Every month, hundreds of galleries add newly available works by thousands of artists to the Artnet Gallery Network—and every week, we shine a spotlight on one artist or exhibition you should know. Check out what we have in store, and inquire for more with one simple click.

What You Need to Know: Agora Gallery, New York, will present a recent series of portrait paintings by Italian painter Giovanni B. Tresso in the solo exhibition “Mirrors, The Story of 7 Portraits.” These recent portraits are drawn from extensive photo sessions Tresso conducted with each sitter, which he then uses as source material—but not in the traditional sense. Surveying the range of expressions and “micro-expressions” across the images taken, Tresso locates the irreducible and unaffected facets of the individual’s visage and translates those elements into paint. Using a painting technique that employs both brushes and palette knives, the pigments extend into the third dimension and feature a relief-like texture. The exhibition with Agora Gallery will include seven recent portraits each completed with a bicolor palette and offer viewers a new way of experiencing and considering the tradition of portraiture.

Why We Like It: Tresso’s distinctive portraits offer both a heightened tactile and psychological viewing experience through execution and composition. Conventional portraiture generally forefronts a specific mood or expression, but in Tresso’s practice, he seeks to locate an inalienable authenticity, found through careful study and comparison. Using photography and an extended period spent with the sitter, the artist is able to sift through passing emotions and expressions to get to the heart of the subject. Interpreted through a unique process of stippling and building paint on the canvas, the depth of view is both optical and literal. Contributing to the sense of existential truth is Tresso’s faithful use of two complementary tints within the same hue of each portrait; the face of the subject appears carved from the more saturated color, a type of visual metaphor for the internal life of the sitter. Together, the works in the show are a testament to Tresso’s nuanced and researched practice.

According to the Gallery: “Italian artist Giovanni Tresso offers a glimpse into the portals of the human soul. Each portrait is the result of an intimate interlude between the commissioner and the artist that fuses painting and photography. Tresso meets the subject in person and builds his paintings on a collection of impromptu snapshots that reveal micro-expressions and movements indicative of their personality. The key is to catch the sitter off guard, so that they abandon their defensive social barriers and expose their authentic essence. Echoing his background in design and advertising, Tresso’s works possess a distinctive graphic aesthetic. The facial traits are carved out using negative space and a highly contrasting dichromatic palette of white and either blue, red, green, or black. This, combined with the imposing scale of the pieces, garners a powerful magnetic quality that keeps the viewer glued to the canvas. ‘My portraits are timeless stories,’ Tresso says. ‘They will go beyond the earthly life of the person they represent and become immortal.’”

See the portraits below.

Giovanni B. Tresso, Zamu (2023). Courtesy of Agora Gallery, New York.

Giovanni B. Tresso, Zambo (2023). Courtesy of Agora Gallery, New York.

Giovanni B. Tresso, Matteo (2023). Courtesy of Agora Gallery, New York.

Giovanni B. Tresso, Masok (2023). Courtesy of Agora Gallery, New York.

Giovanni B. Tresso, Lele (2023). Courtesy of Agora Gallery, New York.

Giovanni B. Tresso, Bortcho (2023). Courtesy of Agora Gallery, New York.

Giovanni B. Tresso, Boke (2023). Courtesy of Agora Gallery, New York.

“Giovanni B. Tresso: Mirrors, the story of 7 portraits” opens at Agora Gallery, New York, July 1, 2023.

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Since Adobe Photoshop launched its new artificial intelligence (AI) Generative Fill tool last week, the “photoverse” has been awash with its awesome power. PetaPixel has rounded up some of the most remarkable examples so far.

Many social media posts have been accompanied by comments like “RIP Photographers” and “Photographers just lost their jobs.” While that remains to be seen, the versatility of Photoshop’s new tool is certainly breathtaking and makes what used to be very difficult and time-consuming now fairly easy and fast.

Explanding Album Covers

It was perhaps obvious that creative types would seek to expand iconic album covers such as Nirvana’s Nevermind and The Beatles’ Abbey Road.

Having Fun

Generative Fill is so creative that it allows people just to have fun with images. For example, the viral pope in a puffer jacket image was expanded giving His Holiness legs and luggage.

Another creative decided to take a photo of the Smoky Mountains and add a bear and a Tyrannosaurus rex having a picnic.

Removing Getty Watermark

Users have also been employing Photoshop’s generative AI fill tool to remove the Getty Images watermark from photographs. In a video, which racked up over 500,000 views, TikTok user @drivenbyboredom revealed how they were able to get rid of Getty’s watermark in under 26 seconds.

@drivenbyboredom It took me 26 seconds to remove the Getty Images watermark using Adobe Photoshop’s new generative fill tool. #ai #artificialintelligence #photoshop #photography #gettyimages #generativefill ♬ Aesthetic – Tollan Kim

Viewers were shocked at the ease of removing a watermark from an image with Photoshop’s new generative fill tool and pointed out that it spelled bad news for photographers everywhere — not just Getty. A TikTok user writes: “This is a problem for small photographers and businesses whose clients refuse to pay for unwatermarked images.”

Adding a Lake With a Reflection

In an impressive video, with over 4.6 million views, an online Photoshop expert used the generative fill tool to extend a portrait of a man sitting by a fire and add a lake to the image. The TikToker expanded the photograph and simply typed “Fill white with water like river or lake.”

