Photography

Meet the winners of SA’s premier bird photography competition – The Mail & Guardian

Meet the winners of SA’s premier bird photography competition – The Mail & Guardian
BirdLife South Africa Photography Competition - Grand Prize Winner - Halima Beale

Bird lovers and photographers flocked to the African Bird Fair in Johannesburg (and online) recently for the announcement of the winners of the inaugural BirdLife South Africa Photography Competition, in partnership with Canon South Africa. 

A professional panel of judges had the tough task of whittling down the more than 3 000 images received to a shortlist of 200, and then finally to eight exceptional images in different categories. 

In a serendipitous turn of events, the overall winning image by Halima Beale showed a sunset scene featuring the familiar silhouette of a blue crane, South Africa’s national bird.

This was especially fitting for BirdLife South Africa, the competition organisers, which are tasked with conserving South Africa’s birds and their habitats.

The competition, which raises funds for the conservation work of BirdLife South Africa, has captured the imagination of South Africa’s birdwatching and photography community. More than 400 photographers entered the competition, in support of the organisation’s work, but also in the hope of winning one of the prizes totalling almost half a million rand in 10 categories. 

The main categories were: action; portrait; birds in the environment; and garden, with secondary categories awarding the best photos of threatened and endemic species, an award for the best youth entry (for a photographer under 18), and a people’s choice prize. 

There was significant interest in the shortlisted images for the people’s choice category, with more than 4 000 members of the public participating in voting. 

Adam Buckham’s Cape Sugarbird

The quality and variety of images entered were outstanding. Roger Machin, product marketing manager for Canon South Africa and senior judge for the competition said: “We were really impressed by the efforts people went to, to get such amazing pictures of our country’s birds. Canon South Africa was very happy to be part of this competition, most notably with the big prize in the youth category. We really want to see the next generation of birders and bird photographers showing their stuff. Our judging team had a really hard time choosing the winners, with a few late night debates, but I’m sure you’ll agree that we have some great shots for BirdLife South Africa’s first photography competition.”

The overall winner, which also won the birds in the environment category, was a photograph of a Cape wetland just after sunset, with a single silhouetted blue crane reflected in the fiery orange water. The talented photographer, Halima Beale from Somerset West, walked away with the grand prize of a three-night, all-inclusive stay for two people at the Tswalu Kalahari Reserve worth R240 000, as well as access to more than R1 million worth of Canon camera gear to use on loan while at Tswalu.

 The prize includes dinner at the Klein Jan restaurant with Michelin star chef Jan Hendrik van der Westhuizen, a personal guide and tracker for the duration of the stay, as well as botanical and pangolin walks with the resident experts.

Beale was ecstatic upon hearing that she was the overall winner. 

“We were heading out to Wits and for our family getaway with the kids and grandkids. The sun was already setting when we drove past this piece of water with blue cranes and the most magnificent sunset. But, it was already dark and we were late so we drove past. Then my husband said to me, ‘No, let’s go back. This is too beautiful. You have to take this picture.’ So we did, and I jumped out in the dark with my camera and took a series of pictures, and here we are.”

Adam Buckham, the winner of the youth category, was just as excited. 

“Living in Cape Town, I have taken hundreds of pictures of Cape sugarbirds. However, on a particular day with a pumping southeaster, my dad and I decided to visit Tafelberg Road. After finding a group of sugarbirds feeding on a protea, we decided to try to get a winning shot. In this particular picture, I love how the wind has caused the tail to flap to the side of the bird’s body, creating a unique pose of an amazing bird. I have also grown to love soft lighting, and so the overcast day provided an excellent opportunity.” 

Adam took home a Canon EOS R7 camera with RF-S 18-45mm, RF 100-400mm and RF 600mm f11 lenses, valued at R50 000.

Johannes van der Merwe’s male pennant-winged nightjar

The other main category winners included a spectacular photo of a male pennant-winged nightjar displaying (Johannes van der Merwe, in the action category), a diminutive female swee waxbill perched delicately on a hanging branch (Dionne Miles, in the portrait category), and a female white-bellied sunbird hovering in place while drinking nectar from a Chinese hatplant (Holmskioldia sanguinea) (Philip van den Berg, in the garden category). 

The secondary categories featured a Cape cormorant framed from above against a crashing wave (Andrew Jenkins, in the threatened species category), a male swee waxbill feeding on a grass stem (Mike Buckham, in the endemic species category), and a male Cape sugarbird gripping a protea in a howling southeaster with its resplendent tail trailing horizontally behind it (Adam Buckham, in the youth category). The people’s choice winner was a shot of a rare black coucal in flight carrying a praying mantis (Roger Hogg). 

