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Photographer tears up as he shares wedding pics taken by his 9-year-old daughter

By in Photography

Photographer tears up as he shares wedding pics taken by his 9-year-old daughter

Jerome Cole, a wedding photographer, shared a heartwarming video on his Instagram page in which he shared a few pictures of a wedding ceremony captured by his daughter, Aisha, who is almost 10 years old. Seeing her incredible photography skills, Jerome got emotional and couldn’t help but tear up.

The video showed a series of pictures taken by Aisha, which, according to Jerome, was a “proud dad” moment. He spoke about their “secret hand signals” and praised his daughter’s professionalism.

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In the caption of the post, Jerome pondered the idea of retirement, revealing that Aisha had expressed a keen interest in joining him on a wedding shoot for quite some time. He shared that Aisha had eagerly asked him about it every week. Finally, on a Sunday, during a wedding celebration, they decided to take the leap together.

“Should I retire? Aisha, almost 10, has been eager to join me in shooting a wedding for ages. She asks me every week! Sunday, with Jelena and Dragan’s big day, we took the leap. Our secret hand signals and her professionalism were something else. Seeing her photos, I couldn’t help but tear up. Proud dad moment #ProudDad,” read the caption of the post.

Watch the video:

Since being posted online, the video has garnered over 14 million views and widespread admiration from viewers worldwide. Several people even encouraged the little girl to follow her passion for photography while keeping up with her good work.

“This girl has skills. Better than most ‘professional wedding photographers’. Please keep nurturing this gift,” a person said.

Published By:

Ashmita Saha

Published On:

Apr 2, 2024

Napster dispute with British photographer puts the spotlight on the music industry’s artwork deals

By in Photography

Napster dispute with British photographer puts the spotlight on the music industry’s artwork deals

Streaming service Napster last week urged a judge to dismiss a lawsuit filed against it by a British photographer over a photo of reggae artist Sugar Minott. The photographer, Adrian Boot, claims that Napster infringed his copyright by using the photo without licence. However, Napster counters that it had a licence to use the photo via the record label that provided the recording it accompanied. 

Indeed, Napster argues, so clear is that fact that Boot should cover its legal costs because, “to investigate and refute Mr Boot’s claim required Napster to dig through reams of distribution agreements and trace the chain of a single photograph over the course of decades”. And “this herculean and burdensome task” revealed “nothing more than what Mr Boot had known all along: he had already been paid for a licence to use his photographs on Mr Minott’s album”. 

The case raises some interesting questions about the way record labels license images from photographers to use in artwork and release marketing. Do labels always have the necessary rights to then allow digital platforms to use the photos? To what extent are agreements between labels and photographers properly formalised? And what are the liabilities of the digital platforms if all the necessary rights haven’t been properly secured higher up the supply chain? 

The photo of Minott at the centre of this dispute was taken in 1979. In 2005, Soul Jazz Records then licensed the image for use in the artwork of the album release ‘Sugar Minott At Studio One’. That album was subsequently delivered to Napster, with the artwork including the photograph, by the label’s distributor PIAS. 

Boot says that he then discovered in 2022 that Napster was using his photograph alongside Minott’s tracks on the digital music platform. 

He insists that his agreement with Soul Jazz Records was restricted to the specific use of his photo on the cover of the ‘Sugar Minott At Studio One’ album, and that any other use of the image needed to be licensed via his company Urbanimage. 

In the screen grabs provided by Boot, Napster was using a cropped portion of his photo of Minott, so that it didn’t appear within the album’s artwork. 

In its defence, Napster refers to both Boot’s agreement with Soul Jazz Records and its agreement with PIAS. The label’s licence to use the photo on its album artwork, it says, “implied a non-exclusive licence to distribute the photograph along with the album”. It’s common practice, it argues, for labels to distribute any licensed photos along with a release. 

It’s agreement with PIAS, it then adds, grants it permission “to distribute, post, transmit, download, store, reproduce, display and exhibit each track’s corresponding artwork”, and also includes “an additional catchall to include all ‘other copyrightable works’ provided by PIAS”. 

