Tilt-shift lenses are some of the oddest options out there, and they can be a bit tricky to use, but they hold a very valuable place in the toolkits of many photographers. What makes them so useful? This helpful video tutorial introduces you to tilt-shift lenses and their applications. 

Coming to you from Keith Cooper, this great video discusses tilt-shift lenses and why they’re so valued by many photographers. The lack of autofocus, intimidating dials and knobs, and high cost can make many photographers shy away from tilt-shift lenses, but they are fantastically useful for solving some common problems. Tilt-shift lenses allow you to do things like control the depth of field independently of the aperture by angling the focal plane or to correct nonparallel lines. You probably know them best for architectural photography, and while they are indeed quite treasured in that genre, their usefulness goes far beyond that. Most professional tilt-shift options are also tack-sharp, making them a favorite alternative of landscape, product, and studio photographers. You will even catch the occasional portrait photographer using one with a telephoto focal length, both for its sharpness and creative effects. Lastly, because many have extra-large image circles, they can often be adapted to medium format cameras with full sensor coverage (albeit with more limited movements). Check out the video above for the full rundown from Cooper. 

What makes for a compelling image? For artist Johanna Stickland, the answer to that question varies. Some of her photographic work draws on portraiture to capture an elusive quality in the subjects, while other images turn the human body into something intriguing yet unfamiliar — what she refers to as “tender, intimate photos.” She’s also pushed at the form of what photography can do, adding paint to images to heighten certain qualities and pursue an elevated sense of emotion. 

Stickland’s interest in photography began at a young age, when she was on the opposite side of the camera. Her work has appeared in places like Juxapoz and Numero Magazine, as well as in the well-received 2018 group show The Female Lens: 9 Contemporary Female Photographers at London’s Huxley-Parlour Gallery. 

Her forthcoming show of photographs, PRISM, opens on July 20 at Brooklyn’s Thames Art Center. The show — and an accompanying book — serve as an overview of her work to date, zeroing in on the themes and motifs that Stickland finds most compelling. InsideHook chatted with Stickland about her art, her preferred materials and the making of PRISM. 

*This interview has been edited for length and context.

InsideHook: What initially drew you to photography as a medium? And as a photographer, what are your preferred themes?

Johanna Stickland: I started taking photos about 13 years ago. When I was 14, I was a fashion model; I was used to being the subject. I didn’t really enjoy modeling, but I enjoyed working with photographers and the special relationship between the subject and the photographer. I quit modeling and I just decided to turn the camera on myself and take self-portraits, take photos of my friends, my mom. It started very naturally; I always felt drawn to photography. 

The things that I focus on are women, intimate snapshots of life, body parts — tender, intimate photos.

In terms of the relationship between the photographer and the subject, how did being on one side of that inform your practice now, when you’re taking a photograph of somebody else and not yourself?

Because I had experience as a subject, I’m really sensitive to how other people feel — making sure they’re comfortable, making sure it’s enjoyable, and that the comfort is there, the trust is there. I think it’s really about trust, and it’s a sacred thing. When you’re photographing someone, you’re taking their soul in a way. So I don’t like photographing people that don’t like to be photographed; that’s why I could never do street photography. There’s an intimacy that I think is very sacred.

Is there a specific challenge as far as creating that level of intimacy or that level of privacy, when you’re working with someone who you haven’t worked with in that context before?

Yeah, that can be challenging. Usually people know my photos and they enjoy the style, the softness, the tenderness. My mom, for example, is an actress, so she loves having her photo taken.

In terms of that softness — do you have a specific way that you achieve a certain look or a certain feel? Is it more of just an emotional thing or is it more technical, working with certain lighting, certain equipment, certain spaces, that kind of thing?

I’ve never really had a set camera that I use or lights or anything. This whole time I’ve been taking photos has been, really, trial and error. And sometimes not having the right equipment or having an old camera or having a crack in the camera or picking up a piece of cloth and putting it over the lens or experimenting with expired film because it was cheaper. All those things just lead to a hazy or dreamlike quality.