The announcement of the winners was the culmination of months of effort from BirdLife South Africa and Canon South Africa, who partnered to launch this first-of-its-kind competition. 

Roger Hogg’s rare black coucal in flight carrying a praying mantis

Mark D Anderson, chief executive of BirdLife South Africa, explained the significance and objectives of the competition: “Our annual photography competition provides us with an opportunity to showcase South Africa’s 870-plus magnificent bird species, through images captured across the length and breadth of our beautiful country, whether that’s in a famous national park or in a local garden. It is also a platform for our organisation to raise much-needed awareness of and funds for our conservation efforts, and we are extremely grateful to the many photographers who entered their images, and, in so doing, contributed towards our work.”

BirdLife South Africa would like to thank the many sponsors of the photography competition, including Canon South Africa; Tswalu Kalahari Reserve; Tintswalo at Boulders; The Royal Portfolio; The Oyster Box; RETURNAfrica; Struik Nature; Gardena; Elaine’s Birding and Wildlife Products; Birding Africa; and Cape Town Pelagics. BirdLife South Africa would also like to thank and acknowledge the five professional judges for their contributions, Roger Machin, Richard Flack, Lizet Grobbelaar, Prelena Owen, and Sandiswa Kula.

You can see all the winning images at: https://www.birdlife.org.za/photography-competition-2023.

BirdLife South Africa is the country partner of BirdLife International, a global partnership of conservation organisations that strives to conserve birds, their habitats and global biodiversity, by working with people towards sustainability in the use of natural resources. BirdLife International partners operate in more than 120 countries worldwide. BirdLife South Africa relies on donor funding and financial support from the public to carry out its critical conservation work

3 things to do this weekend: A photography exhibit, an antique car show and the return of Good Ole Days in Colfax

3 things to do this weekend: A photography exhibit, an antique car show and the return of Good Ole Days in Colfax
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Here are 3 things to do for the weekend of Aug. 5 and 6, 2023, curated by WGLT’s Lauren Warnecke. You can find more coverage on our Datebook – Arts & Music page or by subscribing to WGLT’s Weekend Scoop email newsletter, which goes out every Friday.

Bingo and Biscuits in Colfax: The Good Ole Days festival returns to Colfax after a 30-year hiatus as part of the town’s revitalization plan. North Carolina southern rockers Dirty Grass Soul headline Saturday night at 8 p.m. in the town’s shiny new pavilion. There’s nostalgia around every corner, with bingo and a home run derby on Friday evening and a golf cart parade, whiffle ball tournament and biscuits and gravy at the American Legion to properly kick off the weekend. 5-9 p.m. Friday and 8 a.m. – 10 p.m. Saturday in Octavia Park, Colfax. $5 cover for Dirty Grass Soul; carnival wristbands $15-$20. colfaxrestoration.org.

A “Little Black Boy” redux: Twin City native Rashod Taylor’s black and white portraits — most of his young son, LJ — were exhibited at Joe McCauley Gallery last year. This exquisite collection is thankfully on view again, this time in the McLean County Arts Center’s Brandt Gallery. “Little Black Boy” shines a lens on the lives of Black boys, and is an unparalleled example of technique and patience through Taylor’s use of black and white film on a large format camera. While there, check out Louisville-based Ann Dawkins’ fruity concoctions in the Armstrong Gallery. Aug. 4-Sept. 15 (artist reception 5 p.m. Friday) at the McLean County Arts Center; free. mcac.wildapricot.org.

Car Talk at David Davis: Car enthusiasts should make their way to David Davis Mansion on Saturday to cavort with likeminded gearheads for its annual Antique Auto Show. The day features vintage motors dating back to 1900; they’ll take a cruise around the grounds for a “Parade of Progress” at 2 p.m. 10 a.m.-3 p.m. Saturday at David Davis Mansion; $5 suggested donation (cash only). daviddavismansion.org.

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Louisville Zoo to host wildlife photography classes

Louisville Zoo to host wildlife photography classes

LOUISVILLE, Ky. — The Louisville Zoo announced the return of its popular Wildlife Photography Basics class on Aug. 12 and Sept. 9. The one-day course is in partnership with Murphy’s Camera.

Participants will learn the building blocks of great Zoo wildlife photography. Zoo staff will lend their expert advice on what animal behaviors to look for as well as the best times and seasons to photograph different species.  Murphy’s Camera experts will advise on the basics of framing a shot and practical methods for taking advantage of available light.

