The artwork, called Flock, was installed next to the historic town sign at a beauty spot which overlooks the Mere – a deep, natural lake in Diss, Norfolk.
Fury over EU funded sculpture installed at Norfolk market town
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A royal photographer captured a ‘never-before-seen angle’ of King Charles and Queen Camilla from the palace balcony
- Chris Jackson has photographed King Charles and Queen Camilla for the last 20 years.
- He captured a behind-the-scenes view of the king and queen from the Buckingham Palace balcony.
- Jackson told Insider it was “a huge privilege” to be there, but admitted he was a little nervous.
Getty Images royal photographer Chris Jackson captured a “never-before-seen angle” of King Charles III and Queen Camilla on the balcony of Buckingham Palace following their coronation on Saturday, he told Insider.
While other photographers covered the coronation ceremony at Westminster Abbey and the procession through the streets of London, Jackson was stationed on the balcony of Buckingham Palace. As the king and queen walked onto the balcony to greet the crowds, he stood behind them to photograph a behind-the-scenes view of the moment.
“I’m not sure why it hasn’t been done before,” Jackson said of documenting the king and queen’s perspective from this angle. “It was never done with the previous Queen, so it was a new thing, which was lovely to be a part of.”
Handout/Chris Jackson/Getty Images for Buckingham Palace
He also shared the photograph on Instagram, where he called it a “never seen before angle.”
Jackson said he was “a little bit nervous” about getting the photo right, but he was happy with the result.
“It was a huge privilege to have that position, take that photograph, and from a personal perspective, just an incredible moment to hear the roar of the crowd and see them from that incredibly privileged vantage point,” he said.
Jackson also captured the moment that the Royal Air Force’s Red Arrow planes flew over the palace, streaming the red, white, and blue colors of the Union Jack.
Handout/Chris Jackson/Getty Images for Buckingham Palace
“I chose to do a lower perspective for when the Red Arrows came over because I’d always imagined that kind of iconic shot with the planes flying towards them with their crowns visible,” he said. “It kind of encompasses all elements of the story. And you’ve got the famous Queen Victoria Memorial statue in that photo as well, the gold element of that. I was really glad that it all came together on the day.”
Jackson has spent the last 20 years photographing royal family members and published three photography books featuring his images of the royals: “Elizabeth II: A Queen for Our Time,” “Modern Monarchy,” and “Charles III: A King and His Queen.“
King Charles’s Photographer Wanted a ‘Little Piece of Theater’
On Saturday, Hugo Burnand had just minutes to take the official portraits of Britain’s newly crowned King Charles III.
As King Charles III was crowned in Westminster Abbey on Saturday, Hugo Burnand, a British photographer, waited in Buckingham Palace’s glittering Throne Room for the most important moment of his career.
The royal household had commissioned Burnand, 59, to take the official portraits of the newly crowned monarch — to create images that every newspaper in the world clamor to publish, and that art historians rush to analyze.
Yet given the coronation’s complex schedule, Burnand would have limited time to do it.
On Monday, the royal family released the results of Burnand’s short session with the newly crowned king, queen and other members of Britain’s monarchy, giving royal watchers worldwide a chance to judge whether Burnand had lived up to the commission.
In Burnand’s pictures, King Charles III is depicted sitting forward in full regalia, holding the Sovereign’s Orb, a hollow gold globe made in the 17th century and decorated with a large cross, as well as the Sovereign’s Scepter. The two items represent the king’s authority and power.
In another photo, the king is shown smiling with Queen Camilla by his side.
In an interview before the coronation, Burnand said he knew that the portraits were aimed at a global audience, but that he wanted them to feel intimate, as if viewers were “having maybe a one-to-one conversation” with the king. With the portraits, he said, he wanted to create a “little piece of theater.”
Burnand has now joined an exclusive club of photographers to have taken a coronation portrait. For centuries, Britain’s royal family commissioned artists to paint newly crowned kings and queens, but it also began commissioning photographers in 1902, for King Edward VII’s coronation.
Several went on to create iconic images of royalty. In 1937, Dorothy Wilding took King George VI’s portrait, with the monarch wearing such long robes that Wilding had to stand 20 feet away to fit the huge garment into the frame.
Two decades later, in 1953, Cecil Beaton photographed Queen Elizabeth II wearing the regalia of a monarch for the first time, including a weighty crown. In that image, the queen appears to be in Westminster Abbey, but Beaton actually photographed her after the ceremony, in front of an artificial backdrop at Buckingham Palace.
On that day, Beaton found the time constraints a challenge, later writing in his diaries that he spent the session “banging away and getting pictures at a great rate.” “I had only the foggiest notion of whether I was taking black and white, or color, or giving the right exposures,” Beaton added.
