Architecture has always been a recurring subject in photography since the first appearance of this medium: starting from the large-scale views of cities and monuments captured by daguerreotypes in the 1840s, architecture has gradually become the object of a perspective, more attentive to details and formal implications of composition. Even though documentation is still one of the main purposes of contemporary architecture photography, the subject keeps transforming itself not only through photographers’ gaze, but also thanks to the context it interacts with. What Mad Pursuit, the exhibition curated by Francesco Zanot, currently on view at the Teatro dell’architettura in the Swiss city of Mendrisio, reflects on the evolution of this subject through a selection of around 50 works by three internationally renowned photographers: Aglaia Konrad, Armin Linke and Bas Princen.

What Mad Pursuit brings together the works of Aglaia Konrad, Armin Linke, Bas Princen at the Teatro dell’architettura in Mendrisio, Switzerland | ʹWHAT MAD PURSUIT. Aglaia Konrad, Armin Linke, Bas Princenʹ | Aglaia Konrad, Armin Linke, Bas Princen| STIRworld” class=”full-width-image”>

The originality of What Mad Pursuit lies in the constant process of negotiation between the places captured by the photographs on display and the architecture that welcomes them. Considering the venue chosen for this exhibition, we are far away from the “white cube” stereotype: inaugurated in 2018, Teatro dell’architettura was originally projected by the Swiss architect Mario Botta—whose life and work have always been deeply rooted in Mendrisio—and is now a multi-functional space and core of USI Academy of Architecture. Characterised by an alternation of curved and squared lines that wrap within a circular floor plan to the large domed roof, Teatro dell’architettura is crossed by two red and grey floors unfolding around the void of the central atrium.

The title of this exhibition takes inspiration from an essay of the same name by the British neuroscientist Francis Crick (1988), where he wrote that “hybrid subjects are often astonishingly fertile,” highlighting how exchange is often more beneficial than isolation. Moving back from science to architecture, the mutual relation between the internal space of the frame and the external space is the main focus of the exhibition. In the photographic series Shaping Stones, Aglaia Konrad (Salzburg, 1960) chooses to investigate buildings that share the same material and mode of representation (black and white photography) and end up looking like a homogenous ensemble, even though they were designed by architects who were completely different in recognition and historical era. Instead of proposing a specific series of works, Armin Linke (Milan, 1966) reveals a more heterogeneous selection of photographs from his archive, without following any chronologic or linear order and going beyond their original context. Last but not the least, Bas Princen (Zeeland, the Netherlands 1975) reflects on one of the most frequent objects of debate in modern visual culture—the value of duplication and further layers of meaning this process adds—while photographing other representations of architecture (not necessarily made by resorting to the same medium).

These photographs, whose palette is mostly neutral and often turns into black and white, re-emerge from the space of the Teatro almost like inorganic concretions, in a continuous play of resignification. Revealing not only their presence but also their materiality, they challenge another recurring stereotype: photography as a purely bi-dimensional kind of representation. This materiality is more evident in Princen’s photographs, which are printed on rice paper, while Konrad’s images adapt to the surface of the wall and, on the other side, Linke prefers to transform his works into installations with more properly architectural and, at times, choreographic characteristics.

Despite the structure of Teatro dell’architettura is mostly based on the model of anatomical theatres (buildings specifically projected to teach anatomy in early modern universities), the name of this venue contains multiple meanings dialoguing with the exhibition’s topic in a particularly effective way. According to the Western tradition, a “theatre” is a kind of building whose architecture is designed not only depending on the aim of showing something or someone but also depending on the act of watching itself. Especially between the 18^th and the 19^th century, social conventions shaped European theatres devoted to performing arts as public places that were built not only to make people see but also to give them the chance to be seen. While visiting What Mad Pursuit, the visitor becomes involved in a mutual relationship with the photographs on display by constantly exchanging the roles of observer and object of the gaze itself. For this reason, the places primarily chosen by the photographers’ gaze should not be conceived as eye-catching views that open before us like imaginary windows, but rather as actual characters that make this space their dwelling.

‘What Mad Pursuit’ is on view at the Teatro dell’architettura in Mendrisio, Switzerland, until October 22, 2023.

For Peterborough-based photographer Jordan Lyall, taking photos has always been about anticipating and capturing the feeling of a moment in time.

