Dubai-based wildlife photographer Anish Karingattil observes and photographs insects, amphibians and reptiles in the United Arab Emirates (UAE). He says wildlife photography, like this image he took of a red velvet mite, allows people to “tell stories, educate people, and raise awareness about the importance of protecting and conserving wildlife and their habitats.” Scroll through the gallery to see more.
Over 800 individuals have rallied behind a petition initiated by Lincoln-based photographer Rachel Roberts, aiming to encourage a more respectful and considerate approach from church leaders towards wedding photographers. This movement comes in response to an increasing number of reports highlighting ‘aggressive, rude and humiliating’ behavior by clergy members towards photographers during weddings. Such negative experiences have not only deterred couples from opting for church weddings but have also made photographers hesitant about accepting such assignments. The petition seeks to open a dialogue between photographers and church leaders to enhance the wedding experience for couples.
Amidst the sanctity and solemnity of church weddings, photographers face mounting challenges, from outright threats to physical obstructions, greatly hampering their ability to capture key moments of the ceremony. Restrictions vary widely, with some churches disallowing photographs during the ceremony altogether, while others allow limited photography, such as during the signing of the register. Such constraints, coupled with instances of hostility, have led to a noticeable decline in church wedding bookings, with photographers increasingly reluctant to work in such environments.
Rachel Roberts, the photographer behind the petition, emphasizes that while the sanctity of the wedding ceremony is paramount, there exists a possibility for photographers to work discreetly and respectfully, ensuring the couple’s wishes for comprehensive coverage of their special day are met. The petition is not an indictment of the church but a call for open dialogue to reconcile the needs and expectations of marrying couples with the traditions and protocols of church ceremonies. This initiative has garnered support from many within the photography community, sharing their own experiences of aggressive and unprofessional behavior from church officials.
In light of the growing discontent among photographers and marrying couples, the Church of England has acknowledged the issue and responded by creating guidance for couples, officiants, and photographers. This guidance underscores the importance of early communication and setting clear expectations to ensure a smooth collaboration on the wedding day. While this is a step in the right direction, the broader issue of how church leaders interact with photographers remains a point of contention, highlighting the need for ongoing dialogue and mutual respect to bridge the gap between tradition and contemporary expectations.
The movement led by Rachel Roberts and supported by over 800 signatories represents a significant call for change in the way church weddings are conducted. By fostering a more inclusive and respectful approach towards wedding photography, there is hope for a future where couples can freely choose to celebrate their unions in churches without fear of compromise on their cherished memories. The dialogue initiated by this petition may well pave the way for more harmonious relations between church authorities and wedding photographers, ensuring that the joy and sanctity of the occasion are upheld for all involved.
By Gabriel Lucich
Managing Editor
How much do we really pay attention to on our walks around campus or through the various towns in the Portland area? What do we miss because we’re looking at our phones or talking to a friend while on these jaunts about town? In the Alexander Gallery’s latest exhibition, “Every Tree-Top Deserves a Cloud,” photographer Horatio Law shows us many of the things we may have overlooked.
For the past four years he has been making photographic prints of the images that are captured on his daily walks through downtown Portland. Reflected images from shop windows are a recurring theme.
“I can see the reflection behind me, and I can see through the glass to what’s inside the window,” he said. “Things on the surface of the glass. There’s all this space being compressed onto one surface. For me it’s a magical surface that transcends time and space. I imagine I can see back and forth in time and go from one space to another space.”
He also attempts, and frequently succeeds, in finding beauty in the grittiness of the inner city, which he frequently describes as a war.
“This whole war is what I’m talking about,” he said. “Finding beauty in the ugliness of city life, I touch on a lot about homelessness, about disappearing, about finding a home or making a nest.”
Law referred to the picture of an unaccompanied blue sleeping bag at the base of a recently repainted downtown wall. “It’s like a child’s way to reason seeing difficult things. I guess I was a particularly funny child.”
It’s important to note that the majority of Law’s photography is based on something most of us carry around daily, and take for granted as an artistic device:, his iPhone.
“I’m holding this up because it is what I use for all my pictures. It’s amazing what an iPhone or other cell phone can do these days.”
He also treats the subject matter with different filters depending on how it looks to him personally.
“Everything is initially taken as a color image, and I select certain images that are more suitable as black and white as you know,” he said. “Sometimes the color image doesn’t work at all, but when you try it in black and white, it really works. The black and white accentuated the design, the texture and the shape itself, and in color, the color became a distraction.”
Sometimes this is the purpose of an artist’s work, to get us to notice the things we neglect, the overlooked dust-bunnies in the corners of our cities and towns. They help us remember some of the more important things that slip from view when we aren’t paying attention.
Originally from Hong Kong, Law immigrated to the States with his family in 1972. They landed in New York City, where his parents opened a branch of the piano sales and studio business that they had begun in Hong Kong. He and his family immediately felt at home in the hustle and bustle of the Big Apple.
“I’m very comfortable in the city environment, you can tell by looking at the images,” said Law. “I went straight from one city into another giant city, so there was no culture shock going from Hong Kong to NYC.”.