Paul Moorhouse, a curator who in 2012 oversaw an exhibition of royal portraits at the National Portrait Gallery, in London, said in an email that Beaton’s images created “a spectacle of monarchy that was deliberately enthralling.” Burnand faced a tough challenge to match its impact, Moorhouse added, especially since his photos needed to appeal to younger generations that were more skeptical of the monarchy.
Burnand, who once worked in horse stables and did not become a professional photographer until his late 20s, has a long relationship with both Charles and Camilla, having first met the queen in the 1990s.
When Charles and Camilla asked Burnand to photograph their 2005 wedding, he initially turned them down, he said. He was on sabbatical in Bolivia at the time and had just been robbed. “I’ve had all the family’s passports stolen, and our money, and my cameras,” he recalled writing in an email to the palace.
Yet he quickly changed his mind and the wedding turned out to be a life-changing moment. Burnand said he no longer had to wait for the phone to ring with work offers; now, he could pick and choose jobs.
In 2008, Burnand took Charles’s official 60th birthday portrait, depicting the then prince in a surprisingly casual fashion, leaning back in a gold chair.
Among his other royal engagements, Burnand shot the 2011 wedding of Prince William and Catherine, Princess of Wales, receiving acclaim for an intimate photograph of the newlyweds surrounded by page boys and bridesmaids (he had just 26 minutes for that shoot). Burnand said that during the session he and his stepmother, Ursy Burnand, used sweets to coax the children into behaving.
During the recent interview, Burnand said that he loathed having his own portrait taken, which helped him empathize with his sitters. He often discussed ideas with his subjects before a shoot to make them feel part of the process, he added, but he declined to reveal any details of his discussions with Charles and Camilla.
He said he had taken other steps to ensure he achieved the best results for this event, including spending weeks studying images of past coronations, and taking mock-ups with stand-ins.
But even with such preparation, Burnand said great photographs ultimately depend on luck — especially when the photographer has a king’s schedule to work around.
King Charles Releases His Official Coronation Portrait
Brandon Bell/Getty Images.
The photo was taken after the end of Saturday’s festivities by Hugo Burnand, the photographer who also shot his 2005 wedding portraits with Queen Camilla.
After making his appearance on the Buckingham Palace balcony on Saturday, King Charles III hosted various members of his family for an “informal” luncheon. But before he was able to take off the regalia he donned as a part of his ceremony, he sat for his official coronation portrait, which the palace released on their Twitter account Monday. It taken by Hugo Burnand, a photographer who also took the official pictures at Charles’s 2005 wedding to Queen Camilla.
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In the photograph, he is wearing the Imperial State Crown and holding the Sovereign’s Orb and the Sovereign’s Scepter with Cross, which he was presented with during Saturday’s Westminster Abbey ceremony. The orb, which was designed by Sir Robert Viner, is mounted emeralds, rubies, rose-cut diamond, and sapphires and has historically represented Christian sovereignty, while the scepter, a gold rod set with the largest of the Cullinan diamonds, represents the monarch’s power over worldly affairs. They were both made in 1661 after a previous set of coronation regalia was destroyed at the request of Oliver Cromwell.
In his coronation photo, Charles is holding the orb in one hand and the scepter in the other. In Queen Elizabeth’s corresponding 1953 coronation portrait, taken by Cecil Beaton, she is holding the same orb in her lap, with the scepter held close.
The king and queen ended their coronation celebrations after Sunday’s coronation concert at Windsor Castle, but the official events continued without them on Monday’s bank holiday. Multiple members of the royal family traveled to participate in Big Help Out volunteer events on Monday, including the Prince and Princess of Wales and their son Prince Louis whose appearance at a gathering to renovate a Scouts hut in Slough was his first official royal engagement.
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A photographer captures dogs at the beginning and end of their lives, and the results are a beautiful tribute to man’s best friend
Amanda Jones is a photographer who has been capturing photos of dogs for 25 years.
Amanda Jones
Jones, who is based in the US, has been interested in photography since she was a teenager, although she had no blueprint for how to turn it into a career. After studying photography at Ithaca College in New York, she “faced the difficult task of creating my own job,” she wrote on her website.
“I began my work as a dog photographer with very little knowledge. I didn’t know how to interact with clients, how to market my work, how to reach the people that wanted what I could offer,” she wrote.
But as her Dog Years project shows, she learned how to capture their characters. Katy Koo, pictured above, was photographed 10 years apart — we think her gray hair makes her look very distinguished.
James Nachtwey on a Photo’s ‘Social Value’ and Forgoing a Family for His Work
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Legendary war photographer James Nachtwey has appeared on 60 Minutes with Anderson Cooper to reflect on his career — discussing the importance of photography and his own personal sacrifices.
