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SCC’s Fruit of the Lens Photography club to host exhibit

By in Photography

SCC’s Fruit of the Lens Photography club to host exhibit

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Vibrant colors, soft lighting and varied textures are just a few reasons why fall is a great time to take photos. And the beauty of south-central Kentucky this autumn will be the focus for members of Somerset Community College’s Fruit of the Lens photography club.

“Fall Into Nature” is the theme for this fall’s exhibit. It is the club’s 23rd show since its first in 2012.

“The transformation of landscapes during fall is dramatic,” says Cindy Burton, faculty advisor for the club. “Trees lose their leaves, revealing new perspectives and features that were previously hidden. This changing scenery allows photographers to capture the beauty of nature’s cycles.”

Burton said that entries to the exhibit will be accepted until Sunday, Nov. 19 and that a premiere showing of the presentation will be held Tuesday, Nov. 28 at noon in the Citizens National Bank Community Room located of in the Rogers Student Commons. All members are encouraged to attend this showing.

While Fruit of the Lens photography club is an SCC student organization, anyone with an interest in taking digital images is invited to join and participate. To become a member, simply email Burton at cindy.burton@kctcs.edu and ask to be in the club.

“The main criterion for joining the club is just to enjoy taking photographs,” Burton said. She noted that members can use any type of camera, even the camera on their phone, for their submissions.

Additional information on the club is available on Facebook at “Fruit of the Lens photography club.” This page will also include links to past exhibits.

Exhibit rules and guidelines

All club members are eligible to submit entries to this exhibit. To be a member, send a request to cindy.burton@kctcs.edu.

Any camera, including on phones, can be used.

Entries must pertain to “Fall Into Nature” theme. All photos must be appropriate, tasteful and taken in south-central Kentucky.

Limit entries to your favorite ten (10) photos. Photo size should be 1 to 5 MB.

Photos manipulated in program such as Photoshop will be disqualified. (Normal color adjustments are perfectly acceptable.)

Name image files in consecutive order, such as “MaryE-1, MaryE-2, MaryE-3, etc.”

E-mail entries using the above naming system to: fruitofthelens@gmail.com.

Deadline for submitting photos for this exhibit is Sunday, November 19 at 12 midnight.

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Dorothea Lange survey reveals how studio apprenticeships influenced how she later approached documentary photography

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Dorothea Lange survey reveals how studio apprenticeships influenced how she later approached documentary photography

The American photographer Dorothea Lange (1895-1965) is regarded as one of the great documentary photographers of the 20th century, but a new exhibition at the National Gallery of Art in Washington, DC, makes the case that her revolutionary style of reportage was rooted in her early experiences making formal portraits in commercial photography studios during the 1910s and 20s. Dorothea Lange: Seeing People, curated by Philip Brookman, brings together 101 of Lange’s photographs spanning half a century, from early studio portraits to images from her wide-ranging travels in the 1950s and 60s.

“She apprenticed with a series of portrait studios,” Brookman says. “Probably the best known would be Arnold Genthe’s studio in New York, and it was there she learned not only how to run a portrait studio, but also the importance of a pose—the hands, the face, the light—and how to embody who somebody is through how you pose them, how they’re lit. When she then went out into the world, and began to photograph people, she took all that with her.”

Lange’s Human Erosion in California (Migrant Mother) (1936)

The exhibition draws heavily on a 2017 gift of 143 gelatin silver prints from the Los Angeles collectors Daniel Greenberg and Susan Steinhauser. These are supplemented with key loans from institutions including the J. Paul Getty Museum in Los Angeles, the Oakland Museum of California and the San Francisco Museum of Modern Art. Many of Lange’s most famous images will be on show, including her 1936 image of a white plantation owner and five Black field hands in Mississippi, and her indelible portrait of a California agricultural worker framed by her young children, Migrant Mother (1936), which Lange made while working for the US government’s Resettlement Administration. But there are also many images that are rarely shown—and some that push the boundaries of the portraiture theme, like her 1942 image of an “I am an American” sign that a Japanese American store owner put in his window amid rising xenophobia following the Japanese attack on Pearl Harbour.

“I really wanted to think about the notion of portraiture as something that has to do with the formation of identity and I saw those words, ‘I am an American’, as being a statement of identity that one could consider to be a portrait—this is who I am—even though it’s not a picture of a person,” Brookman says. “It’s a much more contemporary way to think about portraiture.”