The class meets from 9 to 11 a.m. and is designed for teens and adults eager to learn the basics of wildlife photography. For the Aug. 12 class, participants will take a photo walk through the South America area with views of puma, bald eagle, lynx, maned wolf, flamingos, sloth, hyacinth macaws or toucan (depends on rotational schedule) and jaguar.

The Sept. 9 class features the Islands area with views of the little penguins, dalmatian pelicans, Aldabra tortoises and rotational islands mammals which could include Sumatran tiger, orangutans, babirusa, tapir and siamangs.

Registration for both classes is open now for $60 for non-members and $40 for members and includes all-day Zoo admission. Visit the zoo’s website for more details and to register.

Beloved Grandma Janet ‘retires’ from Grundy Co. Fair photography

Beloved Grandma Janet ‘retires’ from Grundy Co. Fair photography

PHOTO COURTESY OF KATRINA HEMANN
Reinbeck resident and now retired Grundy County Fair photographer Janet Schildroth pictured at the fairgrounds in Grundy Center during fair week in a previous year.

GRUNDY CENTER – A familiar face behind the lens at the Grundy County Fair has elected to hang up her camera strap after years of capturing special moments throughout the fairgrounds each July.

Reinbeck resident Janet Schildroth – affectionately known as ‘Grandma Janet’ to area schoolchildren and 4-H/FFA members alike – switched gears this year, moving from fair photography to other volunteer avenues at the annual county fair which took place last month from July 17-22.

“Janet has been a wonderful addition to our volunteers for the Grundy County Fair for many years. She spends countless hours taking photos of events going on at the fair, especially focusing on the behind-the-scenes,” Grundy Co. Fair Board member and primary fair photographer Katrina Hemann said. “She is fondly called ‘Grandma Janet’ throughout the fairgrounds, and [exhibitors] and visitors alike know to smile for her camera. She will be greatly missed as her presence was a constant on the fairgrounds!”

While Hemann has been the fair’s official photographer for 13 years, she said Schildroth has been her official helper for at least the last five years.

“I get photos when I can,” Hemann explained, “but being on the [fair] board and having a daughter still showing, I can’t get to everything, so we had Janet help out. … [S]he has done a fantastic job at not only capturing precious moments but really being able to tell stories with her photos. She has a knack for capturing pure moments of joy and getting fantastic candids.”

When asked to comment on her ‘retirement’ from fair photography, Schildroth – ever humble – respectfully declined, choosing instead to focus on the members of the fair board and the incredible work they do to make the Grundy County Fair a success each year.

Grundy County Fair Board officers currently include president Jared Gutknecht, vice president Kyle Dudden, treasurers Jodi Michael and Justin Lynch, and secretary Clay Geitter.

Fair board directors include Katrina Hemann, Brandon VanLoh, Dr. Kurt Steckelberg, Gavin Dudden, Justin Thesing, Curt Kyhl, Jason Scafferi, Kerri Lynch, Jody Peters, Bryan Moeller, Renee Messmore, Ryan Woebbeking, Jason Steinmeyer, Justin Lynch, Luke Kjormoe, and Jenny Meyers.

“The fair board members are very committed and do a lot of work,” Schildroth said of the board, which includes her daughter Jodi Michael. “[They all] work hard to make it an ‘All-American’ county fair.”

Despite stepping back from her official role, Schildroth could be found volunteering at the fair again this year, Hemann said.

“She was able to help this year with taking tickets in our 1851 Pavilion, so we’re crossing our fingers you’ll still see her helping now and then at the All-American Grundy County Fair.”

The Grundy County Fair ended on Saturday, July 22 with 24 static/non-livestock 4-H projects selected for the Iowa State Fair which takes place Aug. 10 through Aug. 20.

Grundy County 4-H members whose projects will be on display in the Bruce L. Rastetter 4-H Exhibits Building include Christian Meester, Charlie Wessels, Kinzee Hemann, Westen Steinmeyer, Will Rogers, Anna Meyers, Daniel Hommel, Ryder Messmore, Bentley Beenken, Anna Goodman, Page Messmore, Madi Traeger, Dalton Boldt, Avery Smith, Collin Primus, Colton Rogers, Lizbeth Meester, Cameron Sieh, Owen Primus, Levi Sieh, Greely Everts, Kennedy Cole, Melanie Meester, and Kennedy Brant.

