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Photography exhibition focused on loss, history

Photography exhibition focused on loss, history

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The former Sarnia General Hospital building was destroyed by neglect, says a photographer who documented its demolition.

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It’s demise was a product of years sitting empty and degrading after failed attempts to repurpose the 1890s-built structure amid ownership disputes between the City of Sarnia and Bluewater Health, break-ins, wiring thefts and military training exercises, said Leann Cotton.

“By the time they got any action on it, it was kind of past the point of a renovation or a repurposing,” she said about the GFive Inc. group of five businessmen who bought the site from the city in 2017 for $1,000 and — with $5.4 million from the city to help with demolition costs — gradually and carefully brought the behemoth down to make room for new development.

Her new exhibit for•sak•en, at the Lawrence House until April 28, focuses on that destruction and what might have been for the building that was the site of countless tears and memories, she said.

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“My dad died up in that hospital and I remember that ward very vividly,” she said.

It was therapeutic, she said about paring down her collection of thousands of photos from the demolition, and from other buildings demolished in recent years, into a 17-piece collection of canvases, prints and metal prints.

“And showing people what maybe they didn’t really pay attention to until it was gone.”

The Sarnia native said she’s interested in exploring and photographing abandoned structures.

Old farmhouses off side roads in Lambton, a misbuilt and unused mausoleum near Port Dover, and a tour of abandoned buildings in Detroit that started her fascination with urban exploration are some examples, she said.

“It really got me looking at what was around Sarnia” in terms of abandoned buildings, she said about that Detroit trip in 2013.

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“At that point there really wasn’t a lot, but the hospital was really intriguing,” she said.

Leann Cotton’s exhibition for*sak*en is on until April 28 at the Lawrence House Centre for the Arts in Sarnia. (N. Leonard Segall photo)
Leann Cotton’s exhibition for*sak*en is on until April 28 at the Lawrence House Centre for the Arts in Sarnia. (N. Leonard Segall photo) jpg, SO

She spent hours at a time at the Sarnia General site before demolition finished in 2018, she said, recalling some of the animal-like precision of some of the Schouten Excavating machines.

Other sites she’s documented include the Cull Drain Bridge, the former Sarnia Collegiate and St. Clair secondary buildings, the Pere Marquette Railroad Bridge in Port Huron, and since-demolished structures like the Bridge Tavern in Point Edward, Holmes Foundry, St. Patrick’s school on East Street and the Lambton Generating Station.

Some are also featured in the exhibition, though the former hospital site is the focus of the project about structures lost that, under different circumstances, might have been repurposed, she said.

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“Rather than just becoming a pile of rubble.”

It’s her first exhibition, she said, juxtaposed beside a concurrent 22-piece Parks in Ontario exhibition, also at the Lawrence House, from other members of the Sarnia Photographic Club.

The parks exhibition includes provincial parks, municipal parks, wide vistas, intimate closeups, the beauty of the outdoors and pandemic restrictions, club officials said in a news release.

“I tend to shoot the more off,” Cotton said. “The demolition, the history type of photography work.”

Cotton’s photos, including ones in her exhibition, can also be seen at 500px.com/p/leanncotton, and a similar exhibition of her work is heading to The Hive, a tattoo studio on Front Street in Sarnia, for the first week in May, Cotton said.

“I think it would be nice for people to come out and take a look” she said. “And look closer at what’s going on around the city, what’s going on around the county with a lot of these buildings.”

tkula@postmedia.com

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How to Avoid Being Scammed as a Photographer

How to Avoid Being Scammed as a Photographer

Unfortunately, if you use the internet for work, you probably already know that new scams and scammers pop up every day. Recently, I’ve seen the rise in popularity of a new scam targeting photographers. I don’t want to see anyone, especially other photographers, being scammed out of their hard-earned money.

If you’ve ever heard of the check scam, this is a pretty similar beast. In this article, I’ll share 10 red flags you need to look out for to avoid being scammed. Check out the video below, or if you enjoy reading, continue scrolling!

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What is the Check Scam?

The check scam has been around for a long time, probably as long as the check itself. To better spot this new photography scam, it’s important to understand the old check scam as well.

