Photography

N.H. photographer returns from Ukraine after documenting war

N.H. photographer returns from Ukraine after documenting war

CONCORD, N.H. — Patrick Patterson of Newington, N.H., is a freelance photographer who spent the past 14 months living in Ukraine documenting the war.

Now back in the United States, he’s sharing the stories he gathered while abroad. Through his photography, he hopes to amplify the voices of everyday people living under the Russian occupation.

“We’re not seeing that,” he said. “We’re not hearing personal stories of both surviving and death that’s happening with this war.”

Those stories — and the experience of living in Ukraine — have impacted Patterson, who said he is recovering from PTSD now that he’s returned to the US.

“I feel an obligation to get these people’s stories out,” he said. Patterson is now presenting his work at universities, community forums, and galleries. His goal is to shift the narrative back to personal stories so people don’t lose interest in Ukraine ahead of the next election.

Patterson arrived in Ukraine the first week of March, shortly after the war broke out on Feb. 20. He said he was initially drawn to the border with Poland, and that while there, he attempted to document the experiences of those crossing the border.

At that point many Ukrainians still thought the conflict would be temporary, Patterson said.

The border crossing was “chaos,” he said. “People had no idea where they’re going. People were traveling with very few belongings,” he said.

Patterson traveled with a Ukrainian colleague who was able to translate for him and help him connect with locals.

A Ukrainian refugee girl sits with her mother. Patrick Patterson

After his time at the border, Patterson decided to move to Kyiv. He said there were many days that didn’t feel so different from living in New Hampshire — he’d plan his day over a coffee at a café. “Other days you feel like you’re in a war zone,” he said.

He described a city marked by the war: with murals depicting it and signs in support of the Ukrainian military.

But in May 2023, he said, the situation became incredibly difficult, as the city underwent attacks on a nightly basis, with 12 to 25 drone attacks and as many as 20 incoming missiles. That meant debilitating sleep deprivation.

Patterson said he averaged around six hours of sleep a week and started sleeping with his clothes on so he could go to a shelter at a moment’s notice. Some attacks hit close to home.

“I’ve had drones blow up above my apartment with debris landing on it, windows blown out, the building next to me catching fire, the building behind me getting hit by a drone killing civilians,” he said. “It changed the psyche for everyone living in Kyiv.”

That was the case for Misha — a man Patterson met in Izyum, after the seven-month occupation of the city had ended. Misha told Patterson how he and seven other family members sheltered in the basement of their apartment, living underground along with 48 other families.

One morning, Misha’s granddaughter asked for tea. He stood in a door frame, waiting for his wife to go up to the second floor balcony where the family cooked. As Misha’s wife was putting on her shoes, a delayed detonation bomb dropped from a Russian bomber, killing everyone in the basement except Misha, Patterson said.

“And this is repeated every single day,” he said.


Amanda Gokee can be reached at amanda.gokee@globe.com. Follow her @amanda_gokee.

Why buy iPhone 15? Annual iPhone photography awards include winners using iPhone 7 Plus

Why buy iPhone 15? Annual iPhone photography awards include winners using iPhone 7 Plus

If you were thinking of upgrading to an iPhone 15 – you might just be tempted to hold onto your old iPhone for now after seeing these photos.

The annual iPhone Photography Awards (IPPAWARDS) this week announced the winners of its competition, which is now in its 16th year, where it looks for some of the best photos taken on an iPhone.

The camera on Apple’s smartphone has come on leaps and bounds since we could only take photos and nothing else back in the days of the iPhone 3G. But now, not only can you record video, slo-mo videos, add filters to what you’ve taken, and more, but there are also three whole lenses to help focus on certain subjects for example in certain modes like Cinematic.

With iPhone 15 Pro Max rumored to feature a new lens to help give better photos when zoomed in, you may have been waiting to upgrade. But once you see some photos in this competition taken with an iPhone 7 Plus, there’s a small chance you may reconsider.

It’s not over yet for older iPhones

IPPAWARDS - Tim Wheeler using an iPhone 7 Plus

(Image credit: IPPAWARDS – Tim Wheeler)

Scroll to the Abstract section, and you’ll find the winner, Tim Wheeler, with his photo having been taken on an iPhone 7 Plus – and that’s the same for the runner-up, Neil Nesheim as well.

These are amazing photos, and you can easily lose an hour simply scrolling through all of these while wondering why you are still struggling to take a decent photo of some plants in your garden.