Lyall practises what is called documentary-style photography. She snaps photos of families as they live their lives — no posing, no directing, no carefully curated outfits, no altered lighting, and no “Say cheese!”.

The photographer, who says she’s always been drawn to capturing relationships, waits for those mundane and unique moments that celebrate life, and those are the moments she documents.

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“I get super excited every time I get to see how a family lives their lives, how they love each other, the things they do, and the little quirky, weird things that are unique to them,” explains Lyall, assuring that she says “weird” and “quirky” in the best possible ways. “I love that every family is just so awesomely different.”

After holding a camera her whole life, a friend’s wedding first kicked off the self-taught photographer’s professional career 20 years ago. Though she always did documentary-style photography for weddings, Lyall says it was “creatively invigorating” when she discovered she could also bring that authenticity and rawness to family photography.

“I always kept the posing to a minimum [at the weddings] and focused on capturing the day as it happens. I always told the couples, ‘I want you to remember how the day felt, not just how it looked.’ Realizing I could have this same approach with my family work was just this great revelation. I haven’t looked back since.”

Now, Lyall’s documentary-style photography is what makes her brand and drives her passion. It also wins awards, including her recent Fearless Family Awards, and a This is Reportage: Family Award. Her work has also been featured in select exhibits, chosen as “Kodak Moments,” and shortlisted for Made for Documentary’s Documenting 2022.

More important to Lyall that her awards is that her photography captures family memories — even the ones you don’t think you want to remember, like the everyday moments of your daily routine.

“It’s about bringing you back to how that time with your kids felt in that moment and the relationships you had with them at that age, because it’ll never be the same,” says Lyall. As the mother of a 10 and 13 year old, she knows first-hand just how fleeting these moments are.

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“Your kids will grow and there’s more wonderful stuff to come, but you’ll miss those little things that you did with them and those rituals and boring, mundane moments,” Lyall adds. “It’s not about the boring stuff. It’s about what’s behind those actions, and what it says about your relationships with your kids.”

During her “Day in the Life” family photography sessions, Lyall spends either a half or full day with a family, joining them on their chosen daily activities and adventures. She explains that this is where her style “really shines” because the family can just go about their ordinary day while Lyall documents it.

Alternatively, twice per year Lyall offers limited “Slice of Life” sessions where she spends just one hour with the family, usually documenting a specific activity. She only offers 25 “Slice of Life” sessions in the summer and fall and 25 sessions in the winter/spring.

Lyall also continues to do wedding and event photography.

No matter the event you book her for, Lyall does not do any directing or stage-setting. Instead, she acts like the “family friend who happens to have a camera,” tagging along for the day. Since she does practice such an intimate type of photography, Lyall explains it’s very important to get families and children feeling comfortable around her.

“I always encourage parents to tell their kids that they don’t have to say ‘cheese’ and they don’t have to do the things they might associate with being around a camera, like making eye contact or being performative,” says the photographer. “They can just do their thing and I’m just there to hang out, have fun, and take pictures.”

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While Lyall points out she’s always respectful of a family’s wishes and limitations to what they want photographed, she encourages them to allow her to capture the messy moments along with the good.

“If your kid has a meltdown, that’s part of life, and that’s okay,” she says, adding that she’s not there to judge your family or messy house. “Capturing how you help your kids through that is a huge part of your family and your life and your relationships. And that’s the stuff you’re going to want to remember. The things that people think they don’t want to have in their family photos is exactly what they should be capturing.”

She notes those meltdown moments are a rare occurrence because she aims to provide a comfortable and stress-free environment, where children are willing participants because they aren’t being forced to look and act in a certain way.

Lyall recalls a time when, as a young mother, she took photos of her newborn in a tutu and put the images on Facebook. Though she was bombarded with comments of how cute her child was, now when she looks at those photos, all she sees is the reality behind it: it took 30 minutes to take the photo because the outfit was scratching her toddler’s skin and they kept pulling it off.

“Social media teaches us that we must only show the best parts of ourselves,” says Lyall, adding that she believes it stems from the age of film when there were limited chances to snap those perfect shots. “I don’t think it helps anybody. I think it creates a situation where we all feel alone, disconnected, and less than [other people]. I think we should be sharing more of our real selves and be talking more about the real things that we deal with day-to-day, especially as a parent.”

