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Kauai Now : Photographer coming to Hawai‘i will capture islands’ roller derby culture with classic style

Kauai Now : Photographer coming to Hawai‘i will capture islands’ roller derby culture with classic style

Past and present will collide on the rink this summer, when a California photographer visits Hawai‘i to document the state’s roller derby teams using 19th-century technology.

Brittany R. Bradley employs the wet-plate collodion process to create modern-day examples of ambrotypes and tintypes – vintage photographs familiar to anyone who’s visited a history museum or watched a Civil War documentary.

“There is some strangeness and some ethereal quality to the images. The way it comes out of the camera is the way that it is,” said Bradley. “You get a closer representation of what the person actually looks like than you do in our digital age of filters and image modification.

“People are forced to look at themselves more kindly and more accurately during that process,” she continued. “I also love this idea of making a physical object in a time when images are no longer physical things.”

Bradley, who lives in San Jose and works full-time as a museum collections registrar, has studied photography since childhood; her father was a hobbyist. In 2017, she flew to Rochester, New York (perhaps appropriately, the home of Kodak) to learn the collodion process from a master before making the technique her own.

Since then, she has built a portfolio depicting individuals often unseen in early photography, which was almost exclusively the domain of wealthy white men. Her work includes photographs of Indigenous protesters, LGBTQ+ communities and the Women’s March.

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Bradley first encountered roller derby – a contact sport on skates, in which teams play offense and defense simultaneously while barrelling around a circuit – in 2016 and joined a team three years later.

“I fell in love with the team. I fell in love with the sport. I fell in love with skating,” said Bradley. “I fell in love with how bad I was at it and how every single practice I got just a little tiny bit better, and I was hooked from then on.”

Offbeat, often punny nicknames are fundamental to the world of roller derby. Bradley’s moniker is SpeeDSM.

“The way this community shows up for each other: I’ve never seen anything like it … I’d never been a part of a community that was ever quite as tight-knit as that, and really the only defining thing that ties them all together is that they play this sport,” she said.

Over time, Bradley had an epiphany, setting her on the path that will take her to Hawai‘i later this year.

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“The longer I played, the more I realized that the communities that are served and represented in roller derby overlap with the communities that were underserved and underrepresented in photography at its inception,” she said. “You have a sport that in the face of nationwide bans on trans athletes has said, ‘F– you, trans athletes have always been a part of our sport. They’re not going anywhere.’

“It’s one of the only sports that competes at a high level with coed teams that have men, women and nonbinary folks all playing together without any complaint,” Bradley continued. “The definition of what an athlete is in roller derby, and what an athlete looks like, is not like any other sport: If you can skate and you push yourself and you’re willing to show up for your team members, you are an athlete.”

Bradley began photographing California roller derby teams in May 2023 and is now in communication with teams throughout the state of Hawai‘i, where she has longtime bonds. (Her godchildren live on Kaua‘i.) Several teams – including the Garden Island Renegade Rollerz, Aloha Skate, Big Island Roller Derby and Pacific Roller Derby – have already agreed to be photographed in September during the annual Battle of the Islands roller derby tournament on the Big Island.

Bradley’s roller derby art – which often possesses a joyous, spontaneous quality – will be a departure from most depictions of the sport, according to some skaters.

“Unfortunately, it gets the WWE treatment. It’s always very aggressive, rough, dangerous and competitive, and I don’t feel like that’s the case at all,” said Nanea “Nuke Starblocker” Walker, president of the Renegade Rollerz. “A lot of it is very accepting and loving. The bond that we share – not just with our own teammates, but other teams from around the state or around the country or around the world. It’s a huge community of very loving women.”

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Bambi “Bamz” Lau is a member of Big Island Roller Derby and Aloha Skate, a recently formed statewide team featuring the best and most competitive skaters from throughout the Hawaiian Islands. She wants Bradley’s snapshots to capture players when they leave their brash alter egos on the rink.

“I hope to reveal the human, mother, teacher, Hawaiian … everyday side of the roller derby skater,” Bamz said. “The roller derby community is extremely diverse.”

