Whenever I go on holiday, a weekend away, or even a day trip you can find me, camera in hand, documenting every part of the trip. From the journey there (unless of course, I’m driving), to arrival, to every meal, and even the moments of rest, I’m always ready to take beautiful candid snaps of my nearest and dearest. Capturing these moments is incredibly important to me, I love being able to tell a story of our time together through images but sometimes, I really do wish I was in more of them!

The one problem about being your friendship group’s sole photographer is that you won’t be in 90% of the photos. And the ones you are in are usually forced group shots or photos you have asked someone to take of you so it’s very hard to act natural. 

• These are the best cheap cameras – perfect for someone just getting into photography without a big budget

It was my choice to be a photographer, no one is arguing that but sometimes I look back on the photos I’ve taken and it feels like I’ve written myself out of my own life. Sure my friends take photos of me on their phones or Instax but it’s not quite the same as being captured mid-laugh or dancing, completely unaware you’re even being photographed. 

Last weekend I was lucky enough to be invited to a yurt party in a charming little village called Bradley on the outskirts of Basingstoke, UK. The theme was Time Travelers Ball so, of course, this was going to be an excellent opportunity for photos. As normal, I got my camera out and started snapping away but much to my surprise as the night went on and sunset was upon us, my friends suddenly became very interested in using my camera. I let them take the reins for a change!

I didn’t make it easy for them, I passed over the camera in manual mode and told them which dials would affect the exposure and then left them to it. On its return, I expected to see quite a few blurry, out-of-shot photos but honestly, I was blown away by how good they were. Turns out my friends are actually a bunch of talented photographers and now I know this secret, I’ll be passing over camera duties more often. 

Not only was it really nice to appear in some photos for a change but it was an absolute pleasure watching the joy on their faces when they took a photo they were proud of. To open someone’s eyes to the reason why something is your passion is humbling, rewarding and totally magical. Most of my friends are DJs and producers, so they regularly discuss music-related things it was a really nice switch-up to see them getting excited about my area of expertise. 

Of course, I’ll never stop being the designated camera lady, I love doing it and I admit I can think of it as my gift to everyone in attendance, but it’s good to know that I can pass the baton sometimes. It means that in years to come when I look back at photos, I’ll actually be in the photos, not just appear as a shadow from behind the lens. 

All images were taken on a Sony A7 III and a Sigma 28 – 70mm f/2.8 DG DN lens

If you enjoyed this why not also check out our 10 top tips for amazing portrait photography 

HISTORIC TRIANGLE — Colonial Nature Photography Club is a group of nature and camera enthusiasts that meet the first Monday of each month to show off their skills and share experiences.

The club began in 2007, says club vice president Craig Hill, who joined the group in 2008, and always welcomes new members.

“The skill levels in the club range from real amateurs up to professional photographers,” says Hill, “Like any organization, we want to get more people because they always bring something new to the table. We definitely are not concerned with whether you are a good photographer or not, it’s about getting out and seeing nature.”

Everyone is welcome to attend meetings that consist of a monthly theme challenge, where members are encouraged to share up to three photographs with the attendees.

“We don’t critique them, we just want to have a space where we can share our work and maybe talk a little bit about how and where we got the shot,” said Hill.

Additionally, meetings have a specific program or guest speaker.

No fancy camera equipment is needed to join, just a love for nature and a willingness to get out, snap some shots and possibly share them with fellow hobbyists. “We have some folks just use their cell phone,” says club president, Glenn Woodell.

The group offers opportunities for members to learn and share with one another and enjoy the beauty of our natural surroundings. Once a year the organization hosts a photography contest with cash prizes.

Member Len Taubman states, “I joined the Colonial Nature Photography Club several years ago because I was looking for ways to expand my knowledge of photography and meet people who have the same ambition to become better photographers.”

Carol Annis agrees with Taubman, saying the club is a great place to share and learn about nature photography, “Being in the club has helped me to grow and become more confident in myself as a photographer!”