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The Enticing Mysteries of U.F.O. Photography

The Enticing Mysteries of U.F.O. Photography

The Enticing Mysteries of U.F.O. Photography

Among U.F.O. hunters, the lack of visual evidence has always been a vexing problem. That hasn’t stopped them from looking.

August 3, 2023

A group of people looking up to the sky.
After reports of U.F.O.s frequenting southern Michigan in March, 1966, hundreds of citizens turn out to scan the night sky.Photograph from Bettmann Archive / Getty

In the corner of the social-media universe that calls itself #ufotwitter, there’s always some new piece of visual evidence to discuss. Did a police body cam catch an otherworldly craft crash-landing in Vegas this week? And that kid nearby who called 911 to report an eight-foot-tall alien in his back yard—is he for real? What about this video of a saucer losing its tractor-beam grip on a cow and sending it winging over the treetops? Is this connected to the recent spate of cattle mutilations? What do you make of this blurry splotch? Does this light look weird?

Of course, it’s hard to believe anything we see nowadays, and forecasts of an A.I.-fuelled disinformation apocalypse suggest that’s only going to get worse. But, in the world of U.F.O. hunters, the lack of high-quality photographic proof has always been a vexing problem. “Considering the notorious camera-mindedness of Americans,” Carl Jung wrote presciently in his 1958 book “Flying Saucers,” “it is surprising how few ‘authentic’ photographs of UFOs seem to exist, especially as many of them are said to have been observed for several hours at relatively close quarters.” Now with high-definition photographic tools held perpetually in the palms of billions of people across the globe, this problem should give us even more pause. Does this relative shortage of visuals amount to evidence that the U.F.O. phenomenon is pure bunkum, as many skeptics would have us believe? Or is it, as Jung himself famously supposed, because “UFOs are somehow not photogenic”? Or perhaps the truth is already out there, squirrelled away in some Pentagon vault or floating around the Internet, camouflaged amid the dross?

In any case, laughing off U.F.O.s with cracks about tinfoil hats or “little green men” is not as easy as it used to be. In recent years, there has been a welter of developments in the U.F.O. world that has brought the subject out of the realm of science fiction and supermarket tabloids, and into the halls of Congress and the pages of newspapers of record. In 2017, a watershed piece in the New York Times by Helene Cooper, Ralph Blumenthal, and Leslie Kean exposed a secret Pentagon program created to investigate U.F.O.s, and included a pair of flight recordings taken by naval F/A-18F Super Hornets, showing spectral craft performing seemingly impossible maneuvers. (These videos have been the subject of muscular debunking efforts, most prominently by the professional skeptic and ufology bête noire Mick West. Recently, a pair of researchers put forward a detailed thirty-page analysis that attempts to debunk his debunkings.) The piece piqued the interest of both lawmakers and defense officials, who began to take the U.F.O. issue more seriously, creating an investigative body tasked with looking into “unidentified space, airborne, submerged and transmedium objects.”

The most remarkable—or, depending on your perspective, the most unbelievable—recent development came in June, when Kean and Blumenthal released a report in the Debrief, an online news site. It centered on the claims of David Grusch, a former high-level intelligence official who purports to have both knowledge and evidence of U.S.-government U.F.O.-crash-retrieval programs. Last week, in testimony before the House Oversight Committee’s national-security subcommittee, Grusch alleged that the government, in cahoots with unnamed private contractors, has acquired craft of “nonhuman origin” that it has been attempting to reverse engineer for “decades,” and nonhuman “biologics,” a.k.a. the remains of dead aliens. But Grusch has publicly provided no evidence, visual or otherwise, to back up his claims, and he has admitted that all his knowledge of secret U.F.O. programs has come to him secondhand. The problem, as always, is the gap between what we’re told exists and what we can actually see.

So what kind of visual record does the U.F.O. community point to? I made some calls recently, and I got an earful. I was told that the U.S. has a secret space program. I was told about the C.E.O. of an unnamed corporation who saw a gigantic, shape-shifting, probably interdimensional craft fly over Washington, D.C., and then wink miraculously out of existence. I was told about deep underground bases, where U.F.O. reverse-engineering projects have long been operating. I was told that aliens are already walking among us. I was notably not told much about what I was looking for, namely, photographs of the phenomenon that had a stamp of legitimacy. I was assured that such photos exist—in 4K resolution, no less—but that they remain hidden behind a scrim of secrecy. No one seemed to know when the photos might be released. I got the sinking feeling that the answer will always be “soon.”