The list goes on, with other winners including an iPhone 12 Pro, an iPhone XR, and even an iPhone X, proving you don’t need Apple’s best iPhone to take the best pictures. Granted, many of these may have been edited with a third-party app such as Pixelmator or Adobe Photoshop to help bring out the colors and the subjects even more.

IPPAWARDS - Linda Repasky - photo shot on iPhone 14 Pro

(Image credit: IPPAWARDS – Linda Repasky)

But it says a lot that something like the iPhone 7 Plus, released back in 2016, is still capable of taking amazing photos, and also how far we’ve come since.

Have these photos made you reconsider holding onto your iPhone for now? Let us know in the iMore Forums if that’s now the case.

Ségolène Ragu’s vivid portrayal of the Semiramis shows us the conditions in Lebanon during economic crisis

Ségolène Ragu’s vivid portrayal of the Semiramis shows us the conditions in Lebanon during economic crisis

No matter how grand or obscure, we can always trust a building to tell us the history of a people. In Beirut, Lebanon, lies Semiramis, a once luxury and iconic structure turned to ruin due to the country’s economic crisis. Photojournalist Ségolène Ragu is bringing this building to light with her fervent documentation. Within her series, she captures the eroding exterior and warm interior with equal care – from worn pillars and smashed windows, to images of front rooms that tell an intergenerational story. All stemming from her childhood memories of summers in Lebanon, a home away from her hometown in France, she immortalises the stories of people who have seen much strife, and are now seeing threats of eviction. “Collectively, they’ve all been through situations that tell a part of the history of Lebanon – the supposed ‘golden age’, the civil war, exile, political assassinations, uprisings, and the consequences of the economic crisis that is still worsening, but also the story of family and sacrifice,” she tells us.

There is nothing like a cause that stirs you so profoundly that it changes the course of your life and purpose. In 2019, Ségolène was working at a local cinema and began documenting the uprisings – known as the 17 October Revolution. The report doesn’t just capture outrage and flames, but it shows us the quiet moments, with people in tents camping out and a group of raised flags, plus the camaraderie and commitment among the people. “This is when I knew I wanted to be a photojournalist,” she tells us. “My family also spoke to me a lot about the Lebanese Civil War and I wanted to understand what they had been through since then,” she adds. Ever since, she has had a particular focus on the fallout of these historical moments, placing them in the context of everyday life.

74 Times People Tried To Get Beautiful Bird Pics But It Went Horribly Wrong (New Pics)

74 Times People Tried To Get Beautiful Bird Pics But It Went Horribly Wrong (New Pics)

We reached out to Kevin Bartram, the founder of the ‘Crap Bird Photography’ and here’s what he had to say about his love for birds and photography. “I’ve been interested in birds ever since I was a kid. With the advent of digital photography, I decided to take up taking photos of the many birds I see. It became an obsession, it’s such a great pastime & you learn so much! You also learn that some of the photos (perhaps more than some!) don’t come out so well. Sometimes that camera does not want focus on that bright red robin in the middle of the view! Sometimes the camera only focuses on the bird after it has flown away. You have it in your head how a bird photo should look, the ultimate result is often very different! I thought I’d put some images up on their own Facebook page & the amount of people with the same problem as me soon joined up & the rest is history. Many people who look at birds also have a sense of humor!”

He also added that he loves all animals, “but birds have a particular charm about them. They are smart & in some ways very similar to us, but in other ways very foreign. Of all the animals, they often associate with humans so are familiar, but also can be very cryptic and hard to find. There are so many of them, yet each species shows it’s own personality, some birds can be downright annoying! Birds can surprise and amaze us, and we are so lucky to have them as our companions, good or bad in this world. They do so many quirky things & of course they crap where they shouldn’t, I just think it’s nice that it’s only usually small crap & lucky they aren’t big mammals, because that would be smellier & look worse!”

Photography Studio Software Market Size And Forecast -Acuity Scheduling, Pixifi, Sprout Studio, Bookeo, ShootZilla, Blinkbid, Tave

Photography Studio Software Market Size And Forecast -Acuity Scheduling, Pixifi, Sprout Studio, Bookeo, ShootZilla, Blinkbid, Tave

The report gives an abstract and quantitative examination of the Global Photography Studio Software .The examination relies upon the division of the Photography Studio Software which focuses on monetary and non-money related factors impacting the Photography Studio Software improvement. The report joins a genuine scene which concludes the market position in the focal parts, including new help offered, thing dispatches, business associations, combinations and acquisitions in the past five years.

