatted folks (from infants to nonagenarians) he’s shot are friends, many are complete strangers. But the nature of this series led him, by way of approaching people, to “sort of overcome my insecurities.” Which never seems to be a problem for members of the paparazzi, some of the pushiest beings on the planet.

Smyth isn’t really thinking of assembling his hat photos into any sort of publication. “I did it just pretty much for me,” he says, “but at the same time there are so many stories behind the pictures.” Later in our conversation he says that maybe in his retirement he’ll gather some of those stories together, and then who knows what’ll happen after that.

Although he professes to be drawn to a multitude of subjects, my impression is that he’s more attuned to portraiture, or “the human element” as he puts it. Remember what Smyth said earlier, that after he’s set chemical engineering behind him what he’d like to pursue is “photography and more photography and travel.”

A Suri beauty in the Omo Valley, Ethiopia. Photo by Patrick Smyth

If we assemble all the pieces from what he’s been saying, one clear goal would be to photograph models in stunning locations, such as castles and cathedrals. And of course the models can’t be wearing just ordinary clothes, slacks and T-shirts and tennis shoes. No, there’s an elegance that’s calling from the sidelines.

“I could have seen myself being some sort of fashion designer,” Smyth says. “I probably couldn’t do it, but I’m intrigued by fashion.”

Retirement, when it comes, is going to open up lots of doors, a lot of photographic possibilities, and Smyth will be ready for them.

To see more of Patrick Smyth’s work, visit his website at digitalsmyth.com. PEN

When it comes to photography, a DSLR camera is a popular choice for both newcomers and seasoned professionals. Yet, diving into the sea of options can feel a bit like navigating uncharted waters. This article explores five key things you should know before buying your first DSLR camera. We’ll unravel the significance of understanding your camera’s purpose, managing your budget, evaluating the frame rate, and acquainting yourself with the device’s features.

When you’re through, you should have a better understanding of what to look for when purchasing your first DSLR camera. Don’t forget to check out the best camera holiday deals on various websites right now.

Note: This list is subjective and solely reflects the opinions of the writer

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5 factors to consider before buying your first DSLR camera

1) The intent

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Before buying a DSLR camera, it is important to determine its purpose. If it’s going pro, think high frame rates and large sensors. Professionals love that RAW format feature for top-notch shots. Now, if it’s more for personal adventures, keep it simple. Look for user-friendly vibes with auto modes and cool scene options.

It’s like tailoring the camera to fit your groove, whether you’re aiming for pro-level shots or just capturing life’s everyday magic. It’s all about choosing the right gear to match your game.

To put things into perspective, for someone who wants to take videos, cameras like Canon EOS 250D or Nikon D7500 would be a great fit. Similarly, for someone who wants cameras for travel photography, cameras like the Canon EOS Rebel T7 (EOS 2000D) or the Nikon D3500 would serve the purpose. Choose a camera that speaks to you and the one you find the most comfortable.

2) The budget

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Setting a budget is like drawing a line in the sand – figure out what you can comfortably spend and stick to it. Consider not just the camera body but also all the extras like lenses and accessories when tallying up your costs. It’s tempting to compare prices, and that’s smart, but don’t skimp on the good stuff.

If you’re starting out as a hobbyist, you don’t need the fanciest pro gear. Find that sweet spot where your budget meets the features you need. Think of it as an investment in your skills. With a ballpark figure of around Rs.30,000, you should get a great beginner camera that allows you to improve your skills.

The average price of a DSLR is about Rs.30,000. You may choose something around this ballpark and still end up with a camera that does really well and is more than enough for a beginner to learn and hone his/her skills.

3) ISO and frame rate

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Technical words like ISO and frame rate seem to confuse new photography enthusiasts. However, with the right research and guidance, these are very easy-to-learn topics.

Take ISO, for instance; it’s like the camera’s ability to see in the dark. A higher ISO means better shots in low light, but it might bring in a bit of noise. Then there’s the frame rate – think of it as the camera’s speed. If you’re into capturing speedy moments, like sports or wildlife, a higher frame rate is your go-to. It’s like understanding the secret codes to make your photos really pop.

If you often shoot in dim conditions (indoors, nighttime, events), prioritize a camera with good ISO performance. If you plan to shoot sports, wildlife, or other fast-paced subjects, choose a camera with a high frame rate.