To fight against this social construct, Lyall explains her photography is instead a reminder to young children that they’re worthy of having their picture taken even when they don’t have their hair styled, aren’t wearing matching clothing, and aren’t smiling.

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“I want a kid to feel like they have a record of themselves doing all the things and being gloriously themselves, no matter what that is — weird, wonderful, crazy, chaotic,” Lyall says. “All of it is amazing, so we want to remember you exactly as you are. That’s the energy I want to bring to all my sessions, because you are worthy of being captured no matter what’s going on and no matter what you’re doing.”

To help people capture their everyday moments, Lyall has started a how-to series on improving cell phone photos, which can be found in her Instagram story highlights. All the tips and pointers are “quick and easy” and require no extra equipment, technical knowledge, or directing.

“I wanted to encourage people to capture the real moments of their day-to-day lives with their family more often, and one of the easiest ways to do that is to feel more confident taking images with your own cell phone,” she explains, adding that in the fall, she will continue the series with advice on seeing and using light to improve cell phone photo quality, and on editing photos.

She says she hopes these tips will help parents capture photos of their children exactly as they are — something she has learned to do while watching her own children grow up.

“As I’ve gotten older and realized how fleeting these moments are, it only increased my drive to catch the real stuff over stylized stuff,” she explains. “I really wanted to preserve who they were as people as they grew and capture that over anything else.”

“It pushed me that much more to offer this style of photography to people as an alternative, because I think it’s so incredibly important to celebrate who you are, and not what you think people should be.”

Visit jordanlyallphotography.com to schedule a Day in the Life or Slice of Life photo session, and follow Jordan Lyall Photography on Instagram and Facebook for the how-to series on using your own cell phone for photos.

NOT ILLEGAL, BUT IS IT MORALLY RIGHT?

While it is generally not illegal to take videos or photographs of someone in public, some people believe that it is morally wrong to do so and that it is an invasion of privacy. Similarly, others feel it is alright to take videos and photographs of someone else in public as long as the content is not obscene or harmful.

Even if these videos or photographs are not obscene or harmful, one should still be conscious of the possible implications on the persons in those videos or photographs, especially if negative behaviour is captured.

This includes how it may affect them at work or in school, and how it may affect their friends and family members. Ultimately, it is a personal choice whether or not to take a video or photograph of someone else in public but one needs to be aware of the moral and legal implications. If the situation permits, it would only be right to seek consent before any videos or photographs are taken, particularly if it involves a child.

What then can you do if you find yourself the unwilling subject of a non-obscene video or photograph?

Approach the situation calmly and politely request that the other party stop taking pictures or videos of you. You may also ask them to delete any footage and/or photographs they have already taken. It is important to avoid shouting, being argumentative, intimidating, or aggressive.

Likewise, refrain from engaging in any physical altercation, such as trying to take their devices from them or pushing them forcibly. If the person persists in filming or photographing you, you may wish to call the police for assistance or to file a report.

While you might need certain information from the person to file your report, it is important to understand that you do not have the right to demand their personal identification documents or prevent them from leaving. If you have made a police report for a crime but your case is not taken up for further investigation or prosecution, you can choose to file a Magistrate’s Complaint to give directions for further action. Additionally, you may also consider taking legal action against the person for any emotional distress or financial losses suffered.

As I stood at the edge of the tranquil beach, a sense of both calm and disappointment washed over me. Having checked the weather forecasts closely, I was once again feeling let down as instead of crisp morning light, I instead had low clouds and very little light. 

All around, the beach appeared to be draped in a thick blanket of low clouds, creating an almost surreal atmosphere. The waves lazily lapped against the shore, instead of what I would have liked them to be doing and were barely disrupting the stillness. I felt like giving up on the shoot, but after surveying the scene, I figured this was the perfect setting for a journey into the realm of fine art photography, where I intended to experiment with long exposures to capture the essence of this moment.

The Decision to Embrace the Elements

Despite the subdued lighting and the gentle monotony of the waves, I felt some excitement building within me as I took and reviewed my first image. There was an inherent beauty in the subdued tones and the lack of immediate drama in the scene. I knew that I wanted to encapsulate this feeling and who know, translate it into a visual masterpiece perhaps?