Companies operating in the Photography Studio Software
Acuity Scheduling, Pixifi, Sprout Studio, Bookeo, ShootZilla, Blinkbid, Tave, Time Exposure, Iris Works, Studio Ninja, Darkroom, Lyncpix

The report highlights of emerging examples, with principal drivers, risks, and likely entryways In the Photography Studio Software. The crucial creators across the world in the worldwide Photography Studio Software are organized in the report. Considering such things introduced in the Photography Studio Software, the around the world Photography Studio Software is ordered Into different segments. The part overpowered the Photography Studio Software and held the greatest piece of around the world Photography Studio Software in the year 2020, and continues to govern the market in 2021 are positive in the report.

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Considering use, the around the world Photography Studio Software is ordered into different application sections. The application section that is depended upon to drive the slice of the pie of the Photography Studio Software in the next few years are highlighted and thought about in the report. The indispensable components of advancement in this application segment are explained in the report. The areas that addressed the greatest pay part of around the world Photography Studio Software in 2022 are considered in the report. Additionally are depended upon to continue with the edge over its opponents in the regarded time span are considered in the report. The grounded establishment and innumerable Vessel Monitoring System Software associations in these regions are organized in the report.

By the product type, the market is primarily split into:
Type I, Type II.

By the end-users/application, this report covers the following segments:
PC Terminal, Mobile Terminal

Elements of the Report:
• New game plans and commitments that market players can imagine are in like manner discussed in the report.
• The possible entryways for business trailblazers and effect of the Coronavirus pandemic are associated with the around the world Photography Studio Software.
• New things and organizations that are thriving in this speedy progressing around the world Photography Studio Software’s monetary environment are discussed in the report.
• The report discusses the how certain advancement things, market frameworks, or game plans could assist with showcasing players.
• The pay open entryways and the growing new game plans are discussed in the report.
• The unquestionable characteristics of each part and market open entryways are explained in the report.
• The powers during the pandemic are relied upon to accelerate the hypothesis pace in the around the world Photography Studio Software are point by point in the report.
• The report gives proposition on the way forward in the around the world Photography Studio Software.

Table of Contents
1.1 Study Scope
1.2 Key Market Segments
1.3 Players Covered: Ranking by Vessel Monitoring System Software Revenue
1.4 Market Analysis by Type
1.4.1 Photography Studio Software Size Growth Rate by Type: 2020 VS 2028
1.5 Market by Application
1.5.1 Photography Studio Software Share by Application: 2020 VS 2028
1.6 Study Objectives
1.7 Years Considered
1.8 Continue…

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This report tends to a couple of key requests:
• What is the by and large expected advancement of around the world Photography Studio Software after Coronavirus vaccination or treatment is found?
• What are the new essential methodologies that can be executed post-pandemic to remain merciless, agile, client driven, and helpful in the around the world Photography Studio Software?
• Which unequivocal regions are depended upon to drive improvement in the around the world Photography Studio Software?
• What are key government approaches and interventions did by driving around the world Photography Studio Software countries to help with advancing gathering or improvement of Vessel Monitoring System Software.

‘I learn a lot from these people’: Anton Corbijn photographs artists

‘I learn a lot from these people’: Anton Corbijn photographs artists
image

‘This was the last time I photographed David I believe, not that I knew that at the time of course. I really like this shoot, and I also loved the first time I photographed him, when he was playing the Elephant Man in 1980. He was always great looking, intelligent and charming, and he had a great sense of humour. He was the ideal person in front of the camera. This particular photo was done in the rain, or perhaps it was light snow, but whatever it was it made the end result more interesting’

Soul Bites hosts dance lessons and photography exhibit

Soul Bites hosts dance lessons and photography exhibit

SANTA BARBARA, Calif.-A photography show coincides with dance lessons at Soul Bites Restaurant on the 400 block of State Street in Santa Barbara.

Dance lessons are offered on most Mondays.

Master instructor Jay Byam taught swing dancing this week.

Another instructor said Salsa is coming up next Monday after Fiesta.

There are also photographs by Rod Rolle on display through August.

Rolle is a Santa Barbara-based photographer and musician who has covered everything from Michael Jackson to the Dalia Lama.

