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By in Photography

Photographer

WSLS 10, the Graham Media Group, Inc. owned / NBC affiliated station in Roanoke, Virginia is seeking a Photographer/Editor to join our News team.

You’ll live and work in the beautiful Blue Ridge Mountains of Virginia, plus you’re only a short drive to major metropolitan areas as well as beaches. WSLS 10 recently moved into a brand-new state-of-the-art broadcast facility.

General Position Description:

Duties associated include gathering information and making decisions on shots and audio to be used creative broadcast storytelling. The ideal candidate will be a positive, highly motivated, creative self-starter with strong work ethic. Must be a team player with the ability to work alone or with a reporter. Must be able to multi-task and be highly organized. Must be able to work evenings, weekends and holidays as required and be regularly on-call to resolve issues.

Responsibilities:

  • Use video news gathering and editing equipment to create broadcast stories
  • Shoot and edit video; shoot live shots as necessary
  • Work independently with reporters to gather news content
  • Must work with minimal supervision and under deadline pressures
  • Must use the ENG truck and Backpack technology as appropriate
  • Edit newscasts as required
  • Ensure any live shot feed is properly routed and ready for newscasts as required

Qualifications:

  • General knowledge of television news broadcasting
  • Ability to edit with Grass Valley non-linear editing system (EDIUS).
  • Ability to use Panasonic/JVC HD cameras.
  • Ability to use TVU/LIVEU/ENG equipment for live broadcasts.
  • Work with others efficiently.
  • Possess strong news judgment and digital media savvy
  • Non-linear editing experience
  • Educational background in communications and/or journalism preferred by not required
  • You must hold a valid driver’s license and be insurable under VA laws

To apply, please send links of your work, resume and references to:

Jeff Perzan jperzan@wsls.com

No phone calls, please.

We offer a competitive compensation and benefits package to successful candidates.

Any offer of employment is conditional upon the successful completion of a pre-employment drug screening, investigative background check, employment/education verification, and reference checks. You must hold a valid driver’s license and be insurable under VA laws

WSLS 10 is an Equal Opportunity Employer. In addition to complying with the requirements of federal law, WSLS 10 will comply with applicable state and local laws prohibiting employment discrimination.

Dystopian video games to plant music, Indian artists take on climate change

By in Native

Dystopian video games to plant music, Indian artists take on climate change

Last week, two climate activists splashed soup on a glass-encased Mona Lisa at the Louvre, wanting to make a statement about the irrelevance of fine art at a time when the world needs a more “healthy and sustainable food system”. Closer home, some artists are using more innovative ways to raise environmental consciousness without resorting to gimmicks.From using sustainable materials to building networks with scientists and policymakers, their artworks serve to highlight the enormity of the climate crisis.
The 15th edition of the India Art Fair (IAF) is doing its bit to improve its ecological footprint, aside from making environmentalism and sustainability key themes for several of its exhibits. The IAF façade is designed by the artist duo Jiten Thukral and Sumir Tagra with a vision of colourful pixels. To ensure a life for the facade after the fair, the artists will collaborate with the Dalit-run Chamar Studio who will repurpose it into collectible bags.

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Going green: In Sadhana Prasad’s work, one can zoom in on waste and pollution with an iPad Pro

The multidisciplinary duo has also launched Sustaina India — a climate action collective which cross-pollinates art, science and policy through annual fellowships, exhibitions and public programmes, in collaboration with think tank Council on Energy, Environment and Water. The first edition of their exhibition, which opened on Feb 2 at Bikaner House, features three emerging artists working on eco-consciousness — from reimagining the potential of sea waste that washes up on Saaral Beach in Alibag to recreating ‘The Parliament of Forests’ with protagonists like herbaceous plants, mosses, algae, fungi, soil and lichen. “The policymakers work top to down whereas artistic practices are more decentralised. We are learning from each other,” says Tagra, adding that they are using a new kind of wood made of straw culture for exhibition design and avoiding the use of diesel-belching cars and bubble-wrap to pack artworks.
The Fair also features Skarma Sonam Tashi, a contemporary artist from Ladakh, who has created an immersive mountain landscape using 200 cardboard boxes, clay, papier-mâché, with maida acting as glue. In the evening, the mountain will come alive with light and sound elements. “It has been an unusually arid winter in Ladakh, with no snowfall in December and January. This is all because of climate change. The villages depend on snowfall for electricity and drinking water. Our glaciers are melting. This work is also political in the sense that it is asking for Ladakh to be brought under the sixth schedule,” says the 27-year-old who has also received the Hyundai Motor India Foundation’s Art for Hope grant.

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Skarma Sonam Tashi highlights melting glaciers.