Membership dues are $20 per year and meetings are held at the James City County Library.

Visit the Colonial Nature Photography Club webpage and Facebook group to learn more.

LAS VEGAS, Nev. (FOX5) – He had no idea at the time, but shortly after the Vegas Golden Knights won the Stanley Cup, Las Vegas photographer Al Powers snapped an indelible and symbolic image of the team celebrating the historic win.

Powers took thousands of pictures that night, knowing it was his job to capture the magnitude and emotion of the moment. But seeing VGK come together in the shape of a heart was unexpected and his image was unplanned.

“I had to scroll back,” Powers said of combing through his photographs. “Is that a heart? Oh my god, it is a heart.”

High above the ice, Powers had set up a remote camera. But the incredible image almost didn’t happen.

“Earlier in the game, I had a problem with the camera,” Powers explained. “The battery died.”

During the first intermission, he ran up and rectified the situation. An exhausted Powers posted the image on Instagram after the game and went to bed. By the time he awoke, his “Golden Heart” image was being shared everywhere.

““I love the fact that one moment in time can speak to people,” Powers said. “It spoke to me. I had no idea it would be this crazy.”

Powers has been photographing the team since day one, and he noted that the heartfelt bond between the team and the city was truly Vegas Born.

If you are a VGK fan that teared up at the sight of the image, you’re in good company—including the photographer himself.

“One of the perfect moments in time,” he recalled. “Glad someone captured it. Just happened to be me.”

You can see more of his work here.

Copyright 2023 KVVU. All rights reserved.

I grew up in the northern rivers of New South Wales in the 1990s. It was a place of stark contrasts: utopian dreams, alternative culturex and abject social disadvantage. Since that time I have spent many years reflecting on my coming of age in such an unusual place and how it has shaped my adult life.

In 2014 I started taking pictures. Having witnessed up close the devastating ramifications of addiction, poverty and discrimination, I recognised that I had been carrying the weight of these burdens through my life. Fuelled by nostalgia and longing I was compelled to return to my home town over and over, using photography to rebuild my history from the perspective of an adult and a mother. The unprocessed grief of my youth was setting the foundation for my photographic practice.

My series In Australia is ongoing. It focuses on the lives of adolescents, as I remember them, in Lismore, examining the residual effects of colonisation and the Aquarius era of drugs, free love and political rebellion.

Lismore sits in a low-lying basin on unceded Bundjalung country, with rivers forking out to surrounding pockets of valleys, dairy farms, hippy communes and ancient Gondwana rainforest, then snaking towards the sea.

Growing up there my friendship circle embodied the diversity of backgrounds that shaped the region, from the original Widjabul Wia-bal people and established working-class residents to the newer alternative hippy communities from the surrounding hills. Sharing turbulent home lives and strong feelings of restlessness in a small town, a wide group formed of friends, each with their own complex and tender story.

The hippy movement that I and many friends were born into rejected the restrictions, values and expectations of middle-class society and embraced peace, love and drugs. There were idyllic aspects to being raised on a commune, living in nature with boundless freedom. But it could sometimes be a balancing act between free love and dysfunction, freedom and neglect, drug use and drug abuse.

There was an intentional lack of structure as our parents rebelled against the trauma of their own childhoods – which often left their children unprepared for the world. With the “ganja” capital of Australia down the road at Nimbin, at certain times of the year we had helicopters circling above and swarms of police conducting marijuana raids on our community. From a young age there was a strong feeling we existed on the other side of the law.

I remember now those adolescent years as being filled with freedom for which most of us were unprepared. Interwoven with ordinary teenage experiences such as smoking cigarettes, drinking alcohol and skipping school were darker elements of domestic violence, drug use, incarceration and death. Many of us had seamlessly transferred our childhood freedom on communes to excessive and at times self-destructive freedom in small-town suburbia.