His photography exhibit highlights the work of the Martin Luther King Jr. Committee in Santa Barbara.

Fans can follow his images on X @rodrolle or rodrolle.photoshelter.com

For dance information call (805)405-2946.

Meet the female photographer who captured the golden age of hip-hop

Meet the female photographer who captured the golden age of hip-hop

Euronews Culture spoke with Lisa Leone, a photographer and filmmaker, who began her career shooting for some of the most influential names in hip-hop.

Not many can claim they were in the studio for the recording sessions of Nas’ landmark 1994 album, ‘Illmatic’. 

However, for Lisa Leone, it was just another day in her extraordinary life as a photographer on the vibrant streets of New York City, at a time when hip-hop culture was blossoming.

Hailing from the Bronx, the self-proclaimed “b-girl” developed a passion for photography from an early age and went on to capture some of the most influential figures in hip-hop, including Lauryn Hill, the legendary Notorious B.I.G, a young Snoop Dogg on the set of his debut music video and the pioneering father of hip-hop, Grandmaster Flash, among many other names.

Beyond the realm of photography, Leone’s talents extend to various aspects of filmmaking, including writing, producing and directing. 

Her creative prowess led to collaborations with esteemed visionaries like Spike Lee on his groundbreaking 1989 film Do the Right Thing, and later with the legendary Stanley Kubrick, on his final masterpiece, Eyes Wide Shut.

In this interview, we delve deep into Leone’s contribution to the world of hip-hop as the genre celebrates its 50th anniversary.

Euronews Culture: Where did your passion for photography and cameras come from?

Lisa Leone: My passion for photography started with my uncle who had a makeshift darkroom in his bathroom when I was a kid. So I developed my first 8×10 print of myself when I was probably like around eight or nine. When the images would appear it felt like magic. 

What was it that you drew you to photography at the time?

When I was younger I was very shy, but I also loved to observe. So it was a way for me to  observe and figure things out behind the camera, without being the centre of attention. My passion lay in naturalistic portraiture and documentation, finding fascination in capturing the essence of textures, people’s homes, and their surroundings. It was my way of delving into life and gaining insights into different individuals and their experiences. 

Can you tell us about your early experiences as a photographer and how you got the opportunity to shoot musicians and personalities like Nas, Lauryn Hill, and Easy E?

During high school, I began my journey working in studios. At the same time, the global breakdancing and graffiti scene was exploding around the world, and I had friends like Fable and Wiggles who suddenly needed photographs for publicity, to which I agreed. I was a real b-girl at the time. Later, I attended college, where my interest in portraiture continued. It all progressed naturally. 

After college, luck was on my side, and I had the amazing opportunity to intern with Spike Lee on his film Do the Right Thing. This experience ignited my passion for filmmaking, which had already grown during my college years. I initially focused on still photography for films, but gradually, my journey led me into cinematography and eventually directing.

What are some of your most memorable early memories as a photographer?

Well being in the session of ‘Illmatic’ with Nas was like watching history being made. He was just so young and what was happening in the studio was truly special. 

I also remember a funny incident with Big Daddy Kane. When I shot him I was using a journalistic film camera so it was much slower. And he’d just had a shoot the day before where somebody was using a much fancier camera and had all these lights. So he kept commenting that my equipment was shit because I was going so slow. So I told him, ‘Well I don’t go into the music studio and tell you what to do’ which made him laugh. So we had this funny little back and forth, and it was just a great relationship. 

Funnily enough I also photographed Snoop Dogg’s first music video that Fab 5 Freddy directed, who I was good friends with. Fast forward around 25 years, and we arranged a meeting with Snoop Dogg to show him the slides from that shoot. He was blown away by the images. He said, ‘I don’t know how you captured these images. Back then I was so guarded and shy. You must have hip-hop in your veins or something.’ That was a special moment for me. 

As a candid-focused photographer, how do you ensure that your subjects are portrayed authentically?

I just spend time with them beforehand, not rushing in or bombarding them. It was usually just me, or sometimes one other person. We approached it with a certain spirit, and spoke to the person before to understand their vision. Back then, there were no digital tools to preview images, so it relied heavily on trust. I’m just there with this little black box, taking photographs, and they had to wait until I developed the film to see the results. They had to trust me. It was a different kind of relationship. 

Did you feel challenged being a female photographer in a mostly male-dominated environment?