A semi circle of lights in the sky.
A photograph taken during the so-called Hudson Valley wave of the mid-eighties, reportedly by a state trooper, shows an arc of colorful lights hanging in the night sky.Photograph from the collection of Phillip Imbrogno

Over the phone, Kean took me through the collection of famous photographs that she had included in her 2010 book, “UFOs: Generals, Pilots, and Government Officials Go on the Record.” Among them were two impressive-seeming pictures taken during two separate U.F.O. “waves,” the term used for clusters of U.F.O. sightings that occur over a protracted period. One, taken in Belgium during a wave from 1989 to 1990, shows a prototypical “black triangle” U.F.O., a lesser-known cousin of the flying saucer, with fiery blurs of radiance at its corners and a cyclopean eye of light at its center. “I would have told you that was awesome,” Kean said, “but there’s been some questions about it since my book came out. The shooter came forward in 2011 and said that he had hoaxed it.” Another image, taken during the Hudson Valley wave of the mid-eighties, reportedly by a state trooper, shows an arc of lights in a carnivalesque array of colors, hanging in the night sky. “Nobody’s been able to locate and interview the police officer who actually took it,” she said. A series of pictures of an oddly grainy ship that looks like a cross between the planet Saturn and a macaron—which had been “analyzed by the Brazilian Navy” and deemed “authentic” by the president of Brazil, according to the caption accompanying them in the book—were swiftly dismissed as “controversial.” “I trusted the people who vouched for that photograph. But there are people that say that it isn’t,” Kean said. “I just don’t know who to believe sometimes, you know?”

There were a few other photographs, which Kean deemed more promising. The first was a pair of pictures taken in 1950 in McMinnville, Oregon, by a farmer named Paul Trent. One evening that May, the story goes, Trent’s wife Evelyn was out feeding their rabbits when she saw a slow-moving, disc-shaped craft. She called to her husband, who apparently had the presence of mind to snap two photos before the saucer sped off. The resulting images might be the most extensively analyzed U.F.O. photographs in history, even coming under the scrutiny of the U.S. Air Force, which funded a study, known as the Condon Report. It stated that the witness accounts were credible but that it would be “exaggerating to say that we have positively ruled out a fabrication,” and suggested that the craft could have been a “model” suspended from overhead wires visible at the top of the photos. Debates rage to this day.

A photograph of what seems like a flying saucer flying in the sky.
A photograph of a flying saucer taken by the farmer Paul Trent, in McMinnville, Oregon, over his farm.Photograph from Bettmann Archive / Getty

Kean suggested that I talk to the filmmaker James Fox, who has made several successful documentaries about U.F.O.s. “The one thing that I’m told from all the analysis—folks on the government inside say that, if you see a photograph of an object with clearly defined edges, it’s probably a fake,” he said. “There’s something to do with the propulsion of these objects that blurs the edges of them.” I pointed out that the object in the Trent photograph had rather sharp edges. “Zoom right in,” he replied “Sharpish. Yes. Sharpish. I think if you zoomed right in, you’d find it a little less so.” I was not encouraged.

Kean also directed me to what she called “the best UFO photo ever,” which was taken during an aerial survey of Costa Rica in 1971 and still resides in archives of the country’s National Geographic Institute. The photo has recently circulated online, thanks to the U.F.O. enthusiast Esteban Carranza, who retrieved a copy of the eight-by-ten-inch negative and was able to make a high-resolution drum scan, which provides a stunning level of detail. In the image, what appears to be a disc-shaped object hovers over northern Costa Rica’s Lake Cote, adjacent to a pastoral landscape so richly articulated that you can see individual houses ten thousand feet below. The image is certainly a doozy: government-produced, highly detailed, strange. But is the disc really a craft from another world?

An arial photograph.
A photograph taken during an aerial survey of Costa Rica in 1971, showing what appears to be a disc-shaped object hovering over Cote Lake.Photograph courtesy of the National Geography Department (IGN) of the National Registry of Costa Rica

 

A detail of the Costa Rica aerial photograph.
A detail of the Costa Rica aerial photograph.Photograph courtesy of the National Geography Department (IGN) of the National Registry of Costa Rica

According to the U.F.O. researcher Mark Pilkington, the answer is no. Pilkington is the author of an excellent 2010 book about U.S. government disinformation operations inside the U.F.O. community, “Mirage Men,” which should be required reading for anyone interested in U.F.O.s. When I asked him about the Costa Rica photo, he sent me a long message-board thread, in which a group of skeptics engage in a Herculean debunking effort, complete with detailed technical analysis of the original camera equipment, heavily annotated dissections of the image’s light, shadow, and grain structure, various internecine squabbles, and talk of pressure marks and chipped glass. Could the shape have been an artifact produced by the camera equipment? Damage to the negative? Maybe. As should be expected, there is an equally detailed set of documents, produced by the U.F.O. researchers Jacques Vallée and Richard Haines, that suggest the image is of a real craft of unknown origin. Neither side’s argument seemed conclusive, but the back-and-forth was enough to at least temper my enthusiasm. “I love the Costa Rica image,” Pilkington wrote to me, “but I think it’s a classic example of seeing what you want to see—which is the key to the whole U.F.O. story, if you ask me.”

