It was early March in 1971 and bitterly cold, but the snow and sleet didn’t dampen our spirits. Thousands of us had gathered for the first Women’s Liberation Movement march. We were singing and dancing as we walked through London and there was street theatre at Trafalgar Square, where the march ended. It was a joyous occasion. Our banners reflected our primary focuses: equal pay and equal opportunity, free contraception and abortion on demand. There were also lots of men of all ages taking part, kids too. And there was a huge police presence – we were surrounded by them, walking alongside, in front and behind. They were on the march too – whether they liked it or not!

I was taking pictures the whole time, running to get ahead, climbing up lampposts or on to bins. I remember passing Billingsgate fish market was a whole lot of fun, as workers came out to watch and cheer. I’ve got lots of pictures of passersby laughing with us – and some of them at us. But even if there was the occasional bit of mocking, things were never nasty. We weren’t being aggressive, so that wasn’t the reaction we got.

This shot must have been taken as we were approaching Oxford Circus. I like how it reflects the range of people who were on the march. The placard in the background was in support of US activist Angela Davis, who was a hugely important figure for the women’s movement in the early 1970s.

I’d been part of the UK movement since its earliest days and had joined one of the first women’s groups, in Tufnell Park, London. I was radicalised as a student and started going on anti-Vietnam war marches in 1967. I never left home without a camera round my neck. I started working for an agency called Report, run by a guy who had fought in the Spanish civil war. Report bought some of my pictures and they were published in the national press. They paid very badly though. I think it was £3 per photo published.

The year before the march, the UK women’s groups had held their first ever conference. People came from all over the country. There were academics reading papers, trade unionists talking about their struggles, discussions about families and children – all sorts of people from the left. We weren’t expecting more than 200 people but we had three times that. We didn’t want to be victims of press distortions, so I was the only photographer in the plenary sessions, allowed because I was part of the movement and nobody took any notice of me. But I knew it was important to have a record of this special occasion. My photographs of the conference, as well as the march, are among those on display at the Women in Revolt! exhibition, about to open in Edinburgh.

One thing I’d like to set the record straight on is the number of people who were on that march. The figure that’s usually given – and was repeated on captions when Women in Revolt! was at Tate Britain – is 4,000. Of course I can’t prove it but I’m sure there were tens of thousands of us. We were a solid block on the mile from Marble Arch to Oxford Circus, and once we got to Trafalgar Square it was completely chocka!

Later, in 1971, I gave up photography, partly driven by feelings of frustration at always being an observer. But there was another reason. I was living in a commune in Islington and we used to get regularly raided by the Special Branch in the middle of the night. They would always remove the film from my camera and take it away – which of course they weren’t allowed to do. I loved taking pictures of people but I thought: “No, I’m not having this. I’m not taking pictures for the Special Branch.” So I completely stopped photography and didn’t return to it for over a decade.

My love of photography began when I was very young – I was first given a camera aged 10. When I was 17, my family were living in Caracas, Venezuela, where my father was a diplomat. Caracas is in a valley and the surrounding hills are full of huts and shanty towns. I used to head out there every day to take photographs, and it became obvious that this was what I wanted to do. I went back to the UK in 1967 to study photography at the London College of Printing. With all the student protests in London and Paris and beyond during those years, it was a very exciting time, but I don’t think I had the sense that I was part of an extraordinary moment in history – one never does, does one?

The women’s movement made a lot of advances, although it’s still got a long way to go. But I feel proud now to have been part of it all.

Chandan (Sally) Fraser’s CV

Born: 1950, Woking
Trained: London College of Printing
Influences: Henri Cartier Bresson, Robert Capa, Eve Arnold, Alfred Stieglitz, Ansel Adams
High point: “Being sent to photograph Tennessee Williams at the ICA, London, in 1970”
Low point: “Giving up photography”
Top tip: “Have your camera with you all the time”

NORTH EAST, MD — In a display of creativity and commitment, ‘Project 365’, a unique photography exhibition, is set to open at Cecil College, showcasing the works of eight diverse photographers. What began as a friendly challenge among associates twelve years ago, has now blossomed into an engaging and yearly art exhibition.