I mean it was just annoying at times. When I was in high school, I was a total b-girl so I was coming from the culture. But it was more dealing with just always being hit on really. I really had to manoeuvre that but I was confident enough to stand toe-to-toe with these guys. 

Who is your favourite hip-hop artist/group of all time?

Now, I love Guru and I love Gang Starr, but Rakim is my all time favourite. I just got to recently spend time with him too – he just did a concert here in Miami. Salaam Remi brought him down. 

As hip-hop celebrates its 50th anniversary, what are your thoughts on the current state of the genre, and how do you think it’s changed over the years?

Well I’m always asking people what I should listen to because now it’s inundated with so much stuff and there’s so many places to listen to music. Obviously I think Kendrick Lamar‘s incredible. And have people like Lil Nas X who are breaking barriers which is awesome. There’s also some great underground stuff out there. But I really don’t listen to a lot of contemporary hip-hop. It’s now a billion, billion, billion dollar industry. So it’s all very highly produced. 

Working with Stanley Kubrick on his last film, Eyes Wide Shut, must have been an extraordinary experience. Could you share some of your most memorable moments and lessons learned from being mentored such a legendary filmmaker?

It was the most incredible experience. He’s originally from the Bronx, so he’s from the same neighbourhood as my family. He went to the same high school as my aunt and so we immediately had this connection. There’s just a cadence. 

We started talking on the phone for a year. I was just doing research pictures lighting tests and so on and so forth. And then he was finally like “Why don’t you just come out here and be the set decorator?”. Without hesitation I said yes. 

Working on a film with him felt like being part of a student film production. There’s just a small core of people. If you’re willing to give up your life, which I was on, and be on call 24/7, he’ll give you more and more to do. So I decided to dedicate all this time to absorbing and learning. I learned tremendous amount from him. 

Eventually, he gave me the chance to handle the second unit, and he even put me in the film – all of a sudden I had scenes. He was not only an exceptional director but also an incredible producer, and taught me valuable lessons about producing along the way. And I was getting ready to work on his next project A.I. but he sadly passed. 

He was a lot of fun, wicked sense of humour. Just incredible to spend four years, every single day talking to him. I carry that always and it just makes me so sad that we don’t have him anymore.

You’ve worked as a photographer, cinematographer, writer, producer and director. What advice would you give for young people looking to pursue a career in the creative industries?

When it comes to photography, my advice would be not to rush into picking up the camera immediately. Experience it and be in the moment. Connect with the subject. Try do it there instead of in the edit. Challenge yourself not to take 2000 pictures. Quality over quantity is key. 

In filmmaking, following your heart is paramount. It’s a tough journey, especially with the various challenges and strikes we face today. However, it’s essential to stay true to yourself and maintain authenticity in your work. Don’t try and follow trends or cater solely to what others want. Stay connected to your heart, letting your passion and voice shine through. 

AI technology has revolutionised the way we approach photography and filmmaking, but it has also sparked controversy around issues of authenticity and creativity. As a leading figure in the industry, what are your thoughts on the role of AI?

When it comes to AI I think I caution is necessary, especially when it comes to fields like photography, film, television, and writing. Among these, writers could potentially face the greatest risks. We need our writers. So we must approach AI with careful consideration and establish clear boundaries to prevent a loss of creativity. 

I remember the conversation in the late nineties was about whether or not digital was going to overtake film? And there was a whole camp saying there was no way it would. But look where we are now. When people say, “AI isn’t that impressive now,” I’ve been down that road. It will be great. That’s why it’s essential to begin to have these real serious discussions about the applications of AI now. 

The sad thing is, especially amid the current strikes, is the lack of humanity displayed. These artists can lose their livelihoods. We need to look out for them instead of merely thinking “This could make us billions” without regard.

To see more of Leone’s images, check out her best-seller hip-hop photography book, ‘Here I Am’, which features 104 pages of archive photographs.

Can Professional Photographers Take a Break From Social Media? |

Can Professional Photographers Take a Break From Social Media? |

What an absurd question — I know. But, the times have changed and where social media was once an interesting marketing avenue, it’s now a staple of the craft for photographers. If you’re making a living from said craft, can you take a break from Instagram, for instance?

When Instagram first began getting attention, I hopped on it. I had enjoyed photo-sharing websites for years, starting with Flickr and then 500px, so I decided it was time to try this new mobile option that was getting a lot of buzz. It was awkward to use in the beginning; Instagram clearly wanted you to take photos in-app, you could only use a square aspect ratio, there were no carousels, there were no reels, and hashtags were infinite. It didn’t feel remotely engineered for professional photographers, but it was an app about photography and I was intent on sticking with it.