Photoshop’s generative fill tool perfectly added a river to the image — complete with a reflection of the man and the fire in the water.

@interestingasfckai Looking for an incredible way to pimp up you pictures? I got you 🙌 #ai #photography #photoshop #aigenerated #fyp ♬ Baianá (Sped Up Version) – Bakermat

Perfecting Wedding Photographs

Utah-based photographer Dani Sork used Photoshop’s generative AI tool to fine-tune wedding photographs and make them picture-perfect for the couple.

@danisorkphoto we’re living in the future, its fine 🤯 #adobegenerativefill #ai #photoshopai ♬ original sound – Dani Sork Photo

While wedding photographers would usually spend hours editing images, Sork swiftly removes unwanted people from the background of a photo and removes a yellow curb in a portrait within a matter of seconds. “We’re living in the future,” Sork says of Photoshop’s new tool.

@danisorkphoto Replying to @Gina Batista can confirm- there’s nothing it cant do 😧 #photoshopbeta #adobegenerativefill #photoshopai #aiediting ♬ original sound – Dani Sork Photo

Giving The Mona Lisa Legs

TikToker @pixelate used Photoshop’s generative AI tool to extend the iconic Mona Lisa beyond its frame and give her legs.

The TikTok user did not stop there and added a figure taking a photo of Leonardo da Vinci’s reimagined painting on their smartphone.

@pictelate Trying Photoshop’s new generative fill AI tool on the Mona Lisa #photoshop #photoshopai #generativefill ♬ original sound – Pictelate

Meanwhile, in another clip, graphic designer Henrich Henkel used the new Photoshop fill tool to masterfully extend da Vinci’s The Last Supper painting.

@henkel777 Replying to @habichantiktok Here you go, Adobe generative fill on Da Vinci’s Last supper 🙂 #generativeai #photoshop #generativefill #AI #adobefirefly #adobephotoshop #adobe #fypシ ♬ Aquarium – Kevin MacLeod

‘All Product Photographers Lost Their Jobs Today’

In an astonishing video, filmmaker Simon Mayer revealed how he was able to change the background on a product photograph with one simple click. In a mere 10 seconds, he replaced the wooden table backdrop for a bottle in a photograph with a picturesque sunny landscape.

@simon_meyer Photoshop just became what our parents always thought photoshop is … why did i studied ? 🥹 #adobephotoshop #photography #productphotoshoot ♬ Little Things – Adrian Berenguer

With the launch of Photoshop’s new AI generative fill tool, Mayer declared that: “all product photographers lost their job today.”

It is similar to Google’s recently launched Product Studio that can create “custom product scenes” easily changing the background and removing the need for “expensive” photographers.

Image credits: Header image courtesy of Alexander Dobrokotov and Henrich.

Woodland photography can be tremendously rewarding, but it can also be a particularly challenging sub-genre of landscape photography. If you are interested in improving your forestry photos, check out this fantastic video tutorial that features an experienced landscape photographer sharing some of his best advice. 

Coming to you from Nigel Danson, this excellent video tutorial discusses how to creating compelling woodland images. One of the challenges of landscape photography is that you do not get control over the placement of any of the elements in the frame, and this challenge is doubled when you head into the forest, where the irregularity and density of the elements can make it especially difficult to find a clean composition that is free of distractions. On the other hand, the nice part about the forest is that there are many more potential shots in closer proximity. Whereas you might have to hike quite a distance between different locations, the density of the woods allows you to simply turn around or walk a few steps and find an entirely new composition. Check out the video above for the full rundown from Danson.

And if you really want to dive into landscape photography, check out “Photographing The World 1: Landscape Photography and Post-Processing with Elia Locardi.” 

ATLANTA — Orbitvu, an automated product photography solutions provider, has launched a new content production solution for heavy and sizable products.

E-comm Studio+ is a software-controlled automated studio for product photography of massive products. Users can create their own photography studios and take stills, videos and 360-degree spins of objects up to 6.5 feet high in a consistent manner.

The studio offers several configurable accessories:

• A 19-by-19-by-19-foot truss construction that holds all studio components
• Orbitvu 16-foot diameter low-profile rotating platform that can hold up to 8,800 pounds.
• Lighting can be controlled remotely from the computer.
• Top camera mount offers motorized zoom.
• Orbitvu Motorized Stand, which allows controlling camera height, tilt, zoom levels and distance from the subject.

E-comm Studio+ can be used as a tailor-made studio or as a predefined configuration, such as Furniture Studio, which is an automated large-scale device that allows for photographing single pieces of furniture as well as entire sets. Its applications include videos and 360-degree views.

See also: Why online retailers are abandoning costly traditional photography for virtual imaging

Ever wondered how to photograph SpaceX Starlink satellites? Well, there are potentially thousands of opportunities. As of May 2023, there are almost 4,000 Starlink satellites currently in orbit, with more being launched each month.

The Starlink satellite train appears brightest and most visible when they are newly launched because they are lower in orbit and travel in a train, making them more visible than a single satellite journeying through the night sky. Eventually, the Starlink satellites will ascend to their final orbit height of approximately 341 miles (550 kilometers) above Earth. Find out How to see and track the Starlink satellite train with our comprehensive guide. Not everyone thinks their visibility is a good thing, though.