4) Sensor size

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Sensor size is one important factor to consider when buying your first DSLR camera. The part that captures light and forms the image is called a sensor. Sensor size is generally categorized into full-frame, APS-C, and micro four-thirds, each of which impacts image quality. To ensure the camera’s capabilities match your photographic aspirations, it is imperative to understand sensor size.

If you are someone who wants to capture landscapes, do portraits, or undertake night photography, go for full-frame sensors. They produce clearer quality images but are more expensive.

If you are someone who wants to capture sports and wildlife or want a camera to take on your travel or adventures, go for APS-C. If you are someone who likes street photography and loves traveling, go for micro four-thirds as they are much smaller and extremely portable.

5) Lens

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When purchasing your first DSLR camera, understanding the significance of the lens is vital. Different lenses offer varying focal lengths, apertures, and zoom capabilities, each of which affects the perspective and depth of field in your photos.

Visit a camera store, hold them, and feel their weight. Research different types, read reviews, and don’t be afraid to ask questions at camera stores. The “perfect” lens isn’t the fanciest or most expensive; it’s the one that lets you paint your stories with light in the clearest, most beautiful way possible.

Kit lenses are suitable for general photography and are the best pick for beginners. Wide-angle lenses are used for landscapes, architecture, and group shots. Telephoto lenses are great for distant objects and work well for sports, wildlife, and astrophotography.

Macro lenses are ideal for close-up portraits, product photography and also nature photography. Meanwhile, standard zoom lenses are versatile and are best suited for everyday use and travel photography.

Conclusion

Buying your first DSLR feels like opening a treasure chest of photographic possibilities. However, before you get caught up in specs and numbers, remember: it’s all about finding the camera that fits your vision and budget. Consider key factors like intent of use, budget, lens type, etc.

By keeping these things in mind, you’ll find the DSLR that helps you capture beautiful moments for years to come.

Before the year 2023 comes and you go on that well-deserved holiday, the question is do you have the right gear to capture all your precious holiday moments? Along with the right equipment, you must consider other factors that will allow you to make memories you will want to share with your loved ones, flaunt on Social Media and maybe even print!
Here are some tips:
Clean the lens: When it comes to photography, you will have to do a lot of preparations that will help you get great results. And we point out one of the simplest tricks – hardly worth mentioning – clean the lens of your mobile camera regularly, especially before you want to take a picture. Use a soft cloth to clean your lenses. Never use a paper tissue or paper in any form, this will result in scratches on the lens.
Consider the lighting: Lighting can make even a regular photo into a great one. While smartphone cameras are getting better, they can disappoint in low-light situations. So, while taking photos make sure you have lots of natural light. Open those curtains. In the evenings, turn on overhead lights, lamps and as many lights as possible.
Have innovative perspectives: A lot of motifs, especially in busy holiday destinations, are mostly regular ones. Buildings like the Eiffel Tower and the Leaning Tower of Pisa are captured by tourists from all over the world from the same perspective. To give it all a break, you can break away from the crowd and change the perspective – this immediately results in new views of the same motif, which can be really impressive.
Using flash: The smartphone flash can often make the pictures look very unnatural. So you should really pick the moments where you can use this feature wisely.
Avoid zooming: Not all smartphones come with an optical zoom; most have a digital zoom. This aspect immediately makes the picture pixelated. Moreover, it has a wide-angle lens, which is good for panorama shots, but not ideal for zoom shots. However, if the subject is too close, the picture can become blurred. As a guideline, try and maintain a distance of 15 centimetres.
Choose focus: You can choose where you want your camera to focus when clicking photos. Simply tap on the subject that you want to be the centre of attention and your phone will automatically focus there.
Invest in the right smartphone: While you consider all other aspects, the most important question to ask yourself is whether your smartphone camera is good enough. You should first check the technical side of your handset. How many megapixels does the mobile phone camera have, is there an image stabiliser, is there a wide-angle function, and more?
Here are some of the best camera phones in the world, that you can invest in if you want to take your photography game a notch higher:

Samsung Galaxy S23 Ultra

As of December 2023, the Samsung Galaxy S23 Ultra is the best camera phone because of its incredible flexibility. The lenses and features are absolutely incredible, making it shoot almost anything and everything. Different smartphones might create somewhat better pictures in certain circumstances, yet the Galaxy S23 Ultra can deal with each circumstance well, from close-ups to night photographs to ultrazoom distances.
While the 12MP ultrawide and dual 3x and 10x 10MP telephoto sensors of the S23 Ultra feel good, the phone disregards the 108MP resolution sensor seen on previous entries and replaces it with a whopping 200 MP primary camera to deliver a noteworthy photography experience.
Samsung also continues to work closely with Instagram, TikTok, Snapchat and other big social brands to ensure that the S23 Ultra benefits from higher image and video quality.