The intention behind ‘Project 365’ is beautifully simple – take a photo every single day, post it online, and construct a year-long narrative through the lens of each photographer. This year, the exhibit will be stationed at the Milburn Stone Gallery on the North East Campus, hosted by the Cecil College Art and Design Program.

An original member of Project 365, who is also an adjunct at Cecil College, Mary Johnson, speaks highly of the inclusive nature of the project. With participants ranging from amateurs to professionals and students, the project displays a remarkable assortment of photographic artworks.

Among the exhibitors is Barry Gorrell, a photography veteran with a career spanning 47 years, who has developed an interest in drone photography post-retirement. Another participant is Barbara Bell, a watercolor artist introduced to ‘Project 365’ by Johnson’s brother, who uses her photos as a reference for her artwork.

The exhibit also includes works from Jennifer Fox, a nature-inspired visual arts educator; Dave Vallée, a hobbyist photographer; and Rita Schreiner, a current student at Cecil College.

Completing the lineup is Kathy Buckalew, a multi-genre photographer and teacher, and Julie Perone, who discovered her passion for photography after retiring from a career in psychology.

With such an eclectic collection of artists, visitors to the ‘Project 365’ exhibition can expect to immerse themselves in various photographic narratives, each image holding its unique story to tell.

The exhibition will take place at the Milburn Stone Theatre Gallery, running from May 31 to August 30, with a reception scheduled for June 21.

To experience this magnificent showcase of dedication and artistic expression, visitors are welcome to visit during gallery hours, which include Tuesday and Thursday from 10 a.m. to 2 p.m., Wednesday and Friday from 12 p.m. to 4 p.m., and three hours before showtimes at Milburn Stone Theatre.

For more captivating art events at Cecil College, keep an eye on their social media and website.

For the latest news on everything happening in Chester County and the surrounding area, be sure to follow MyChesCo on Google News and Microsoft Start.

In today’s technological world, even professional photographers and artists are recognizing the iPhone as a useful (and even practical) photographic tool. Join photographer artist, Kelli Klymenko in his one-day class for beginner and advanced students and you’ll go beyond the basics and learn to shoot professional quality photographs with your iPhone.

You will learn how to shoot, edit and share remarkable landscapes, portraits and the macro world around you using only your iPhone. Kelli will guide you through simple tips and tricks that will take your photography to the next level. Discover how to capture the essence of a place and your subjects rather than just taking a picture. You will also learn basic video and video editing techniques for use with apps such as Facebook and Instagram.

Learn how to get the highest resolution images on your iPhone and apps

Practice creative techniques including HDR (High Dynamic Range)

Shoot panoramas
Learn about the latest editing, filters and stylizing apps
Learn about iPhone equipment: remotes, tripods and more
Learn how to use the hottest new tools on your iPhone
Materials Required For Students To Bring: Please see Materials List

May 31, 2024 | Friday | 9 am – 2 pm AZ time

Medium – iPhone
Materials List – Click the Materials List tab above
Registration – Each student must enroll individually. Click the Cancellation Policy tab above for more info.
Location/Time – Sedona Arts Center

Arctic Exposure, a distinguished photo tour company founded in 2013, is celebrating ten years of transporting photography enthusiasts to the Arctic’s most awe-inspiring landscapes. Renowned for its unique blend of travel, education, and photography, the company offers immersive workshops that allow participants to capture the untouched beauty of the Arctic through their lenses. From the remote Highlands of Iceland to the mesmerizing northern lights, Arctic Exposure’s workshops are designed to enhance photography skills while fostering a deep connection with the elemental wonders of the Arctic wilderness.

Arctic Exposure, a distinguished photo tour company founded in 2013, is celebrating its decade-long legacy of providing immersive photography workshops across the Arctic’s most breathtaking landscapes.

 Known for its unique blend of travel, education, and photography, Arctic Exposure offers enthusiasts and professionals the opportunity to capture the untouched beauty of the Arctic through their lenses.