This is reportedly the case with the recently released bombshell U.F.O. photograph, which has been dubbed “the Calvine photo,” after the hamlet in Scotland where it was taken, in 1990. For a long time, the picture was the stuff of mere legend: the U.F.O. researcher Nick Pope, a former British Ministry of Defense employee, claimed to have seen a blown-up copy in government offices, but the image remained unseen by the public. That changed last year when the researcher David Clarke discovered a print in the possession of a retired Royal Air Force press officer and published it in the Daily Mail. In the center of the frame, seemingly hovering, is a massive diamond-shaped object, which is being buzzed by what one analyst suggests is a Harrier jet. But Clarke later claimed that he was told by an anonymous U.K. Defence Intelligence officer that the object in question was not an alien craft at all but a highly classified U.S. aircraft flown out of the nearby Machrihanish airbase. Whether this is true or not—compelling analysis by the U.F.O. researcher Wim van Utrecht suggests that the “craft” is merely a Christmas ornament hung sideways from a tree branch—there is a well-documented history, expounded on in “Mirage Men” and elsewhere, of governments using U.F.O.s as a kind of smoke screen to cover up top-secret projects.

An image what appears to be a flying saucer in the sky.
“The Calvine photo,” named after the hamlet in Scotland where it was taken, in 1990.Photograph courtesy of Craig Lindsay / Sheffield Hallam University

Pilkington told me, “From my long experience, almost all U.F.O. cases crumble to dust under heavy analysis.” (He has doubts, for instance, about Grusch’s account of a U.F.O. that supposedly crashed in Italy during the Second World War; according to Pilkington, within Italian U.F.O. circles that incident is considered a “well-known” hoax.) He added, “Ultimately, it’s a matter of taste—whether you want to let the mystery ring or be absorbed by the dull thud of the mundane.” His comment made me think of arguably the most famous U.F.O. photographer of all, the prolific and eccentric hoaxer Eduard (Billy) Meier. Meier took many pictures that he said were of U.F.O.s—he claimed that he was in frequent, intimate contact with an ancient Pleiadian race—but the one that most people would know was featured on a poster in the basement office of the embattled F.B.I. agent Fox Mulder in the sci-fi TV series “The X-Files.” The photograph features a startlingly clear, archetypical saucer suspended in the air above a stand of trees in a bucolic swath of Swiss countryside. In the poster, a cropped closeup of the saucer is accompanied by a phrase in white block letters—which became a kind of mantra for the viewers of the show, myself among them. It reads: “I want to believe.”

A photograph of what seems to be a flying saucer in the sky.
A U.F.O. photograph taken by the infamous hoaxer Billy Meier.Photograph from Getty

Cheyenne County Fair Children & Youth Art/Photography

Cheyenne County Fair Children & Youth Art/Photography

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News

Enclosed is the list of awards in the Children & Youth Art/Photography division at the 2023 Cheyenne County Fair.

Thursday, August 3rd 2023, 3:08 PM MDT

Updated:

Artwork was on display at the 4-H Building Monday following the judging of static entries.

Artwork was on display at the 4-H Building Monday following the judging of static entries.

Forrest Hershberger/News Channel Nebraska

SIDNEY — Below is the list of awards in the Children & Youth Art/Photography division at the 2023 Cheyenne County Fair.