Boot is seeking statutory damages under US copyright law in the region of $15,000. Napster also disputes that claim, because to qualify for statutory damages a work must be registered with the US Copyright Office. Boot only did that in 2018, by which point the photo was already on Napster’s platform, meaning the alleged infringement had already occurred. 

However, Boot argues that the copyright infringement continued after 2018, and therefore his claim for statutory damages is valid. 

Both sides set out their respective arguments in a court in Seattle on Friday. We now await a judgement. If the judge sides with Boot, it could set a precedent that would require labels and their digital partners to double check exactly what rights were secured from photographers when images were licensed for use on artwork.

Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism

By in Art World News

Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism

“Bamboozled.” All images © Patty Carroll, shared with permission

The irony of the mannequin as “everywoman” is that the inanimate form doesn’t have much in common with real women at all. But for photographer Patty Carroll, that’s the point. “The mannequin is the ‘ideal woman’ who does not age, have wrinkles, fat, or any other human quality,” the Chicago-based artist says.

In her ongoing Anonymous Woman series (previously), Carroll captures scenes of domestic dismay and disaster, like a woman hiding from a bug infestation in the bedroom or falling from her office chair, still gripping a phone. “(The mannequin) stands in for all of us who are obsessed with our homes, whether it is the décor or activities inside that make us ‘homemakers,’” the artist says. And the domestic scenes in which they sprawl are meticulously crafted with the help of her assistant Andie Meadows.

It takes a long time to conceive of the concept and gather materials to construct each image. Carroll has increasingly gravitated to using puns or idioms from which she composes literal images like “Underdog,” in which a woman is trapped under a dog seated on a chair cushion, or “Bamboozled,” wherein the figure disappears into bamboo-themed furnishings. Sometimes a specific prop, like a brown donut-shaped phone or the black panther sculptures popularized in the early 20th century, forms the basis for an elaborate scene.

 

an elaborately staged photograph with an orange theme featuring a posed mannequin disappearing underneath a bed and overwhelmed by a chaotic scene of yellow insects crawling all over the place

“Bedbugged”

Carroll’s images often reflect domestic trends of the Atomic Age and the subsequent decades when post-war American society experienced a renewed optimism, privileging traditional family values and the “nuclear family.” The era is also marked by an explosion of marketing trends selling the fantasy of the “happy housewife,” replete with her scratch-cooked meals and effortlessly efficient, clean, and inviting home.

In contrast, Carroll’s Anonymous Woman is often swallowed by her surroundings, simultaneously clumsy and completely overwhelmed. “I grew up in a place where one’s drapes matched the sofa or bedspreads, and life was supposed to be ideal with 2.5 perfect children, a beautiful mother, and a rich father,” Carroll says. “Of course, none of this was true, but it was the myth of the perfect life. I have continued to satirize this illusion with humor, color, and beauty in my pictures.”

“Panther” was recently purchased for the 21C Museum Hotels collection and inspired an artist-designed suite at the Kansas City hotel, which opens this year. And “Smokin’” will soon be on view at ALMA Art and Interiors in Chicago. See more on the artist’s website.

 

an elaborately staged photograph with a neutral brown theme featuring a posed mannequin disappearing into a chair in which a dog sits in, too, overwhelmed by a chaotic living room scene

“Underdog”

an elaborately staged photograph with a brown theme featuring a posed mannequin collapsed over a dishwasher, with dishes surrounding her everywhere

“Dishwasher Dull”

an elaborately staged photograph with a bright color theme featuring a posed mannequin collapsed over a chair and overwhelmed by a chaotic scene of fruit themed furniture and decor

“Fruity”

an elaborately staged photograph with a green theme featuring a posed mannequin seated in the middle overwhelmed by a chaotic scene of tropical fruit and foliage decor

“Hawaiian Hangover”

an elaborately staged photograph with a black-and-white theme featuring a posed mannequin who has fallen off of a desk chair and is overwhelmed by a chaotic scene of home office items

“WFH”

an elaborately staged photograph with a green theme featuring a posed mannequin sprawled out on a couch and surrounded by panther motifs

“Panther”

an elaborately staged photograph with a brown theme featuring a posed mannequin sprawled over a chair with a brown donut phone and overwhelmed by a chaotic scene of smoky brown glassware

“Smokin’”

an elaborately staged photograph with a green theme featuring a posed mannequin sprawled over a chair and overwhelmed by a chaotic scene of grapes and wine

“Sour Grapes”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Patty Carroll’s Satirical ‘Anonymous Woman’ Is Overwhelmed by Her Own Domestic Perfectionism appeared first on Colossal.

