BOWLING GREEN, Ky. – Austin Anthony is a local photographer who specializes in landscape photography as well as headshots.

To help those in Palestine who are in need, he’s decided to auction off a photoshoot.

This is just one of many items that will be available in this auction, including some Joe Downing works, Palestinian-related items and 4 tickets to a Tennessee Titans game.

For Austin, this photoshoot means so much more than just helping out a family that might need pictures.

“It’s such a tragic situation. It is hard to feel like there’s anything that you can do from Kentucky to help. So this is the least that I could do is to try to raise some money for the people there in hopes that aid can reach them,” he says.

To learn more about this auction, you can visit @BGKYforPalestine on Instagram or Austin’s website: austinanthony.com

Photography enthusiasts and nature lovers are in for a treat as Barbara Scoles’ captivating wildlife photography is currently on display at the Klamath County Museum’s Modoc Gallery. Running through March and April, the exhibit showcases Scoles’ remarkable journey from a globetrotting professional to a passionate photographer of landscapes and wildlife, capturing everything from the minutiae of insect life to the grandeur of large mammals.

From Global Travels to Local Marvels

Barbara Scoles embarked on her photography journey while traveling to several foreign countries during her professional career. These experiences ignited her interest in capturing the world through her lens, gradually focusing on the natural beauty surrounding her. Scoles’ exhibit at the Modoc Gallery is a testament to her evolution as a photographer, where her dedication to showcasing the intricate beauty of landscapes and wildlife comes to life. Her work, ranging from close-ups of insects to majestic shots of birds and large mammals, invites viewers to appreciate the natural world through her eyes.

Exhibit Highlights and Inspirations

The exhibit, which spans March and April, offers a rare glimpse into Scoles’ diverse portfolio. Visitors to the Modoc Gallery will find themselves immersed in a world where nature’s beauty is paramount, and every photograph tells a story. Scoles’ ability to capture the essence of her subjects is evident in each piece, reflecting her deep respect and fascination with the natural world. This exhibit not only highlights her talent but also serves as an inspiration for aspiring photographers and nature enthusiasts alike.

A Reflection on Nature and Photography

Barbara Scoles’ wildlife photography exhibit at the Klamath County Museum’s Modoc Gallery is more than just a display of photographs; it is an invitation to explore the natural world through a unique lens. Her work encourages viewers to take a moment to appreciate the beauty and diversity of wildlife, fostering a deeper connection with nature. As the exhibit continues to attract visitors, it stands as a poignant reminder of the power of photography to capture and preserve the fleeting moments of natural beauty that surround us.

Raed Abdullah Al-Maliki, a native of Taif, Saudi Arabia, has transformed his passion for photography into international recognition, with his latest achievement spotlighting the iconic domes of the Grand Mosque during the Hajj season. Al-Maliki, who juggles his passion alongside his role at the Ministry of Education, has become a noteworthy figure in the realm of photography, earning accolades for his exceptional ability to capture moments that resonate globally.

Early Beginnings and the Journey to Recognition

Al-Maliki’s journey into the world of photography began at a young age, capturing family events and gradually earning the title of the family’s go-to photographer. His academic background, a bachelor’s degree in physical education from Umm Al-Qura University, might seem unrelated at first glance, but it instilled in him a discipline that he applies to his photography. Over the years, Al-Maliki’s dedication to his craft saw him join prestigious photography clubs and organizations, such as the International Federation of Photographic Art and the Photographic Society of America, where he has left a significant mark.

Award-Winning Shot: A Closer Look

The photograph that has brought Al-Maliki recent acclaim features the domes atop the Grand Mosque, captured during a rare moment when the mosque was nearly empty on the Day of Arafah, a pivotal moment during the Hajj season. This remarkable shot, taken from a helicopter amidst challenging conditions, not only showcases Al-Maliki’s technical skill but also his ability to convey a profound message through imagery. His achievements in various local and international competitions underscore his evolving talent and relentless pursuit of excellence. This particular image has garnered multiple awards, including gold, silver, and bronze medals, alongside honorary distinctions across several countries.

Technological Advancements and Future Aspirations

Al-Maliki emphasizes the role of technological advancements in photography, particularly highlighting the impact of artificial intelligence in cameras that has simplified capturing complex shots. However, he firmly believes that the essence of photography lies in the idea and message behind the image, regardless of the equipment used. Looking ahead, Al-Maliki is determined to continue representing Saudi Arabia on the international stage, inspired by the vision of Crown Prince Mohammed bin Salman. He aspires to explore new angles and subjects that have not been previously highlighted, aiming to leave a lasting impression on viewers worldwide.