Yet I remember also the feeling of belonging, of friendship, of intoxicating first love and of rebelling against authority.

In 2014 I also began taking self-portraits, creating scenes that loosely resembled experiences from my teenage years. Then I began to cast people to feature in my photographs, using scenarios that drew from my memories. The images are taken at dusk, with sunset symbolising the shift into newfound freedom. The landscapes resemble sites where, in the 1990s, my peers and I would find our autonomy.

The images in the series explore adolescence while also revealing how the idealism of the counter-culture movement played out when met by small-town boredom and social disadvantage.

I’m able now to look back with a deeper understanding of how we are shaped by our childhoods and the places we occupy during our adolescence.

I’ve come to see the meaningful connections that can emerge out of hardship, and that beauty and pain can coincide.

In the never-ending debate (or is it ever-evolving?) about what makes the best street camera, here’s an intriguing suggestion that’s worth a look.

I have long waxed poetic in my posts about how much I love the Micro Four Thirds system. Whether it’s creating an unobstrusive, lightweight kit for journalism, or just the infinitely usable features of the system’s cameras, the system has definitely matured and has come to the point where there’s pretty much something for everyone.

And for street photographers, the system offers the excellent pairing of the Panasonic Lumix GX9 with the Micro Four Thirds staple, the Panasonic Lumix G 20mm f/1.7 II ASPH. Lens, according to photographer and YouTuber Grant Robert Davies.

Davies (and I) are certainly not the only ones to extol the virtues of this little gem of a pancake lens. Its predecessor was the first mirrorless lens I owned, and it was the kit lens for the original Panasonic GF1. Even Panasonic’s engineers realized the system’s potential for street photography with a kit lens like that.

Between portability, image stabilization, focus speeds and image quality, among other features, Davies highlights why the combo is so good. That said, to be ultra-discreet, I’m still always a fan of the long-discontinued Panasonic GM series cameras, the GM1 and GM5. While both have their drawbacks and shortcomings, having a camera the size of a deck of cards that can hook up to any Micro Four Thirds lens is incredibly appealing.

All that said, lately Panasonic and Olympus haven’t been focusing on small, street-able cameras, and the camera referenced here, the GX9, was released five years ago. It’s a big reason my street photography has shifted mainly to the Canon EOS M50 Mark II, released in 2021 and with much more sophisticated autofocus capability and image quality. Paired with the diminutive EF-M 22mm f/2 STM Lens, it’s a package about as small as the Panasonic gear here, but, to me, a more capable package.

What are your recommendations on an ultimate street photography camera/lens combo? Leave your thoughts in the comments below.

BARKLEY L. HENDRICKS, “Untitled,” circa 1975 (gelatin silver print, 16 x 24 inches, image); 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS (1945-2017) had an incredible eye. His latest gallery exhibition reveals what he saw. A little girl wearing a plaid dress and knee-high socks standing with one leg slightly in front of the other, replicating the pose of an unclothed mannequin perched on the sidewalk beside to her. An image of Abraham Lincoln displayed in a car window in such a way that it appears the storied President is a passenger in a vehicle manufactured a century after his assassination. The curve of a woman’s calf sheathed in artfully torn pantyhose, her arched foot in a backless, high-heel shoe.

During his lifetime, Hendricks was recognized primarily for the striking portraits he painted of his stylish friends and acquaintances, works dating from the 1960s and 70s. Meanwhile, a major aspect of his practice was little explored until a few years ago. Hendricks was also a prolific photographer, rarely seen without a camera around his neck. He made studies for paintings, shot self-portraits, and notably captured a spectrum of images showcasing his unique interests and visual perspective through ironic juxtapositions, tight cropping, and creative use of mirrors and reflection.