Canon Central and North Africa Collaborates with Kidzania Cairo to Launch Canon Photography Studio in Egypt

By in Photography

Canon Central and North Africa Collaborates with Kidzania Cairo to Launch Canon Photography Studio in Egypt

Canon Central and North Africa (www.Canon-CNA.com) is thrilled to announce its partnership with KidZania Cairo, to introduce a Canon Photography Studio at KidZania in Cairo, Egypt. The new innovative space is designed to provide children from 8-14 years of age with a unique opportunity to explore the world of photography, learn about Canon’s cutting-edge technology, and unleash their creativity in a fun and interactive environment.

The Canon Photography Studio at KidZania Cairo is set to become a captivating and creative play space where children can engage in a variety of activities related to photography. The aim is to create an immersive experience that not only entertains but also educates and empowers young minds while igniting their creativity.

“We are delighted to embark on this exciting collaboration with KidZania Cairo. Canon has always been committed to inspiring creativity and nurturing a passion for technology and innovation. The Canon Photography Studio at KidZania Cairo is more than a play space; it’s a gateway for children to explore the captivating world of photography, learn about leading-edge technology, and, most importantly, have fun while doing so. The indoor city built to scale for kids, is an innovative and educational concept where children can engage in various role-playing activities and simulate real-world jobs and professions. We believe in the power of education through experience, and this collaboration aligns perfectly with our mission to empower the next generation of photographers,” says Amine Djouahra, B2C Business Unit Director, Canon Central and North Africa.

Building upon the success of the Canon Academy Juniors programme, the studio at KidZania Cairo adopts a similar educational empowerment approach tailored to children’s unique scale, level, and language comprehension. Much like the forementioned initiatives, the studio at KidZania Cairo aspires to instil valuable knowledge and empower young minds in a way that resonates with the dynamic and creative world of children.

For many years, Canon has been committed to empowering young people and providing them with tools and opportunities for personal and educational growth. Initiatives like this with KidZania Cairo play a vital role in enabling young people, providing them with opportunities for skills development and access to education, and fostering personal growth.

“The collaboration between KidZania Cairo and Canon marks a significant stride towards enriching educational experiences for children. By integrating Canon’s expertise in photography with KidZania’s immersive learning environment, we are poised to provide a unique platform for young minds to explore the realms of creativity and technology. Together, we aim to inspire the next generation of photographers and creators, equipping them with valuable skills and insights that will shape their future endeavours,” says Ahmed Ibrahim Habib, CEO for KidZania Cairo. 

The Canon Photography Studio at KidZania Cairo will feature a diverse range of activities. Children will also learn the art of composing a visually appealing photograph. Through interactive games and activities, they will understand the importance of angles, lighting, and framing.

Additionally, they will get hands-on experience with Canon’s latest technology. After capturing memorable moments, they will have the chance to bring their creations to life by using a Canon printer to print their photographs. Canon and KidZania Cairo are committed to providing children with a unique and enriching experience. Equipped with newfound experience in camera operation, lens variation, and the intricacies of capturing and printing images, children will emerge with a well-rounded skill set that transcends the fundamentals of basic photography. By combining play and learning, the Canon Photography Studio at KidZania Cairo aims to leave a lasting impression on young minds, inspiring the future generation of photographers.

Distributed by APO Group on behalf of Canon Central and North Africa (CCNA).

Media enquiries, please contact:
Canon Central and North Africa
Mai Youssef
e. Mai.youssef@canon-me.com

APO Group – PR Agency
Rania ElRafie
e. Rania.ElRafie@apo-opa.com

About Canon Central and North Africa:
Canon Central and North Africa (CCNA) (www.Canon-CNA.com) is a division within Canon Middle East FZ LLC (CME), a subsidiary of Canon Europe. The formation of CCNA in 2016 was a strategic step that aimed to enhance Canon’s business within the Africa region – by strengthening Canon’s in-country presence and focus. CCNA also demonstrates Canon’s commitment to operating closer to its customers and meeting their demands in the rapidly evolving African market.