I will say for myself, I found some high ASA black and white film that had expired years ago. And I had that moment of thinking, what is this going to look like if I go and take some photos and get it developed and see what it looks like?

And how did it work out? It’s cool, right?

It worked out pretty well, yeah. I was expecting that I might get something that looked absolutely bizarre, but when I got it back, it just looked like film.

Yeah, exactly. I just used some old black and white medium format, 10-years-expired film and it turned out pretty great. It’s a little bit hazy, but…

Do you tend to focus more on the analog side of things or do you keep a balance between analog and digital?

I love film, I love the mystery and not seeing the results right away, but I have experimented with digital and I think it’s great just to have everything immediately. It’s just a different process of working. So I like both. I’m not strictly a film snob, but I do enjoy it more — it’s just so expensive.

Tell me about the new exhibit, PRISM. Is there one overarching theme, or is it more of a survey of your work?

It’s more of a survey of my work. As for the theme, I tried to tell a bit of a story — the outside and inside, landscapes, people, my mom, my friends, some self portraits and really just experimenting with light [and] developing processes.

That’s the common thread in my work. It’s just an experiment, it’s a journey. I’ve also been printing photos and then painting on top of them.

How long did it take you to go through the work that you’ve done to date and figure out what would and would not fit into this particular exhibit?

I’ve always been working on this. To some extent, for the last year or so, I’ve been putting together images for a book. So I had a general idea, but I’d say in the last month, it’s been crunch time to figure out how everything flows together. And the editing process is tricky. 

It’s the hardest thing, to go through tons of images. Some of them just don’t fit with this particular narrative. So I would say in the last month, I’ve really had to focus and just do it.

Was there anything that you were drawing inspiration from as far as using a space and using the work within the space to tell a narrative?

Well, I’m really inspired by home — family albums and things that seem like a snapshot but do tell a story. So it’s like a mix of landscapes, and then body parts and some portraits. I’m inspired by different photo books that do that. I like work that is like a kind of time capsule. So, one story is just editing and going through and seeing what fits.

Earlier, you talked about landscapes. Are there any in particular that you’ve been particularly drawn to or that you’ve gone back to again and again?

A few years ago I was exploring abandoned buildings. I went to upstate New York and found this old theater. That was really cool. Yeah, I just snuck in and….

I like abandoned places, but it’s hard to shoot them in a way that doesn’t look cheesy or whatever. But I like roadside imagery — like headlights of cars. That always seems to be like a theme, because it’s just very cinematic — it reminds me of Lost Highway, by David Lynch. I think it all has to do with light and just a mood.

Are there any other abandoned buildings that you’ve been drawn to as far as a subject over the years?

I lived in Portugal for the last 10 years, and there was a really cool structure that was by my house, where all of these owls lived. It was totally crumbling and abandoned. I don’t have any of those images in this show, but it was a structure that I always wanted to do a project with, but now it just exists in my memory.

Were all the works in this show taken in the U.S., or is there work from your time in Portugal in there as well?

There’s a lot of work from my time in Portugal, and from going to Canada to visit. Portugal was an interesting experience because I was quite isolated. I basically lived in a small town an hour away from Lisbon. So I had a lot of time to work on photos of the experiment — a lot of the self portraits, especially because there was no one else around to see.

Has the way that you’ve photographed yourself evolved over the time that you’ve been doing that?

Yeah, for sure. I would say that it’s gotten more mysterious. I don’t really like to show that it’s me. I don’t like to have my face in the photos. And I don’t know, maybe that’s evolved. Maybe it’s just more abstract or has more of a painterly quality that I’m looking for. I’m less focused on the figure and the form and more interested in just if I’m there — I’ll use myself to make an interesting shape or whatever, as opposed to showing my identity.

When did you start experimenting with taking a photograph and then adding paint to it? Was that something that you’ve been doing since the outset?

About seven years ago, I got a bit bored of taking photos and I’ve always loved painting, I’ve always loved art. I decided to try painting just in general. I started with oil painting, it was really hard. It takes forever to dry, it’s super toxic, but I loved it. I started experimenting with watercolor and India ink and gouache, and then working in a really quick way.