“Barkley L. Hendricks: Myself When I Am Real” at Jack Shainman Gallery in New York features more than 60 photographs, both color and black-and-white images spanning four decades, from 1965 to 2004. A selection of dozens is being shown publicly for the first time, having come to light through a cataloging process overseen by Susan Hendricks that revealed her late husband’s expansive photographic archive.

BARKLEY L. HENDRICKS, Untitled, circa 1980 (archival inkjet print, 24 x 16 inches, image; 24 1/2 x 16 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1975 (gelatin silver print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

The inventiveness and preoccupations of Hendricks are on full display in “Myself When I Am Real,” which closes today. Mannequins, cars, store windows, and women’s shoes appear frequently in the exhibition. In a suite of 1979 images, Hendricks captures himself and a woman reflected in his bedroom mirror. She is nude; He dons a white robe. The entire space is painted red—the door, the walls, and the bookshelves. Even some of the bed linens are red and all of them are rumpled.

Another image depicts the same woman from the bedroom scene standing on the street with Hendricks beside her snapping their picture as it is reflected in a round, black-framed mirror, presumably from a store window display. He revisits the same artifice in several other images, including a self-portrait, framing his reflection in a store’s convex security mirror.

Artistry and sly humor define the great majority of the photographs. One series of television screen images delves into politics and touches on race, including footage of Rodney King being beaten by Los Angeles police officers in 1991.

BARKLEY L. HENDRICKS, Untitled, 1979 (archival inkjet print, 26 x 39 inches, print; 27 x 40 x 2 inches, framed. | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1975 (gelatin silver print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

Concentrating on a TV screen with little else in the background, Hendricks made time capsule images in the 1980s and 90s, keenly representing American pop culture and current events through key figures of their time.

He captured everyone from Marilyn Monroe, Richard Nixon, Anita Hill, Clarence Thomas, and O.J. Simpson to Julie Child, Big Bird, Muhammad Ali, Brock Peters as Tom Robinson in “To Kill a Mockingbird,” Carroll O’Connor as Archie Bunker from “All in the Family,” and Denzel Washington in the role of Malcolm X in Spike Lee’s film. Hendricks dispatched with the cast of curious characters navigating the Yellow Brick Road in the “Wizard of Oz” and instead documented Dorothy’s red sparkling slippers.

Most of the TV screen photographs were taken at Dutch Tavern, a local haunt Hendricks frequented, where an old-school television was installed in the corner, high on the wall. In his wide shots, a rack of potato chips, decorative ceiling tiles, and a deer head mounted on the wall can be seen. Dutch Tavern is located in New London, Conn., where Hendricks lived, worked, and taught at Connecticut College for 38 years.

Installation view of “Barkley L. Hendricks, Myself When I Am Real,” 2023, Jack Shainman Gallery, 513 W 20th Street, New York, N.Y. | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. Photo by Dan Bradica

BARKLEY L. HENDRICKS, Untitled, 1992 (archival inkjet print, 16 x 24 inches, image; 18 x 26 inches, paper size; 16 1/2 x 24 1/2 x 1 3/8 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

THE FIRST CAMERA HENDRICKS USED was a Brownie that belonged to his mother. He also worked with a Polaroid camera that his next-door neighbor, John Floyd, let him borrow, Hendricks said in an oral history interview with the Smithsonian’s Archives of American Art, conducted by Kathy Goncharov in 2009.

When he was an undergraduate student at the Pennsylvania Academy of the Fine Arts (PAFA), Hendricks was awarded two travel prizes allowing him to spend three months in Italy and another three months in Northern Africa, visiting Morocco, Tunisia, and Egypt. Hendricks purchased a range finder for these trips and then “graduated” to a single-lens reflex camera, he said in The Archives interview.

He went on to Yale where he earned a BFA and an MFA. While he studied painting at Yale, he took photography classes with Tom Brown and Walker Evans.