There is controversy over who owns the night skies and how orbiting satellites and other human-made objects impact the night sky (including factors such as the effects on scientific data). A SpaceX best practices document published in 2022 outlines how the company continually reviews its construction materials, different technologies and operational techniques to reduce the observed brightness of the satellites. However, many of them remain visible to the naked eye and are photographable which is good news for skywatchers and astrophotographers that want to see and image them.

In this guide, we’ll advise you on which camera, lens, tripod and camera accessories you’ll need and tell you how to set them up to successfully capture the Starlinks. We also share how and when to see them in your location.

Related: Megaconstellations could destroy astronomy and there’s no easy fix

Choosing a camera

As with all photography disciplines, having the right gear will simplify the process and ultimately improve your experience and photos.

First and foremost, you will need one of the best cameras for astrophotography, this may be a DSLR such as the Nikon D850 or a mirrorless camera like the Sony A7R IVA. Whatever camera you photograph with it should have a manual mode to give full control over the aperture, shutter speed and ISO. But it must also perform well in low light. 

Full-frame 35mm cameras are generally better at this than their APS-C crop or Micro Four Thirds counterparts and produce less image noise even when ISO sensitivities are being pushed. A camera with a self-timer or exposure delay mode is also useful if the photographer doesn’t have a remote shutter release or intervalometer. 

It’s important to consider that DSLR lines are being dropped by many major camera manufacturers, so mirrorless systems may have better future-proofing. However, there is a massive back catalog of lenses available to the DSLR shooter and it’s likely to be the cheaper way into night sky photography because of this.

However, there are many benefits to shooting mirrorless. The electronic viewfinder in mirrorless cameras can show brighter views of the night sky than DSLRs with an optical viewfinder.

A couple of camera suggestions that have all of these functions include the Sony A7R IVA which performs incredibly well in low-light and has an impressive dynamic range. Then there’s the Nikon Z6 II which has a super ISO range, is good value for money, easy to use and has a large 3.2- inch touchscreen display. While these cameras are also great generalist cameras, if you’re looking for something a little less specialist check out our Best cameras for photos and videos guide.

Choosing a lens

It makes sense to choose one of the Best lenses for astrophotography when photographing Starlink satellites. We would recommend a wide-angle lens with a fast maximum aperture in a bid to capture the vast distance the satellites will travel through in the night sky, as well as some foreground elements.

The best wide-angle lens we’ve ever tested is the Sigma 14mm f/1.8 DG HSM Art. It’s supremely sharp and has a fast aperture of f/1.8 to drink in all those beautiful photons. However, it’s also a fixed focal length prime lens. 

For those that need a little more flexibility perhaps one of the Best zoom lenses might be more appropriate. Canon shooters should look at the Canon RF 28-70mm f/2L USM Lens for ultimate sharpness and a handy zoom range.

A good budget option is the Rokinon/Samyang 14mm f/2.8 which is compatible with Canon EF mount, Nikon F-mount and L-mount cameras.

Choosing a tripod

One of the Best tripods is absolutely crucial for astrophotography and long-exposure shooting to keep the camera rock steady. Overall we’d recommend the Benro Mach3 TMA37C tripod because its carbon fiber construction is complemented with magnesium castings and is lightweight yet sturdy.

The best Starlink satellite shooting locations are ones with lower light pollution levels and that probably means traveling to get the best pictures. If you’re hiking with a tripod it’s best to take something portable and light. For this, we think the Peak Design Travel Tripod or the Manfrotto Element MIII tripods fit the bill because they are lightweight and fold down compactly.

Camera accessories that will help

You can start with just the kit mentioned above, but other gear may enhance and simplify your experience. For example, an intervalometer or remote shutter, if your camera doesn’t have an inbuilt one, will be invaluable for taking the shot without touching the camera (and causing wobble). The intervalometer can be used to define the duration of your exposure as well as create time-lapses.

A red flashlight or headlamp would be helpful to preserve your night vision when getting to your location, setting up your tripod and so on. Your clothing needs to be comfortable and warm, there’s nothing worse than having to cut short a shooting session because you are too cold. Remember you will be standing fairly still so will feel chilly quickly. We like carrying our Celestron Elements Firecel Mega 6 too as it’s both a power bank and a handwarmer, so good save spacing, useful kit.

Location and timing

To take photos of the SpaceX Starlink satellite train we need to find where they’ll appear in the sky based on time and location and ensure the weather is clear enough to see them.

A quick way to see if you may be in with a chance of seeing any Starlink satellites in your location is by using the aptly named findastarlink.com or the Find Starlink Satellites website, which even tells you which direction to look (e.g., North to East). 

Because of the changing orbits, you could see them one day and not the next, even if you look in the same direction. There’s also the satellite map that shows real-time locations of Starlink, including how fast they are traveling, what version they are and so on. Totally unnecessary for our photography purposes but some might find all the data interesting. You might find you’re waiting some time before they will be visible in your desired location.

Timing is essential, the satellites could be passing right over your head, and you still might not be able to see them. The satellites themselves don’t emit any light. What you’re seeing is reflections, so the sun has to be in the correct position to ‘catch’ them and reflect the light to you; this means you’re not guaranteed to see them, not forgetting that they travel nearly 500 km/300 miles per minute. 