So what is the classic check scam? Say you’re selling a good or service. I potential client will approach you and pay for your good or service with a check. This client will over-pay hundreds or thousands of dollars, and ask for a refund, typically in cash. You proceed to give them a refund… only to find out days later that the check has bounced for insufficient funds. Now the client has disappeared and so has your hard-earned money. This is the basics of the check scam.

A screenshot of a photographer scam underway in a chat on Instagram.

Am I Being Scammed?

This new scam that’s targeting photographers is quite similar to the check scam. Now that you understand how the check scam works, you’ll have a better chance of spotting this new one faster. Here’s how it typically works.

A new potential “client” will reach out to you via email or social media to see if you’ll do a creative service for them, like photography or videography. Everything will seem normal at first. You’ll get a few details about the project and the “client” will be ready to pay you. Awesome right? Who doesn’t love being paid for their creative work?

They will wire the funds via an online bank or money service like PayPal, Zelle, or even a check if they’re feeling a little nostalgic. Again, you’ll be overpaid for the photo shoot and asked to refund some of the money to the client, or to a secondary scammer.

After refunding the money, the scammer’s payment will not clear, but yours will, and your money will be long gone. Sounds a lot like a digital version of the check scam, doesn’t it?

Another screenshot of an Instagram customer inquiry that is clearly turning into a classic check scam.

How to Avoid Being Scammed

I believe this scam is making a comeback because younger generations aren’t as familiar with checks, or the check scam. If you are, consider yourself a step ahead!

Photographers, videographers, and other creatives have to work hard for their income, especially when they’re just starting out. Sadly, scammers know this and are trying to take advantage of new photographers. (You can see in the screenshot above the last time this was attempted on me before I called them out for being a fraud.)

To help you better avoid being scammed, I’ve made a list of 10 red flags to help you spot a potential scam.

A screenshot of a scam through a Facebook chat.

10 Red Flags to Spot a Scam

So to help you avoid being scammed, I’ve made a list of my top 10 red flags to help you spot a potential scam.

1. Bad Grammar

I’ve found that most of these scammers are targeting photographers from primary English-speaking parts of the world. And the scammers typically don’t speak English well or are using a translation tool Google Translate. There’s nothing wrong with English as a second language, but paired with other red flags, it could be a scammer.

2. New or Incomplete Profiles

Now, you weren’t born yesterday, but your scammer may have been. Keep an eye out for new or incomplete profiles. Poor quality photos or the lack of any profile photo may be a clue that your “client” isn’t real.

3. Devil in the Details

Have you received a message identical to the screenshot above? Hundreds, if not thousands of other photographers have received the same copy & paste scam photography assignment. While it seems real, when you ask for more details the scammer tends to get confused or isn’t able to provide the information you need.

4. No Phone Calls

This is a big red flag. Your scammer will typically refuse to speak over the phone or via any other method of communication other than the one through which they initiated the conversation. Always speak to clients over the phone to assure it’s a “real” person.

5. Avoiding Questions

If there’s a lack of clarity, you’ll probably have questions for your potential client. What’s the Budget? Location? Timeline?

When you start asking questions, typically the scammer avoids a clear answer. They’ll likely copy and paste the same details repeatedly.

6. The Robot

Receiving robotic answers is another red flag. These scammers like to go with tried and true scenarios. They’ll likely copy and paste the same details repeatedly, even if you ask different questions. If it feels off, it likely is a scam.

7. Eager to Pay

We all love getting paid, right? As a photographer or creative person, you’ll sometimes have to put in a little extra work to get paid by a client. It’s such a relief when the client is quick to pay… but sometimes it’s too good to be true.

8. The Over Pay

Here is the scam in a nutshell. If your client has overpaid you, it’s a pretty cut-and-dry scam. Again, if it feels too good to be true, it probably is. This is the most important step in the scammer’s plan and should be a huge red flag.

9. It’s for a “Friend”

Is the person doing something “for a friend”? It’s BS. It’s another common tactic used by social media scammers to get your money. If they say it’s for a friend, family member, or relative, it’s usually a load of crap. “I’ll pay, but it’s for XYZ relative” is a common scam to see, especially on Facebook Marketplace when selling goods. Keep an eye out for this trick if you’re selling camera gear!