BARKLEY L. HENDRICKS, Untitled, 1991 (archival inkjet print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, 1988 (archival inkjet print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

Nigel Freeman asked Hendricks about his photography during a conversation at Swann Auction Galleries in New York in 2014. “I’ve taken my camera damn near everywhere,” Hendricks told Freeman, director of Swann’s African American Fine Art Department. Then the artist explained how he trained himself early on.

“The situation with my being introduced to a darkroom was in Philadelphia. When I got a studio, the man who had the place previous to me was a photographer and he had to get out of town quick and he left all of his equipment there. I had the opportunity to start a rudimentary area of self-education as far as chemicals and darkroom use and enlargers and that kind of stuff,” Hendricks said.

“It was sufficient enough for me to get into my first photography class at Yale and once I got into that, the next year, I started to hang out more with the photographers and I was able to put together a portfolio that I presented to Walker Evans and I was able to get into his class. As one could say, that the rest is kind of history of sorts.”

BARKLEY L. HENDRICKS, Untitled, circa 1980 (silver gelatin LE print, 16 x 24 inches, image; 16 1/2 x 24 5/8 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1995 (archival inkjet print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

SINCE HENDRICKS’S DEATH IN 2017, his estate and the gallery have embarked on an effort to present a fuller sense of the acclaimed portrait painter’s practice. A recent publication series dedicated individual volumes to his works on paper, landscape paintings, geometric basketball paintings, and his photography.

“Barkley Hendricks: Photography” (Skira) includes an essay by Anna Arabindan-Kesson, an art historian and Princeton University professor. She interviewed Hendricks and observed him photographing people he encountered on the street. He also photographed her.

“It was through photography that Barkley L. Hendricks got out into the world. He was an observer of people, places, scenes, and also, as he expressed to me, an observer of the medium,” Arabindan-Kesson wrote. “Photography enhanced his ‘eye,’ it helped him better understand how to look: as in looking at a scene to understand how it came together, and learning how a scene, a way of looking, could be arranged.”

BARKLEY L. HENDRICKS, “Eggs,” 1976 (hand-tinted gelatin silver print drymounted on card, 5 1/4 x 7 9/16 inches, print; 11 x 14 inches, card; 13 7/8 x 15 3/4 x 1 1/4 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1980 (silver gelatin LE print, 16 x 24 inches, image; 16 1/2 x 24 5/8 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

In a video made by the Tate in London, Hendricks said, “My camera I call my mechanical sketch book. It allows me to get information. I’m fast, but I am as fast as a camera.” He has also described his camera as a tool.

Last year, “‘My Mechanical Sketchbook’ — Barkley L. Hendricks & Photography” was organized by Rose Art Museum at Brandeis University in Waltham, Mass. The exhibition explored the artist’s photography and considered how his images functioned in relationship to other aspects of his practice.

The description of “My Mechanical Sketchbook” summarized the show: The exhibition “focuses on the significant and multifaceted role of the camera and the photographic image within Barkley L. Hendricks’s artistic practice. The show presents Hendricks’s photographs as autonomous artworks, models for oil paintings, and as ‘mechanical sketchbooks’—to cite the artist’s own words—that helped Hendricks capture and recall sights and insights. The exhibition illuminates the deep connections between Hendricks’s myriad forms of creative expression with photographs, Polaroids, paintings, and works on paper.”

Now Jack Shainman is presenting “Myself When I Am Real,” focusing entirely on the late artist’s photography. The exhibition is the gallery’s fifth solo show with Hendricks.

BARKLEY L. HENDRICKS, Untitled, circa 1985 (gelatin silver print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, 1992 (archival inkjet print, 26 x 39 inches, print; 27 x 40 x 2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

A DECADE AGO, Jack Shainman mounted its first solo exhibition with the artist. “Barkley L. Hendricks: Heart Hands Eyes Mind” was on view in spring 2013. The show featured new and recent portrait paintings and a pair of oval landscapes alongside 25 photographs, including Polaroids.