Canon has been represented in the African continent for more than 15 years through distributors and partners that have successfully built a solid customer base in the region. CCNA ensures the provision of high quality, technologically advanced products that meet the requirements of Africa’s rapidly evolving marketplace. With over 100 employees, CCNA manages sales and marketing activities across 44 countries in Africa.

Canon’s corporate philosophy is Kyosei (https://apo-opa.co/3SvVhrS) – ‘living and working together for the common good’. CCNA pursues sustainable business growth, focusing on reducing its own environmental impact and supporting customers to reduce theirs using Canon’s products, solutions and services. At Canon, we are pioneers, constantly redefining the world of imaging for the greater good. Through our technology and our spirit of innovation, we push the bounds of what is possible – helping us to see our world in ways we never have before. We help bring creativity to life, one image at a time. Because when we can see our world, we can transform it for the better.

For more information: www.Canon-CNA.com

Review: Indigenous artists take charge of the camera at MoCP

By in Native

Review: Indigenous artists take charge of the camera at MoCP

Fabulous fashion spreads open “Native America: In Translation,” a thoughtful and wide-ranging group show of nine Indigenous artists at the Museum of Contemporary Photography. Slim, sexy models wear chic clothes, posed against backdrops ranging from a tropical paradise to the white non-space of a commercial studio.

Look carefully, though, and the glossy veneer cracks. The dark-haired mannequins appear to be the same woman throughout, and her makeup goes beyond avant-garde to bizarre. That lush jungle is just a backyard with exotic animals pasted on. An ad for knee-high mod boots seems to be selling flexible notions of identity in addition to patent-leather footwear. And there are a surprising lot of traditional textiles on view, too. Vogue Latinoamérica this is not.

The series is the work of Martine Gutierrez, a queer artist of Mayan heritage who staged, styled, modeled and in every other way created these images, originally publishing them alongside dozens of others in “Indigenous Woman,” her 128-page parody of women’s fashion magazines.

Such self-presentation — of identity, but also of history, daily practices, inspiration and surroundings — is at the heart of “Native America: In Translation.” Who points the camera is key. The traveling show originated as a special issue of the legendary photography journal Aperture, copies of which serve as the MoCPS’s de facto catalog. Inside is some fascinating work unfortunately not up in the galleries, including historical community portraiture by Richard Throssel and Horace Poolaw that provides artistic precedent for the contemporary artists on view. Also missing is Syilx Nation artist Krista Belle Stewart’s immersion in the bizarre world of “Indianthusiasm,” German hobbyists who reenact Native American crafts and rituals during weeklong summer camps, and the piercingly annotated archival materials and decorated snapshots of Wendy Red Star, the Apsáalooke artist who guest edited Aperture 240 and also curated the exhibition.

Aperture had done something similar in 1995, dedicating its summer edition to Native American photographers and writers. Omaskêko Ininiwak artist Duane Linklater was impacted by the copy he had then and intervenes in it here, in the imperturbable series “ghostinthemachine.” Choice pages of the periodical are torn out, folded, sketched on and then scanned, in configurations that allow Linklater plenty of leeway. He highlights a cuttingly sage paragraph by Paul Chaat Smith and a witty self-portrait by Zig Jackson, makes his own contributions via overlaid geometric line drawings, and keeps some things neatly tucked away. Not everything can or should be revealed to everyone.

Four Polaroids from “Indian Handsigns,” an undated series by Kimowan Metchewais. Part of “Native America: In Translation” at the Museum of Contemporary Photography in Chicago organized by Aperture, curated by Wendy Red Star. (Tom Nowak)
image
“Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska,” 2018,by Nalikutaar Jacqueline Cleveland, from her series “Ethnobotany.” Part of “Native America: In Translation” at the Museum of Contemporary Photography in Chicago organized by Aperture, curated by Wendy Red Star.