I had a big painting obsession for a while and I still paint, but I thought it would be cool to combine the two mediums. So then I started making prints and then painting on top of them, just adding another element.

Is it challenging to find the right combination of materials so that the prints themselves look good but also work well as a surface for the paint?

For sure. You need to find really thick good quality matte paper,  like photo paper. You have to have a very thin paint such as watercolor or gouache. You can control how opaque it is. You can add more water to the gouache and it becomes thinner and easier to work with. It’s trial and error.

When you’re working on printing a photograph, how does the sense of scale factor into that? Are you generally taking something that might be life-size and shrinking it, of keeping it life-size or making it much larger? 

I’ve never really worked in large sizes, mostly because I didn’t have enough room in my studio. And that’s still the case. It’s still quite difficult to work with large prints, even though I would love to. And so I look forward to someday having a huge studio to make huge work, because I think it does change everything. 

The fact that I’ve just used smaller prints, I think it works for when I’m adding when I paint on the photo, but I look forward to experimenting in the future when I have more resources and more space. It’s just hard to find space.

What do you hope people will take from going to see PRISM and experiencing it?

That’s a good question. I hope that they take whatever they want from it. I think art is up for interpretation, everyone has their own reaction to it and I think that’s beautiful. So if someone feels something at all, then that’s great. If they feel an emotional pull to the work, that’s my goal because I love art when it strikes you like that and there’s no explanation, but you just feel this connection. 

You talked a little earlier about being inspired by Lost Highway. Are there any other films or books or pieces of music that you’ve drawn inspiration from over the years that are relevant to the show — or in general?

I love Wong Kar-wai’s In the Mood for Love, I love Three Colors: Blue. The Double Life of Véronique is my favorite movie of all time.

With Kieslowski, you also have that really interesting use of color, which I feel like I don’t really see in other films from that era — but I also don’t see it now. When I go back and watch those, it’s just so, so striking.

It’s so beautiful. And like the color — the way the emotion and the color are linked, which is beautiful. I love it. It’s a great quality.

Yecheon-gun, South Korea

People sit inside their tent at a temporary shelter at a sports centre in Yecheon-gun, Gyeongsangbuk-do province. At least 40 people are dead and nine missing nationwide after flooding and landslides following heavy rains, according to the National Fire Agency. South Korea’s central and southern regions are bracing for another spell of torrential rains, the state weather agency said

Photograph: Jeon Heon-Kyun/EPA

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In the vibrant heart of the mid-20th century, amid a whirlwind of social and cultural revolutions, a nascent phenomenon surged through the crumbled concrete of America’s urban landscapes – skateboarding.

In this compelling tableau, a captivating cast of photographers, armed with their lens and love for the sport, captured the essence of this rebellious subculture, unwittingly catalyzing its ascension into mainstream recognition.

Often underappreciated, the role of these artists in the rise of skateboarding was as pivotal as the boards, wheels, and daring spirits that fueled the sport.

The following profiles weave a narrative of how these photographers, through iconic stills and action shots, turned skateboarding from an audacious pastime into a cultural revolution.

The images these photographers captured in the 1960s, 1970s, 1980s, and 1990s were far more than mere documentation of a sporting event – they were spirited snapshots of an evolving era.

They caught breathtaking stunts and the fearless spirit and tenacity of a youth culture embracing radical self-expression.

These photographers also played a critical role in catapulting skateboarding into the wider public consciousness.

Through their work, the underground world of skateboarding permeated into mainstream media, featured in publications that were once oblivious to the sport’s existence.

Moreover, the emergence of skateboard photography coincided with and fostered the birth of a burgeoning industry.

The visual spectacle of the sport, as seen through their lens, caught the eye of entrepreneurs and businesses, leading to the genesis of the modern skate industry.

Beyond the sport itself, these photographers helped develop a unique street culture.

Their photos became a mirror reflecting a fusion of visual arts, music, and advertising, all favoring the recognition and acceptance of skateboarding.

These images are now woven into the tapestry of pop culture, encapsulating the relentless spirit of an era that still resonates today.