The best time to be in with a chance of seeing them is close to dusk and dawn when the sun is near the horizon (so the sky is dark), but it’s still high enough to catch the satellites.

Of course, you also need a clear, cloudless sky. Plenty of apps are available that tell you how clear the sky will be; find them in our best apps for stargazing guide. Don’t use these as gospel, though; the weather and cloud cover can change quickly. If you aren’t planning on traveling far, just head outside and see if it’s clear! If you are traveling searching for dark skies, say you’re in a city where your sky is class 7 on the Bortle scale, use the Dark Site Finder to find a more appropriate location.

What camera settings you will need

Set the camera to manual mode. This gives full control over the ISO, shutter speed and aperture. We recommend shooting in RAW file format to enhance photos post-shoot with one of the Best photo editing apps. You can change this in the camera’s on-board menu, or read through the manual to find out where this is on your camera.

Set the aperture

Once the above is set it’s time to dial in aperture. This will determine how wide the hole in your lens opens during the exposure. A wider aperture (lower f-stop number) will gather more light and, when dealing with something as dark as the night sky, we need that as wide as possible. If the lens you’re using opens up to f/2.8, then set aperture to f/2.8.

Dial in the shutter speed

The shutter speed determines how long the image sensor is exposed to the light for. To see the Starlink as trails, set your shutter speed to between 10 and 20 seconds. Longer shutter speeds will result in longer trails, and vise versa. Want to capture the Starlinks as pin-points of light? A shutter speed of 1/2 sec or faster is required, but that means the image sensor’s sensitivity to light must be increased dramatically.

Crank up the ISO sensitivity

To make the image sensor more sensitive to light we must increase the ISO (ISO stands for International Standards Organization). But with a higher ISO sensitivity also comes more image noise. We’d recommend starting at around ISO800-1000 depending on your camera model (newer models will typically handle high ISO noise better).

If there is too much image noise for your liking drop the ISO down but counterbalance this with either a wider aperture or a slower shutter speed to maintain a good exposure. It may take some test shots to get something well-balanced.

Check the histogram on your rear LCD screen to ensure there is a bump in the graph in the second quadrant in from the left. If the graph data steeps all the way up to the left (the darkest portion of the graph) or touches it completely and it’s hard to discern stars/satellites in the image, increase the ISO sensitivity or slow the shutter speed to suit.

How to set up the camera

If you’re using a DSLR, cover the viewfinder with a viewfinder cap if you have one or improvise with some tape. This prevents unwanted light from entering the camera through the viewfinder and potentially ruining the exposure. You won’t have to do this for mirrorless cameras because they use an electronic viewfinder (EVF), a mini screen inside the viewfinder window, and does not allow light to pass through to the image sensor.

Set your camera up on a tripod, composing your shot including any interesting foreground you might have, pointing in the direction the Starlink will pass (you may need to use a compass to discern which direction they will appear from). If your tripod is ultra lightweight or if it’s particularly windy then weigh your tripod down. Most tripods have an attachment handle for weights. While you can purchase specialist camera weights we’d recommend taking a bungee cord and attaching the camera bag to support the tripod to save weight when moving on location. 

If you have an intervalometer or remote release, set this up too. If you don’t, simply use your camera’s exposure delay setting. This is important because touching the shutter button during the exposure would almost certainly cause camera shake blur.

Use the EVF or turn on ‘live view’ on the rear LCD screen to compose the shot. The automatic uplift in exposure detail will help with the next step.

How to focus

Most cameras won’t be able to automatically focus on objects in the night sky because it is so dark, so we have to do this manually. There is a tried and tested technique that is head and shoulders above the rest.

To focus, find the brightest star in your field of view (on the screen), zoom in and navigate to it; this ‘star’ may well be a planet. Make sure you’re set to manual focus and not autofocus. There’s a switch on the lens body, and sometimes on the camera body near the lens mount. 

Turn the focus ring until the star/planet appears as a sharp pinpoint of light (rather than a circle). It may be necessary to take several passes back and forth with the focus ring until optimum focus is achieved. On the screen, zoom out again and don’t adjust the focus for the remainder of the shoot unless it is obviously out of focus or has been knocked accidentally.

Exposure

Take some test shots and check your exposure using the histogram; you might need to press your info button to turn this on if you don’t usually use it.

The histogram gives us a visual representation of the brightness values of all the pixels in our photo; it’s best to use this method, as relying on the screen alone isn’t always accurate. 

As mentioned above, if all of the ‘mountain peaks’ in the graph are on the left ‘wall,’ the image is too dark; on the right, it’s too bright. We’re aiming for most of the peaks to be on the left but with some data nearer the middle of the histogram (meaning the image is dark but with points of light).

Make adjustments if necessary. If it’s still too dark and you can’t open the aperture wider, slow the shutter speed down further. If that still doesn’t work, raise the ISO, but be mindful not to bump it up too much, as too much image noise can be tricky to edit out.

Post-processing

Now you have your images, download them into one of the Best photo editing apps for astrophotography to make the tweaks and changes to enhance them to suit your style or remove any unwanted elements.