Nalikutaar Jacqueline Cleveland, an Alaskan native of Yup’ik descent, addresses an extension of this question — how and for whom to photograph the people, places and practices of a community — in her 2019 series, “Ethnobotany Project.” She notes that the intended audience for this work, which forms part of a study funded by the National Science Foundation about variations in diet among Native communities on either side of the Bering Strait and the impact of climate change on their foraging traditions, are local people and students in the field. A small selection of Cleveland’s images shows what might matter to them: a blackberry specimen, labeled in Yup’ik; a 90-year-old elder of Toksook Bay, at home in her qaspeq tunic, bulk cases of Cup Noodles ramen stacked nearby; a mom and her two kids foraging for wild beach greens in Quinhagak; the breathtaking vista and modest structures of Umkumiut, a seasonal hunting and fishing camp. Between the lines of these documentary pictures can be read a text about survival, resistance and negotiation — of traditional language, dress and subsistence practices that continue today, as part of contemporary lives.

Somewhere between documentary and performance stands three immensely powerful images by Rebecca Belmore, a Lac Seul First Nation artist celebrated since the 1990s for artworks orchestrated both for live audiences and for the camera. In “nindinawemaganidog (all of my relations),” she restages key moments from her repertoire, creating striking portraits linked to the lives of Native women real and mythical. “Matriarch” sits with her back to the viewer, face in profile, black hair tumbling down a cloak of blood-red roses hemmed with brown fur. In “keeper,” a woman intently washes the floor with a clay-soaked rag; it stains her garments and becomes the cracked ground on which she kneels. Stories can’t help but attach themselves to these women, stories that recognize their strength, their labor, their centrality and their pain.

By far the most approachable works in “Native America: In Translation” are the exquisitely sincere but never humorless explorations of identity produced by Kimowan Metchewais. The Cree artist amassed a huge personal archive of Polaroids, which he shot, organized, and often cut up, taped together and rephotographed to make small and large-scale artworks. Everything of his at the MoCP is a revelation: a glowing, surreal panorama of himself and his brother fishing while immersed in the infinite blue ripples of Cold Lake, the namesake body of water of their nation; self-portraits in a white tank top, blue jeans and endless hair extensions; Polaroids of his right hand making simple gestures, some with words written underneath, referencing Native traditions of sign language but also, having been erased and rewritten, likely of his own concoction.

Metchewais died in 2011 from a brain tumor at age 47. Like him, we all, whatever our heritage, ultimately must take some charge in our own creation — out of historical traditions, communal norms, but also our own invention.

Lori Waxman is a freelance critic.

“Native America: In Translation” runs through May 12 at the Museum of Contemporary Photography, 600 South Michigan Avenue; more information at 312-369-8067 or mocp.org/exhibition/native-america-in-translation

Car Photography 1001: Ted7 Takes Automotive Imagery To A New Level

By in Photography

Car Photography 1001: Ted7 Takes Automotive Imagery To A New Level
image

Car photography is hard. If you don’t believe me, just take a quick scan through the latest vehicle images on your social media platform of choice. Sure, you’ll see the occasional picture perfect vehicle photo, likely captured by a paid professional. But for every gorgeous automotive visual you’ll see dozens of photos with issues ranging from sloppy cropping to unflattering angles to lackluster lighting. And we haven’t even gotten into busy reflections and distracting backgrounds.

If you’re a connoisseur of vehicle photography you celebrate those all-too-rare instances where everything comes together, creating visual automotive perfection. And if you’re Ted7, you take pride in being a provider of said perfection. Ted is an avowed automotive enthusiast, inspired by a father who frequently returned from international trips with toy cars from faraway lands. This inspired Ted to buy full-sized performance cars as an adult. Initially a Volkswagen GTI fan, Ted’s passion peaked behind the wheel of a Caterham 7, his current and favorite ride. Thus, Ted7.

Ted7’s photographic journey started where so many automotive photographers start, at his local Cars & Coffee event. What began as a simple habit of shooting vehicles as they left the event evolved into a request by a one of those drivers to shoot his car. “He paid me,” Ted7 told me with a bit of surprise in his voice. “Then I met other people, like Hillbanks/Superformance, and I started shooting for them. All their inventory cars like GT40s, Shelby Cobras and Cobra Coupes. I shot probably over 200 cars for them.”