Ongoing eco-exhibits which consider sustainability as their muse are also conscious of the inexorable march of technology. Several artworks at IAF have employed advanced gadgets to create sensory experiences. In Dhruv Jani’s conceptual video game called ‘It Takes A Long Time To Grow A Mountain,’ developed in collaboration with programmer Sushant Chakraborty, the audience, armed with a joystick, enter a subterranean maze in south Gujarat in 1962. They are searching for a poem written by a poet, whose diary entries, chronicling a survey of the Sahyadri foothills as a travelogue, become the audio narration of the game. However, in a matter of minutes, the players hit a rock and turn into sediment. One can only engage with the game for a few minutes until, by the end of the day, the screen is only a mass of sediment left behind by several players. Similarly, muralist and illustrator Sadhana Prasad challenges us to face an uncertain future by creating a large mural which is seemingly a utopian island city (inspired by Mumbai) with everything chugging along in harmony. But if you pan an iPad Pro in front of it, fractures and fault lines jump out through the screen as the city teeters under the weight of its own waste and pollution.
Sashikanth Thavudoz, winner of the 2024 ‘The Future is Born of Art’ commission, led by BMW India and IAF, has been carrying a pocket-sized device called PlantWave for the last two months. It records ‘plant music’ by monitoring electric signals of plants as sound. Thavudoz has used this sonification technology in his large-scale installation of wooden poles, light boxes and music called ‘Symphony of Nature: The Harmonic Forest’ through which viewers can walk through. “Many artist-activists are using art to protest environmental degradation. But they themselves use iPhones. We are so inextricably connected to technology now. It’s very hard to avoid it,” says Thavudoz.

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Eco flex: Bags made with flex material used in the IAF facade made by Thukral and Tagra.

The travelling exhibition, ‘Critical Zones. In Search of a Common Ground’, co-produced by the ZKM Karlsruhe and Max Mueller Bhavan in Mumbai features multidisciplinary artist Sonia Mehra Chawla who has collaborated with scientists from a Chennai-based research institute which studies mangrove forests. Her project ‘Critical Membrane’ goes on to drive home the fragility of our depleting mangrove ecosystems by blowing up images of its microbial biomass in petri dishes and inviting the viewer to experience an artistic, scientific and philosophical simulation of its depths, in an almost planetarium-like setting. “The role of scientists is not just delivering data to artists or for artists to simply illustrate scientific research. That’s not true collaboration. ‘Critical Zones’ allows for more long-term engagement between artists and the scientific community to develop a shared language,” says Mira Hirtz, co-curator of the exhibition.

Niamh Barry Sculpts in Bronze + Light With Biblical Proportions

By in Design

Niamh Barry Sculpts in Bronze + Light With Biblical Proportions

Poured, pounded, polished, and sometimes patinated, Irish maker Niamh Barry’s process working with bronze is something like practicing alchemy. But the real sorcery is the transmutation of her ideas into a marriage of craftsmanship and modern innovation. Self-taught in metalwork, Niamh Barry’s most iconic pieces are an amalgam of meticulously engineered bronze, glass, and polycarbonate.

SHOULDERING TABLE solid hand-formed bronze, Blue Patina, and mirror polish Photo: Nigel Swann

What’s more, her studio manages to manufacture roughly 30 furnishings a year with some of her larger endeavors crafted over the course of 600 to 1,400 hours following years of rumination. Several recent creations including the Shouldering Table, Ghost Bench, and What if Everything is Not Linear? are exemplary works showcasing Barry’s ability to defy gravity, manipulate perception, and commune with nature.

A sculptural bronze bench.

GHOST BENCH mirror polished solid hand-formed bronze Photo: Nigel Swann

Underpinning each form is that of a 6-inch hammered gold boat, which references an artifact from the Broighter hoard – a historic treasure trove of gold artifacts from the Irish Iron Age. And while the genesis of Barry’s phosphor bronze fleet is rooted in the same spirit, each contributes a little bit more to her creative canon. “It’s difficult to say if or how these pieces correspond or advance each other,” the designer says. “All I concern myself with is listening to what my creative mind is telling me to do. It’s intuitive and visceral and expressing that with the highest level of authenticity to myself is what matters.”

A sculptural bronze bench.

GHOST BENCH mirror polished solid hand-formed bronze Photo: Nigel Swann

The complexities of each object cannot be distilled to a singular “ah-ha” moment, but rather a fermentation. Sketches, maquettes, digital designs, and several dedicated studio assistants are activated by the slow burn of her genius. Ideas percolate, bubbling up from Barry’s subconscious until she recognizes the essence that wishes to be expressed. A series of images are then translated from her mind’s eye to paper establishing the piece’s language before those verbi-visual qualities are given physical form through model making. Engineering and craft techniques are further employed to draft workshop drawings that will help realize the final artifact.

A sculptural bronze bench.

GHOST BENCH mirror polished solid hand-formed bronze Photo: Nigel Swann

Ghost Bench is a modest – relative to her portfolio – mirror-polished, solid hand-formed bronze seat. The seemingly floating, reflective mass is buoyed by three thin legs that are more like vertical planes thin enough to disappear. In contrast, the Shouldering Table pulls focus with its blue patinated bronze finish and organic structures that prop up a thin surface further articulated with a mirror polish around the edge.

A sculptural, blue patina table and sculptural bronze bench.

SHOULDERING TABLE + GHOST BENCH Photo: Nigel Swann.