10. Anger Management

If you’ve never angered a scammer by calling them out as a fraud, buckle up! You’re in for a wild ride on a slip-n-slide of profanities.

Conclusion

Knowing is half the battle of not being scammed. Remember to trust your gut, because if something feels off, it most likely is better to play it safe. Scams and scammers suck, and I want you to have all the knowledge to keep yourself and your income safe.


About the Author: JT Armstrong is an award-winning military photographer and is currently the video director for the U.S. Space Force. He runs the Youtube channel RunNGun Photo that focuses on sharing photography tips, tricks, and hacks. This article was also published here.

SDSU hosts 51st annual Pow Wow

SDSU hosts 51st annual Pow Wow

The event was held to bring recognition and honor to Native American communities

Little+Miss+Kumeyaay+Nation%2C+Miss+Kumeyaay+Nation%2C+and+the+Sycuan+Pow+Wow+Princess+for+2023+stand+as+representatives+of+their+tribes+at+the+2023+SDSU+Pow+Wow+on+Saturday%2C+April+8.

Photo by Corinne Davidson

Little Miss Kumeyaay Nation, Miss Kumeyaay Nation, and the Sycuan Pow Wow Princess for 2023 stand as representatives of their tribes at the 2023 SDSU Pow Wow on Saturday, April 8.

Last Saturday, April 8, San Diego State University held a Pow Wow to honor and recognize Native American Communities and First Nation tribes around the United States. This was the 51st annual event by SDSU. During the celebration, Indigenous people came together and shared their traditions and rituals with the San Diego community. 

Indigenous community members and supporters came together to celebrate Native American culture at SDSU’s 51st annual Pow Wow, held on Saturday, April 8. (Photo by Jazlyn Dieguez)

Native American artwork was displayed, children danced to tribal Pow Wow drums, women wove traditional baskets and Indigenous people walked around draped in feathered headgear and colorful regalia which are traditional garments used for ceremonial purposes. Outside the event, traditional fry bread was sold along with Indian street tacos. 

The Viejas Band of Kumeyaay Native Americans honor their ancestral roots by performing bird songs that tell the origin story of their unceded lands at the 2023 SDSU Pow Wow on Saturday, April 8. (Photo by Jazlyn Dieguez)

During the grand entry, the Head Staff was introduced along with other important members. The Gourd Dance was also performed which is a dance that honors warriors and veterans. Once the ceremonial dances began, people watching were captivated. Native American men sung songs in their native tongue while indigenous people from all ages and backgrounds danced to the traditional Pow Wow drums. Children as young as five years old danced in sync with other members and laughed as they competed in a dance contest. 

Kiara Love Flores, from the Pala Reservation said that she dances three styles, but for this event she danced Jingle Dress and Bird Dancing. 

Flores said, “Pow Wow dancing is healing for me. I enjoy being around the Pow Wow family I grew up around, and it’s such an honor to be hosted as Head Woman for this year’s Pow Wow.”

Native American community members attend the 51st annual Pow Wow in traditional garments, such as feathered headgear and colorful regalia. Attendees were also able to partake in traditional ceremonies, such as the Bird Singing event. (Photo by Jazlyn Dieguez)

Each booth at the event had variations of handmade jewelry by different Native American artists. One of the sellers collected jewelry and Navajo carvings from different artists to support them and mentioned how he wanted to show how unique Native American art can be. 

At the very end of the day, the 2022-2023 Miss Sycuan Pow Wow Princess, Marlyce Howard, participated in a Bird Singing dance where sage was burnt and Native American men sang. Through this ritual, the story of the creation and lessons learned were told. Young women dressed in beautiful traditional attire came together to perform in unity. 

“It is an honor to be here at this event and that SDSU is able to hold Pow Wows even after the whole boarding school system that was against Native Americans,” Howard said.

Pow Wows are a unity of the indigenous communities and an educational experience for those who don’t know much about the Native American culture. Not only is it one of deep history and tradition, but it is one that is still very alive today. 