Glen E. Friedman

A true pioneer in skateboarding photography, Glen E. Friedman’s camera lens has narrated the story of the skateboarding revolution like no other.

Born in Los Angeles in 1962, Friedman was the perfect age to witness firsthand the gritty and edgy rise of skateboarding during the 1970s and 1980s.

As a teenager, Friedman began capturing images of his friends skateboarding in the now-famous Dogtown neighborhood.

While still in high school, he began contributing to SkateBoarder magazine, effectively cementing his position as one of the key chroniclers of the burgeoning skateboarding scene.

His work was gritty, raw, and authentic, a mirror reflecting the defiant spirit of a subculture about to explode onto the mainstream stage.

Friedman’s lens captured more than just gravity-defying tricks; it encapsulated the audacious ethos of a generation.

He was renowned for his ability to portray the dynamism and audacity of his subjects.

The Dogtown boys, Tony Alva and Jay Adams, among others, came to life through Friedman’s photos, their rebellious energy immortalized on film.

Among Friedman’s vast array of work, some images stand as icons in the annals of skateboarding history.

One such photograph is the mid-air shot of Jay Adams at the Brentwood school banks, taken in 1976.

This image, with Adams suspended in a moment of fearless exhilaration, encapsulates the radical spirit of the era.

It is an artistic statement as much as a historical document, testifying to the raw, untamed energy that fueled the sport’s evolution.

Friedman’s photography wasn’t confined to skateboarding, either. He expanded his focus to encompass the worlds of punk rock and hip hop, capturing seminal acts such as Black Flag and Run D.M.C with the same raw intensity he brought to his skateboarding work.

This fusion of music and skateboarding further solidified his place in the annals of youth culture documentation.

In his images, we perceive more than skateboarding tricks and punk rock shows – we witness a youthful rebellion that defined an era.

Glen E. Friedman, through his evocative photography, has managed to eternalize these vibrant moments of cultural history, affirming his legacy as one of the most influential skate photographers of all time.

J. Grant Brittain

Immersed in skateboarding photography for over four decades, J. Grant Brittain is a name that resounds with immense respect and admiration in the sport’s history.

Born in 1955 and raised in California, Brittain’s journey with skateboarding began in the late 1970s at the Del Mar Skate Ranch, where he managed the skate shop.

Brittain’s photography journey commenced quite unexpectedly when he borrowed a camera to document the dazzling feats of skateboarders at the ranch.

Self-taught and driven by a profound fascination for the sport, he soon found himself capturing images that transcended mere sporting events.

His photographs encapsulated the essence of skateboarding culture – its rebellious spirit, creativity, and camaraderie.

His photographic prowess and an intimate understanding of the sport led to his involvement with Thrasher Magazine and, later, the co-founding of Transworld Skateboarding Magazine in 1983.

His work as a photo editor and photographer for Transworld over the next two decades would influence the visual direction of skateboard media and, by extension, the sport itself.

Brittain’s portfolio is a testament to his ability to capture moments and narratives.

His 1987 shot of Tod Swank at Del Mar Skate Ranch, titled “Push,” is an iconic image.

In it, we see the dynamic tension between skater and board, a snapshot of the literal and metaphorical push that drives the sport.

While Brittain’s career spans several decades and countless iconic images, his commitment to telling the skateboarder’s story sets him apart.

His lens has given us more than just images; it has provided us with a rich visual narrative that continues to shape the landscape of skateboarding culture.

C. R. Stecyk III

Emerging from the swirling, sandy haze of Dogtown, California, in the 1970s, C.R. Stecyk III stands as a beacon in skateboarding photography.

An artist, writer, and filmmaker, Stecyk has captured the skate subculture in all its vibrant, gritty detail, paving the way for the sport’s journey into the mainstream.

Born in 1950, Stecyk found his creative calling amid the rough-and-tumble world of the Zephyr skateboard team, also known as the Z-Boys.

In the derelict landscapes of a rundown neighborhood and the empty swimming pools of Venice, he began to document the unbridled energy and artistry of this raw youth culture that was soon to redefine the notion of sport.