Bradley plans to conclude her roller derby project – which will culminate with an exhibition and a book – sometime next year. She still has many more places to go, including Las Vegas, where she hopes to photograph international skaters at RollerCon in July; and Washington and Oregon in August. Teams from Louisiana, Texas, Florida and even Australia have also reached out to express interest.

“I will go as far as I can, and include as many teams and skaters as I can,” said Bradley, who is traveling on her own dime with an antique camera and a portable darkroom.

“I don’t know of a better way to express the resiliency of roller derby … than looking at Hawaiian teams,” she continued. “Roller derby is punk rock and bootstrap at its best, and they’re doing that in a smaller pond than anyone else.

“They’re succeeding at it and keeping it alive, and so for me, it just made absolute perfect sense that this project include the Hawaiian teams from the jump.”

To follow Bradley on her roller derby photography journey, follow her on Instagram and TikTok or visit her website here.

The Garden Island Renegade Rollerz are holding a Krispy Kreme fundraiser on April 27. For more information including fundraising locations, follow the team on Facebook, Instagram and TikTok.

You can find Aloha Skate online on Facebook and Instagram. The team is planning to host a new tournament this November in Waimea on the Big Island.

Acclaimed Rock and Metal Photographer Jeremy Saffer’s Event “Idol Worship: The Detournements Of Jeremy Saffer” Opens Today in Los Angeles

Acclaimed Rock and Metal Photographer Jeremy Saffer’s Event “Idol Worship: The Detournements Of Jeremy Saffer” Opens Today in Los Angeles

The images of globally acclaimed rock photographer, Jeremy Saffer take center stage at LA’s Exhibit A Gallery when a very special gallery event, “Idol Worship: The Detournements of Jeremy Saffer” will open today, on April 13th, 2024. This unique show, will showcase Saffer’s iconic photographs in a brand new way as his images serve as the canvas for over 30 of the world’s best multi-media artists.

Jeremey Saffer - Photo Credit Randy Blythe

Jeremey Saffer – Photo Credit Randy Blythe

For more information, RSVP details, and a sneak peek at the featured artworks, visit https://www.exhibitagallery.com.

“Idol Worship” is the ultimate celebration of the rebellious spirit of rock and roll. Presented by Exhibit A Gallery, this electrifying event unveils the raw talent and creativity of artists, while paying homage to the musical revolutionaries who shaped pop countercultures via the iconic photography of Jeremy Saffer. Witness these captivating original works of art, alongside Saffer’s original photographs, creating an awe-inspiring visual experience. Each painting is accompanied by the artist’s bio and a personal quote, offering a glimpse into the artist’s creative process and the profound impact of rock music on their journey as a creative.


With a stellar lineup of rock legends including Black Sabbath, Alice Cooper, Ghost, Alissa White-Gluz, Doyle, Megadeth, Slayer, Lacuna Coil, Motionless In White, Abbath, Imperial Triumphant, Type O Negative, Ville Valo, In This Moment, Mayhem, King Diamond, Slipknot, GWAR, My Chemical Romance, Motorhead, Korn, Iron Maiden, Danzig, and more as his muses, Saffer’s photography serves as the inspiration for the detournements, crafted by a diverse group of over 30 artists (full list below).

Speaking on this very special gallery show, Saffer shares: “I am beyond excited for this show. On April 13th, ‘Idol Worship: The Detournements of Jeremy Saffer’ is coming to Exhibit A Gallery in Los Angeles which features an insane lineup of over 30 incredible artists doing their artistic interpretations of my music photography. I can’t put into words what an honor it is to have all of these incredible artists involved with this. I can’t wait to see all their Detournements. Biggest thanks to Richard, Hailey, and Exhibit A for making this happen and putting it all together. It’s going to be an incredible show and celebration.”

The incredible artists who have contributed to the exhibition include: Adam McCarthy, Adam Padilla, Alfredo Gonzalez, Angel Acordagoitia, Antonio Pelayo, Chad James Keith, Chris Shary, Chuck BB, Eric Karalis, Enys Guerrero, Frank Walls, Hailey Allen, Glen Hidalgo, Jose Carabes, Josh Everhorn, Kahla, Kelly Eden, Lori Herbst, Macsorro, Maxine Thirteen, Melany Meza Dierks, Michael Broom, Nitecrawlher, Rachel Satya, Rebecca Tillman-Young, Renee Mandrake, Rodney Thompson, Richard Villa III, Ryan Samuel Carr, Shane Izykowski, Shannon Purcell, Spicy Donut and The Creep.