As we reflect on Al-Maliki’s journey and achievements, it’s clear that his success is not merely a result of his technical prowess but also his deep understanding of photography as a form of communication. His work, especially the acclaimed shot of the Grand Mosque domes, serves as a reminder of photography’s power to capture moments that transcend cultural and geographical boundaries, inviting viewers to see the world through a different lens.

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In an era where digital content reigns supreme, Tazewell Animal Protective Society (TAPS) in Pekin finds a novel approach to combat the declining interest in animal adoption. Through the lens of Cheryl Linton, a devoted pet photographer, these animals are given a second chance at finding a forever home. Linton’s passion for animal welfare and her decade-long commitment to volunteering at local shelters have culminated in a unique partnership with TAPS, showcasing the impact of professional pet photography on adoption rates.

Turning Passion into Purpose

Cheryl Linton’s journey into the world of pet photography began with her innate desire to work with and help animals. Upon volunteering at TAPS, her hidden talent quickly became the shelter’s most sought-after asset. Over the years, Linton has honed her skills, using various techniques to capture the essence and beauty of each animal, making them irresistible to potential adopters. Her dedication is evident in her approach, “It means a lot to me. I feel like I’m doing a great job, and hearing I came down because I saw this photo of this dog,” Linton shared, highlighting the direct correlation between her photographs and increased adoption interest.

A Shelter’s Struggle and Strategy

Despite TAPS’ commitment to providing a safe haven for animals, the shelter faces challenges in maintaining low occupancy rates. With 155 animals still seeking homes and 24 of them hitting the 100-day mark, the urgency for innovative solutions is palpable. Liam Donahue, a TAPS spokesperson, expressed concern over animals with extended stays, emphasizing the need for greater exposure. An upcoming open house event on March 9 aims to attract more adopters, but it’s Linton’s compelling photography that continues to make a significant difference in the meantime. “Having [the dogs] get nice quality photos where you can capture the essence of their beauty, it helps them to increase exposure and get potential applications,” said Donahue.

Impact Beyond the Frame

The collaboration between TAPS and Linton underscores the power of leveraging talents for social good. By presenting the animals in a new light, Linton not only highlights their individual personalities but also raises awareness about the importance of adoption. This story mirrors the efforts of other volunteer photographers around the country, such as Rachael Rodgers, who utilizes her platform to promote pet adoption. Similar initiatives have proven successful in connecting animals with loving families, demonstrating the effectiveness of visual storytelling in animal welfare.

As TAPS and Cheryl Linton continue their partnership, the impact of their work extends beyond the immediate benefits for the shelter’s animals. It serves as a testament to the community’s potential to come together in support of a common cause. Through creativity, compassion, and collaboration, they are setting a precedent for how small acts of kindness can lead to significant changes, offering hope not only to the animals in need but also to those seeking to make a difference in their local communities.

Mark your calendars for an unforgettable evening on March 16, 2024, as the San Diego Botanic Gardens transforms into an artistic haven from 5 P.M. to 8:30 P.M. This event celebrates the launch of ‘Sanctuary in the Wild,’ a compelling photography book by local artist Christina McFaul, accompanied by an exhibition displaying the allure of nature through her lens and those of her mentees.

Immersive Art and Nature Experience

Guests at the event will be treated to an immersive experience, blending the serenity of the Botanic Gardens with the profound beauty captured in McFaul’s photography. The evening is not just a book launch; it’s a journey into the wilderness, as seen through the adventurous eyes of two young brothers. These narratives, depicted in stunning black-and-white imagery, invite attendees to explore their own connections with the natural world. The exhibition also highlights the promising work of young photographers mentored by Christina, offering a glimpse into the future of the craft.

A Pledge to Conservation

In a heartfelt commitment to preserving the beauty of our wildlands, Christina McFaul has pledged to donate 10% of all proceeds from the evening to a nonprofit organization dedicated to conservation efforts. This gesture underscores the event’s dual purpose: to celebrate the intersection of art and nature, and to contribute actively towards the protection and restoration of our environment. Attendees will not only enjoy an evening of art and inspiration but also support a vital cause.