Stecyk’s photography offered an unfiltered window into the heart of skateboarding.

His shots, infused with raw, kinetic energy, introduced the skateboarding subculture to a broader audience.

His work featured prominently in SkateBoarder magazine, a conduit through which the rest of the world glimpsed the audacious, counter-cultural ethos that lay at the heart of skateboarding.

One of Stecyk’s iconic images features Tony Alva soaring above an empty pool, the board beneath his feet defying gravity as he rises from a curl of blue.

The power of this image lies not just in its depiction of a remarkable trick but in the way it encapsulates the daring spirit of skateboarding.

It affirms freedom and rebellion, a testament to a culture that thrived on pushing boundaries.

Stecyk’s contribution extends beyond photography.

He penned a series of influential articles, “The Dogtown Articles,” for SkateBoarder magazine, offering an intimate insider’s perspective on the skateboarding scene.

His writing and evocative photography created a compelling narrative that resonated with audiences far beyond Dogtown.

In many ways, C.R. Stecyk III’s work forms the backbone of skateboarding’s visual and cultural narrative.

His photographs, articles, and films have provided a multifaceted exploration of a culture that refused to conform, creating a lasting impact on how we perceive the skateboarding world.

Mike O’Meally

Hailing from Sydney, Australia, Mike O’Meally’s love for skateboarding and passion for capturing moments have propelled him to the forefront of skateboarding photography.

His work over the last three decades is revered for its raw emotion and unique perspective, offering a window into the soul of the sport.

Born in 1970, O’Meally discovered skateboarding at a young age.

But it wasn’t until 1987, after stumbling upon an old camera at home, that he began combining his love for the sport with photography.

What began as a hobby quickly became a profound passion, leading him to document skateboarding scenes locally and, eventually, across the globe.

O’Meally’s break into international acclaim came in the 1990s when he moved to California, the pulsating heart of global skateboarding.

His work soon graced the pages of prominent publications like Transworld Skateboarding and SkateBoarder Magazine, showcasing his keen eye for capturing both the action and the subtler, off-board moments that define the culture.

Beyond capturing riding skaters, O’Meally’s work often provides a profound, intimate look at the skateboarding community.

His candid portraits of famous and lesser-known skateboarders reveal the depth of his subjects and the diversity and cohesion within the culture.

Tobin Yelland

Deeply rooted in skateboarding since age 15, Tobin Yelland is an artist whose craft transcends the boundaries of sports photography.

Born in 1970 in Berkeley, California, Yelland discovered his passion for skateboarding and photography around the same time, in the mid-1980s, merging the two into a fruitful career that has spanned more than three decades.

Having picked up a camera at an early age, Yelland’s images bear the authenticity of a skateboarder turned self-taught photographer.

His photographs uniquely communicate not only the excitement of the sport but also the nuances of the culture, lifestyle, and individual personalities that shape it.

Yelland’s work first came into the limelight in the late 1980s when Thrasher published his photographs.

His images, characterized by their raw energy and intimate framing, have since graced the pages of numerous skateboard and lifestyle magazines, highlighting his keen eye for the narrative within the action.

One particularly iconic shot from Yelland’s portfolio features Mark Gonzales riding down Lafayette Street in 1996.

But Yelland’s work is not limited to capturing feats of athletic prowess.

His portraits often provide an intimate look into the life of the skaters, depicting them in quieter moments of introspection off their boards.

These images are as much a celebration of the sport as they are a documentation of the lifestyle and spirit surrounding it.

In addition to his photographic work, Yelland has expanded his creative repertoire to include film and commercial work, always maintaining his unique perspective rooted in skate culture.

Skin Phillips

Skin Phillips is a household name in skate photography, synonymous with compelling images that have brought the dynamic sport to life for over thirty years.

Born in Swansea, Wales, in 1965, Phillips’s pathway to becoming one of the most esteemed photographers in the skateboarding world was as vibrant and compelling as his images.

Phillips discovered skateboarding in his early teens and, with it, a fascination for how photography could illuminate the high-speed drama and artistry of the sport.