“From the remote wilderness of the Highlands of Iceland to the dancing northern lights above, our workshops are designed to enhance your photography skills and truly connect you with the elemental beauty of the Arctic,” says Skarphéðinn Þráinsson, founder of Arctic Exposure, also affectionately known as Skarpi. 

Arctic Exposure’s most notable workshop, the Highlands of Iceland Drone Photo Workshop, is a prime example of this immersive approach. It brings photographers to one of the most otherworldly locations on Earth, where rugged volcanic landscapes, cascading waterfalls, and vast expanses of uninhabited terrain unfold in every direction. Participants find themselves amidst Iceland’s highlands’ raw, untamed beauty, where the ever-changing weather adds more drama to their photographic pursuits. 

“Our workshops go beyond photography; they are a journey into the heart of Arctic wilderness,” Skarpi adds. “We facilitate not just the capture of images, but the creation of memories that resonate with the dramatic landscapes and the vibrant stories they hold.”

The small group sizes of Arctic Exposure’s tours ensure personalized attention, enhancing both the learning experience and the cultural immersion. Accommodations are often in remote guesthouses and hotels, and meals focus on local ingredients. The company strives to blend comfort with adventure, providing a cozy backdrop to the day’s photographic pursuits.

This story is a part of the 100 Stories from Iceland.

Name: Skarphéðinn Þráinsson, Skarpi
Title: Founder and Head Guide
Company: Arctic Exposure
Phone: +354 6174550
Email: info@arcticexposure.is
Address: Skemmuvegur 12, 200 Kópavogur, Iceland

Arctic Exposure is a premier provider of photography tours and workshops specializing in the Arctic regions of Iceland, Greenland, Norway, Canada, and the Faroe Islands. Founded by a former engineer turned professional photographer, Skarphéðinn Þráinsson, the company offers all-inclusive, educational travel experiences designed to enhance photographic skills in capturing the raw beauty of the Arctic. With a focus on small group sizes and local expertise, Arctic Exposure stands out for its commitment to responsible and enriching travel.

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Inside the opening night party of Camera Roll Orgy – the NYC group show revealing the lost gems from the iPhones of the city’s revered photographers

A photograph stops time for a fraction of a second. Then, life keeps moving. But what if a photograph could be used to preserve the place you love from changing?

It’s why Sierra Grace spends most of her days off doing what she refers to as “light trespassing” around Hollywood Beach.

Grace is part photographer, part archivist and part activist — raising red flags about development and demolition of historic buildings on her Instagram account LushSuburb. She’s a frequent voice at city meetings around South Florida.

“I have always had a compulsion to take pictures. And pretty pictures help get a point across,” she said while guiding WLRN around the Hollywood Beach Broadwalk. “That’s how I do good work with it, you can catch people’s attention and then get them mobilized.”

More than a decade ago, Grace started creating an archive of “old Florida” motels and shops that represented the esoteric and art deco architecture around South Florida. She posts the photos on social media where her followers connect with the nostalgic aesthetic.

Then, during the pandemic and the housing crisis that followed, Grace became more politically active — sometimes urging her followers to sign petitions to save historic buildings or speak out against anti-preservation bills like HB 1317.

Preserving the Broadwalk

On a recent afternoon, Grace wore her blonde hair up and tucked under a red baseball hat. She draped her camera over her shoulder and a fanny pack around her waist. And even though she was walking the beach in the middle of the afternoon, she wore construction boots — necessary for visiting certain sites, she said.

“It’s not that we’re anti-development, it’s that we’re anti reckless development,” Grace explained. This “reckless development” — according to Grace — threatens the look and feel of Hollywood Beach.

She stopped at the historic Neptune Motel on the Broadwalk — the motel was purchased by a real estate investment group in 2022.

“Could you imagine … if this was a massive tower now? It would be the beginning of the end of the character of the Broadwalk,” Grace said as she walked into the courtyard to take some photos of the beachfront motel.

The Condra Property Group plans on building a 3-story beach club and restaurant over the Neptune. They are also planning an 18-story apartment building with affordable housing units a few blocks away on A1A. They plan to utilize the Live Local Act, which prohibits local officials from weighing in on zoning, density and height restrictions for eligible developments.