Best Suited For: The people who absolutely do not wish to compromise on the camera clarity and want nothing but stunning photos.

iPhone 15 Pro Max

Apple’s latest 2023-launch iPhones are mostly distinguished by more than just display size and battery. For instance, the cameras on the iPhone 15 Pro Max are slightly better than those on the standard-sized iPhone 15 Pro, primarily because of its 5x optical zoom.
With this handset, Apple has embraced the periscope technology using an innovative ‘tetraprism’ design to offer the best zoom capabilities ever seen on an iPhone.
Additionally, the iPhone 15 Pro Max has an identical 48MP main camera, 12MP ultra-wide camera, and 12MP front-facing camera. The phone stands out with its AI processing, which can tweak images to make them more. They’re also great for recording videos with a few fun modes like focus pulling to help you record cinematic shots.

Best Suited For: iPhone loyalists who want a compact iPhone that still captures quality photos and videos.

Google Pixel 8 Pro 5G

The Pixel 8 Pro is indeed one of the best cameras you can buy at its price for photography. It gives good competition to the much pricier iPhone 15 Pro Max.Google Pixel 8 Pro 5G has a new RAW capture that allows you to take full advantage of the 50MP sensor, as well as a new pro controls mode giving you control over the look of your images. With a sleek design, a bigger screen, and excellent future-proofing with continued software support for up to 7 years, this is really worth the money you spend on it.

Best Suited For: Those who want absolutely the best pictures along with great performance.

Google Pixel 7 Pro 5G

The Google Pixel 7 Pro takes amazing photos, in all lighting conditions. The Pixel 7 Pro recognizes speech more accurately, making Google Assistant more useful. It makes your photos clearer, and more inclusive, using Real Tone technology to enhance skin tones. The Google Pixel 7 Pro has dedicated night modes that take multiple images and combine them in a single photo that’s brighter and has less image noise.

Best Suited For: Incredible day and night photos at a lower price than the Google Pixel 8 series.

OnePlus 11 5G

Every photography enthusiast admits that the OnePlus 11 is suitable for a specific type of photographer. The telephoto shots or super-close macro photography are very average. But the area where the OnePlus 11 stands out is with its portrait and landscape photography. Photos have a rich, natural look to them. Overall it seems that the OnePlus 11 gives the artistic feel of a real, prime photography lens.

Best Suited For: For portrait and landscape shots
Frequently Asked Questions: Best Camera Phones
Which phone camera offers the best night photography?
The Samsung Galaxy S23 Ultra, Apple iPhone 15 Pro and Google Pixel 7 Pro all have dedicated night modes that allow you to take stunning photos even in the least lighting situation.
Are iPhone or Samsung cameras better?
Samsung Galaxy phones and Apple iPhones have some of the best cameras. Phones from both manufacturers have a capable photographic tool, but neither is such a clear leader that it’s worth moving from Android to iOS or vice versa. While the Samsung Galaxy S23 Ultra offers the biggest telephoto zoom camera, the iPhone 15 Pro or 15 Pro Max produces natural-looking images and videos, along with pro features like ProRes and Log video capture.
What’s the difference between real cameras and phone cameras?
The biggest difference between a dedicated camera and a phone camera is the size. A dedicated camera has a larger sensor and bigger lenses that take in more light, resulting in more detailed photos and a wider dynamic range. A phone camera is really small with a sensor that is smaller than a fingernail. To overcome the limitations of a small sensor and lens, a phone uses computational photography (AI and machine learning) to combine parts of multiple images into a single photo that’s brighter and has more detail than a phone camera alone.
Disclaimer: The Times of India’s journalists were not involved in the production of this article. The product prices mentioned in the article are subject to change with offers given by Amazon.

Every year, countless stunning images are submitted to a variety of photography competitions around the world, and 2023 was no exception. From cosmic structures light-years wide to microscopic marvels and everything in between, here are some of this year’s most awe-inspiring images.