Armed with a camera and a keen eye for details, he began documenting his local skateboarding scene, blending his passion for the sport with a blossoming talent for visual storytelling.

However, Phillips’s contributions to skateboarding extend beyond his spectacular action shots.

As the editor-in-chief of Transworld Skateboarding, he played an instrumental role in shaping the visual culture of skateboarding and championing the sport’s evolution and growth.

Furthermore, his commitment to the sport and its community is evident in his involvement in the Adidas Skateboarding team, where he continues to foster talent and promote the culture and lifestyle of skateboarding.

Spike Jonze

Born as Adam Spiegel in Rockville, Maryland, in 1969, Jonze’s journey from an enthusiastic skateboarder to an award-winning filmmaker and photographer is a testament to his creative genius and deep-rooted love for the sport.

Jonze’s encounter with skateboarding and photography happened almost simultaneously in his adolescence.

He began documenting his skateboarding exploits and those of his friends, quickly garnering recognition for his unconventional approach to capturing the sport’s energy, audacity, and culture.

His breakthrough came in the 1990s when he joined Transworld Skateboarding.

His work stood out for its distinct style, blending action and portraiture, often in unexpected, whimsical ways.

Jonze was not just photographing skateboarders; he was narrating stories, capturing moments of triumph, risk, and the sheer joy of the sport.

One iconic image that exemplifies Jonze’s creative prowess is a shot of Mark Gonzales riding in a pristine, empty swimming pool.

The dramatic picture, laced with a sense of serenity, encapsulates Jonze’s ability to bring out the juxtaposition of tranquility and movement inherent in skateboarding.

However, Spike Jonze’s contributions to skate culture extend far beyond his compelling photography.

He is also the co-creator of the trailblazing “Video Days,” a short film featuring the talent of legendary skaters, which is often hailed as one of the most influential skateboarding films ever made.

From there, Jonze embarked on a prolific film and music video career, winning numerous awards, including an Academy Award for Best Original Screenplay for “Her” in 2014.

Despite his broader success, Jonze has always stayed connected to his skateboarding roots, using his platform to highlight and promote the sport.

In Spike Jonze, we see more than a celebrated photographer or acclaimed filmmaker; we see a true skateboarding aficionado.

Ed Templeton

Ed Templeton, born on July 28, 1972, in Garden Grove, California, has shaped a unique path for himself in skateboarding and the arts.

He is best known for his professional skateboarding career, vivid artistic works, and compelling photography, which has chronicled the reality of life in the suburbs.

Templeton’s fascination with skateboarding began in his teenage years, and by the age of 20, he had turned professional.

His fearless and inventive style made him a favorite in the skating community, extending his influence beyond the skate park.

In 1994, he and his wife, Deanna, co-founded Toy Machine, a successful skateboard company that is an influential player in the industry.

However, an injury in the late 1990s prompted Templeton to explore his interest in art and photography more extensively.

His artistic style, often featuring dystopian themes and focusing on the experiences of suburban youth, has been exhibited in art galleries worldwide, including the Museum of Contemporary Art in Los Angeles and the Palais de Tokyo in Paris.

Much like his art, Templeton’s photography captures the unfiltered essence of youth culture and the realities of street life.

His photographic collections, such as “Teenage Smokers” and “Teenage Kissers,” present candid snapshots of adolescence, bringing a certain humanity and authenticity to his subjects.

As a self-taught artist and photographer, Templeton maintains a raw, engaging aesthetic that echoes his skateboarding ethos – fearlessly explorative and authentically expressive.

His book “Deformer,” a culmination of an 11-year personal project, received significant acclaim, further cementing his status as a powerful visual storyteller.

Warren Bolster

Among the luminaries of skate photography, Warren Bolster’s name shines with a certain radiance.

Born in 1947 in Manhasset, New York, Bolster would come to shape skateboarding’s visual story in remarkable ways.

In his early years, Bolster became enamored with surfing, a passion that would eventually steer his life’s trajectory.

Moving to Hawaii in the late 1960s to pursue this passion, he soon discovered another talent – photography.