The “Idol Worship” gallery show is an unmissable celebration of the transformative power of art and music to transcend boundaries, defy expectations, and inspire the soul. Access is free, though RSVP-only, ensuring an exclusive experience for attendees. Space is limited and access is not guaranteed so act fast.

Check out our two part interview with Jeremy about his book of Black Metal photography and his career so far:

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ABOUT JEREMY SAFFER

Renowned since 2004, photographer Jeremy Saffer is a visionary in music and pop culture. His distinctive style, featured in international publications like Kerrang and Revolver, captures the essence of iconic imagery—from legends like Alice Cooper to contemporary heavyweights like Slipknot. Beyond elite musicians, Saffer inspires budding photographers through seminars and fine art projects like “The Daughters Of Darkness.”

This unique blend of iconic music photography and fine art reflects his love for hard rock and fantastical imagery, marking a milestone in a career that continually pushes artistic boundaries.

ABOUT EXHIBIT A GALLERY

Established in 2008 by artist Richard Villa III, Exhibit A Gallery has become a beacon for artists seeking to push the boundaries of artistic convention. From its inception, the gallery has been committed to providing a platform for emerging and established artists alike to showcase their talents. Notable exhibitions, such as the Metallica tribute show “Obey Your Master” and the thematic exploration of punk culture in “Assemble and Revolt,” have solidified Exhibit A Gallery’s reputation as a hub of artistic innovation.

Representing the U.S. and Critiquing It in a Psychedelic Rainbow

Representing the U.S. and Critiquing It in a Psychedelic Rainbow

People in Venice might hear the jingle dress dancers before they see them. On April 18, some 26 intertribal Native American dancers and singers from Oklahoma and Colorado will make their way through the winding streets and canals of the Italian city. Wearing brightly colored shawls, beaded yokes and dresses decorated with the metal cones that give the dance its distinctive cshh cshh rattling sound, they’ll make their way to the Giardini, one of the primary sites of the Venice Biennale. There, they’ll climb atop and surround a large red sculpture composed of pedestals of different heights and perform.

The jingle dress dance, which originated with the Ojibwe people of North America in the early 20th century, typically takes place at powwows. In Venice, it will inaugurate the exhibition in the United States Pavilion on April 20. Titled “the space in which to place me,” the show is a mini-survey of the rapturous art of the queer Choctaw and Cherokee artist Jeffrey Gibson. Flags, paintings, sculptures and a video envelop and fill the stately building with proliferating geometric patterns, intricate beadwork, evocative text, a psychedelic overdose of color and political references to Indigenous and broader American histories.

“How do I relate to the United States?” mused Gibson, 52, who in conversation slips effortlessly between earnestness and flashes of playful, dry wit. It was late December, and we were sitting in a room in his upstate New York studio whose nondescript furniture was dotted with evidence of ongoing work on Venice: a maquette here, paint samples there, a test flag folded loosely in a chair. The deadline for finishing nearly two dozen artworks was about a month away, but Gibson was calm — at least outwardly so — as he showed me images and the pieces in progress.

“I have a complicated relationship with the United States,” he said. His ancestors were among the Native Americans forcibly displaced by the federal government. Both his parents came from poverty and went to boarding schools, where Native children were frequently abused. As his studio manager zoomed in on a digital image of a painting, I could see a large block of text surrounded by angular, radiating lines. Gibson read the title: “The returned male student far too frequently goes back to the reservation and falls into the old custom of letting his hair grow long.”

The chilling line came from a 1902 letter written by the Commissioner of Indian Affairs to a school superintendent in California about the need to assimilate Native students returning home from boarding schools. Once he found it, Gibson decided that all three busts he was working on for the Biennale should have prominent hair: a beaded mullet; long, flowing locks made from ribbon; and an elaborately-styled shawl-fringe “do.” The choice represents one of his artistic strengths: taking a point of pain and turning it into a kind of celebration, without losing its critical edge.