Lange’s Hand of Dancer, Java, Indonesia (1958) © The Dorothea Lange Collection, Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor

The show gives a snapshot of Lange’s life and times, from the poverty and activism in the Bay Area in the early 1930s to the plight of agricultural workers during the Great Depression and the forced detention of people of Japanese descent during the Second World War. “The issues that she was engaged with—migration and climate change, land use, racism—all of those things are still with us today,” Brookman says. “She defined a form of documentary looking that has to do with wanting to understand not just who a person is and what they look like, but what’s around them and how their situation came to be what it is.”

• Dorothea Lange: Seeing People, National Gallery of Art, Washington, DC, 5 November-31 March 2024

Wealthy Women Art Collectors Continue To Outspend Men, Even As Male Artists Still Dominate Sales: Art Basel And UBS Survey

By in Art World News

Wealthy Women Art Collectors Continue To Outspend Men, Even As Male Artists Still Dominate Sales: Art Basel And UBS Survey
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High-net-worth (HNW) women outpaced men’s spending on art in the first half of 2023, following a trend of the past two years. Women collectors spent a median of $72,500 compared with $59,400 by men, according to The Art Basel and UBS Survey of Global Collecting in 2023 released on Thursday.

However, HNW men reported higher average spending, with values driven up by a few extravagant male spenders, including twice as many men shelling out $1 million in each period, the survey found.

Still, spending by women continues to grow in value, already reaching a higher level than in 2022.

The survey of HNW collectors is primarily based on survey data gathered and analyzed directly by Arts Economics (a research and consulting firm focused exclusively on the art economy founded in 2005 by Dr. Clare McAndrew, a cultural economist specializing in the arts, antiques and collectibles markets) in collaboration with UBS.

This year’s survey is the largest to date, with participation from 2,828 HNW collectors from 11 key regions around the world.

Despite the surge in women collectors, HNW individual’s collections continue to be dominated by works by male artists, with a ratio of 61% men to 39% women, and the share of works by women in collections decreased by 3% year-on-year to 39% in 2023. However, collectors who spend more than $10 million each year both tended to have a higher share of works by women in their collections (54%) and their proportion of spending also increased from 46% in 2021 to 55% in 2023. This may indicate that some of the spending at the very highest levels was on women artists, even if only by very few top collectors.

“Wider studies have shown that female artists are still underrepresented in exhibitions and sales, both in the dealer and auction sectors. Despite being over-(represented) or equally represented at many art schools, there is still well-documented evidence of inequality in terms of career longevity and commercial success. However, some research has found that due to the seemingly more rigorous quality filters and other issues faced by women in their careers as artists, while the number of their works reaching the market is less, the minority that sell do so at a premium rather than a discount for artists at similar levels,” McAndrew wrote.

“This is an important issue to explore, as it implies that some of the biases women face relate to institutions and other aspects of their career paths rather than simply the market itself, with the issue still being the lack of progress in commercial careers rather than only a gender discount for female versus male artists once they are on the market,” McAndrew added.

A considerable plunge last year, in the share of collectors most commonly focused on buying works of art priced at over $1 million, may be rebounding. After tumbling from 12% in 2021 to 4% in 2022, spending at a higher price in the first half of 2023 was 9%.

Despite this year’s rebound, levels were below those of 2021 and previous years, suggesting possible buyer caution and fewer high-end collectors following the strong post-Covid-19 jump in sales.

The average allocation to art in the wealth portfolios of HNW collectors dwindled to 19% in 2023, from a peak of 24% in 2022, another sign of caution amid bolstered focus on more liquid financial assets or less willingness to make discretionary purchases. Nonetheless, the size of the HNW portfolio allocation to art rose positively with collector wealth, ranging from an average of 15% for those with wealth of less than $5 million to nearly 30% for ultra-high-net-worth (UHNW) collectors with wealth of more than $50 million.

Collectors adopt a more cautious approach

By in Art World News

Collectors adopt a more cautious approach

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Collectors are allocating a lower proportion of their wealth to art, according to this year’s Art Basel and UBS survey of global collecting. Although a “significant majority” (72 per cent) of the 2,828 collectors surveyed still allocate more than 10 per cent to art, their average share has fallen from 24 per cent last year to 19 per cent so far this year. The report finds that the share of those allotting a relatively high proportion of their wealth (more than 30 per cent) fell to its lowest level in four years.