Having already grabbed my filters, I started on my quest. The decision to use these filters wasn’t just technical; it was a creative choice. I wanted to extend the exposure time beyond what I would normally do, thus allowing the subtle movements of the waves to blur into an almost dreamlike state. The intention was to blur the lines between the sea and the sky, creating a seamless transition between the two elements. With this intentional blurring, I aimed to evoke a sense of timelessness, a moment frozen but also flowing.

Choosing the Exposure Time

As I set up my camera, I pondered the exposure time that would best convey the tranquility of the scene. While shorter exposures might have captured the details more crisply, I was drawn to the idea of extended exposures that could emphasize the delicate movements in the water and clouds. The length of the exposures was crucial; it had to be long enough to create the desired effect, yet not so long that the scene lost its connection to reality entirely.

I settled on two-minute exposures as the sweet spot. This duration allowed enough time for the waves to create a beautiful misty effect as they interacted with the shore, blurring their distinct edges. What I need to be 100% sure of here was getting my focus right. Using focus peaking, I was able to see exactly where the plane of focus was before then putting on my 10-stop filter.

Embracing High-Key Aesthetics

While the idea of intentionally “blowing the highlights” might sound counterintuitive, it was my deliberate choice to amplify the ethereal quality of the scene. With the thick clouds diffusing the light, there was a soft light that wrapped around the scene. By allowing the highlights to blend into this soft radiance, I aimed to create a high-key aesthetic that would enhance the dreamy atmosphere.

The challenge here was to balance the blown highlights with retaining some detail in the minimalistic rock formations that were to be the focal points of the composition. I wanted the rocks to stand as stoic witnesses to the passage of time, almost as if they were guardians of this tranquil space. After a few attempts, I was on the right track and off now on my new adventure.

The Art of Composition

With my settings dialed in, I turned my attention to the composition. I wanted to create an image that was both visually engaging and potentially emotionally evocative to the viewer. The rule of thirds felt too rigid for this scene; instead, I opted for a more fluid approach. Placing the rock formations closer to the edge of the frame allowed the viewer’s eye to wander through the negative space, getting lost in the expanse of the beach and the soft merging of sea and sky. I have said before that the rules of composition shouldn’t be rules, but more so tools, and this was a perfect opportunity to practice what I preach as such. 

What I Saw Versus What the Camera Saw

As the first two-minute exposure began, time seemed to stand still as I waited to see what the result would be. I watched as the waves danced and mingled with the shoreline, before retreating once again back out to sea. The clouds could have painted soft streaks across the sky; however, I was intentionally overexposing my shots, so these wouldn’t be a factor I would have to consider.

Reviewing the images on my camera’s LCD screen was in some way a revelation. The intentional blown highlights didn’t detract from the photograph’s impact; instead, they added to the otherworldly aura of the scene. The rocks, rendered in subtle detail, anchored the composition, and with the negative space that the blown highlights had created, I felt it added to the overall scene. 

Conclusion

The experiment with fine art photography was a journey of creativity and contemplation. The textbook definition of fine art photography is: “fine art photography is artistic expression through photographs, transcending reality to evoke emotions and narratives.” Even as I was hitting that shutter, I was unsure if it would work out, and even after I got home and processed the images, I was still unsure. Through intentional choices in exposure time, composition, and embracing the elements, I was able to capture the delicate balance between reality and dreaminess. 

This experience reminded me that landscape photography isn’t solely about technical prowess; it’s about storytelling, emotion, and the artist’s unique perspective. It’s about pushing boundaries, embracing imperfections, and seeking beauty in the subtlest of details, from my point of view anyway.

Do you have additional thoughts on this topic? Are you a fine art photographer? I’d love to see your views on my experiment and see what is fine art photography?

Modern cameras are absolutely ridiculous machines, capable of performing tasks and producing images that would not have been imaginable even a decade ago. And let’s be honest: most cameras are far more capable than necessary, meaning if our images are not what we want them to be, the problem is probably with us. This important video essay discusses the issue. 

Coming to you from Mitchell Kanashkevich, this insightful video essay discusses the idea that modern cameras have surpassed the needs of the majority of photographers. This sort of message should not be discouraging; rather, it is a great reminder that we do not have to spend money every time we want to improve as photographers, and really, considering how expensive a new camera or lens can be, that is a really important thing to keep near the front of our minds. And besides wasting money on gear we do not need, that sort of approach can lead to a vicious cycle, and that sort of back and forth rarely leads to much satisfaction, at least not in the long-term. Often, a bit of education or creative exploration is a much better solution. Check out the video above for the full rundown from Kanashkevich.

