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Interview with photographer Joe Pouwels

By in Photography

Interview with photographer Joe Pouwels
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For more information: Instagram: @/joseph_pouwels/

My recent arts column about artist Frank Wollard led me to interview Joe Pouwels. They are neighbors who live within three doors of each other in The Ponds in Summerville. 

Pouwels divides his time between Wisconsin and South Carolina. His photography is outstanding, and I told him I thought it had a “National Geographic” quality. He said he once entered one of its photography contests and was a finalist. He attended the University of Wisconsin.

Regan: Joe, when did you pick up a camera?

Pouwels: I picked up a camera for the first time in 1967 as a teenager. It was my father’s Kodak Brownie Folding camera. I photographed animals at the Milwaukee Zoo. Although the images were fuzzy, they are a lasting memory.

R: How did you come to travel so much, such as to the Philippines and Mexico?

P: The Philippines and Mexico are two countries where I have taken many of my favorite photographs. My late father-in-law, an immigrant from the Philippines, introduced me to several islands there, Hong Kong and Singapore, while we traveled together in retirement. I was so fortunate to meet family members and make lifelong friends while experiencing unique cultures, numerous historical sites and amazing vistas with him by my side. In 2017, while living in Chicago, I had the wonderful opportunity to meet Jacobo and Maria Angeles from the city of San Martin Tilcajete in Southern Mexico at the National Museum of Mexican Art. Since our initial meeting, I have been lucky enough to visit with them several times at their home. Due to their seemingly limitless hospitality, I have had several opportunities to explore their studio, community and region with my camera. One of my photographs has since been added to a local Oaxacan museum’s collection. Annually, I am invited to shoot photos of their renowned art pieces (Alebrijes) at the Jacobo and Maria Taller in San Martin. Their art pieces are exhibited worldwide in various settings — from New York City’s Rockefeller Center to the Vatican. Every year, I also photograph their Carnival, Mascara and Guelaguetza festivals.

R: Did your wife significantly affect your traveling between there and the U.S. to shoot photos over the past decade?

P: My wife has definitely had a major effect on my photography. She has always supported my photography-focused trips, and since she recently retired, I am looking forward to her joining me on upcoming trips.

R: Tell us about your bachelor’s degree in industrial technology with a concentration in technical communications and where that led you. Didn’t you also teach color photography at the graduate school level?

P: My bachelor’s degree in industrial technology helps me visualize what I hope to capture in my final photos. Before getting my undergraduate degree, I completed two years of formal coursework in photography at a vocational school in Milwaukee. While in graduate school, I taught the principles of dye transfer, the zone system and color photography. I stepped away from photography for about 35 years to work in another field. Once I retired, I initially brushed up on the basics of photography. Then, I made the transition from film to digital. It is a fulfilling hobby for me at this point in my life.

R: Do you ever wish you had worked for a publication such as “National Geographic”?

P: All photographers I know would love to have the opportunity to work for “National Geographic.” I consider myself privileged to have had my submissions acknowledged by the magazine twice, as a finalist for one and formally recognized for another.

R: Where would you like to travel, and where could you shoot some new material?

P: Plans include traveling, shooting in other parts of Mexico and photographing the monarch butterfly migration. For a total change of pace and a new challenge, I also want to travel to Alaska to capture the northern lights.

R: What is coming up for you concerning photography assignments?

P: For now, I am focused on meeting project-related deadlines with a photographer friend and partner, Fernando Franco, from Aguascalientes, Mexico. Our current projects include publishing two photo books. One book tracks the development of green herons from a nest of unborn hatchlings to their taking flight and leaving the nest, covering a period of a little more than three weeks. The other book showcases the sites and artistry of my favorite city – San Martin Tilcajete. Proceeds from these books will be donated to charity.

Mary E. Regan is a columnist and freelance publicist with her propublicist.com consultancy. She is always seeking new publicity clients and writing projects. Email story ideas to mary@propublicist.com.