Around this time, I had two different friends who had seen high-level success with Facebook and Twitter, amassing extraordinary numbers of followers, interactions, and digital social clout. In fact, it had secured them some pretty juicy work and some financial opportunities, so I decided to follow suit. I didn’t have a clue what the algorithms were, I had no idea posting consistently would be valuable over rare and high quality, and I didn’t know about keyword or hashtag research. I more or less blindly threw my work up and hoped to catch some attention.

For a while on Instagram, I did. My work was pretty niche which meant I couldn’t cast my net quite as wide as some, but my modest following was the right people, and things were going well. In fact, during this first uptick, I got a direct message from a brand who wanted to work with me. And there it was: I had paid work from my efforts on social media — this was the future.

In many ways, I was exactly right. There were business opportunities squirting up out of every orifice on social media and there still are. There are entire careers centered around the various platforms. I began to understand how these platforms worked too, albeit by accident. I had started a Pinterest board for inspiration where I would find one portrait every day that I admired, and share it to a public board as well as social media. This Pinterest board ended up peaking at around 100,000 views per month and I deduced that was as a result of my relentless consistency.

So, I was posting to Facebook pages and my Instagram every day, Tweeting when I could, planning a YouTube channel, and using multiple websites and pieces of software to track my analytics and “clout” across all platforms. Then, one day, I went dark.

You Can’t Lose If You Don’t Play

After I returned from a press trip to Costa Rica with Olympus in 2020, I had enough content to last me for months. I remember this because I sat down after this wonderful excursion and thought “I have enough content to last me for months.” Then I surmised that this reaction to seeing images I loved from a cherished trip made me a bit of a prat. In fact, as I sat there waiting for news on an unprecedented lockdown due to a pandemic, I realized nothing made sense anymore. So, as I had to distance myself physically, I decided to distance myself digitally.

I had spent a year dancing for algorithms, hoping the allure of my hips would entice some onlookers, and I was tired of it. The chronological newsfeed was part of social media lore now and my old moves weren’t as effective when externally curated, it would seem. While this is a criticism of social media, I do believe that quality ultimately wins out with views, so I shoulder much of the blame, I just didn’t have it in me anymore.

There was a bulbous, hairy question lurking though, and it wasn’t socially distancing: I get paid work through Instagram, will that take a break too? Even if the passersby weren’t rubbernecking near me as much, my niche following still fed my stuff to brands and I would fairly regularly get paid work from the app — surely that would dry up. Wouldn’t it be incredibly reckless of me to damage a pipeline when my network of pipes was under severe threat from the tumultuous world of COVID? Yes — I just didn’t care. I needed a break from the part of my mind that was occupied with my daily social media chores. Not only was it a nagging irritant, but with the reduced fruits of its labor, it was corroding my mental health. I was willing to forgo the monthly win for the rest bite from the daily losses. That is, I was willing to risk not acquiring a client per month through Instagram if it meant I didn’t have to watch my new posts “fall dead-born from the press”.

Absence Makes the Heart Grow Absent

So, what were the long-term results of my break? Well, in many ways: I didn’t play, but still lost. For a while, there was no impact and I still had inbound leads through Instagram. Similarly, I used Instagram as a sort of extended portfolio, which was useful. But, the decay set in after a few months, and before long, I received zero inbound leads through social media. What I feared would happen was correct and as the pandemic irritated people enough that they were ready to flaunt the rules and workplaces began opening, it was time for me to put my leggings back on and start dancing again. Unfortunately, my break with Instagram, in particular, hadn’t made my heart yearn for the clout-chasing, it had made me certain our relationship was fatally flawed. As a platform, it was evolving quickly and I didn’t want to stay on trend anymore, so I have never returned, at least not as a “creator”.

The question in the title is one I will here answer directly: yes, but with caveats. In my field — and although I do some niche work, I suspect my experience is fairly typical — you may miss out on opportunities. That said, I replaced the work using other channels that don’t require my hips, and the quality of client has been higher (though that really could just be luck of the draw). Social media can be a weapon of mass seduction, and although you can harness its power to enrich your life and business immensely, most won’t. The clients it gave me, the social proof it provided, and the few opportunities it afforded were not to be sniffed at, but I came to realize that, for me, the juice wasn’t worth the squeeze.