In a personal interview, Nachtwey describes why he has kept visiting conflict zones with his camera for over 40 years.
“I think it has real social value,” he tells 60 Minutes. “That before we can solve problems, we have to identify them. And I think the work of journalists and of photojournalists is to identify issues that need to be dealt with by society.”
‘A Still Photo Has a Power Unlike Anything Else’
Nachtwey says that he is “extremely conscious of hands and eyes” when he is photographing. “I think those are the two most expressive parts of people,” he says.
The above photo shows a survivor of a machete attack in Rwanda, Nachtwey says the man couldn’t talk so he approached him very slowly.
“I just made eye contact with him and I showed him my camera. He allowed me to take the picture, he even turned his face more toward the light without me asking,” Nachtwey tells Cooper.
“I don’t wanna feel like I’m taking from people. I want them to feel like they’re part of what I’m doing. And I think he understood what his scars would say to the rest of the world.”
Nachtwey highlighted the power of children in an image, over his career he has photographed young victims of Agent Orange in Cambodia, orphans locked up in squalid conditions in Romania, and a father protecting his wounded daughter in El Salvador.
“An image of a child in distress, when it’s seen by a parent anywhere in the world, will relate to that picture, it doesn’t matter their culture their nationality their religion, or anything else they’ll just make a human connection with that child it’s very natural,” says Nachtwey.
“And I think that’s the case with photography when you’re showing humanity and people react in a human way and all the other categories vanish.”
Sacrifices
Nachtwey has been shot in the leg, and wounded by bombs, mortars, and grenades. It has taken a toll on him with shrapnel still lodged into multiple parts of his body and he has damaged hearing.
But because of his career, Nachtwey has forgone a normal life; making personal sacrifices so that he can pursue war photography.
“I decided a long time ago that if I was gonna do this, I would have to put myself at risk, and anything could happen,” he says.
“I realized that if I were to pursue what I’m doing, and I was very driven to do that, I wouldn’t be a good father, I wouldn’t be a good husband, and all that would fall apart. I just didn’t want that to happen. So I had to forgo it.”
It turns out that Cooper is himself a fan of Nachtwey, telling the photographer that it was he who got the broadcaster interested in journalism.
“We live in an age where journalism is, you know a lot of people don’t think very highly of it and to me, James Nachtwey is a great example of just how important it can be and how beautiful it can be and how moving it can be,” adds Cooper.
‘Keep the medicine going’: Polson teacher inspires boys to wear hair long
Rod First Strike, cultural specialist in Polson, is encouraging young boys to wear their hair long.
In 2021, when Rod First Strike was working as a cultural specialist at Linderman Elementary in Polson, he noticed a lot of kindergarten and first-grade boys were being teased for wearing their hair long.
Hair holds significance in Indigenous cultures. It’s seen as a source of strength, connecting Native Americans to their ancestors. And often, when a loved one dies, Native people may choose to cut their hair short to symbolize the profound loss. Some say long hair is a sign of resilience, as Native people were forced to cut their hair short as a form of assimilation in government-run boarding schools. And in some places, long hair remains controversial. A network of charter schools in North Carolina has a policy prohibiting male students from wearing long hair, and the Native American Rights Fund intervened, urging the school to “permanently remove the discriminatory and outdated assimilationist policy.”
First Strike said caring for long hair is also a form of meditation.
“It gives you some time to check in with yourself,” he said. “And it can be social, too. You can tell what kind of condition a person is in by the condition of their hair.”
First Strike, who is Blackfeet, Assiniboine and Cree, said the problem with teasing boys for wearing their hair long is two-fold.
Rod First Strike, cultural specialist in Polson, said Indigenous hair traditions deserve respect in schools.
“It’s an insult to culture,” he said. “It’s also a subtle form of gender comparison or sexism. If you are teasing a boy for looking like a girl, it’s implying that being a girl is a bad thing. There’s no shame in being a girl.”
First Strike also saw himself in the boys he teaches. He remembers being ridiculed and mocked when he was young for wearing his hair long. He grew tired of explaining its cultural significance and wished he had a role model or someone who could stand up for him and teach his classmates what it meant to have long hair.
First Strike wanted to change the narrative and be that person for his students.
In 2021, he started raising money to give boys who wore their hair long braided sweet grass and a certificate to “keep the medicine going,” or continue to grow their hair.
First Strike later got a promotion and began working with 400 students from kindergarten through fourth grade. He counted 36 boys — Native and non-Native — who wore their hair long. Last year, he raised money to buy materials so the children could make ribbon shirts for themselves. First Strike said it was important to include non-Native boys who wore their hair long “to knock down gender norms.”