There you have it, the basics of shooting the Starlink satellites — this will also work for capturing photos of the International Space Station. Use NASA’s spot the station or Jamie Darpinian’s satellite tracker to discover the best viewing opportunities.

Further reading

SpaceX Starlink Satellites Tracker. (n.d.). Retrieved May 2, 2023, from https://findstarlink.com/

Live Starlink Satellite and coverage map. Starlink satellite tracker. (n.d.). Retrieved May 2, 2023, from https://satellitemap.space/?constellation=starlink

How Starlink Works. Starlink. (n.d.). Retrieved May 2, 2023, from https://www.starlink.com/technology

Jonathan’s space pages. Jonathan’s Space Report | Space Statistics. (n.d.). Retrieved May 2, 2023, from https://planet4589.org/space/con/star/stats.html

Who owns the night sky? See what the International Dark-Sky Association thinks.

Swiss photographer Markus Klinko (b. 1961) is world renowned for his work in high fashion and with celebrities, and his early career images of musicians—from David Bowie and Beyoncé to Britney Spears and Mariah Carey—are seen as aughts defining masterworks. Klinko’s high concept and production photographs from across his decades-long career continue to garner the photographer followers, and shape mass visual culture through today. Late last year, Pop International Galleries in New York announced their representation of Klinko, an exciting development for both artist and gallery.

Gallery founder Jeff Jaffe said, “As a gallery that represents Pop Art and ‘Art Of Popular Culture,’ Klinko is a natural fit. In the 25 years that Pop International Galleries has been around, adding the work of this astonishing photographer to our amazing stable of artists is both a privilege, and a visual imperative. He sees the world of celebrity in a way that celebrities wish to be seen, offering forth a joyous visual plethora that reflects Pop Culture and remains unequivocally Markus Klinko.”

We caught up with Klinko to learn more about his journey to becoming a top celebrity photographer, and what’s in store for the 20th anniversary of his iconic photo of Beyoncé.

Markus Klinko, Mariah Carey, Emancipation of Mimi (2005). Courtesy of the artist.

You are world-renowned for your images of famous people, so I was surprised to read that you were resistant to photographing musicians and celebrities early in your career. Why was this, and what changed your mind?

As a child, my dream was to become a famous classical concert harpist and recording artist. Against all odds, this dream actually manifested in the early ’90s, and I traveled the world playing concerts and recording exclusively for EMI Classics, being represented by Columbia Artists. Vanity Fair, Italian Vogue, The New York Times, and GQ photographed me for features, and I truly believed the world revolved around moi! LOL

But by 1994, a mysterious hand injury forced me to abandon a lucrative career, which initially drove me into a state of sheer panic. However, within a couple of weeks, an epiphany made me realize that I had indeed achieved my childhood’s lofty goals and that continuing on that strenuous path, practicing the harp for 10 hours a day, was somewhat repetitive—maybe redundant even.

So, one morning shortly thereafter, I decided to become a fashion photographer headfirst, with zero experience and never having taken a single photograph. My only experience was on the other side of the camera, posing with my harp!

I decided to teach myself, and after purchasing a truckload of photo equipment that I didn’t have a clue how to use, I locked myself into my New York City loft and called in favors to do some model tests for Elite, Ford, etc. I used the dedication and focus I had previously learned from my classical training and advanced very quickly through trial and error.

However, I initially looked at this new endeavor as more of a “reward” for all the hard work I put in for 30 years as a harpist—and was mostly interested in shooting sexy models! The idea of shooting other musicians or celebrities was not too appealing.

In 1995, I moved back to Paris for a bit, and quickly found an agent when things actually took off a little, and I started getting assignments from smaller fashion magazines in Paris and London. I also started to experiment very early on—way before that was the norm—with digital post-production.

By 1999, the style that I developed started to attract major labels and bigger magazines. And they mostly wanted me to shoot celebrity covers! It took a little bit for me to warm up to this, but all changed dramatically once David Bowie asked me to shoot the cover art for his album, Heathen, in 2001. This was sort of the official start of my photo career. From there on, everything escalated very rapidly!

Markus Klinko, Beyoncé, Dangerously in Love (2003). Courtesy of the artist and Pop International Galleries, New York.

This year marks 20 years since you first photographed Beyoncé for her iconic Dangerously in Love album, and you’ve worked with her several times since. Do you have a favorite image of her? Or can you tell us about any particularly memorable moments?

These images are amongst my most successful work, and it would be hard to narrow them down to just one!

When Beyoncé asked me to shoot the cover of her debut solo album, Dangerously in Love, she mentioned a campaign I’d done showing Laetitia Casta lying in a diamond-studded spiderweb. Beyoncé wanted something similar, but smaller. When she arrived for the shoot, with her mother styling her, I pointed at the diamond top as they brought out all the outfits and said: “That’s exactly what we discussed.” But Beyoncé was reluctant because her mother had only brought skirts to pair it with, and she felt it would make the look too red carpet-like. I suggested she pair it with jeans. She liked that idea, but they hadn’t brought any. So, I gave her mine—on that famous, iconic cover, she is wearing my jeans! People ask if that meant I wasn’t wearing any trousers while shooting her, but I was—I had another pair, luckily. A few months later, she returned the jeans. She’d had them cleaned and they were nicely wrapped with a ribbon. This was 20 years ago, and since then this cover has come to represent an entire era, the 2000s.