The fall “may be indicative of a more cautious approach to collecting, with a greater focus on the need for more liquid financial or income-producing assets”, writes the report’s author Clare McAndrew, founder of Arts Economics. She notes that high interest rates, which make the cost of borrowing to buy art significantly higher, “could also have a negative effect”. More than 40 per cent of collectors reported using credit or other types of loan to buy art — higher than McAndrew expected — including 30 per cent in 2022 and 2023 to date.

Nevertheless, the report finds overall that median expenditure on art and antiques reached $65,000 for the first half of 2023, the same level as for all of 2022, “indicating a potentially substantial rise for the year if spending continues”. The most popular purchase and highest average spend was on fine art, with paintings still the preferred medium (58 per cent). In-person shopping continues to appeal, with 84 per cent of collectors buying at a gallery in the first half of this year (up from 73 per cent in 2022), though art fair purchases were down from 74 per cent to 58 per cent. Overall event attendance — including exhibitions and biennales — was down from an average of 41 per year in the pre-pandemic year of 2019 (including five fairs) to an expected 32 this year (four fairs). 

Changes are afoot at Cromwell Place, the Grade II-listed, south-west London gallery hub that opened in 2020. Helen Nisbet, recently appointed chief executive and artistic director, has outlined plans for a £2mn refurbishment that would include the opening of a street-level, 80-seat restaurant and a more accessible and visible entrance. The plans take out two of the hub’s 14 gallery spaces, including its 74 sq m and prized Gallery 11, a sacrifice that “will make the whole building more enticing with all galleries of equal prominence”, says membership and business development director Elizabeth Dellert. Architect Tom Croft likens the impact of the new restaurant on the hub to Spring, which opened in Somerset House in 2014.

The building works, which are still subject to planning approval, are slated for summer 2024, when the hub would close, with an expected reopening in time for next year’s autumn season in London — though to be on the safe side, management is not taking bookings from September 2024.

Isabella Icoz, a partner at Lehmann Maupin, which has had a permanent gallery in Cromwell Place since its opening, says that while “there is never an ideal time for disruption”, the plans will “make it much more user-friendly and bring a beautiful and striking building more to life”. She confirms that the gallery is committed to Cromwell Place for next year and has also secured two pop-up exhibition spots on London’s Cork Street in June and September 2024.

Profile portrait of a woman in black headscarf wearing a coin necklace
John Singer Sargent’s ‘Egyptian Woman (Coin Necklace)’ (1891) has an estimated price of $1.2mn-$1.8mn

Bonhams has started offering the $8mn estate of American broadcaster and journalist Barbara Walters, who died last year, and will host a live sale of 11 pieces of American fine art in New York on the evening of November 6. Top-billing is John Singer Sargent’s 1891 “Egyptian Woman (Coin Necklace)”, $1.2mn-$1.8mn, while the collection also includes Frank W Benson’s glamorous portrait of one of his sisters, “Firelight” (1893). Walters bought this painting for a below-estimate $165,000 in 1988 and it now comes to market for between $400,000 and $600,000.

Walters became the first female co-host of a US network, on NBC’s Today show in 1974, and went on to interview every US president and first lady during her career. Bonhams has nearly 400 items from her estate, including several pieces of designer jewellery, clothes and furniture, the cream of which will also be offered live on November 6. A separate online-only sale, including more furniture, tableware and handbags, started on Sunday and runs until November 7. 

A small painted canvas and other objects in a plastic bag affixed to a gallery wall
Jasmine Gregory’s ‘Bundle No. 11’ (2023) © Sebastian Ledenmann

London’s Soft Opening gallery will take over Paul Soto’s space in Los Angeles’ Arlington Heights neighbourhood for 10 months, starting on November 19 with a group show organised by its LA-based German artist Maren Karlson and including work by Jasmine Gregory and Sarah Pucci. Soto, who last week opened a 1,500 sq ft space in New York’s Flower District, is taking the opportunity to focus on this second location.

“Smaller galleries in particular try not to spread ourselves too thinly and need to plan things carefully,” says Antonia Marsh, founder of Soft Opening, of the collaboration. She has always been attracted by California and the “intoxicating” art scene around Hollywood, she says, having earned her masters in curating in the Golden State. 

She plans about five exhibitions in LA, while maintaining a similar programme in her east London gallery. Marsh will remain UK-based but, she says, will do fewer international fairs to help manage the new project. “It seems a good time for a different rhythm, when the market is a bit more unpredictable,” she says.