Exhibitor Name  Division Class  Class   Description Ribbon Division Placing

Izaiah Walston Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple Reserve Champion

Jenessa Bruner Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Blue

Jenessa Bruner Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Jenessa Bruner Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Jenessa Bruner Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Joshua Walston Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Joshua Walston Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Lillian Dyson Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Blue

Lillian Dyson Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Blue

Lillian Dyson Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Lillian Dyson Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple Grand Champion

Ryah Challburg Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Shaleigh Dickinson Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Titus Terman Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Titus Terman Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Tyler Wanberg Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Purple

Tyler Wanberg Children & Youth Art/Photography (14 & under) W003001 Paintings – Water Color, Paint by Number, Tempera, Etc Blue

Izaiah Walston Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Purple

Izaiah Walston Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Blue

Joshua Walston Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Blue

Lillian Dyson Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Blue

Shaleigh Dickinson Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Purple

Titus Terman Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Blue

Titus Terman Children & Youth Art/Photography (14 & under) W003002 Drawings, Sketches-Color Pencil, Crayon, Pastels, Etc Blue

Cole Meier Children & Youth Art/Photography (14 & under) W003003 Photography Purple

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3 Simple Steps Every Photographer Can Take to Immediately Improve

3 Simple Steps Every Photographer Can Take to Immediately Improve

The mistakes you make in life, including photography, leave a tart, bitter taste in your mouth, especially when they’re your fault and entirely avoidable. The solution? Don’t make them. Here are three easy steps photographers from any genre can implement to immediately improve compositions and eliminate unnecessary errors.  

Nothing makes me feel worse than when I make self-induced mistakes, especially with things that I care deeply about. Be it teaching, surfing, or photography, my ego can handle getting things wrong if it’s in areas of expertise that might sit beyond my capabilities, but when I make mistakes with things that are entirely preventable, I get incredibly disappointed in myself. That includes photography.

When I was first starting out, I used to make some of the most inane errors, particularly related to composition. But I’ve learned a lot of things along the way, and here are three simple things I’d like to share with you that can really improve your compositions and the placement of elements in your final images. 

1. Remove Distractions 

I’ll come straight out and say it: if you have static elements in your composition such as mountains, buildings, or subjects posing for portraits, there’s absolutely no reason whatsoever to have any distracting elements inside your frame.  

By distractions, I’m referring to parts of an image that are not serving to complement your subject or add any point of interest for the viewer to rest their eyes on. It might be a random person walking in the background, half a bird flying out of view to one side, or a piece of trash in the foreground.  

Whatever it is, as you scan the image before you take your shot, take a few extra moments to ensure there is nothing in the frame that could possibly take your viewer’s eyes away from where you want them to go. If it’s a moving person or animal, wait until they’re out of shot, likewise if it’s some form of moving transportation. If it’s a piece of trash, move it out of the way.  

If your subjects are moving, such as in-action sports or a day at the park with your kids, then it’s not so easy to eliminate distractions at the time you take your shot. In that case, you can edit them out later during the post-production phase. I’ve written a whole article on Fstoppers about eliminating distractions, which you might find of interest.  

2. Move, Move, Move  

It’s ever so simple, isn’t it? Just move yourself, your camera, and perhaps your tripod to a slightly different spot. The sun is always moving, the clouds are seldom still, and the light is forever changing, so why don’t we, as photographers?  

How often do you see images of a particular location taken from the exact same spot? It honestly baffles me. Sure, if there’s a singular observation deck standing atop a 2,000-meter cliff that provides the only place for shooting, then that’s understandable, but how often is that the case?  

Take this image below, for example.

This bridge, river, train combination is very popular with photographers in this area, especially as the sun sets off the mountains to the right of the frame in the evenings. But if I had a dollar for every time I saw this identical photo pop up on my Instagram feed, I’d be able to retire right now and surf the rest of my days in an endless chase of summer.  

So, what did I do? I walked down the road a few hundred yards, crossed the bridge, climbed over an embankment, gently parted some weeds and thickets, ensured no insect was harmed along the way, and set up just in front of the river looking up from a different angle. 

My shot? I’ve never seen anyone else take it from this position.  

Wherever you are and whatever you’re shooting, just take some time to look around for different angles, different perspectives, and different points of interest that might provide your viewers with something more unique, creative, and original.  

3. Turn Your Camera Grid On 

I’m sure you know about the rule of thirds. And you might roll your eyes about another reference to it, but do you know its history and why it’s a great starting point for your images?  

The rule of thirds has its roots in the 18th century, when painter John Thomas Smith coined the term. However, the concept of dividing an image into thirds can be traced back even further to the work of Renaissance artists such as Leonardo da Vinci. 

Further to that, the rule of thirds is based on the idea of the golden ratio, which is a mathematical proportion that is found in many natural and man-made objects. The golden ratio is considered aesthetically pleasing and helps to create a sense of balance and harmony in images.  

So, it’s not just about a bunch of vertical and horizontal lines and placing your elements on lines or intersecting points. In short, the human eye likes seeing elements placed along intersecting points, and it gives your composition some breathing space to add other elements.  