As Ted7’s photography income ramped up his work at his “real job” — an SEO expert — ramped down. After 18 months he was able to leave the SEO world behind and focus solely on automotive photography. That was 12 years ago, with brands like Vorsteiner and HRE wheels, Evan Paul Motorcars, GMG Racing, and Ring Brothers among his early clients. Later work included vehicle photography for The Wall Street Journal and The Petersen Automotive Museum, where he got his first taste of car photography in a studio.

The Petersen has an area called “the cove” featuring a clean white background and controlled lighting. Ted7 initially shot hundreds of museum vehicles in the cove, and he soon started renting it out for his own customers that wanted studio photography. Ted7’s cove shoots at The Petersen, between 2017 and 2021, included photography for Gunther Werks and car brokers in Beverly Hills and Malibu. This experience convinced Ted7 to partner with LongTail Rally (where he’s the official photographer) to build his own studio, which opened in Orange County in June of 2021.

With the studio open Ted7’s business has snowballed. His images of high-end cars, appearing in high-profile locations like Bring a Trailer’s website or Bonham’s, Broad Arrow’s, and Sotheby’s auction houses, has put the car broker world on notice. Ted7 is now shooting approximately 600 cars a year. His protocol is to shoot a maximum of three cars in the morning, allowing time for photo editing in the afternoon and a turnaround time of 1-2 days. While advance notice is preferred, Ted7 says he’s used to working on short notice for brokers needing a quick turnaround.

If you’re in need of premium vehicle photography at the level seen here, or in the above gallery of 20 iconic cars, you can reach Ted7 at his website or through Instagram. He may have an open photo session slot in the next 24 hours, or it may take up to a week to schedule. But if you’re seeking that all-too-rare example of visual perfection in automotive imagery, it’s probably worth the wait.

Astrophotographer Alyn Wallace passes away at 34

By in Photography

Astrophotographer Alyn Wallace passes away at 34
Alyn Wallace

The world of astrophotography and beyond mourns the tragic loss of Alyn Wallace, a talented photographer and beacon of inspiration. He tragically passed away last week at only 34 years of age.

Alyn was born in Wales, but he lived in Istanbul, Turkey, where he passed on March 28, 2024. His parents, Pauline and Ian, shared the heart-wrenching news on Instagram. They revealed that Alyn had been battling a pre-existing condition that compromised his immune system. A recent infection related to a gallbladder stone escalated rapidly, sadly leading to him losing his life. This tragic development has left a void in the hearts of those who knew him and admired his work.

About Alyn Wallace

Alyn Wallace was not just a gifted astrophotographer. He was also a prolific educator and author, and many of you knew him for his YouTube channel. It boasts nearly 150,000 subscribers and hosts hundreds of videos capturing the majestic beauty of the night sky.

YouTube video
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His remarkable contributions to astrophotography were widely recognized. Alyn was the author of Photographing the Night Sky, a comprehensive guide that has served as an indispensable resource for both aspiring and seasoned photographers. His exceptional skill and creativity earned him numerous awards. Furthermore, his work graced the pages of esteemed publications such as National Geographic, BBC Earth, The Guardian, and many others.

But perhaps Alyn Wallace’s most profound legacy is the impact he had on the community of photographers and astronomy enthusiasts. He inspired so many of us to explore the night sky with awe and reverence. He selflessly shared his knowledge and passion through his videos, workshops, and writings. The outpouring of tributes from fellow photographers on Instagram, astrophotography forums, and Facebook speaks volumes about the respect and admiration he garnered within the community.

Alyn’s journey, though tragically cut short, was marked by a relentless pursuit of beauty and knowledge. he has left an indelible mark on the world of astrophotography and beyond. Alyn’s legacy will continue to inspire future generations to gaze up at the night sky with wonder and curiosity, searching for the same magic that captivated him throughout his life.

On behalf of the entire DIYP team and myself, we offer our deepest condolences to Alyn’s family and friends. Alyn, thank you for inspiring us, teaching us, and igniting a passion for photography that will forever burn bright. We will miss you dearly.

[via PetaPixel]
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