This week, I am releasing a very limited BEYONCÉ DIAMOND DUST, 20th ANNIVERSARY EDITION. It was difficult for me to choose the initial three works for that. Also, I finally decided to showcase the jeans alongside the new Diamond Editions, in a specially designed art plexiglass box! The jeans will have their debut next month at Pop Galleries in New York.

Markus Klinko, Rhythm Roulette (2001). Courtesy of the artist.

Of all the celebrities you’ve photographed, who have you worked with that you would most like to work with again?

David Bowie. He was such an inspiration. He left us way too early.

Can you describe your creative process? Do you go into a shoot with a clear idea of what you want to capture, or is it more spontaneous?

Both, literally. I am very prepared with precise ideas, my mood boards, and all, but I keep the possibilities wide open for magic to happen.

What are some places that you look to for inspiration? Are there other photographers or artists—either historic or contemporary—that have influenced your practice?

I am influenced by a broad range of pop culture, and actually consider myself a “documentarian of pop culture,” more so than a fashion photographer.

I am quite obsessed with Warhol, and extremely inspired by how he organized himself as an artist, as well as an entrepreneur, being able to seamlessly work with brands and celebrities, and turn it all into the defining art of his time.

I also love Helmut Newton’s work, but most other photographers out there are much less of an influence. I like to walk in my own direction.

Markus Klinko, The Angel Factory, Emerald #8 (2023). Courtesy of the artist.

With the advent of things like AI, social media, and other tech, do you have any observations or predictions on the future of photography?

Besides fashion stylists, makeup artists, hair wizards, set designers, retouching, and photo-compositing artists, my team indeed now also includes a very accomplished AI expert! I continue to stay a few steps ahead in this game.

In 2004, I was the very first photographer to shoot a global L’Oreal Paris advertising campaign with a digital camera! They were so scared but trusted me, and it was a huge success! I abandoned film and scanning in 2004.

I am also collaborating very closely with Fujifilm in the development of their flagship medium format cameras, such as the GFX 100S.

I am a very technical photographer and explore all advancements eagerly.

Are you able to tell us anything about what you are working on now? Or, alternatively, something you’d like to work on that you haven’t yet?

I have several big upcoming solo exhibitions opening in the next few months, including at Markowicz Gallery, Dallas, on June 8, and Jennifer Balcos Gallery, Atlanta, on June 15. Both opening events are supported by Rolls Royce, and I am also currently working with them on new shoots as well! But I am particularly excited about opening this fall at Pop International Galleries in New York!

I am also constantly shooting new projects back-to-back. For example, I just photographed the last cover of Paper magazine with Ice Spice, who is the number one hottest artist in the world right now! Seeing my work with her move from magazine cover to the walls of Pop International Galleries within just a few days was somewhat of an unprecedented experience. Normally, that takes at least 20 years for celebrity shoots to make it into art galleries—so I am proud to be able to change the game a bit!

Markus Klinko, Ice Spice, The Bath (2023). Courtesy of the artist.

Explore the work of Markus Klinko with Pop International Galleries here.

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WATERTOWN, Mass.—The Armenian Museum of America (AMofA) has announced the opening of its next contemporary art exhibition, “Ara Oshagan: Disrupted, Borders.” The show follows the AMofA’s blockbuster exhibit, “On the Edge: Los Angeles Art 1970s-1990s from the Joan and Jack Quinn Family Collection,” which received rave reviews and was viewed by thousands of visitors. 

“Disrupted, Borders” at AMofA is an expanded version of what was previously exhibited at Stockton University Art Gallery in New Jersey. The show is being curated by Ryann Casey. “This exhibition connects many of the diasporic and homeland entanglements that have occupied me over the past decade or more, from Los Angeles to Beirut to Artsakh,” states Oshagan. “The works articulate a certain ‘diasporic liberation,’ as so well stated by Hyperallergic editor Hrag Vartanian in his introductory essay about the exhibit.”

The exhibition combines photography, collage, installation and film, the last of which runs in the AMofA’s Rose and Gregory A. Kolligian Media Room. “The installation at Stockton was quite impressive in person and we knew this was something we wanted to bring to our Adele and Haig Der Manuelian Galleries,” says executive director Jason Sohigian. “Ara’s photography is from the diaspora in Los Angeles and Beirut, as well as Armenia and Artsakh, so it connects many historical elements with contemporary issues facing Armenians today.”

More than 55 works are on display including a massive mural from Oshagan’s Beirut Memory Project, as well as six large medieval manuscripts printed on fabric and overlain with photographs of people from Shushi, Artsakh. Eighteen Armenian Hmayil prayer scrolls are also reproduced for an installation in the middle of the gallery space. The scrolls are created from the digitized collections of the Library of Congress and other institutions, and they are modified with “interventions” from Oshagan that reflect on travel, family, culture and politics. 

“Visitors will notice that some of the gallery walls are painted red. This color choice was intentional, and it is actually the color of the dye made by the Cochineal insect that is indigenous to the Ararat plain and Arax River Valley,” explains Sohigian. “Vordan Karmir is a familiar color in Armenian rugs, and Oshagan selected it with the curator to accent the exhibit. It adds another layer of meaning to the issues that Ara brings to this show around Armenian identity and culture.” 