And it’s so easy to utilize. You can literally toggle a button on in your camera settings, as you can see in the image below of my Canon EOS R5. By doing so, you’re instantly able to place elements in the frame in positions that are pleasing to the human eye.  

And if you want to experiment with the golden ratio or other compositional forms, that’s simple to do in Photoshop with the Crop tool or in Lightroom by clicking on the letter “O” in the Develop Module. I’ve written in depth about the value of cropping here.  

Summing Up 

Composition can make or break a photo. Where you place your elements can make a good photo great, or a good photo bad. Thankfully, there are simple steps you can take to ensure your compositions from this point forward are much better than they might previously have been.  

East Texas photography business creates sparks with blind date photo shoots

East Texas photography business creates sparks with blind date photo shoots

A Sweet Day Photography is trying a new business strategy that includes questionnaires and pairing people with common interest for a unique date and photo session.

TYLER, Texas — In the age of dating apps, many young people are saying it’s becoming harder to find a genuine human spark while hiding behind a phone. This piqued the interest of a A Sweet Day Photography to offer a unique blind date photo shoot in an effort to bring that spark back. 

On Wednesday, California resident Autumn McElroy and Tyler resident Justice Cox were waiting in a parking lot to meet each other for the first time. They were brought together by the owner of the photography business, Anita McElroy, who posted an advertisement on Facebook for people interested in the unique photoshoot. 

She said this business strategy was brought up to her by a former potential client who asked here about “stranger sessions.” Anita McElroy looked into it and is now offering this blind date special as an opportunity to give it a try. 

Both Autumn McElroy and Cox said they are single and were willing to try something adventurous and leave it to Anita McElroy to play matchmaker for them.  

“I hope it’s fun we had filled out a questionnaire about the type that we’re interested in or what we’re looking for,” Autumn McElroy said. “I think now that I’m here, I’m kind of just hoping that it goes smooth.”

Cox said when it came to applying for the photo shoot, he still wasn’t entirely sure what exactly he was looking for in a date. 

“I’m hoping to just kind of take life by storm as it goes, taking it one step at a time,” Cox said. “I’m really an empath so I already know whether or not I’m gonna like somebody from the moment I meet them.”

Anita McElroy said she’s been in East Texas for two years now and noticed that photography is very popular in the area. She felt the need to spice things up not just with her business, but with single people who are trying to find a genuine connection with someone with common interest. 

“There’s a ton of photographers in in this area so we have to keep it fun, keep it unique,” Anita McElroy said. “I’m a sucker for love stories. I have everyone fill out a questionnaire. I look through them and I tried to see which one’s were the best and today we are doing a match.”

Both Cox and Autumn McElroy said they had similar nerves about meeting each other without knowing a single thing about the other. But they are glad Anita McElroy chose Lake Tyler to set up this romantic scene. 

The two were set up with blindfolds by the photographer and multiple pictures were taken. Cox and Autumn McElroy were told to take their blindfolds off and started making first impressions. They shook hands, hugged and caught up about their backgrounds. 

Anita McElroy also had them paint each other to break the ice and give them an activity. Once they finished, they struck poses and even tried a little dancing as Cox is actually a dancer himself.  

Once they wrapped up they agreed to go on a second date — this time for coffee. 

A Sweet Day Photography is still taking applications for the blind date photo session and are need of more male participants. To get in contact with the business, check out this link here

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Getting More Creative With Photography in a Small City

Getting More Creative With Photography in a Small City

It’s easy to fall into the trap of thinking you have to visit epic places to create great images. However, much like the false promise of new gear making us better photographers, the truth is photographic opportunities are everywhere, and you’ll develop your skills faster by working a little harder to seek them out.

As this video from street photographer Tim Jamieson shows, you don’t have to visit the famous cities of London, Paris, or Tokyo to create captivating photos. This is equally true for landscape photography or any other genre that might give you location envy as you scroll through social media or your favorite photographers’ portfolios.

In fact, whatever genre you work in, picking up a camera and shooting in a smaller city or town that doesn’t have obvious landmarks is a great way to develop your creativity.

I know I’ve been guilty of falling into this trap over the years, struggling to shoot in smaller cities and travelling to London and other locations in search of bigger opportunities. And, while most of my favorite images have come from these locations, the fact that I sometimes struggle to shoot in smaller cities shows that I still have to develop my eye for shots a lot more.

Watching Tim’s videos over the past year has helped me realize this, and he also happens to be one of the most exciting up-and-coming street photographers at the moment. So, give his video a watch, check out his work on Instagram, and let us know what you think about shooting in smaller cities or towns.