Installation view of yellow walls inside the U.S. Pavilion showing Jeffrey Gibson’s “the space in which to place me,” at the Venice Biennale. Two brightly colored paintings and a sculpture on a pedestal.
Installation view of Gibson’s works at the U.S. Pavilion, from left: “The Returned Male Student Far Too Frequently Goes Back to the Reservation and Falls Into the Old Custom of Letting His Hair Grow Long,” which references a letter by the Commissioner of Indian Affairs; “I’m a Natural Man”: “Liberty, When It Begins to Take Root, Is a Plant of Rapid Growth,” which cites a letter from George Washington to James Madison.Brian Barlow

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Indigenous Artists Are the Heart of the Venice Biennale

Indigenous Artists Are the Heart of the Venice Biennale
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Here are highlights of the range of work produced by Native artists in the pavilions and a central exhibition that proudly calls itself “Foreigners Everywhere.”

Before visitors step into any gallery at the 2024 Venice Biennale, which opens April 20, Indigenous artists will have made their presence known.

A collective of painters from the Brazilian Amazon, MAHKU (Movimento dos Artistas Huni Kuin), will cover the facade of the central exhibition hall with an intricate mural. Inuuteq Storch, the first Greenlandic and Inuk artist to represent Denmark at the international art festival, will erect a sign reading “Kalaallit Nunaat,” or “Greenland” above the pavilion’s entrance. (Greenland has been a self-governing country within the Danish Realm since 1979. )

The Brazil Pavilion nearby has been renamed the Hãhãwpuá Pavilion — one of many terms that Indigenous people use to describe the territory that, after colonization, became Brazil. “There is a very political aspect to the Indigenous presence in an artistic space like the Venice Biennale,” said Denilson Baniwa, the Hãhãwpuá Pavilion’s co-curator. “Our aim is to rewrite history and add a new chapter to art history.”

Beyond the United States Pavilion, which features the art of Jeffrey Gibson, the Venice Biennale offers a taste of the wide range of work produced by Indigenous, First Nations and Native artists around the globe. Here are some highlights.

Mataaho Collective’s “Takapau” (2022), made of polyester tie-downs and stainless steel buckles. The first gallery at the Arsenale will host the monumental installation by a group of four Maori women known for making large fiber sculptures. Maarten Holl, via Te Papa

Indigenous artists are at the heart of “Foreigners Everywhere,” the Venice Biennale’s central exhibition. As the Brazilian curator Adriano Pedrosa, artistic director of this year’s Biennale, sees it, the Indigenous artist is “frequently treated as a foreigner in his or her own land.” The first gallery at the Arsenale, Venice’s former shipyard complex, will host a monumental installation by the Mataaho Collective, a group of four Maori women known for making large-scale fiber sculptures. The 331-artist lineup also includes the Native American artists Kay WalkingStick and Emmi Whitehorse; the Brazilian Yanomani artists Joseca Mokahesi and André Taniki; Indigenous Australian artists Marlene Gilson and Naminapu Maymuru-White; and Maori artists Sandy Adsett and Selwyn Wilson, considered one of the founders of Maori Modernism, who died in 2002.

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The Viltrox AF 56mm f/1.7 Lens: A Budget-Friendly Option for Portrait

The Viltrox AF 56mm f/1.7 Lens: A Budget-Friendly Option for Portrait

Portrait photography is a popular genre, but high-quality lenses can be expensive. However, the new Viltrox AF 56mm f/1.7 lens offers an affordable option for photographers looking to capture stunning portraits without breaking the bank.

Coming to you from Christopher Frost, this informative video takes a closer look at the Viltrox AF 56mm f/1.7 lens, which is currently available for Nikon Z and Fujifilm X mounts at a remarkably low price of just $139. Despite its budget-friendly price point, Frost finds that the lens delivers excellent sharpness and contrast, even wide open at f/1.7, with the corners being nearly as sharp as the center. It also comes with a nice range of features, including:

  • Four ED elements and three HR elements to enhance image clarity and reduce optical aberrations
  • Optical design of 11 elements in 9 groups
  • Supports EXIF data transmission for detailed metadata
  • Features a nine-bladed diaphragm for smooth bokeh
  • Equipped with a USB-C port for firmware updates
  • Minimum focus distance: 21.7 inches (55 cm)
  • Maximum magnification ratio: 0.11x
  • Focus type: Autofocus
  • Dimensions: 2.6 x 2.2 inches (65 x 54.7 mm)
  • Weight: 6 ounces (171 g)

One potential drawback of the lens is the heavy vignetting at f/1.7 when shooting in raw. However, stopping down to f/2.8 or f/4 mostly eliminates this issue. The lens also produces smooth and pleasing bokeh, with minimal longitudinal chromatic aberration. While it may not be the absolute best portrait lens on the market, its performance is impressive considering the low cost. Check out the video above for the full rundown from Frost.