About Christina McFaul

Christina McFaul’s passion for photography is deeply rooted in her childhood experiences growing up amidst the natural splendor of the Santa Monica Mountains. Her work is a tribute to the wild, capturing its essence and advocating for its preservation. Through her lens, Christina seeks to inspire a wider appreciation for our natural world and emphasize the importance of our role in its conservation. Sanctuary in the Wild is not just a photography book; it’s a call to action, encouraging us to see, respect, and protect the beauty that surrounds us.

This one-of-a-kind event promises to be an evening of reflection, inspiration, and commitment to the environment. By blending the worlds of art and conservation, Christina McFaul invites us to reconsider our relationship with nature and the importance of its preservation. Let this exhibition be a reminder of the sanctuary that the wild offers and the role each of us plays in ensuring its future.

The Nikon Z9 is going to the moon.

NASA has selected the Z9 for the upcoming Artemis III mission which will be used by the crew returning to the surface of the Moon in 2026 (or thereabouts).

As you might expect, the Z9’s the astronauts will take to the moon won’t be your run-of-the-mill cameras you can buy down the road.

In fact, Nikon’s engineers are working closely with NASA to develop solutions to make the Z9’s more reliable, including the redesign of various circuits and control sequences within the camera to withstand the vast amounts of radiation found on the moon.

In addition, the research also extends to expanding noise reduction to lower shutter speeds to account for the effects of constant bombardment of cosmic radiation that the crew and gear encounter. Additional modifications include shutter shield optimisation, and enhanced HDR functionality.

Additionally, the camera will need to be used by astronauts during extravehicular activities (EVA), instances when the crew will be in space or on moonwalks.

In order for astronauts to use the Z9 when wearing the thick gloves of a spacesuit, a custom grip is being developed which includes common controls such as a shutter release, playback, still/video capture switching and more.

To protect the camera, lens and housing during EVA, a special “thermal blanket” will also be created, which is similar to those currently used during exterior spacewalks by International Space Station astronauts.

Further, a selection of NIKKOR Z lenses will also be used for the mission, and those that will be actively used on the Moon will be modified to withstand the harsh lunar environment.

As NASA notes, it’s a huge leap forward from when Apollo astronauts used viewfinderless large-format film cameras that were attached to their spacesuits at chest level.

The crew’s historic expedition will be the first human landing on the lunar surface since 1972, and this mission will also mark the first time a woman will walk on the Moon.

During the 30-day mission, the crew will enter lunar orbit, after which two astronauts will land on the lunar surface in the lunar module (SpaceX’s Starship Human Landing System).

After spending approximately seven days on the lunar surface conducting research and multiple moonwalks, they will return to the Orion spacecraft to join the other two crew members and return to Earth.

You can read more about the mission here. 

The Star Tribune sports staff earned five Top 10 honors from Associated Press Sports Editors in the top national sports journalism contest, which grants prizes for writing, photography, digital and print.

The Star Tribune placed in the Top 10 in Category A, the division composed of the largest news organizations, in print portfolio, event coverage for its stories on the death of Bud Grant, column writing for outdoors columnist Dennis Anderson and short feature for NFL writer Mark Craig’s story on Vikings rookie offensive lineman Jacky Chen. Photographer Jerry Holt received Top 10 honors in feature photography. The Star Tribune received an honorable mention in the digital contest.

Results were announced over the past week during APSE’s annual winter meeting in Lake Buena Vista, Fla. Winners will receive their awards at the APSE summer conference, scheduled for June 20-22 in Charlotte, N.C.

APSE also announced last week the creation of the Billie Jean King Award for a new national writing contest devoted to coverage of women’s sports.

One thing is certain about the latest exhibit, “Reflecting Lenses: 20 Years of Photography” at Gorman Museum of Native American Art on the UC Davis campus: It does not include Edward Curtis’ images of American Indians.

“But some of our artists have definitely responded to his work,” exhibit curator Polly Nordstrand said during a brief telephone interview Monday, referring to the American photographer (1868 to 1952) whose huge landmark series, “The North American Indian,” defined what many white Americans at the time imagined what life was like for our nation’s first peoples.