Sculptural furniture originally launched Barry’s career but her foray into lighting design is transcendent. Considered her breakthrough piece, What if Everything is Not Linear? is of biblical proportions. A dazzling eight, hand-hammered solid bronze components join together as one sculpture that descends from above. “It is the realization of a sense I’ve had for 8 years… completely contrary to the ‘drawing’ with bronze lines that I was making,” Barry says. “It finally appeared in front of me and I thought, ‘oh there you are!’ Fully realized on paper and then finally in bronze.”

A woman standing below a sculptural bronze chandelier.

Niamh Barry with her What If Everything Is Not Linear? sculptural bronze chandelier Photo: Niamh Barry

To learn more about Niamh Barry and see her work on view, visit MaisonGerard.com.

Photography of product in situ by Nigel Swann.

With professional degrees in architecture and journalism, Joseph has a desire to make living beautifully accessible. His work seeks to enrich the lives of others with visual communication and storytelling through design. A regular contributor to titles under the SANDOW Design Group, including Luxe and Metropolis, Joseph serves the Design Milk team as their Managing Editor. When not practicing, he teaches visual communication, theory, and design. The New York-based writer has also contributed to exhibitions hosted by the AIA New York’s Center for Architecture and Architectural Digest, and recently published essays and collage illustrations with Proseterity, a literary publication.

Photographer, 19, Falls to His Death While Taking Pictures of Canyon

By in Photography

Photographer, 19, Falls to His Death While Taking Pictures of Canyon
Jonathan Fielding
Young photographer Jonathan Fielding. | GoFundMe

A photographer out “doing what he loved” has tragically fallen hundreds of feet to his death as he tried to find a better vantage point.

19-year-old Jonathan Fielding passed away on January 27 while shooting photos on Moon Overlook near Torrey, Utah.

Fielding lost his footing while searching for a better spot to train his camera from, the shaky ground causing him to slip over the canyon edge, according to the Wayne County Sheriff’s Office.

In an obituary posted by his family, they wrote, “We take some comfort knowing that he was doing what he loved at the time of the accident.”

“He was on a photo shoot with friends in the beautiful Utah wilderness where he loved to be,” the family adds.

His sister Rebecca Fielding tells ABC 4 that her brother was instantly killed after the 300 foot fall. She visited the spot where he died and noted that the ground was flimsy — but gave the impression that it was sturdy.

“The biggest thing that can be done to support my family is to spread awareness about hiking safety. So many people take risks, so many people just want that perfect shot, that perfect view, but it is not worth anyone’s life,” she says.

“I don’t think a lot of people realize just how dangerous those areas are, it is just so easy to just slip and fall.”

Wayne County officials have ruled Fielding’s death as accidental and emphasized that he was not climbing anything at the time, they believe he was simply trying to find a better spot for his photograph.

“It was a tragic accident, but Jonathan should be a cautionary tale to anyone who hikes or does photography,” his sister Rebecca wrote on Facebook.

“Never trust the ground on the edge of a cliff. The rocks may look solid, the ground might seem like it will hold, but it’s still an eroding ticking time bomb. All it takes is one wrong step to dislodge rocks, one moment of unbalance, a trip over a rock, and you can plummet to your death.

“No view is worth your life. No view is worth the suffering that your family and friends will go through. No view is worth the risk that rescuers face when trying to save people and recover bodies.”

Clive Nichols: Secrets from the king of garden photography

By in Photography

Clive Nichols: Secrets from the king of garden photography

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Using Your Telephoto Lens for Beautiful Minimalist Photography |

By in Photography

Using Your Telephoto Lens for Beautiful Minimalist Photography |

When photographing beautiful landscapes, the temptation is always to shoot your composition nice and wide to fit in as much of the scene as possible. In this video from Mads Peter Iversen, he takes us on a winter wonderland trip looking for simple but effective minimalist compositions using a telephoto lens.

I adore snow and all kinds of wintery scenes; it just adds this pleasing aesthetic to your images and really gives them an extra dimension. Using snowy scenes for minimalist images is a no-brainer, and Iversen has done a great job with this video.

Starting off at a stunning lone tree surrounded by snow and gorgeous light, you can instantly see the potential that this first composition has to offer. The scene is very dynamic, and there are plenty of different ways Iversen can capture this scene. Iversen’s first step is to work the scene, by finding his composition, finding the best foreground, and so on.

Iversen discusses how this tree is one he has wanted to photograph in these conditions for a long time, and that resonates with me. In this recent article, I discuss how it is a great idea to photograph the same subject across multiple seasons.

Once Iversen captured the first lone tree, he moves on to another lone tree which again is set in a dreamlike setting with amazing textures on the snow-covered ground. The light allows those textures to stand out as the light and shadows create a more dramatic scene, but yet Iversen maintains the minimalist vision.

The last scene is a tower in a more distant subject, and Iversen’s goal is to capture the sunrise behind the tower. This is a good example of how a telephoto lens can be used for compression, where you can make the sun seem larger against a foreground subject.

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