Our favorite photos of the week from May 1 to May 7.
“You can raise awareness, you can push for diversity, but what I really want is inclusion,” he said. “It gives us a stronger community. It makes kids less shocked by differences and more likely to embrace each other’s differences. Instead of saying, ‘That’s weird,’ it’s saying, ‘That’s cool!’”
Now, First Strike is raising money again to commission and pay Native artists to make beaded ropes for each boy with long hair.
He said he’s already seen a change in the community since his initiative began two years ago.
“Most of the boys embrace one another,” he said. “We don’t have as much division. This local community in Polson is very supportive.”
First Strike’s fundraiser is called “Boys with Braids” and can be found on GoFundMe.
JHS Art Show reflects school system’s commitment to art
High school art teacher Debbie Bell said that she was “very pleased” with attendance at the first High School Art Show held at the Historic Courthouse Visitors Center.
According to Bell, 29 students, mostly seniors, shared their work.
Tulsa World honored for magazine of the year, investigative reporting, photography
The Tulsa World won four of the top awards for investigative reporting, magazine of the year, photo story and feature photography at the 14th annual Great Plains Journalism Awards.
The Tulsa World competed against newspapers, websites and magazines from eight states — Oklahoma, Kansas, Nebraska, South Dakota, North Dakota, Iowa, Arkansas and Missouri.
Corey Jones won the category of project/investigative reporting for his Tulsa World series on fatal high-speed pursuits conducted by the Oklahoma Highway Patrol. The Tulsa World produced stories that continued to hold the OHP to account for its record of fatal pursuits. In five years, 18 have died, including fleeing drivers, passengers, other motorists and a trooper.
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“The ongoing and revelatory work by Corey Jones is a terrific example of one reporter identifying a matter of significant public interest, digging into it, and staying with it over the long term, even as public officials refuse to cooperate with that very reporting,” judges wrote. “Jones’ series builds on a body of work that began six years ago, with five stories that mined documents, won through an open records lawsuit by the Tulsa World, and other records provided by sources. The stories drilled into individual police pursuits to expose questionable decisions by the OHP and the agency’s failure to fully reconcile the deadly results.
“His stories exemplify the journalism that communities need to stay informed about those entrusted with the public’s safety — especially when those in charge respond to questions with a wall of silence.”
The Tulsa World Magazine, which is produced by the Tulsa World’s newsroom and led by Editor Nicole Marshall Middleton and Assistant Editor Stacey Dickens, won Great Plains Magazine of the Year for a second time. The cover stories for the magazines judged included the 14 most beautiful places to visit in Oklahoma, pop culture’s spotlight on Western life, the 50 things to love about Tulsa and the annual Tulsans of the Year.
“The measure of a good city magazine is how much of a ‘must read’ has it become? Tulsa World certainly fits the bill with compelling editorial that’s perfectly suited to Tulsa,” judges wrote.
Tulsa World Staff Photographer Mike Simons won for photo story on a patient who was dumped outside a local hospital, which is under federal investigation. Former Tulsa World Photographer Ian Maule won for feature photography.
The Tulsa World was a finalist for Great Plains Newspaper of the Year and Great Plains Website of the Year.
Tulsa World finalists in the contest included Staff Writer Andrea Eger for Great Plains Writer of the Year; Sports Writer Eli Lederman for Sports Reporting; Editorials Editor Ginnie Graham for News Column Portfolio; Simons for Spot News Photography and Sports Feature Photography; Staff Photographer Daniel Shular for Sports Feature Photography; and Maule for Great Plains Newspaper Photographer/Portfolio of the Year and Spot News Photography.
Five journalists were inducted into the Great Plains Journalism Hall of Fame. This year’s class included Robert E. Lorton Jr., former owner and publisher of the Tulsa World; Robert E. Lorton III, former publisher of the Tulsa World; Tulsan Becky Dixon, owner and president of AyerPlay and former host of ABC’s “Wide World of Sports”; Ed Kelley, dean of the Gaylord College of Journalism and Mass Communication at the University of Oklahoma and former editor of The Oklahoman; and Clytie Bunyan, managing editor for diversity and inclusion, community engagement and opinion at The Oklahoman.
Tulsa World Staff Photographer Daniel Shular talks with Editor Jason Collington about what he has experienced so far in his new job in a new city. Daniel talks about how the 2014 protests in Ferguson, Missouri, led him to change his career.
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You’re invited: Sculpture park to host Grow With Us Celebration
Growth is exciting, and sometimes challenging, but it brings new opportunities. Josephine Sculpture Park (JSP) will be celebrating the culmination of several years of growth, thanks to the support of