For many, it has always been a dream in the back of our heads to someday be able to escape the rat race and follow our passion in photography and turn it into a career!

Even though the very idea can be both scary and exciting, the dream can at times be all consuming. In this very open and honest video from UK landscape photographer Paul Thomson, he shares some valuable insights into exactly what it can be like when you follow those dreams and pursue landscape photography as a full-time career!

Paul’s approach has been a well-thought-out one, and he shares the highs, lows, and everything in-between that he has experienced in his two years as a professional landscape photographer !

If you have ever considered, are currently considering, or have already taken the plunge, then this video gives you a look into the real-world experience that can lie ahead! 

It’s certainly not an easy road lined with roses, and you need to constantly think on your feet, diversify, and ensure that you create multiple revenue streams. However, the benefits that it has brought to Paul from a mental health point of view can outweigh even the downs that come with trying to make a living through landscape photography versus the alternative of the 9-5 rat race. 

Centering trans youth: Boston photographer’s ‘Are you OK?’ project to stop in Northampton next month

News > Local

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  Photographer Jesse Freidin’s has given 130 trans and nonbinary youth across the United States, a space to share their stories in his project “Are You OK?” The project will be coming to Northampton this fall. Jesse Freidin

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  Jesse Freidin

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  Jesse Freidin

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  Photographer Jesse Freidin’s has given 130 trans and nonbinary youth across the United States a space to share their stories in his project “Are You OK?” It will come to Northampton this fall. Jesse Freidin

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  JESSE FREIDIN

Staff Writer

Published: 9/3/2023 4:21:04 PM

NORTHAMPTON — When she was in first grade, Kristal, a transgender girl, was pushed down a rocky hill by a schoolmate while playing basketball, leaving her with a large scar on her back. Another time, a classmate pushed her down in gym class, causing a wiggly tooth.

When she first came out as trans, Kristal’s grandmother wouldn’t even use her name, instead referring to her as “it” and “that child.” She told her she was a disruption to the world around her.

But despite all the hate she has endured growing up as a trans girl, at 10 years old, Kristal said, “I think trans kids should just be who they are and try to come out to their friends or teachers or grandparents… I think being supported by at least someone would make them feel happier.”

Kristal shared those words with Jesse Freidin, a Boston photographer who has given not only Kristal, but 130 other trans and nonbinary youth across the United States, a space to share their stories in his project “Are You OK?” which will be coming to Northampton this fall.

Freidin takes portraits and records oral histories to document the lived experiences of trans and nonbinary people under the age of 24, and has so far traveled 26 states doing so.

“The goal is to create change and to help these kids know that it’s hard, but that they can get through it, and there’s people out there that love them, even if they don’t, and I see that happening,” said Freidin.

Stopping in Northampton

Northampton is his next stop, where he has partnered with Arts Equity Group to schedule a photography session for Oct. 14. He has also received funding in part from the Northampton Arts Council.

“Freidin is building a remarkable photo archive and repository of personal stories,” said Danielle Amodeo, director of Arts Equity Group. “By doing so, he not only affirms trans youth experiences in the present but also strives to correct the mistakes of history and ensure that future generations have access to a comprehensive and authentic archive of trans experiences.”

This winter, selections from Freidin’s project will be on display at Holyoke’s Paper City Clothing Gallery in the upcoming exhibition “Are We OK?”, with dates still to be determined.

The exhibition draws its title from Freidin’s project and will address themes of bodily autonomy in the face of anti-trans, anti-abortion and anti-environment legislation.

Data by the American Civil Liberties Union lists 492 proposed U.S. laws targeting LGBTQ rights that were introduced in the 2023 legislative session. That compares to around 150 proposed laws last year.

And the Human Rights Campaign cites a record 70 anti-LGBTQ laws enacted this year as of May 2023. Among them are laws banning gender-affirming care for trans youth, laws allowing or requiring the misgendering of trans students, and laws targeting drag performances.

“Once the anti-trans laws really started picking up more right around three years ago, before the pandemic, I finally got angry enough to close my photography studio and see if I could tell a compelling story about who is being harmed by these laws,” said Freidin, who has an extensive background in professional photography, with his work featured in The New York Times, NPR and Cosmopolitan, to name a few.