Reclaiming their artful place

Reclaiming their artful place

Some people think Florida museums and galleries are missing out on the meaningful art of Native Americans.

The John and Mable Ringling Museum of Art’s first collaboration with the Ah-Tah-Thi-Ki Museum is beginning to remedy that with its first exhibition of contemporary Native American art.

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Free ‘Shadows,’ ‘Woodcuts’ exhibits coming to the Academy Art Museum

Free ‘Shadows,’ ‘Woodcuts’ exhibits coming to the Academy Art Museum

The Academy Art Museum in Easton will host two upcoming exhibitions — “In Praise of Shadows: Modern and Contemporary Dialogues with Jun’ichiro Tanizaki” and “LaToya Hobbs: Woodcuts.”

There will be an open house for both exhibitions on Saturday, April 22. During the open house at 2 p.m., Hobbs will give a presentation of her work. The “Shadows” exhibit runs April 20 through July 16. Hobbs’ exhibit runs April 22 through July 23.

Top 5 Booths at Expo Chicago 2023 (And More)

Top 5 Booths at Expo Chicago 2023 (And More)

Installation View, Sean Horton (Presents) Gallery

Viewing my eighth edition, I’m reminded of how far Expo Chicago has come. President and director Tony Karman’s vision supported by a lean powerhouse of badass art workers (who spend most of their year in long, detailed conversations in preparation of this moment) brings something new to each edition. Developing an ecosystem that cuts across galleries, museums and large institutions, Expo’s focus on regional development and international partnership remains unparalleled. This year, hosting its ninth Curatorial Forum in partnership with Independent Curators international (ICI), more than fifty curators have come together to groupthink issues of labor, accessibility and community engagement amongst other emergent themes. As ICI expands to the Midwest, this furthers its mission in encouraging and expanding the realm of curatorial work, broadening the scope of the fair as a platform for critical collaboration internationally.

To critically consider fifty-to-sixty booths was a mission I’d given myself. With social and politically charged works at booths like Human Rights Watch, Art At A Time Like This+NRDC, and Center for Native Futures, one also found pearls in the presence of masters; notably a generous showcase of Manuel Mendive at Cernuda Arte, Helen Frankenthaler and Kenneth Noland at Yares Art, and Miyoko Ito at Corbett vs. Dempsey.  Local institutional showcases courtesy of AMFM and Hyde Park Art Center presented strong curated exhibitions featuring works by  Lola Ayisha Ogbara, Erol Scott Harris II, Erin LeAnn Mitchell, Kelvin Kweku Haizel and Modou Dieng Yacine, and Houston native Regina Agu and Kuwaiti-born Farah Salem respectively.

Here are some of the standout booths.

1

Instituto de Visión (Bogotá, Colombia), 370 

Cristina Camacho’s multilayered sculptural paintings on canvas resist disciplinary constructs. Painted, spliced, woven canvases stand as portals into the mystic feminine, exceeding formalist conversations on pattern and abstraction. Reminiscent of the primitivity and symmetry of Indian sculptor Mrinalini Mukherjee, I found these exquisitely paired with the poetic abstractions of Ivan Krassoievitch. Krassoievitch’s “Transcreaciones” questions and dissolves language with cryptic symbology, presenting us with geometric and abstract translations of different works in screen-print and gold leaf on panel. Their collective works read as civilizationary, translating and mistranslating gesture and form in space, speaking to the cultural specificity of non-western abstraction.

2

Galerie Poggi, (Paris, France), 302

Juxtaposing freshly commissioned work by Azerbaijani artist Babi Badlov alongside works by Kapwani Kiwanga, Galerie Poggi arrives with a profoundly strategic position on colonial oppression and the pervasiveness of structural violence. In Badalov’s textual wall hangings, hybrid painting-poetry forebodes “Beware of Capitalist Estetik” and “I have a Scream” suspended just above eye level. On an opposite wall hangs a selection of Kiwanga’s printed and framed extracts from the 1961 “Green Book.” Two light sculptures, “Glow #1, 2019” and “Glow #2, 2019,” stand as monolithic sentinels, referencing the power of visibility and its antipole, the unjust surveillance of Black bodies, while simultaneously standing as relics or “tombstones” of ancestors whose struggles preceded our own.