The mural and manuscript portraits on fabric, which are part of Oshagan’s Shushi series, are some of the largest works that have ever been exhibited in the AMofA galleries. “Ara’s innovative style allowed us to bring these larger-than-life images into the space so this installation offers many surprises from color to scale to medium, and a mix of time and place that will resonate with visitors,” adds Sohigian. 

“Oshagan manages to seamlessly weave together different geographies, historical sources, and a range of mediums to consider the impact of dislocation on our personal and collective history,” explains Casey. “Bringing the past to the present, Oshagan asks us to reflect on our connections to place and community while highlighting the importance of memory on our shared future.”

Oshagan is a multi-disciplinary artist, curator, and cultural worker whose practice explores collective and personal histories of dispossession, legacies of violence and identity. He works in photography, film, collage, installation, book art, public art and monument-making. Oshagan has published three books of photographs. He is currently an artist-in-residence at 18th Street Art Center in Santa Monica and a curator at ReflectSpace Gallery in Glendale.

Casey is a New Jersey-based artist and educator. She is an adjunct professor of photography, art history and critical theory at Stockton University. Her current photographic and curatorial projects focus on themes of loss, trauma and memory.

“Disrupted, Borders” will be exhibited in the AMofA’s third floor contemporary galleries through October 29, 2023. The gallery hours are Thursday through Sunday from noon to 6 p.m. The Armenian Museum of America is located at 65 Main Street, Watertown, MA.

There will be an opening reception for the exhibit on Wednesday, June 7 from 6:30 p.m. to 8:30 p.m. This event is free and open to the public. Oshagan will be present. 

The Armenian Museum of America is the largest Armenian museum in the Diaspora. It has grown into a major repository for all forms of Armenian material culture that illustrate the creative endeavors of the Armenian people over the centuries. Today, the Museum’s collections hold more than 25,000 artifacts including 5,000 ancient and medieval Armenian coins, 1,000 stamps and maps, 30,000 books, 3,000 textiles and 180 Armenian inscribed rugs, and an extensive collection of Urartian and religious artifacts, ceramics, medieval illuminations and various other objects. The collection includes historically significant objects, including five of the Armenian Bibles printed in Amsterdam in 1666.

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This roundup of Dallas dining news has an unprecedented number of restaurants offering special seasonal menus for summer, most starting on June 1. We’re so seasonal right now.

Here’s what’s happening in Dallas restaurant news:

Saaya Lounge, a Mediterranean oasis at 2511 Swiss Ave. from Milkshake Concepts (Vidorra, The Finch, Harper’s) will open on Friday, June 2. The menu will be in mezze form – small Mediterranean-style shared plates – such as Spicy Feta Dip, marinated Shawarma and Kebabs, and Lebanese-style pizzas, also known as Manakeesh. Plus Greek and Lebanese Caesar. Cocktails include the Ombra of Anubis with Sombra Mezcal, Ancho Reyes, and Ramazatti; and Not Your Habibi, with Ketel One vodka, St. Germain, and Dill Yogurt.

Leela’s Pizza & Wine has introduced weekend brunch at its new Uptown location at McKinney & Olive, Saturday-Sunday from 11 am-3 pm. The menu features frittatas, breakfast pizzas, $2 mimosas, and cold pressed juices. Entrees include bacon & cheddar frittata with egg, bacon, white cheddar, tomato, arugula, & avocado crema; vegetable frittata with egg whites, manchego, spinach, red pepper, mushrooms, romesco; bacon & sausage breakfast pizza with an over easy egg; vegetable breakfast pizza with spinach, mushrooms, red onions, tomato, over easy egg; and an acai smoothie bowl with acai, strawberry, banana, blackberry, oats, and honey. Drinks include $2 mimosas and $5 cold-pressed juice mimosa.

Sister on Greenville Avenue has an unusual new item: Called the One Night Stand, it features a bottle of prosecco and a room key to one of the three boutique apartments above its sibling Cafe Duro next door. Guests have special access to the neighboring Duro concepts including private dining experiences and priority access to reservations at Sister and their other sibling, The Charles. The sparkling and overnight stay are $299.

Chef’s Palette, the restaurant at the Canvas Hotel, has a summer new menu from Executive Chef Emerio Viramontes, featuring pepita-crusted salmon on poblano cream rice with a green bean and pepper medley and blood orange-mezcal glaze; NY strip with goat cheese polenta, broccolini, and blackberry demi; red snapper with black rice and charred baby bok choy; and pork chop with roasted parsnips, carrots, and whipped potatoes. Viramontes is a graduate of Le Cordon Bleu College of Culinary Arts in Austin who joined the Canvas last year. The new menu debuts on June 1.

Mendocino Farms has a new summer menu featuring: Strawberry Fields Salad with chicken, strawberries, watermelon radish, fennel, mint, red onions, goat gouda, and pistachios; Hot Honey Peach & Prosciutto Sandwich with mozzarella, honey-roasted almonds, Calabrian chili aioli, hot peach honey, and arugula on a toasted sesame roll; Turkey Avo Salsa Verde Sandwich; Italian Roast Beef Sandwich; and new sides: Watermelon Street Cart Salad, Southern Macaroni Salad, and Oaxacan Potato Salad.