The press release for the show noted the significance of the artist’s photography. “Hendricks has always worked between the realms of photography and painting, having studied with Walker Evans at Yale. He was introduced early on to portraiture through the perspective of the camera’s lens,” the release said.

Introducing a new crop of the artist’s famed portraits of cool, confident subjects, the paintings might naturally be considered show’s headliners. When I visited the exhibition, however, it was the photographs on view, one image in particular, that drew my attention and stayed with me long after I left the gallery and continues to come to mind years later.

BARKLEY L. HENDRICKS, Untitled, circa 1975 (gelatin silver print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1970 (gelatin silver print, 8 x 10 inches, print; 13 3/4 x 16 1/4 x 1 1/4 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

A large, 35 x 52-inch print of “Airport TV” was on display at the beginning of the show. The 1985 photograph depicts two women sitting side-by-side in an airport lounge in an era when televisions were built into the seating and people dressed up for airline travel. Both are wearing fur coats and heels and they have dozed off in nearly identical positions, each with their legs crossed and head resting on the side of their chair.

Even asleep, the women possess what Duke University Art Historian Richard Powell called a certain “elan,” when describing the subjects of Hendricks’s painted portraits, as featured in the exhibition “Barkley L. Hendricks: Birth of the Cool” in 2009.

The contents of the photograph represent the artist’s discerning eye and many interests and proclivities. He was drawn to subjects with presence, authenticity, individuality, and “elan”; had a penchant for duos and trios in his compositions; and possessed an enduring adoration for women’s legs and shoes. After seeing “Airport TV” and the other photographs on view in the exhibition, I was eager to see much more.

Installation view of “Barkley L. Hendricks, Myself When I Am Real,” 2023, Jack Shainman Gallery, 513 W 20th Street, New York, N.Y. | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. Photo by Dan Bradica

BARKLEY L. HENDRICKS, Untitled, 1991 (archival inkjet print, 26 x 39 inches, image; 27 x 40 x 2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

THE RECENT PHOTOGRAPHY-BASED EXHIBITIONS and publication have been welcome developments. However, since his photography was under-emphasized and under-studied when Hendricks was alive, so much remains unknown.

When Hendricks gave lectures or was in conversation before public audiences, he invariably discussed some of his works, usually his portraits paintings, in some detail. He explained how the portraits came about, who the subjects were, decisions he made about the visual presentation, and other meaningful factors.

Speaking at the Art Institute of Chicago in 2016, his entire presentation was a journey through his portraits. He showed images of the paintings and provided insights and commentary about each of them. On March 21, 2017, less than a month before Hendricks died, he gave a similar presentation at Harvard Art Museums, before sitting down for a Q&A with a professor.

BARKLEY L. HENDRICKS, Untitled, 1967 (archival inkjet print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

It would be invaluable to hear Hendricks offer narratives about his photographs, particularly those in the current exhibition—all but one of which are untitled—and learn the cities and specific locations where they were made, and how he would have titled them.

Questions abound. Who is the little girl standing next to the mannequin on the sidewalk? Was it a true random moment Hendricks encountered or was the entire scene creatively staged? What about the black pumps he photographed on The Great Wall of China? Did the shoes belong to his companion, who removed them to get the shot or were they brought along specifically as props in anticipation of making the photograph? Did Hendricks regard the images he made employing mirrors and reflections as references to Vermeer and Velázquez? What about the three young women he captured sitting together on a bench? Did he engage in a conversation about photography with the one in the middle who has a camera around her neck?