Abstract painting of blue and brown arcs
Maggi Hambling’s ‘Wall of Water 2’ (2022)

The Hong Kong and Shanghai gallery Pearl Lam now represents British artist Maggi Hambling in Asia and will include a recent painting from her Wall of Water series in a mixed booth at next week’s West Bund Art & Design fair in Shanghai (November 9-12). Lam says Hambling will “further enrich” her gallery’s “diverse portfolio of internationally recognised artists” and plans a solo show in her Hong Kong space next year. Hambling had her first museum show in China at Beijing’s CAFA Art Museum in 2019.

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Seductive, subversive: the photos of celebrated image-maker Helmut Newton

By in Photography

Seductive, subversive: the photos of celebrated image-maker Helmut Newton

His seductive and subversive images made German-Australian photographer Helmut Newton one of the most celebrated image-makers of the 20th century.

Now, a large-scale exhibition, “Helmut Newton: Fact & Fiction”, opening on November 18 at the Marta Ortega Pérez Foundation in A Coruña, Spain, will show some of his most famous images, alongside others that provide a well-rounded sense of the photographer’s range, including Polaroids he took on set during photoshoots, and atmospheric shots of places he visited.

“Helmut was by nature a re-constructor of things he had seen,” says Philippe Garner, vice-president of the Helmut Newton Foundation, who co-curated the exhibition alongside Matthias Harder, the foundation’s director, and Tim Jefferies, director of Hamiltons Gallery in London.

“There’s a real documentary dimension to his work. He’s recording the way a certain kind of woman might live, but he makes his pictures by building them artificially. They are a fiction that in a sense represents a fact.”

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“Daryl Hannah, Los Angeles 1984” by Helmut Newton. Photo: © The Helmut Newton Foundation

Born into a prosperous Jewish family in Berlin, Germany, in 1920, Newton was fascinated by photography from a young age.

“He would later say that his interest in those years was swimming, girls and photography – he put the girls and the photography together, and took up fashion photography,” Garner laughs.

Young naked women are their canvas – Hong Kong artists’ erotic nude art

After growing Nazi persecution led Newton to flee Germany in 1938, he landed in Singapore, where he worked briefly – and rather unsuccessfully – as a photojournalist for The Straits Times.

“It wasn’t the moment that appealed to him, it was the distillation of things observed,” Garner says.

The outbreak of World War II led to Newton’s internment in Singapore before he was sent to Australia, where he served in the army and eventually took citizenship in 1946.

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“Shoe, Walter Steiger, Monte Carlo, 1983” by Helmut Newton. Photo: © The Helmut Newton Foundation

Keen to make a living from photography, he set up his own studio in Melbourne after the war, where he met his future wife, the Australian actress June Brunell.

At the end of the 1950s, the couple returned to Europe and settled in Paris, the epicentre of high fashion, where Newton entered his formative era and established his name through the edgy, provocative shoots he produced for various fashion publications.

“They were tough,” Garner says of the photographer’s signature style, which could provoke unease and offend as easily as it could seduce.

“It was his choice of women, choice of settings and his mastery of instruction in posing the models. He could get so much out of a gesture, out of a little frown. His pictures were clearly built with such deliberation and effectiveness that set him above most others.”

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“Monica Bellucci, Monte Carlo, 2001” by Helmut Newton. Photo: © The Helmut Newton Foundation

Famously economical with film – Newton could fit an entire shoot onto a single roll – these erotically charged tableaus were meticulously mapped out in his mind.

Yet, like all great artists, he also left something open to the intervention of chance.

“There was a dynamic where you weren’t quite sure if it was predetermined or spontaneous,” Garner says.

“Keeping that energy alive in the picture meant it didn’t look stiff. That was the balancing act of pulling off a Helmut picture.”

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“Elsa Peretti as a Bunny, New York, 1975” by Helmut Newton. Photo: © The Helmut Newton Foundation

As a self-described “image-hungry” teenager in the 1960s, Garner avidly cut out photographs from magazines and it wasn’t long before he started noticing Newton’s name.

“I liked those pictures that were soaked in the flavour of old Europe, where he was drawing on memories of his childhood,” he says.

“His parents used to take him travelling. They would stay in fancy hotels and spas. Quite apart from the fashion or erotic elements, I really responded to those pictures that had this layer of cultural history that was very much central to his oeuvre.”

The ambivalence, the ambiguity – that is what makes Helmut’s pictures last

Philippe Garner, vice-president, Helmut Newton Foundation

Newton held his first solo exhibition in 1975, where Garner, through his career as an auction specialist for photography, met him for the first time; he remained a close friend and associate thereafter.