“This is personal for me,” said Freidin, a trans man. “This is my community, and I want to create change.”

Each photography session, ranging from big cities to small town Tennessee, involves photographing between one and 10 kids and their families. The portraits center the youth, with families standing behind them just out of the frame.

The sessions always take place at a private location outside with natural light. Trans and nonbinary people ages 5 to 24 and their families are informed prior to the session about the pros and cons of getting involved in the project, what it means to be public, and who Freidin is.

“They all have many chances to have an active agreement to participate,” Freidin said, adding that creating trust is at the heart of the project.

Each session is structured exactly the same. The kids and their families walk up, Freidin re-introduces himself and shares his story, and he spends some time building that trust.

Then, Freidin leads a short meditation, where the kids are invited to take five deep breaths while sitting on the same level as him.

“For a lot of these kids and a lot of parents, it’s the first time their kid has been affirmed by an elder community member,” said Freidin. “By that last breath, that’s when the image is made.”

He then asks the same questions each time, including: What do you think about these anti-trans laws? Are these laws affecting you or not? What is your message to the next trans person in line?

“The repetition, I think, really draws out these narrative threads,” said Freidin. “That last question, every single kid knows what to say, and it’s pretty incredible. They always say, ‘Just be you. Being you is radical, and you will be loved, and we’re gonna get through it.’”

The end result is a counter-narrative of hope and affirmation in the face of hateful anti-trans legislation and rhetoric.

“For the kids all around the country who don’t have supportive families or are struggling, they get to see this project on social media… and they get to have this private moment and absorb the positivity and strength of these kids,” said Freidin.

In one oral history, Callum, age 16, said, “I’ve been trying to get involved in advocacy for a while now. I’ve been kind of procrastinating doing it, because in some ways I’ve felt scared about everything that’s going on and also I don’t want to be seen as different.”

“But I saw this project and thought, you know, maybe now is the time. Maybe now is the time for me to feel better about myself, for me to feel confident enough to just show people who I am and show people that we exist and we’re here,” said Callum.

That’s what it’s all about, according to Freidin. “The kids and families know that they’re doing this to create change, and this is their social activism,” he said.

“People have said lots of horrible things, and I’m aware of it, and I’m still putting myself at risk just like these families are, just like every other activist is doing right now, because there’s work to be done,” said Freidin. “But the second I get to a session, I am full of joy. It is so wonderful to connect with these kids.”

Out of countless memories from the past few years immersed in this project, one of Freidin’s earliest stands out.

He was in Birmingham, Alabama at his very first session and had just finished photographing two kids. As he took his time packing up his equipment, he turned around to see the mother of one of the kids running back toward him holding a box of warm cookies fresh from the bakery where she worked.

“It’s just the kindness of that one mom. It’s like these parents have adopted me,” said Freidin. “And I’m kind of adopting their kids, and then the parents are adopting me. And I never expected that, but that’s what happens.”

Trans and nonbinary youth and their families interested in signing up for a free portrait session can visit www.areyouokportraits.com/book-a-portrait.

Maddie Fabian can be reached at mfabian@gazettenet.com or on Twitter @MaddieFabian.

U.S. Rep. Jim McGovern has introduced a bill in Congress that could ban dozens of pesticides in the United States, including many banned in other…

AMHERST — Identifying areas in Amherst appropriate for building more housing, including apartments for college students, could reduce the pressure…

Bed-in event to benefit Cancer Connection NORTHAMPTON/HADLEY — Cancer Connection’s 2023 Bed-In will take place on Friday, Sept. 8, from 7 a.m. to…

NORTHAMPTON — When she was in first grade, Kristal, a transgender girl, was pushed down a rocky hill by a schoolmate while playing basketball…

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Bangkok, Thailand

Bags of cow dung are thrown at the Thai architect Duangrit Bunnag at the Mirror gallery in response to developments in Thai politics. Duangrit invited the public to watch him keep his promise after he tweeted: ‘If the Pheu Thai party joins hands with the Palang Pracharath party, I will allow people to throw shit at my head’

Photograph: Lillian Suwanrumpha/AFP/Getty Images

The beauty of being a professional photographer is that you have the freedom to pursue what you love on your own terms. However, with that comes arguably its biggest drawback: the loss of guaranteed steady income and financial security. Every freelance photographer goes through lulls, and it is important to expect them and to know how to get through them. This great video essay features a professional photographer discussing the issue and offering some helpful advice. 