Initially studying biology at Johns Hopkins University with the dream of getting into medical school, his love of art finally got the best of him. He enrolled at New York’s School of Visual Arts to continue his education.
“I was working in cancer research full-time, and started doing my time in art school, and it took a long time to finish, and then a long time to decide to get my Master of Fine Art,” Law said. “In the city, everyone around me was working on being a photographer or artist, and had a very good understanding of how the art world is in that environment.”.
After earning his BFA, Law spent about a year in Florence, Italy, working as a print-maker and studying at the International School of Graphic Art.
“Being an artist in Europe is very different from being an artist in the States,” he said. “People will ask you, ‘What do you do for a living,’ and if you’re an artist people appreciate that, it’s just a regular thing to say. The people there just appreciate art and you don’t have to justify the fact that you’re an artist.”
After his time in Florence, he returned to NYC and worked for the family business. The final decision to pursue his MFA took about 10 years.
A friend whomthat he’d met in Florence and eventually convinced him to apply for six different graduate school programs. Washington University in St. Louis gave him the opportunity he was looking for. Finishing his master’s program in 1993, he then moved to Oregon for a residency at the Oregon School of Arts and Crafts in Southwest Portland.
“We (artist residents) had the free-run of campus,” he said. “We got to live there, run around campus, and use the facilities for a whole semester. So I moved out here, and wasn’t going back to St. Louis after that.”
Photography as an art form is recent in Law’s development as an artist, though it was an early interest during his childhood in Hong Kong, when he saved his money and purchased his first camera.
“Horatio Hung-Yan Law; Every Tree-top Deserves a Cloud,” runs through March 15 in the Alexander Gallery at the Neimeyer Center on the Oregon City Campus.
Artist Horatio Hung-Yan Law
Photo Gabriel Lucich
Taylor Swift’s team have hit back after the singer’s dad was accused of assaulting a paparazzo.
The 34-year-old ‘Bad Blood’ singer’s was with her father Scott Swift, 71, in Australia early on Tuesday (27.02.24) when he allegedly hit a photographer at a Sydney ferry wharf as his daughter was getting off a yacht.
Whether it’s the Opera House, Eiffel Tower, or that Wanaka Tree (as I discovered recently), part of the problem is well-known spots like these are usually packed with people who clutter your frame, and it’s also a real challenge to find a new and unique angle to capture them.
Anyway, this fantastic video from Alister Benn of Expressive Photography offers some useful advice for dealing with these very issues.
What I enjoyed most about Benn’s approach is he likes to encourage photographers to work with what you’ve got, and embrace the environment and the crowds, rather than fight against them. This can lead to images that capture something more of the reality of the location, rather than a picture-perfect scene.
You can see more of Alister’s great videos on YouTube.
Cover image: Mike O’Connor
On March 3, the National Museum of Wildlife Art (NMWA) in Jackson, Wyoming, is set to honor Indigenous art and culture through its ‘Native Line + Rhythm’ event, part of its popular First Sunday series. This special gathering, running from 11 a.m. to 2 p.m., stands as a testament to the museum’s ongoing commitment to spotlighting Native artists and facilitating direct community engagement. Free museum admission for locals throughout the day ensures accessible participation in an event that not only showcases but celebrates the rich cultural heritage of the Native American community.
The event is poised to kick off with a drum circle by the Wind River Drummers, highlighting the cultural significance of music and dance in Northern Arapaho and Shoshone traditions. This powerful opening sets the stage for a day of deep cultural immersion and learning. Following this, attendees will be treated to a carving demonstration by Bruce Cook, a renowned Haida artist known for his intricate wood embellishments and totem poles. Cook’s presentation promises to delve into the blend of tradition and contemporary expression in Haida art, offering insights into the challenges and innovations that define modern Indigenous artistry.
In addition to the performances and demonstrations, the event will feature a clay line carving craft, allowing attendees of all ages to engage directly with Indigenous art forms. This hands-on activity, scheduled to run for the duration of the program, exemplifies the NMWA’s dedication to creating interactive and educational experiences that resonate with visitors. Through such initiatives, the museum not only honors its Land Acknowledgement statement but actively amplifies Native voices, fostering a deeper understanding and appreciation of Indigenous cultures among the wider community.
The collaboration with the Wind River Foundation for the third consecutive year underscores the NMWA’s role as a vital platform for Indigenous artists to share their work with the community. According to Michelle Dickson, Director of Program and Events at the NMWA, March First Sundays have become some of the most well-attended events of the winter season, reflecting the community’s growing interest in and support for Indigenous art. With each First Sunday event, the museum reaffirms its commitment to celebrating the diversity and richness of Indigenous cultures, ensuring their stories and traditions are shared and preserved for future generations.
As the ‘Native Line + Rhythm’ event approaches, the NMWA stands ready to offer a day of celebration, education, and engagement. Through the power of art, music, and dance, visitors will have the opportunity to connect with the profound heritage and enduring spirit of the Indigenous communities represented, fostering a greater appreciation and understanding of the vital roles these cultures play in our shared history and contemporary society.