Early in his career, Hendricks painted cocksure, nude self-portraits. Decades later he represented himself through his clothing and accessories. In “Untitled (Self Portrait),” a photograph made in 1975, he wears a trench coat, patterned kufi, and a silver ring featuring a sizable sans serif “H,” with his camera held up to his eye, obscuring his face. Look closely at how he has positioned himself. What would Hendricks have to say about the faint white ring on the wall behind him that hovers just above his head like a halo? CT

Barkley L. Hendricks: Myself When I Am Real” is on view at Jack Shainman Gallery, New York, N.Y., from April 13-May 26, 2023 June 17, 2023

“Barkley L. Hendricks in New London” is on view at the Lyman Allyn Art Museum, New London, Conn., from May 27-Sept. 3, 2023

BARKLEY L. HENDRICKS, Untitled (Self-Portrait), circa 1975 (gelatin silver print, 24 x 16 inches, image; 24 1/2 x 16 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

Installation view of “Barkley L. Hendricks, Myself When I Am Real,” 2023, Jack Shainman Gallery, 513 W 20th Street, New York, N.Y. | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. Photo by Dan Bradica

BARKLEY L. HENDRICKS, Untitled, circa 1965 (archival inkjet print, 16 x 24 inches, image; 18 x 26 inches, paper size; 16 1/2 x 24 1/2 x 1 3/8 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1980 (silver gelatin LE print, 16 x 24 inches, image; 16 1/2 x 24 5/8 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, 1994 (archival inkjet print, 16 x 24 inches, image; 18 x 26 inches, sheet; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

Installation view of “Barkley L. Hendricks, Myself When I Am Real,” 2023, Jack Shainman Gallery, 513 W 20th Street, New York, N.Y. | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. Photo by Dan Bradica

BARKLEY L. HENDRICKS, Untitled, n.d. (archival inkjet print, 16 x 24 inches, image; 16 1/2 x 24 1/2 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1970 (gelatin silver print, 5 1/2 x 7 7/8 inches, image; 8 x 10 inches, print; 12 3/4 x 15 1/4 x 1 1/4 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, Untitled, circa 1980 (silver gelatin LE print, 16 x 24 inches, image; 16 1/2 x 24 5/8 x 1 1/2 inches, framed). | © Barkley L. Hendricks. Courtesy the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York

BOOKSHELF
“Barkley L. Hendricks: Photography” is part of a series of recent publications shedding light on lesser-known aspects of the artist’s practice. “Barkley L. Hendricks: Birth of the Cool” documents the traveling exhibition organized by the Nasher Museum of Art at Duke University. Portraits by Hendricks were featured in Soul of a Nation: Art in the Age of Black Power and one of them appears of the cover of the exhibition catalog. Another exhibition catalog, “Barkley L. Hendricks: Portraits at The Frick,” is forthcoming in September.

The clip accumulated more than 244,000 likes and over 2.4 million views.

Nature is a gift that keeps on giving. Now, thanks to the internet, we have the opportunity to explore facets of our environment, flora and fauna that we would not have been exposed to otherwise. The latest on the list of such popular nature posts is a video of a leopard that has left social media users stunned. 

The now-viral video was shared by wildlife photographer Shaaz Jung on Instagram. In the short clip, a beautiful big cat can be seen lying down, licking its paw peacefully. And then at one moment, it is then seen looking directly at the camera and spotting the photographer hiding behind the bushes. 

“The eye of the leopard, between the leaves, always watching, always your first observer,” Mr Jung wrote in the caption of the post. 

Watch the video below: 

Mr Jung shared the video just a few days back but he did not disclose the location where it was shot. Nevertheless, internet users were quick to react to the clip. They flooded the comment section with all kinds of emojis. While some called the clip “absolutely mesmerising”, others asked how the photographer was able to record the video without being attacked by the wild animal. 

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“How do you take these videos without getting attacked,” wrote one user. “Ever got chased by one? Lol looks like she has her eye on you,” jokingly said another. 

A third user commented, “That footage, absolutely incredible”. “Oh my god! It’s incredible, how do you capture these insane shots? Don’t they attack?!? Just curious @shaazjung,” asked another. 

“Scary and beautiful at the same time!” wrote one user. 

Since being posted, the clip has accumulated more than 244,000 likes and over 2.4 million views. 
 

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