Bolster’s knack for capturing the exhilarating moments of surfing caught the attention of Surfer magazine, where he served as a photo editor in his early twenties.

However, it was on the skate planet that Bolster truly left his mark.

After returning to California in the mid-1970s, he was captivated by the burgeoning skate culture.

He became the editor of SkateBoarder magazine, where his photographic and editorial contributions helped elevate the publication to legendary status.

One of Bolster’s most memorable images captures Tony Alva carving a vertical arc on a pool’s concrete edge, the intensity of the moment amplified by the stark contrast between the skater’s fluid motion and the rigid geometry of the urban landscape.

The riding session at Arizona Desert Pipes was also memorable.

This image and many others captured the essence of skateboarding’s adventurous spirit, embodying the essence of a generation that refused to be confined by traditional norms.

Warren Bolster’s photography was a visual chronicle of skateboarding’s transition from a niche hobby to a recognized sport and cultural phenomenon. His images didn’t merely document; they conveyed the exhilaration, freedom, and rebellion at the heart of skateboarding.

Sadly, Bolster passed away in 2006.

The ban was imposed a month after a video of women showering currency notes in an objectionable way inside the temple went viral and triggered outrage

The Badrinath-Kedarnath Temple Committee Authority (BKTC) has banned pilgrims from taking pictures or recording videos at the Kedarnath Temple. It put up signboards around the temple on Monday saying anybody found violating the ban on photography at the temple will face legal action.

The ban was imposed a month after a video of women showering currency notes in an objectionable way inside the temple went viral and triggered outrage. This month, a video of a woman proposing to a man by getting down on her knees outside the temple went viral and caused uproar.

BKTC president Ajendra Ajay said people were found uploading videos and pictures undermining the sanctity of the temple. “…therefore, the committee has prohibited any kind of photography inside the temple…”

Yogendra Singh, BKTC executive officer, said they have put up half a dozen signboards on each side of the temple to inform pilgrims about the prohibition. “It was being observed that some people were hurting the religious sentiments of the devotees by not maintaining the sanctity of the place and uploading videos.”

Veena Devi, a pilgrim from Gujarat’s Surat, said the authorities should make it clear that the Char Dham temples are seats of the utmost reverence and spiritual guidance for millions of Hindus, and these places should not be treated as picnic spots.

Another pilgrim Visheswar Rai from Patna said the government instead of focusing on the influx of pilgrims in large numbers should allow only religious people to come to such temples.

Sameer Shukla, the founder of Soham Himalayan Centre in Mussoorie working for preserving the traditional culture and heritage of the state, said the purpose will not be served by placing signboards. “The government to avoid repetition of such untoward incidents should differentiate between pilgrimage and tourism with a focus on maintaining age-old customs and sanctity of the shrines. The responsibility of maintaining the sanctity of the shrine should be of whosoever is the custodian of the place either by convention or by appointment.”

Himanu Basu, another pilgrim from Kolkata, said one is not allowed inside without following the rules and regulations in South Indian temples. “There is a dress code and such practice should be followed in all temples across India.”

• Topics
• Ban On Photography
• Kedarnath Temple

Comedy Pet Photography Awards is an annual photo contest where people are encouraged to send in the funniest pictures of their pets. This competition was created by professional photographers Paul Joynson-Hicks and Tom Sullam. They wanted to celebrate the positive and vital role that pets have in our lives. Moreover, they aim to encourage engagement around animal welfare they have been donating thousands of dollars to various animal welfare charities. Scroll down to see the best examples from latest years!

Photography enthusiasts constantly seek the perfect gear to enhance their artistic vision.

While purchasing brand-new equipment may seem like the safest option, the market for pre-owned photography gear has gained significant popularity. This article aims to provide an insightful analysis of the pros and cons of buying used photography gear, enabling photographers to make informed decisions while building their equipment arsenal.

Pros of buying pre-owned photography gear

1. Cost-effectiveness

One of the most compelling reasons to consider purchasing used photography gear is the potential for significant cost savings. Used equipment is often available at a fraction of the price of its brand-new counterparts. This affordability allows photographers to allocate their budget toward other essential accessories or invest in additional lenses and equipment.