3

Sean Horton (Presents), (New York), 103

A solo presentation of Minneapolis-based Lauren dela Roche dips us into the interiority of expressly mindful, full-bodied, thigh-high-stocking-wearing, robust women with heaving thighs and well-rounded buttocks, seated or lying in repose in what seem to be courtyards or semi-indoor/outdoor domestic spaces. Perspectively misplaced archways and staircases float in and out of backgrounds expressed in full saturation. Painting with oil on found cotton feedsacks that appear to be sutured and repaired in patches, dela Roche’s adept use of pigment and line seductively teeter on uneasiness, as female nudes appear to lean in, listen, rest and repair while otherworldly presences loom within the depths of her frame.

4

Anthony Gallery,  (Chicago), 175

Another solo presentation, this time by twenty-seven-year old Andrew Park who lives and works in Los Angeles, offers a series of masterfully painted analog video-game stills rendered in spray paint on gessoed board. With each painting measuring a little over or under 18 x 24 inches, Park summons the haziness of  the early nineties from 8-bit video games on old television screens, replete with static lines and sunglares. Transporting us to the good old days of lo-fi, Park’s impressionistic use of color makes for a Gen-Z Monet moment. Anthony Gallery’s director Isimeme ‘Easy’ Otabor explains, “These images are vehicles to unpack larger ideas about memory and adolescence. Moments of distortion ground us in this common experience, a recollection of a past that makes us who we are today.”

5

Various

Since it was impossible to draw up a list of five, the fifth spot is an amalgam of works and booths. Chicago’s Document, 219, showcases works by represented artists Julien Creuzet, Anya Kielar, Elizabeth Atterbury, Kiah Celeste, Paul Magi Sepuya, Erin Jane Nelson and Sara Greenberger Rafferty that sit together uninterrupted by the charge each work carries. Ortuzar Projects, 337,  presents three seldom-seen paintings by conceptual artist Julia Scher that are an absolute treat as viewers gravitate toward and reel from the presence of a surveillance camera hung directly above a front-facing large-scale triptych welcoming collectors to a two-person presentation at the booth. Heidi Hahn’s deep saturated warm-toned oils on canvas at Kohn Gallery, 311, drew me into their materiality. Heavily layered, impasto, large-scale, melancholy female figures occupying the entirety of a canvas—what’s not to love? And since you’re there, don’t miss Kerala-based Siji Krishnan who’s also showing a large scroll painting capturing scenes from her village,  rendered through personal and communal memory in watercolors on rice paper. (Shoutout to Patel Brown, 171, for introducing me to Punjabi Canadian Mia Sandhu’s playful diasporic nymphettes painted in black ink and gouache.)

Is This the Best Black and White Camera Out There?

Is This the Best Black and White Camera Out There?

Black and white cameras are a bit of a rarity, but those who use them generally swear by the way they render images. The new Leica M11 Monochrom rangefinder offers an impressive range of features paired with a top-of-the-line sensor, and it may just be the best black and white option yet. 

Coming to you from Gajan Balan, this great video review takes a look at the new Leica M11 Monochrom rangefinder camera. Now the fourth generation of the company’s black and white cameras, the M11 Monochrom brings an advanced array of modern features:

  • 60-megapixel sensor
  • No color filter array, allowing the camera to record only luminance for improved clarity, depth, and resolution
  • Higher sensitivity range: ISO 125-200,000
  • Triple Resolution Technology for 18-, 36-, or 60-megapixel output, with improved dynamic range and noise levels
  • Maestro III Image Processor
  • Electronic shutter of up to 1/16,000 s for working with wide-aperture lenses
  • Automatic parallax correction and frame selection with options for 35mm/135mm, 28mm/90mm, and 50mm/75mm focal length pairs
  • Live view electronic stabilization
  • USB-C connectivity

Altogether, the M11 looks like quite an interesting and modernized camera that really calls to a pure form of photography. Check out the video above for the full rundown from Balan.