She said Curtis created “stereotypes” of what he believed was a “vanishing race,” but, perhaps alluding to an Indian interpreter who supposedly told Curtis, “You are trying to get what does not exist,” missed out on the true essence and reality of American Indian life in the early 20th century, especially as reflected from an Indigenous point of view. (To be fair, while Curtis’ massive collection may have its shortcomings, it is also considered a body of work devoted to the notion of life lived in harmony with tradition and nature.)

More than two dozen Indigenous artists from North America, Aotearoa and Australia, all from diverse backgrounds, are represented in the exhibition, which highlights the museum’s photography collection alongside new works on loan from several artists. The show of 26 pieces by 22 artists — with artworks ranging in size from 16 by 20 inches to 46 by 154 inches (or roughly 4 feet by 13 feet) — continues to Sept. 1.

For decades, the museum has hosted artists who advance Indigenous “visual sovereignty,” said Nordstrand, which she defined as the assertion of Indigenous autonomy, “nationhood and self-rule,” through visual media.

No surprise, photographs are central to the museum’s collection of contemporary art. And their themes often “relate to social and environmental justice, connection to homeland and Indigenous empowerment in the contemporary world,” museum curator Veronica Passalacqua said in a press statement.

Throughout its nearly 200-year history, photography, she added, has been “a tool for colonial projects” across the globe, as non-native photographers produced images that dehumanized and stereotyped Indigenous people, suggesting narratives of “vanishing cultures, primitive minds and victims of progress,” as Curtis, arguably, did.

Photography was not taken seriously as an art form until the early 20th century but especially so in the 1960s, when art schools began to acknowledge it as important art.

And the work of early Indigenous photographers can be seen as the emergence of a native point of view.

“These images not only restore dignity to the subject but also reflect the priorities and realities of Indigenous experiences,” Passalacqua wrote in the prepared statement. “Taking up the camera was an act of visual sovereignty.”

Contemporary artists, in general, approach photography from a variety of ways, from  photojournalism and performance art to digital production and filmmaking.

“There’s a huge variety of what artists are able to do” with the act of taking the photo and its printing to its manipulation an inclusion among other media to enhance effect, Nordstrand said.

Consider “Pony Girl,” from Hukpapa Lakota artist Dana Claxton’s “The Mustang Series,” which shows two women, one American Indian, the other white, both clad in red clothing, one pointing to the distance, ther other wearing a bridle in her mouth.

“They symbolize the signficance of the horse” in Lakota culture, Black Elk’s vision of the Horse Dance, and pop culture, expressing “Indians moving into the future,” said Nordstrand.

A black-and-white collage by Larry McNeil, a Tlingit Alaskan native, appears to signify the negative advances of capitalism and Big Oil and their impacts on American Indian people and their lands.

Brenda L. Croft’s “Irrisistable/irresistible,” a 2000 Ilfachrome digitally manipulated image from the series “fever (you give me),” was part of a project developed over three years while she worked in New York City and then created it in Perth and Sydney, Australia.

Croft’s statement on the label reads, in part (with her punctuation): “The sense of travel informs much of the work; hard to locate, links to place, strands of time. Diluted by the filter of popular/populist/revisionist story telling. The making of new, invidious (urban) myths.”

In a reference to Australian history, specifically colonial rule, Croft also noted: “Irrisistable was the name of one of the first ships that arrived in Australia after 1788. Irresistible is also how the first arrivals considered Indigenous women.”

Passalacqua characterized the exhibit works as producing “visions of collective memory and counter narratives, in addition to portraits and landscapes.”

The primary subject matter? “Native presence,” she said in the news release.

Nordstrand said the exhibit shows “the caliber” of the Gorman photography collection and its artists, which are collected internationally.

“The artists in our collection have the highest recognition in the field,” she added.

Some related events: 2 p.m. Sunday, a curator walk-through with Nordstrand; and 2 to 4 p.m. April 12, an artist talk and reception with Sarah Sense.

The exhibition and events are sponsored by The Andrew W. Mellon Foundation Art Museum Futures Fund and the UC Davis College of Letters and Science.

IF YOU GO
What: “Reflecting Lenses: 20 Years of Photography at the Gorman Museum”
Where: Gorman Museum of Native American Art, 1 Shields Ave., UC Davis
When: Through Sept. 1
Hours: 11 a.m. to 5 p.m., Wednesdays to Fridays; and noon to 5 p.m. Saturdays and Sundays
Admission: Free
Online: gormanmuseum.ucdavis.edu
Telephone: (530) 752-6567