Lead image by Prateek Katyal via Pexels.

Lakehead prof helps shed light on atrocity photography

Lakehead prof helps shed light on atrocity photography

Orillia-based scholar Valerie Hébert served as an author and editor for a new book called Framing the Holocaust: Photographs of a Mass Shooting in Latvia, 1941.

The Lakehead University professor is one of eight contributors to the book, which takes a deep dive into 12 photographs that document a mass shooting of Jewish people on a beach in Latvia in December 1941.

“When a lot of people think about the Holocaust, they think of Auschwitz and they think of trains,” Hébert said. “Before the death camps were built, the mass killings began with mobile shooting squads that combed through the Eastern Front as the Nazi army advanced.”

Hébert says the mobile shooting squads would gather alleged racial and political enemies and shoot them to death. More than a million people were killed using this terrorizing tactic.

“These 12 photographs show the sequential steps in one of these shooting actions,” she explained. “Jews were brought to this place, were made to undress. They were separated into smaller groups and brought to a ditch that was dug parallel with the sea, and they were shot. Their bodies fell into the ditch.”

Four men are connected to the photographs, but it’s unknown for sure who took them. The photos were turned in to the Soviet investigators by a Jewish Latvian man and are commonly used today in Holocaust museums but are rarely attributed to the correct time and place.

“This book provides an in-depth study and the historical context for these photos,” Hébert said.

In 2017, Hébert organized a workshop at the United States Holocaust Memorial Museum in Washington, D.C., on atrocity photography.

“Photographs are sort of at the cutting edge of Holocaust research in particular,” she said. “There is more and more interest in this field of atrocity photography.”

She invited scholars from Canada, the U.S., Germany and Australia to the two-week workshop to talk about their work in atrocity photography and to look at materials from the museum.

“The idea was to put together a book where we are all speaking about the same images,” she said. “We chose these 12 photos because it’s rare to have so many in a clear sequence.”

The images show partially clothed and naked women and children caught in moments of terror.

“They really push us to the edge of what it is we can bear to look at,” she said. “The key question of the book is if they are so unbearable to look at, why should we even engage with them? What can we gain from them? And what can they tell us?”

Each author in the book brings a different question to the photos.

For Hébert, studying photos goes back to her childhood. Her interest in history comes from looking through her grandfather’s Time Life coffee table book of photographs from the 20th century.

“From the time I was little, I would look at this book and would be really drawn to photographs,” she said.

Hébert, who has a PhD in history, uses photographs often in her teaching at Lakehead University.

“I’ve taught Holocaust courses, I’ve taught courses on the world wars, and at first I was always uneasy about showing photographs of dead bodies and people in distress,” she said.

“There are some really important questions around these people not giving their consent to be photographed. A lot of times, the photographs are a part of the torture and humiliation because the photographer is using the moment to deepen their suffering.”

Through the process of creating the book, Hébert asked herself if bringing light to the photographs continued the humiliation and horror of victims. She also asked herself if the pictures were important evidence that help people understand history.

“The chapter that I contributed to the book looks at that ethical question,” she said. “Should we look at these? Should we not? And what are the arguments on both sides?”

The chapter sets the stage for all of the following chapters in the book, and Hébert hopes readers who pick up the book will gain a new appreciation for how rich and complex photographs are.

“We have this idea that photographs tell us everything, the truth is on its surface, and we understand everything by looking at the photograph, but we don’t,” she said. “So, it’s really important to consider who took the photograph, who was the intended audience, and what that might mean.”

While the photographs in the book were taken as a celebration of the crime, they’re also an indictment, which makes it important to understand the many meanings photographs hold, Hébert says.

“It helps us think more critically about historical photographs that we see,” she said. “We are a more visual culture now with social media and Instagram. It’s all image based now.”

She says photographs can transcend language, time and geography, which makes it important to have a more critical and nuanced way of understanding pictures while being aware of their ethical complications, which makes people better consumers of present-day photojournalism.

“The ones in the book help us understand this particular event in the Holocaust,” she said. “The way that the authors model how we read and interpret these photographs, there is a lot of crossover to how you may engage in photographs of other historical events or present-day crises and human rights issues.”

Framing the Holocaust: Photographs of a Mass Shooting in Latvia, 1941 will be available for purchase on Amazon starting Aug. 22.