The year 1975 was seminal in other ways: some of Newton’s most iconic photographs date from this year, including Elsa Peretti as a Bunny and Rue Aubriot, which hang side by side in the coming exhibition.

A landmark in the canon of fashion photography, Rue Aubriot not only cemented Newton’s reputation but articulated the transgressive sensuality of Paris’ most talked-about designer, Yves Saint Laurent.

Artists bare intimate personal memories on Hong Kong’s most public stage

Fabulously in tune, the couturier and the photographer undercut the staidness and stuffiness of high fashion, wholeheartedly embracing the sexual revolution of the 1970s.

In Saint Laurent’s designs and through Newton’s lens, a woman understood the concept of the body as a weapon and how to control and manipulate her power.

“I’ve playfully debated who invented the Saint Laurent look,” Garner says. “Was it Saint Laurent or Helmut? And who created the sublime garments that matched Helmut’s requirements? It was a great working relationship.”

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“Grand Hotel du Cap, Marie Claire, Antibes, 1972” by Helmut Newton. Photo: © The Helmut Newton Foundation

Atmospheric shots of places Newton visited also form significant portions of the display. After a surfeit of fashion and glamour, his lesser-known landscapes afforded him much-needed breathing space, which ultimately helped sustain his career for over six decades.

There were moments when the photographer thought he had run out of steam. A particular low point came in 1981. A passing journey through a small seaside town reignited the spark, Garner says.

“He tells the story of a train ride to Italy, where he travels through Bordighera. He found it delightful and thought it would be a great setting for some pictures.”

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“Close-up, Italian Vogue, Bordighera, Italy, 1982” by Helmut Newton. Photo: © The Helmut Newton Foundation

What followed was a series for Italian Vogue called “Bordighera Details”, with dramatic close-ups of mouths and eyes, one of which is included in the exhibition.

In an unprecedented move, all the images in “Helmut Newton: Fact & Fiction” are “lifetime prints” – ones produced during Newton’s lifetime and previously validated by the photographer.

It serves as a nice reminder about photographs as objects in their own right, and reflects the ultimate aim of The Helmut Newton Foundation to keep the works of Helmut and June Newton (who worked as a photographer under the name Alice Springs) alive.

Although Newton did not formally establish his foundation until 2003, a year before his death, he had kept meticulous archives since 1971 – spurred by a heart attack that year to consider his posterity and legacy.

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“Self-portrait, Monte Carlo, 1993” by Helmut Newton. Photo: © The Helmut Newton Foundation

Garner notes that interest in the Newtons only continues to grow, as the foundation attracts increasing numbers of visitors.

“Our ongoing dialogue is to see how we can open up the programme in different and unexpected ways,” he says, with the objective being to exhibit other visual artists’ work alongside the Newtons’. “We are very much open for possibilities.”

Newton never returned to live in Berlin, but when it came to choosing the site to house his photographs and archive, there was no doubt that it would be there.

In a poignant gesture, the building he chose – formerly a recreation club for Prussian military officers – stands right across the street from the station where he boarded the train to flee Germany in 1938.

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It marked a symbolic closing of the circle after that traumatic rupture in his adolescence – a period of his life that Newton rarely mentioned, but which would forever shape his life and his work.

“The ambivalence, the ambiguity – that is what makes Helmut’s pictures last,” Garner says. “There are layers, and they are often unfathomable layers that intrigue, engage and sometimes can be disconcerting or destabilising, but that’s the Helmut mix.”

“Helmut Newton: Fact & Fiction” will be on show at the Marta Ortega Pérez Foundation from November 18 until May 1, 2024.

Art Roundup

By in Art World News

Art Roundup
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Eugene is filled with color from graffiti and murals to an abundance of local galleries. This weekend the town hosts a number of art-related events. Need new jewelry or just want to admire a craft? Head to the Gem Faire at the Lane Events Center Nov. 3 to 5. Be on the lookout for gemstones, beads, crystals and more. Another artsy market is happening at Lane Events Center with the Willamette Valley Handmade Market Nov. 4 and 5. Shop and support over 60 local artisans and small businesses. The onsite raffle benefits the Oregon Cancer Foundation. But don’t stop there, as The ArtChics 19th annual Art Sale and Benefit is happening Nov. 3 and 4 at the New Zone Gallery. Local women artists will present their art in a sale for different nonprofit organizations focusing on the arts. The artwork is by Georgeanne Cooper, Lin Lundberg, Deborah Dailey, Joanna Lovera, Mari Livie and Terry McIlrath. More fundraising is occurring at Art with Alejandro for the Cancer Awareness Art Fundraiser Nov. 3. The event is for Rachel London, Tawshma Pachito and Auraleigha Reneau. Inspirational art by Chelsea Beaudrie and Sophie Navarro will be on display, and James Garcia will perform live. If you find yourself downtown Nov. 3, stop by the First Friday ArtWalk. Browse the Artist Marketplace at Farmers Market Pavilion and art venues while enjoying music from Sugar Pine. With so much art in this town, it will never get dull. Check out the What’s Happening calendar listings for more artsy events. 