2. Access to discontinued models

Photography technology evolves rapidly, leading to the discontinuation of older camera models or lenses. However, these discontinued models may still possess remarkable capabilities, making them a viable option for those on a budget. Opting for used gear enables photographers to access and enjoy the features of older, discontinued models that may otherwise be out of their financial reach.

3. Established performance and reliability

Photography gear that has been used previously has a proven track record. Reviews, user feedback, and online resources allow potential buyers to gather valuable insights about the equipment’s performance and reliability. This knowledge helps make informed decisions, ensuring that the gear meets specific requirements and performs consistently over time.

4. Upgradability and flexibility

Investing in used gear gives photographers greater flexibility to upgrade or experiment with different equipment without the financial burden of purchasing new. This allows photographers to explore a wider range of lenses, camera bodies or accessories, enabling them to refine their style and adapt to evolving photographic needs.

Cons of buying pre-owned photography gear

1. Limited warranty or no warranty

One of the significant downsides of purchasing used photography gear is the absence of a manufacturer’s warranty or limited coverage. Unlike new equipment, which typically has a warranty, used gear is often sold “as-is.” This lack of warranty increases the risk of potential malfunctions or defects, leaving the buyer responsible for any repairs or replacements.

2. Wear and tear of pre-owned gear

Used equipment may exhibit signs of wear and tear, which can impact the gear’s overall performance or longevity. It is essential for buyers to inspect the equipment thoroughly. Check for any visible damage, scratches, or issues that might affect image quality or functionality. Assessing the condition of the gear before purchasing is crucial to avoid any unpleasant surprises.

3. Compatibility and obsolescence

As technology advances, compatibility between newer and older equipment can become an issue. While some camera bodies and lenses are interchangeable, certain combinations may not work optimally or lack certain functionalities. It is crucial to research compatibility guidelines and ensure that the used gear aligns with the existing photography setup.

4. Limited availability and selection

The used gear market is subject to supply and demand fluctuations. Buyers may find it challenging to locate a specific model or lens in the desired condition, especially if it has been discontinued or is in high demand. Limited availability can make the search for used gear more time-consuming and require patience to find the desired equipment.

Where to buy pre-owned gear

When buying used camera gear, it’s important to purchase from reputable companies to ensure you’re getting quality products and reliable service. Here is a list of reputable companies where you can buy used camera gear:

• B&H Photo Video: B&H is a well-known and trusted retailer that offers a wide selection of used camera gear. They have a dedicated use department with a comprehensive rating system for their products’ condition.
• Adorama: Similar to B&H, Adorama is a reputable retailer with a large selection of used camera gear. They provide detailed descriptions and condition ratings for their used products.
• The Camera Exchange is a reputable company based in Michigan that specializes in buying and selling used camera gear. They have a physical store in Michigan and offer online sales through their website. They provide detailed information about the condition of their used equipment and have a knowledgeable staff to assist customers.
• MPB: MPB is an online platform that connects buyers and sellers of used camera gear. They thoroughly inspect and rate the condition of each item they sell, providing a reliable buying experience.
• LensAuthority: LensAuthority is a division of LensRentals, a popular camera gear rental company. They offer a selection of high-quality used camera gear that has been well-maintained and serviced.

It’s always a good idea to research the specific item and seller before making a purchase to ensure that you’re getting what you need and that the seller has a good reputation. Additionally, consider checking online marketplaces like eBay and Amazon, but exercise caution and carefully review seller ratings and feedback.

Consider your options

Purchasing used photography gear offers numerous advantages, including cost-effectiveness, access to discontinued models, established performance, and the ability to experiment and upgrade without breaking the bank. However, it is crucial to consider the cons of buying used photography gear, such as the absence of a warranty, potential wear and tear, compatibility issues, and limited availability.

By carefully considering the pros and cons, photographers can confidently navigate the used photography gear market, making informed decisions that align with their needs and budget.

Remember, the ultimate goal is to acquire gear that enhances your photographic journey and helps you capture stunning images, whether new or pre-owned.