Qualifying projects are defined as any residential housing project on commercial, industrial or mixed-use land that allocates at least 40% of units to be affordable for residents earning up to 120% of the area median income.

Restoration vs. redevelopment

Grace tries not to draw too much attention to herself when she’s out photographing — she likes to use her iPhone instead of a larger DSLR camera — but often she’ll run into people curious about what she’s up to.

It happened while she was showing WLRN around — a woman asked Grace what she was taking photos of, and Grace asked how she felt about new development on the beach.

“This is going to make it so much more like Miami Beach, versus the intimacy that we have here right now,” the woman told Grace. “And just in general, the comfort. I come here often to avoid tourism.”

But Grace hasn’t lost hope for Hollywood. She grew up moving throughout different cities in Broward and Miami-Dade counties which helped shape her appreciation for the unique style of South Florida.

“Every Florida city has its vernacular. Floridians, we’re really known for like crazy roadside architecture. We just kind of do what we want freely. So it’s unique. There’s nowhere else that exists like us,” she said. 

Grace guides us by the Marlin hotel, a carefully remodeled art deco building complete with Miami-Vice-teal paint and a pink neon sign.

“It’s a great example of restoration, she says. “It’s perfect. It’s painted. People have great experiences. They make good money. It contributes to the look and feel and the character of Hollywood.

Photographing local landmarks

David Paulo is another photographer working to preserve parts of Broward. He started taking photographs of what he calls “Broward County landmarks” last year.

He’s self-taught and uses a FujiFilm point-and-shoot film camera. It’s unobtrusive, light and creates warm images that he shares on his Instagram account ShotByLeather.

We met recently in Sistrunk, a historically Black neighborhood in Fort Lauderdale. It’s in neighborhoods like this where Paulo’s work has its greatest impact.

“I don’t think most people would be comfortable walking down these ways,” he told WLRN. “I think it’s extremely vital to preserve the history. By me taking these photos, essentially, I’m capturing history.”

Whereas most photographers stick to the beaches and downtown areas, Paulo roams the streets of neighborhoods like Lauderhill and Dania Beach to create snapshots of some of the most recognizable buildings in the area.

“It’s so important to me because this is where I’m from and I’m seeing it change rapidly with all the development,” he told WLRN.

Walking the streets of these neighborhoods is vital for the work that Paulo does. While taking WLRN on a tour, Paulo was stopped multiple times by members of the community who were curious about his camera.

“I connect with the community. It’s deeper than just taking pictures. It’s also knowing the people in your community, digging deep,” he said. “As humans, we’re supposed to connect with other humans.”

Many of the neighborhoods Paulo photographs are bustling with construction of new apartment buildings and with the new development comes the threat of gentrification.

“Change is good, as long as change comes with equality,” he said. “I’m not talking about gentrification and pricing people out. I mean changing the dynamic of the neighborhood.”

Photographing buildings before they are torn down

Paulo’s photographs are unvarnished and mostly unedited. When he sees something he likes he takes a few steps towards or away from it and fires a few shots with natural instinct. He prefers to shoot during the day when the sun is high and shadows are intense, casting a tropical light on buildings so that they emit a blinding glow that South Floridians are all too familiar with.

There is urgency in the work of both Grace and Paulo. They are both Florida natives who have seen the landscapes of the places they grew up in change rapidly.

“Everything is changing. So I’m trying to preserve as much community as I can through my art,” Paulo said.

On a recent afternoon Paulo wanted to photograph one last landmark — the amphitheater at Huizenga Plaza in downtown Fort Lauderdale.

“I know you remember the Broward Performing Arts Field trips?” he said. “And then after we’d go to Subway, we’d have sandwiches and sit at Huizenga Plaza and just chill, enjoy the breeze.”

But when he got there, construction tape surrounded the rubble of the former amphitheater. Soon a restaurant will take its place.

“I’m mad I didn’t get a picture of it bro,” he said. “And look, now it’s gone. History’s gone.”