Whatever it is you’re interested in photographing, chances are there’s a competition suited to your tastes. Animals feature pretty heavily in competitions like the World Nature Photography Awards, Nature TTL Photographer of the Year, and the Environmental Photographer of the Year, as well as their own specific awards like Wildlife Photographer of the Year. The Bird Photographer of the Year and the Audubon Photo Awards focus on our flying feathered friends, while the Comedy Wildlife and Comedy Pet Photo Awards showcase the lighter side of nature.

Bence Mate/Nature TTL

Among the highlights are “Milky Way” by Hungarian photographer Bence Mate, which won The Night Sky category of this year’s Nature TTL competition. A remote-controlled camera was placed inside a fish tank and left on the ground, where a curious wild boar came to investigate at just the right time. The resulting image gives the impression that the animal is a celestial being, peering down from the stars.

The night sky is a focus of other competitions too. The Astronomy Photographer of the Year covers everything from the Sun and Moon to galaxies. One of its standout entries was Angel An’s Grand Cosmic Fireworks, capturing a rare atmospheric phenomenon called red sprites in exceptional detail. Meanwhile, travel blog Capture the Atlas runs two annual competitions, one focusing on the Milky Way and the other on aurorae, always with spectacular results.

Angel An

At the opposite end of the scale from the giant cosmos is the tiny world of insects, fungi, and even microscopic cells and structures, which is covered by the Nikon Small World Photomicrography competition and the Close-Up Photographer of the Year. An intriguing image from the former is Ole Bielfeldt’s entry of a matchstick catching fire as it’s struck across the box, captured within 1/8,000th of a second.

Ole Bielfeldt

Other niches covered this year include the Urban, Mobile, Mangrove, Canarian, and Black and White Photo Awards, and even an image competition from the BMC Ecology and Evolution journal.

Browse through our gallery to see the best of the best from the year’s photography competitions.

Capturing resilience in a man scarred by gun violence

By Anthony Vazquez

My first encounter with James Bell was in January 2021. We met in a parking lot as he prepared for a stellate ganglion block procedure, a treatment for PTSD. Nervous about the procedure, James didn’t talk much. Our connection stemmed from a friend of his, whom I had previously covered in a story addressing the realities of post-traumatic stress disorder in gun-prone neighborhoods. James seemed like another compelling story to explore.

Over the next few hours, I stood by James’ side, waiting patiently in the reception area, observing as they checked his blood pressure and prepped him for the procedure. I was in the operating room as they administered the shot on the operating table. My initial interaction didn’t provide many hints about the troublesome story James had lived through. I only knew on the surface that he was suffering from PTSD due to a traumatic event.

Several months passed after our initial meeting, and I finally found the time to sit down with him and delve deeper into his story.

What he revealed was a lifelong narrative of various traumas. As a young boy in Louisiana growing up in a poor household, issues with his parents prompted a move to his grandparents’ home in Chicago. He faced troubles as a teenager, engaged in street drug sales, became a victim of gun violence and experienced the heartbreak of losing the love of his life and the mother of his children. Amid all his trauma, one constant remained — his love for football.

Football was his refuge as a child and the anchor that pulled him away from the streets. It provided him peace and led him to his calling as a coach. Unfortunately, an act of gun violence left him blind, ending his coaching career. He descended into depression but slowly found his way back onto the field through his sons and as an assistant coach.

From our initial meeting and through the next year and a half, I followed James. I witnessed him as a coach, a single father and a man grappling with PTSD. I joined him during family holidays, training sessions with his oldest son, football practices and everyday moments. More than two years after our first meeting, I wrote about his epic tale of loss, resilience, family and an enduring love of football.

The photo above captures just another training day. We had spent the morning at the park as he ran his sons through various agility drills.

The reason this photo is my favorite lies in its depiction of what James embodies. It was taken immediately after a set on the bench press when James struggled to finish his last reps. Catching his breath, he epitomized resilience. Despite the physical and emotional traumas he faced, he persists in pushing himself to become better, not only for his sake, but for the sake of his children. His desire for a better future for his kids propels him.

Covering an armed standoff

By Tyler Pasciak LaRiviere

During my tenure with the Chicago Sun-Times, I’ve covered a lot of breaking news. I was initially hired to do that — and only that — on overnight shifts. I’ve seen and captured a lot over the years, but no image to date comes close to what I captured in June when John Litsiardakis, armed with a gun, got into a standoff with Chicago police and SWAT officers while atop a makeshift tower with a swastika on it.