Photographer Shoots Finnish Forest Animals Like They’re Professional Models (80 New Pics)

By in Photography

Photographer Shoots Finnish Forest Animals Like They’re Professional Models (80 New Pics)

Finally, Munter’s fortunes changed, and he finally caught a lucky break: “I wandered around the island for about three hours but saw no sign of the fox. Disheartened, I started to head home. But then, something inside me urged me to take one last lap around. As I turned a corner near a restaurant, I spotted two young foxes, one with a toy in its mouth and the other with a bun. They had likely found food in the restaurant’s trash.

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My body filled with adrenaline, my hands shaking. This was my chance after months of trying. I began snapping pictures, and to my surprise, the foxes didn’t seem afraid of me. They moved under a rowan tree, and one of them looked straight into the camera. I took numerous photos of the scene, and after a while, the foxes dashed away.”

Debunking Photography Myths: A Realistic Look at the Profession |

By in Photography

Debunking Photography Myths: A Realistic Look at the Profession |

Photography as a profession is often met with skepticism and discouragement, overshadowed by warnings of financial instability and market saturation. Such pervasive negativity can deter aspiring photographers from pursuing their passion, despite the evolving opportunities within the industry.

Coming to you from Scott Choucino with Tin House Studio, this insightful video addresses common misconceptions and challenges facing those aspiring to turn their passion for photography into a profession. Choucino methodically debunks the myth that professional photography isn’t financially viable, sharing personal experiences and comparing the unpredictability of freelancing with the apparent security of traditional 9-to-5 jobs. He argues that awareness and adaptability in managing finances can offer a level of control rarely found in conventional employment, where job security is often illusory.

Furthermore, Choucino tackles the claim that the photography industry is declining. He provides compelling arguments against the backdrop of technological advancements and the digital age, illustrating how these factors have expanded rather than contracted opportunities for photographers. By highlighting the constant demand for fresh content across various media platforms, from traditional print to dynamic online spaces, he reinforces the vitality and relevance of the profession. 

Addressing the concern that monetizing one’s passion for photography might dilute its joy, Choucino presents a nuanced view of professional creativity. He discusses the balance between commissioned work and personal projects, emphasizing how a successful photography career affords the freedom to explore creative passions alongside commercial assignments. This balance, according to Choucino, not only enhances a photographer’s skill set but also broadens their artistic vision, making the profession as rewarding financially as it is creatively. Certainly, it isn’t an easy career, but it’s worth hearing Choucino’s perspective. Check out the video above for the full rundown.

If you would like to learn more about the business of photography, check out “Making Real Money: The Business of Commercial Photography With Monte Isom!”

Christie’s launches buy now, pay later scheme for art up to $1mn

By in Art World News

Christie’s launches buy now, pay later scheme for art up to $1mn

Christie’s has invested in Art Money, a US lender that launched in 2016, and will offer a buy now, pay later scheme on art bought in its sales for less than $1mn. Would-be buyers receive a preapproved limit to bid from the lender and, if successful, can pay in instalments over a maximum of 10 months. Art Money takes a fee from the buyer of up to 10 per cent of Christie’s total invoice, including its buyer’s premium (26 per cent at that level).

As with all payment plans, it increases the overall cost of buying, but the point, says Art Money’s founder and chief executive Paul Becker, is that “there is so much friction around buying art, we just want to apply current business practices [from other industries] to help grow the market”. He notes that most of the existing loans available against art, including through the auction houses, start at $1mn.

The Christie’s partnership launches at its prints and multiples auction in New York on April 16. All 173 works, with estimates ranging from $800-$1,200 for a print by Ann Hamilton to $600,000-$800,000 for an edition of Henri Matisse’s “Jazz” portfolio (1947), are eligible for Art Money.

‘Pine Barrens Tree Frog’ (1983) by Andy Warhol, from the ‘Endangered Species’ series (est $150,000-$200,000 in the Christie’s prints and multiples sale) © Christie’s

Christie’s has made the investment through its Ventures fund, headed by Devang Thakkar. He says the company has invested in 10 businesses since 2022 and, while its financial commitment is not disclosed, this was set between $250,000 and $2mn per company at launch. Becker describes Christie’s stake in Art Money as “minority, non-controlling and non-exclusive”.