Gem Faire is noon Nov. 3 and 10 am Nov. 4 and 5 at Lane Events Center, $7 weekend pass. More info at GemFaire.com. The Willamette Valley Handmade Market is 10 am Nov. 4 and 5, also at the Lane Events Center, 796 W. 13th Ave. The ArtChics 19th annual Art Sale and Benefit is 5 pm Nov. 3 and 11 am Nov. 4 at New Zone Gallery 110 E. 11th Ave., Ste. C and is free. The Cancer Awareness Art Fundraiser is 5:30 pm Nov. 3 at Art with Alejandro, 246 E. 5th Ave., Ste. 224, and is free. The First Friday Artwalk is 5:30 pm Nov. 3 at Farmers Market Pavilion, 85 E. 8th Ave., and is free.

And the Ding” Darling Amateur Nature Photography Contest winners are….

By in Photography

And the Ding” Darling Amateur Nature Photography Contest winners are….
Heidi Dirkse’s “Looking for Love” took first place. COURTESY PHOTOSHeidi Dirkse’s “Looking for Love” took first place. COURTESY PHOTOS

Heidi Dirkse’s “Looking for Love” took first place. COURTESY PHOTOS

On Oct. 5, “Ding” Darling Wildlife Society-Friends of the Refuge (DDWS) held an official judging for its 31st annual “Ding” Darling Amateur Nature Photography Contest. It announced the 2023 winners Oct. 21 at the inaugural Art in the Wild festival at J.N. “Ding” Darling National Wildlife Refuge on Sanibel Island.

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Judges selected three winners and 10 honorable mentions out of 91 entries from 14 states and three countries. All photograph entries were shot at the J.N. “Ding” Darling National Wildlife Refuge complex. Judges included a refuge staffer, photographer/artist, and member of the Sanibel community.

“Despite the disruption from Hurricane Ian, the contest generated much excitement and nostalgia among photographers and our judges,” said April Boehnen, DDWS manager of events, marketing, and communication and contest coordinator. “The photographers found our resilient wildlife and enduring beauty once again.”

First place went to Heidi Dirkse from Maine for her portrait of a reddish egret titled “Looking for Love.” Contest judge and Sanibel resident Laurie Harkey commented: “The photographer caught their subject in an instance of full plumage – a striking moment in nature.”

Frank Brinker won second place with “Low-flying Fisherman.”Frank Brinker won second place with “Low-flying Fisherman.”

Frank Brinker won second place with “Low-flying Fisherman.”

In second place was Frank Brinker from Oberageri, Switzerland, with a photograph of a black skimmer titled “Low-flying Fisherman.”

“Wildlife photography combines subject and opportunity with patience and skill,” said judge Kyle Sweet, a wildlife photographer himself. “This photo truly exemplifies all of these. Not only is the fisherman in full focus, but the plight of the prey is as well, making this photo truly worthy of the award.”

Kathleen Colligan from Pennsylvania, took third place with “Mangrove Tree Crab.” Judge and “Ding” Darling Refuge Manager Bob Gerwig commented: “The mangrove tree crab is an often-overlooked animal that is an essential component to red mangrove ecosystems. This photograph draws the viewer in with lots of textural elements and observes the rule of thirds.”

Third-place winner was Kathleen Colligan’s “Mangrove Tree Crab.”Third-place winner was Kathleen Colligan’s “Mangrove Tree Crab.”

Third-place winner was Kathleen Colligan’s “Mangrove Tree Crab.”

The three winners received cash awards from DDWS – $300 for first place, $225 for second, and $175 for third. Each honorable mention winner received a $25 award, which reflects a refund of the contest entry fee.

The winning photographs and honorable mention award entries will be on display in the “Ding” Darling Visitor & Education Center throughout the year.

To view all top-ranking entries, visit dingdarlingsociety.org/articles/photo contests. The page also contains information for entering the photo contest in 2024. The deadline for submissions will be Sep. 15, 2024. ¦

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