When I arrived at the standoff, I had no view of the tower. But after checking out streets nearby, I stumbled down North Karlov Avenue and saw another news photographer on the block and dozens of neighbors on the sidewalk and on their porches.

At the corner of the block I could see this man who’d been standing off with police for hours just sitting in a lawn chair with what appeared to be a shotgun. I found cover behind a car’s engine block and sat there with neighbors and the other news photographer for hours capturing Litsiardakis as he climbed up and down the tower, flipped off police, grabbed different guns, sat back down in his chair and so on.
At one point he grabbed the weapon you see in the image and walked out on a ledge in his tower fanning the gun at police. At that moment I captured the image you see above. Then he saw me, the other photographer and the crowd of neighbors and onlookers and swept his weapon at us. We ducked and took cover.

I stayed behind cover for hours after that point not knowing how this would end, but also making sure to stay as safe as possible. SWAT, who was only mere feet away from us, made sure we were OK, and suggested different places to take cover.

Eventually Litsiardakis retreated inside the building, and we heard what sounded like a gunshot or two a little while later. Police blew off the building’s door, but after that it went eerily quiet, other than the sound of music and Litsiardakis’ ramblings playing in a loop from a loudspeaker.

As the day turned into twilight I made my way back to my car to file my images and knew not only was that the most dangerous situation I’d ever put myself in, but I’d also taken one of the most unique and dramatic images to date of a breaking news story.

Witnessing the most intimate moments in people’s lives

By Pat Nabong

This photo of Sherrif Polk and his 1-week-old son Sherrif Polk Jr. is one of my favorite photos this year. I had been assigned to photograph Chicagoans who were receiving monthly stipends from the city, the county or nonprofit organizations for Elvia Malagón and Esther Yoon-Ji Kang’s story about how guaranteed-income programs were having an impact on Chicagoans’ lives. Polk received $500 a month from Chicago Future Fund, which gives monthly allowances to formerly incarcerated people. For Sherrif, most of his stipend went to buying clothes and toys for his kids, he told me as I photographed him by the lake in May. We started talking about his kids, and he mentioned that he had a newborn at home. I asked if he would be willing to be photographed with his baby for the story. After calling his fiancee to make sure, he said yes. 

When we arrived, his fiancee brought out Sherrif Polk Jr. As I approached, Polk carried his son and brought his tiny hands to his lips. 

It is one of those instances where we are invited to witness people’s lives in a more intimate way, which we don’t always get to see as photojournalists and as readers. I was struck by the tenderness of the moment. It reminded me of why I love to photograph: because of photography’s ability to make visible and give importance to the fleeting and fragile moments that make up our days — like the way light bounces off a person’s face, a small hand to the lips and the warmth of a father holding his child. Working in the news industry can often feel loud and frenetic, with our weeks filled with protests, politics and heavy stories. But I come back to quiet photographs like this that allow me to connect with Chicagoans through the simpler moments that make up their lives.

Cherishing the animal assignments, especially in hard moments

By Ashlee Rezin

I have to admit, when it came time for me to pick my favorite photo of 2023, I struggled quite a bit. For a lot of reasons, many of which I won’t get into, this year has been one of the hardest years of my personal life.

In June, a family of federally protected peregrine falcons made themselves at home in the Loop. They were dive-bombing pedestrians passing below their seventh-story nest at an office building on Wacker Drive near the Chicago River.

This was my first assignment after my mom died.

“How about an easy day?” I remember my editor, Rich Hein, saying in one of our usually innocuous morning chats.

“Want the bird assignment?”

Rich knows that, for me, animal assignments can be a welcome reprieve from the day-to-day grind of daily news, which is often emotionally heavy. I jump at an opportunity to photograph endangered piping plovers at Montrose Beach; a baby animal’s debut at a zoo; therapy dogs making people smile at the Dirksen Federal Courthouse; or a herd of deer finding refuge in a city cemetery.

Falcons fly very fast. This was not an easy assignment. But it brought me joy in that moment.

In a year full of pain and struggle for me, I am grateful for empathetic editors and co-workers. Life sucks sometimes, and every once in a while, everyone deserves their equivalent of an animal assignment.