For now, the initiative is only available to buyers in the US and Australia, but Becker says Art Money is working towards regulatory approval across all countries. Thakkar says the April 16 auction will provide “a road map to understand consumer appetite” and he hopes to roll out the offering to more sales and buyers, particularly in the UK.

Man and woman chatting in an art gallery in front of two paintings of a person holding a mobile phone
Expo Chicago, taking place this week for the first time under Frieze’s ownership © Justin Barbin

Frieze’s owner Endeavor remains tight-lipped on its plans for the fair group and other companies in the entertainment conglomerate since it agreed to be taken private by the investment company Silver Lake on April 2. The transaction, which at $27.50 per share, valued the group at $13bn ($25bn including debt), marks one of the biggest private equity deals in the past decade.

While the overall strategy points to slimming down an unwieldy group of companies and events, which range from the fairs to sports tournaments and a global marketing company, as well as its core talent agency business, a source briefed on the Silver Lake acquisition says that “there are no decisions or announcements with regard to businesses within the Endeavor network”. The deal is expected to complete in the first quarter of next year.

In a statement, Ari Emanuel, who stays on as chief executive of Endeavor, said: “We are excited to continue to unlock and invest in the growth opportunities ahead as a private company.” He is in line for a $25mn “asset sale transaction bonus”, payable once certain, unspecified businesses are sold, according to a regulatory filing.

This week is the first edition of Expo Chicago under Frieze’s ownership (April 11-14, Navy Pier) while the 12th in-person edition of Frieze New York runs next month (May 1-5, The Shed).

Figurative painting in greens, blues and turquoises
‘Future Fertile’ (2024) by Channatip Chanvipava, being shown by gallery Roman Road at the Venice Biennale

The art world moves to Venice next week for the opening of the Biennale. Beyond the formal programme and national pavilions are plenty of gallery shows, taking advantage of the number of art-hungry visitors in town. At one end of the contemporary art spectrum is Marisa Bellani, whose gallery Roman Road now runs exhibitions nomadically. She brings a show of eight works by the self-taught Thai painter Channatip Chanvipava, now studying at London’s Royal College of Art.

The artist investigates queer sensibilities including, in his painting “Future Fertile” (2024), parenthood in the gay community. The works, which Bellani says chime with the Biennale’s theme of “Foreigners Everywhere”, are priced at between £3,500 and £30,000. She adds, though, that the showing is less about sales and “more about creating visibility” while the art world’s luminaries are in town (Dimora Ai Santi, April 17-May 27).

Another adviser-curator, Max Levai, who runs The Ranch art space in Montauk, Long Island, New York, brings a show of 11 paintings by Frank Auerbach, winner of the Biennale’s Golden Lion prize in 1986. The works, which span 1969-2016, are conceived as a “succinct survey”, Levai says, and take on a range of subjects. Like Bellani, Levai plays down any commercial goals — something of a Biennale tradition — though he concedes that “when you bring pictures together and create moments like this, opportunities might be pursued” (Palazzo da Mosto, April 18-June 28).

Levai says the title of the Venice show, Starting Again, refers to the artist’s process and in no way relates to his own experience at Marlborough Gallery, which was co-founded by his father’s uncle, Frank Lloyd. Levai worked there and was briefly its president until, in 2020, he said he was “effectively terminated”. (Marlborough’s trustees disagreed with his representation of events.) Last week, the board of the 78-year old gallery announced that it was closing for good.

Tapestry picture of figures sitting at a bar with their heads shrouded and small stripy dog-like animals at their feet
‘Interval I’ (2023) by Ailbhe Ní Bhriain, now in the Dallas Museum of Art collection © Courtesy of the artist and Kerlin Gallery

Healthy sales, made mostly under $100,000, were reported from the 16th edition of the Dallas Art Fair (April 4-7). As at other such events this year, the mood was “a bit more subdued than in previous editions”, says Texas-based Nick Campbell, founder of Campbell Art Advisory. 

A loyal base of wealthy local collectors has long supported this fair and, says its director Kelly Cornell, the next generation is gradually continuing their passion. “We have an established community, which are big shoes to fill, but people are stepping up to the plate,” she says. Campbell agrees that “the younger generation is interested and engaged and is continuing Dallas’s rich collecting tradition”.