Grimaldi’s Pizzeria has a new Summer Selections menu with Smoked Brisket Pizza and Sweet Baby Ray’s barbecue sauce; Spinach Salad with feta cheese, red onion, almonds, and strawberries; Cheesecake topped with blueberries or strawberries; a charcuterie board with prosciutto, salami, mozzarella, Spanish olives, and antipasto peppers; and the Bourbon & Blues cocktail with Tincup American whiskey, lemon juice, muddled blueberries, and thyme. It runs June 6 through September 11.

Salad and Go has a new summer menu with four new dishes: Antipasto Salad with romaine, salami, feta cheese, cucumbers, banana peppers, kalamata olives, red onions, and croutons in red wine vinaigrette (can also be ordered as a wrap); Mediterranean breakfast burrito with spinach, eggs, feta cheese, and avocado with green tomatillo salsa (can also be ordered as a bowl); Minestrone Soup, a vegetarian soup with kale, cannellini beans, and pasta in a tomato-based broth, which will become a permanent menu item; and the return of Blueberry Basil Lemonade. The dishes will debut on June 1.

Modern Market has brought back its cult classic Street Corn Pizza, with corn, jalapeño, chile powder, cilantro, lime, smoked crema, cotija, mozzarella, and cheddar cream sauce. Their pizzas are really a deal. A whole Street Corn Pizza is $12.45, but they also thoughtfully offer their pizzas in a half-size for $7.45. They have locations at Preston Hollow/Dallas, Plano, Southlake, Las Colinas, and Richardson, and their website is one of the easiest and most sophisticated in the restaurant industry.

Smoothie King smoothie chain has brought back its X-Treme Watermelon smoothie and a new Watermelon Lemonade smoothie for the summer.

Chili’s has new Chicken Crisper Combos with Cheddar Mac & Cheese, Fries, and two dipping sauces: new Buffalo Ranch and Sweet Chili Zing. Their OldTimer burger can now be ordered with double patties because more meat is appealing to some people? New premium margaritas feature high-end tequila like Casamigos and Teremana Tequila.

Yardbird, the Miami Beach concept with locations in Los Angeles, Dallas, Washington D.C., Las Vegas, Singapore, Chicago, and Denver (opening summer 2023), is doing two pride items during June: Key Lime Pie with toasted meringue, raspberry sauce, and fruit and a Berry Prideful cocktail with Silver Tequila, Cointreau, Lime, Strawberry, and Agave.

Naturli’ is a Danish brand launching its award-winning plant based butters in the U.S. The products will initially launch in H-E-B stores across Texas. Naturli’s vegan butters are among the best on the European market thanks to their exceptional taste and healthy ingredients. Made with cocoa butter, almond butter, coconut oil and canola oil, they are dairy-free and palm-oil free. The Butter Spread is for spreading on bread; Plant Butter Block is for baking. Both are made to taste and perform like traditional butter; Plant Butter Block is approved by professional bakers.

Orange Leaf, the Dallas-based self-serve, choose-your-own-toppings frozen yogurt chain with a location at 6076 Azle Ave. in Lake Worth, has brought back fan-favorite froyo flavor Watermelon.

Gong Cha the drink chain with 7 stores in the Greater Dallas area has a special Pride drink running June 1-30. It’s a sweet and tart Lemon Ai Love Yu bubble tea with white pearls and edible glitter.

H-E-B is opening a new eCommerce Fulfillment Center in Plano later this summer to service its new stores in North Texas.

Texas Dairy Queen Operators’ Council is launching a contest to find The Biggest Fan in Texas. You have to write an essay, plus tell what your favorite DQ item is, your favorite location, and a photo with a DQ memory. The winner gets free Treats & Eats for a year, plus swag from Josh Abbott Band, DQ, and Dr Pepper. The contest is open only to legal residents of Texas, 13 or older. Entries must be received by August 6 at 8 am. The rules can be found on the dqtexas.com/biggestdqfan website. The winner will be announced on August 14.

José Andrés Group has partnered with Loliware, the world’s first seaweed-resin company, to launch Loliware straws at all restaurants. Loliware’s innovative seaweed-resin straws and utensils look and act like plastic but can compost completely within 50 days. They’ve already debuted at Chicago restaraunts Bar Mar, Bazaar Meat by José Andrés, and Jaleo, and will expand to José Andrés Group restaurants across the country.

Nueva Pescanova, a Spanish seafood company, is trying to open an industrial-scale octopus farm, and scientists and activists are calling for it to be quashed. Octopuses are intelligent and curious sentient beings, able to solve complex puzzles. They’re also territorial and solitary animals who may resort to cannibalism if kept in tanks together, as Nueva Pescanova intends. The company also plans to subject breeding females to 24-hour periods of light, which would cause extreme discomfort, and their proposed method of slaughter — death by ice slurry —causes significant pain as animals can take hours to die. If you don’t care about the cruelty aspect, consider the health threat: Octopuses are known to carry over 20 different pathologies, including vibrio cholerae which causes cholera in humans; octopus farming would increase the risk of spreading more zoonotic diseases like COVID among humans. IDA USA has a form you can fill out to log your protest.