Coming to you from Samuel Elkins, this excellent video essay discusses the issue of lulls as a professional photographer and how to weather them. No doubt, it is important to take a very pragmatic approach to this and budget for these times, but there is also the mental side of it. It can be easy to become anxious and discouraged by these lulls, and while it is important to be realistic about your abilities and chances of professional success, you also need to understand that professional work often ebbs and flows. In fact, this can be a great time to explore personal projects to build your portfolio and expand your creative palette so you’re ready when the clients start to flow again. Check out the video above for the full rundown from Elkins. 

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Tucson-based DarkSky International recently hosted its fourth Capture the Dark Photography Contest, presented by Visit Utah, to celebrate photography’s important role in the dark sky movement. The contest received 494 entries from participants worldwide to the 10 categories:

• Connecting to the Dark: Experiencing a natural night provides perspective, inspiration, and leads us to reflect on our humanity and place in the universe.

• International Dark Sky Place: Now over 200 protected lands and municipalities worldwide have been certified by DarkSky as an International Dark Sky Place, creating havens for astrophotographers.

• The Impact of Light Pollution: Light pollution can significantly impact the environment, human health, and our access to the night sky. This category also includes images of terrible lighting, glare bombs, etc.

• The Bright Side of Lighting: Light pollution can give artificial lighting a bad reputation, but lighting that follows DarkSky’s Principles for Responsible Outdoor Light can be beautiful, healthy, and functional.

• Creatures of the Night: Light pollution doesn’t only erase our view of the stars; scientific evidence suggests that artificial light at night has adverse and deadly effects on wildlife, including amphibians, birds, insects and mammals.

• Deep Sky: For thousands of years, humans have looked to the night sky and wondered what is out there. Today, we can take photos of deep space objects from our own backyards.

• The Mobile Photographer: No big camera? No problem! A photo from any of the above categories that was taken with a cell phone, tablet, or GoPro. No DSLR, mirrorless camera or drone shots.

• Youth: A shot for any of the above categories taken by someone 17 years old or younger.

• Utah Dark Skies: A photo taken in one of the most popular destinations to capture dark skies — Utah

• People’s Choice: Voted on by the public.

“This year we saw some of the most beautiful photos from around the world that we have ever seen,” said DarkSky International Program Associate Michael Rymer. “These brilliant views of the night sky show how our place in nature does not stop at the horizon, and that the sky above is as much a delicate and beautiful resource that we must protect and reclaim.”

“Congratulations to this year’s Capture the Dark Photography Contest winners and the awe-inspiring photos,” said Vicki Varela, managing director of the Utah Office of Tourism.

“Astrotourism and dark sky messaging complement our Red Emerald Strategic Plan, which aims to elevate life in Utah through responsible tourism stewardship. Preserving dark skies helps communities establish long-lasting tourism economies and keeps our places Forever Mighty.”

A global panel of judges composed of Imma Barrera, Ian Lauer, Jeff Dai, Parisa Bajelan, Ben Coley, Dr. Lin Qing, reviewed the photos using criteria that included technical skill, composition, connection to the category theme, and “wow” factor.

Winners of each category will receive a prize package that includes a feature in DarkSky’s Nightscape publication, DarkSky’s blog and social media, a DarkSky membership, DarkSky and Visit Utah swag, and a Peak Design Field Pouch.

Additionally, one photograph will be presented with a “People’s Choice Award” based on votes by the public. This winner will receive a prize package that includes a $250 gift card to B&H, a feature in DarkSky’s Nightscape publication, the DarkSky blog and social media, a DarkSky membership, and DarkSky and Visit Utah swag.

To see the winning photos, visit the official website for the photography contest at capturethedark.darksky.org and check out the official announcement on the DarkSky blog.

DarkSky International is a recognized global authority on light pollution, empowering a global movement to protect the night sky. DarkSky restores the nighttime environment and protects communities from the effects of light pollution through outreach, advocacy and conservation. Since 1988, its global community of dark sky advocates have protected more than 200 International DarkSky Places, enacted dozens of responsible lighting policies, and raised awareness of light pollution on every continent.

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