Sales reported from the 91 exhibitors included to the Dallas Museum of Art, through an acquisition fund organised with the fair since 2016. This year, the museum spent its $100,000 grant on three large-scale works for its collection: a tapestry by Ailbhe Ní Bhriain (Kerlin Gallery), a painting by JooYoung Choi (Inman) and an embroidery by Thania Petersen (Nicodim).

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Misan Harriman photographs people ages one to 100 in Quaker’s ‘100 Reasons to Rise’

By in Photography

Misan Harriman photographs people ages one to 100 in Quaker’s ‘100 Reasons to Rise’

A black-and-white portrait series explores the beauty of everyday heroes and their morning routines.

In the hustle and bustle of our daily lives, the calm of morning holds a special significance. It’s a time of new beginnings, of hope and of preparation for the day ahead.

Quaker, an iconic brand synonymous with wholesome breakfasts, unveils today a unique campaign, ‘100 Reasons to Rise,’ to celebrate the simple beauty and humanity of morning routines. At the heart of this project is a stunning collection of black-and-white photographs by Misan Harriman, an Academy Award nominee known for documenting important social movements, including Black Lives Matter protests and climate strikes.

Harriman’s lens has artfully immortalized the intimate moments of 100 everyday heroes, spanning the ages from one to 100, as they sit down for breakfast on significant days in their lives. Each photograph is also accompanied by an audio interview, allowing each subject to communicate their own thoughts and feelings.

Whether it’s a one-year-old boy preparing for his role as a ringbearer or a 61-year-old man eagerly anticipating meeting his grandson for the first time, the images showcase the universal truth that how each of us starts our day can profoundly impact the rest of it.

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Quaker’s decision to spotlight everyday heroes is rooted in the belief that stories of triumph and perseverance have the power to inspire and uplift. The brand’s own research revealed that mornings are often viewed as the most hopeful part of the day by over 40% of people around the world. Moreover, a staggering 70% find hope in the people around them and nearly two-thirds draw strength from stories of overcoming challenges.

It’s Harriman’s visual storytelling capabilities that help the brand connect with consumers on a personal level.

“Misan Harriman’s photography adds a deeply personal touch to ‘100 Reasons To Rise,’ making it the perfect avenue for connecting with individuals,” Ciara Dilley, Quaker’s global vice-president of marketing, told The Drum. “It was important to the brand that the campaign felt genuine and reflected the world today, the diverse range of subjects photographed was essential to capturing that authenticity, allowing anyone and everyone to relate to these moments that are truly universal.”

To bring ’100 Reasons to Rise’ to life, Quaker has launched an interactive digital experience (via 100ReasonsToRise.com) that allows viewers to immerse themselves in the individual stories behind each image.

Quaker’s commitment to connecting with audiences goes beyond the digital realm; the brand transformed ’100 Reasons to Rise’ into a captivating in-person exhibit, complete with interactive pods where visitors can delve deeper into the photo series while hearing narration by Harriman himself.

The exhibit kicks off in Toronto, with a one-day showcase at The Harbourfront Centre on April 10, followed by a three-day stint at Union Station from April 17 to 19. These locations, bustling with morning activity, provide the perfect backdrop for Quaker to tell the stories of these humble heroes.

The creative will also be used for out-of-home work in cities that have yet to be disclosed.

Harriman also reflected on the project, saying: “This project recognizes individual stories of how we start the day and demonstrates that, regardless of what life throws at us, we have fortitude and hope. For Quaker to be bold enough to allow us to go to people’s homes and really observe them as they live, that adds a layer of authenticity that always comes through in the lens. Quaker is one of the few brands in the world with whom it makes sense to do something like this. It was lightning in a bottle.”

Notably, Quaker’s ‘100 Reasons to Rise’ is part of Quaker’s first-ever global platform, ‘You’ve Got This,’ which celebrates the greatness of common people.

Quaker partnered with the ad agency Uncommon Creative Studio to bring the campaign to fruition.

Interested in creative campaigns? Check out our Ad of the Day section and sign up for our Ads of the Week newsletter so you don’t miss a story.

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