The Evolution of Street Photography in the Digital Age

The Evolution of Street Photography in the Digital Age

The legacy of iconic photographer Dorothea Lange lives on as her timeless remark resonates in today’s hyper-visual society: visual education transcends the lens. As the ubiquity of cameras shapes our perception, we’re now adept at visual understanding beyond the viewfinder. Yet, paradoxically, our reliance on screens to view and share images has never been greater.

Amidst this photographically saturated era, street photography thrives yet finds itself ensnared by new challenges. Accessible technology, from digital cameras to smartphones, alongside platforms for easy image sharing, has democratized photography. The allure of capturing candid moments has burgeoned, resulting in a swell of photographers lining urban pavements, much to the chagrin of unsuspecting pedestrians.

Concerns over privacy infringement stand in stark contrast to the once concealed nature of street photography. Past generations enjoyed anonymity; their images quietly resided in private albums, far from widespread scrutiny. In contrast, today’s street scenes can turn viral, subjecting the photographed to global recognition without their consent. This heightened visibility raises ethical quandaries that echo the sentiments of Judge Louis Brandeis and Professor Samuel Warren’s landmark “Right to Privacy” article penned in parallel to the birth of street photography.

The proliferation of photography and advancements in facial recognition further complicate the landscape of public imagery. Individuals fear the potential of being unwittingly cast into the digital limelight. This concern stirs a necessary discourse on the balance between artistic expression and personal privacy, an evolution of the debate that coincides with the ever-changing facets of street photography. As we chart a path through this new terrain, the dialogue between public exposure and privacy rights continues, shaping the contours of street photography’s future.

Current Market Trends

Street photography has evolved substantially with the advent of digital technology. The compactness and improved capabilities of digital cameras and smartphones have made high-quality photography more accessible to the masses. Moreover, the instantaneous nature of digital sharing has contributed to a rise in the popularity of street photography on social media platforms like Instagram, where #streetphotography has millions of posts. This has given rise to a new generation of street photographers who are more diverse and widespread than ever before.

Forecasts

The future of street photography is set to be influenced by technological advancements such as improved smartphone cameras, more sophisticated editing software, and the increasing use of AI in photography. It is expected that street photography will become even more immediate and connected, with the possibility of live-streamed street photography gaining popularity. As virtual reality technology advances, immersive street photography experiences could become a trend, offering a vivid foray into city scenes from around the world.

Key Challenges and Controversies

Controversies in street photography primarily revolve around privacy concerns and legal constraints. In numerous jurisdictions, there are laws that protect individuals’ privacy, potentially conflicting with the freedom to photograph in public spaces. With the proliferation of online image sharing, subjects of street photographs might find themselves unwillingly in the public eye, raising legal and ethical issues around consent and rights to one’s own image. Additionally, recent advancements in facial recognition could further infringe on individual privacy if used in street photography.

Advantages and Disadvantages

There are several advantages to street photography in the digital age, such as the ease of capturing and sharing images and the reduced costs associated with digital as opposed to film photography. Furthermore, digital editing allows for greater artistic control over the final image.

On the flip side, the disadvantages include the potential violation of subjects’ privacy and the oversaturation of street photography, making it harder for individual photographers to stand out. The authenticity of a moment can also be questioned with the widespread use of image editing, which sometimes leads to debates over the integrity of the photograph as a truthful representation of reality.

Related Links

For those looking to delve deeper into the subject of photography and its evolution, related information can be found at National Geographic for its long-standing excellence in photography, or Magnum Photos for a collective of world-class photographers. To engage with community discussions and view contemporary work, Instagram remains a leading platform for photographers of all levels.

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