CBC News Vancouver photojournalist Ben Nelms has been announced as a finalist in five categories of the News Photographers Association of Canada’s 2022 National Pictures of the Year award.

This year, Nelms was nominated in five categories: Spot News, General News, Personality, Photo Story, and Photographer of the Year. 

“I’m honoured to be able to document people and their stories in our communities. My hope every day is to take photographs that not only answer questions but that ask questions as well,” Nelms said.

“I am privileged to be in many situations that the public cannot witness themselves, and I hope to bring awareness to those stories through my photographs.”

Nelms previously won in the General News (2021, 2020) and Picture Stories (2019) categories. In 2019, he was awarded the Photojournalist of the Year award from the association. 

He has previously been nominated for multiple National Pictures of the Year awards, winning an award for photo story of the year in 2012. 

Originally hailing from Edmonton, Nelms began shooting with CBC in April 2019. 

The association says it will announce the winners in advance of its annual general meeting on May 28. 

In recent years, we have seen budget full frame cameras become more affordable while medium format prices have become competitive with upper-level full frame options. At the same time, APS-C cameras have continued to grow in capabilities and performance, and micro four thirds is enjoying a resurgence. So, should a new photographer follow the old wisdom of using a larger sensor for the best image quality or consider the benefits of a smaller system? This great video makes a case for the latter.

Coming to you from Robin Wong, this interesting video makes a case for using smaller camera systems, like those from Fujifilm and OM System. It used to be that if you wanted professional image quality, you prioritized sensor size above almost everything else. However, in recent years, the image quality we have seen from APS-C and micro four thirds cameras has gotten to the point that the difference is often negligible in a lot of situations. And as such, it is worth considering the advantages of these smaller systems. Perhaps the most obvious are their smaller footprints and weights, but there is much more to it than portability. Both Fujifilm and OM System offer robust user experiences and feature sets that can’t be found on any other cameras, and you may find that those better suit your needs and desires than any full frame or medium format system. Check out the video above for Wong’s full thoughts. 

… in the image above, a Cliff Swallow is exiting his nest which was about 25 feet above me under an overhang in the cliff; the opening to the nest is very small so they enter and exit with their wings tucked … kinda like a torpedo. Below is a shot of one of the adult Red Tail Hawks exiting the nest in search for more food for the kids and the three of them are lined up on the edge of the nest wishing her good skill in getting them another quick meal … maybe five or six weeks and they will begin making their own kills … sustenance is only available to creatures if they expend the effort to get it!

As promised last night the three photos below show you where I am when I am getting these shots of the Red Tail family (and the swallows too). The top image is a shot looking across a field at my friends home on top of the cliff … it is 200 feet above the ground. I drew a red circle where I stop the gondola and the arrow points to the direction I am shooting at the nest. The shot below that is a shot from the gondola looking at the nest which I drew a red circle around … it is about 400 to 500 feet from where I am. The direction you are looking is NNW. The last image is looking up the cables towards the docking station at the top. It is a very cool place!

Time to wrap the day as I resume it in about four hours … have a beautiful day … keep breathing and smile for we are here.

Cheers,

Ted

I ask no odds of any man,
I am not one that follies sway.
I am the source of my rewards,
I do my work each day.

The fruit of trees, the grain of fields,
Wherever use and beauty lurk—
The good of all the world belongs
To him who does his work.

It matters not if rich or poor.
This is the future’s great command,
Who does not work shall cease to eat;
Upon this rock I stand.

Though work bring naught of power
nor wealth
Spare me from want of common needs,
And give a share of manly health,
A few good friends of honest deeds;

And till death’s peaceful slumber nears
A life of undishonored years.

Work by Max Ehrmann

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The easiest way to reach Mr. Grussing is by email: ted@tedgrussing.com

In addition to sales of photographs already taken Ted does special shoots for patrons on request and also does air-to-air photography for those who want photographs of their airplanes in flight. All special photographic sessions are billed on an hourly basis.

Ted also does one-on-one workshops for those interested in learning the techniques he uses.  By special arrangement Ted will do one-on-one aerial photography workshops which will include actual photo sessions in the air.

More about Ted Grussing …

Vital Impacts has announced the winners of its Vital Impacts Environmental Photography Grants. Two winning photographers will each receive $20,000 grants to help them document solution-based environmental initiatives in their communities.

Vital Impacts is a women-led non-profit organization that supports grassroots efforts to protect people, wildlife, and habits. The organization is led by award-winning photographer Ami Vitale and visual journalist Eileen Mignoni.

The two Vital Impacts Environmental Photography Grand recipients are Musuk Nolte of Mexico and Peru and Tailyr Irvine of the Salish and Kootenai tribes in western Montana.

Honorable mention designations were also awarded to photographers Ingmar Björn Nolting (Germany), Daylin Paul (South Africa), Fatma Fahmy (Saudi Arabia, based in Egypt), and Edgar Kanaykõ Xakriabá (Xakriabá Indigenous people, Brazil).

Purpose of the Grants

The Vital Impacts’ grants program is designed to encourage visual storytellers to “create long-term documentary photography projects with local communities who are working to protect the environment and wildlife.”

“Environmentalists, Indigenous peoples, and scientists have been sounding the alarm about the biodiversity crisis for more than half a century, yet no meaningful action has been taken. As photographers, we are in a unique position to inform and influence change, but pressing the shutter is just the start. For images to have significance, they need to tell a story and reach people,” explains Vitale.

She goes on to say that Vital Impacts hopes that its grants and mentorship programs will help support new ways of seeing and thinking about ongoing issues. This year, Vital Impacts received 372 submissions from 68 countries for its grants.

The Winners

Peruvian-Mexican photographer Musuk Nolte aims to use photography to tell stories of social issues, including memory and environmental depredation. His project will examine how Peruvian communities utilize traditional water harvesting practices to improve water access. Nolte will also look at how communities are using plants and other methods to deal with climate change.

“This is such a beautiful hopeful story on ancestral water harvesting practices; instead of focusing on scarcity and despair, we get to learn that there are ways to combat climate change one shrub at a time. We also get to learn that solutions have existed for a long time — this story will give a voice to experts and amplify their knowledge in ways that will resonate at a larger scale,” says judge Sabine Meyer, Photography Director, National Audubon Society.

David Barreda, Senior Photo Editor, National Geographic, is excited to see how Nolte tells the story of the centuries-old relationship that indigenous communities in the Andes have water resources. “By centering local expertise, Nolte amplifies the voices and wisdom of the Indigenous people, offering nuanced perspectives that are often overlooked in mainstream narratives surrounding environmental conservation,” Barreda adds.

Tailyr Irvine is a Salish and Kootenai photojournalist born and raised on the Flathead Indian Reservation in Montana. She focuses on visual representations of the complex issues facing the communities comprising Native America. Each community faces unique issues, and Irvine’s project will examine how indigenous populations navigate changing stewardship of public lands, many of which were stolen from tribal nations.

“Tailyr Irvine’s proposal is not only an important national story, it very well may lead to larger understanding in how members of society understand tribal rights internationally,” says David Barreda. “As Salish and Kootenai herself, Irvine’s intimate understanding of the community and its nuances will allow her to pursue this story in more than a simple visual documentation. Irvine’s existing body of work details such subtle and complex stories, I fully expect this project, in her hands, to bring her to new heights in storytelling and a more wide-spread understanding of the real-world experiences of her community.”

Mentorships

Vital Impacts is also offering a mentorship program to 50 applicants for the Vital Impacts Environmental Grant. Each mentee will be paired with an editor or leading environmental photographer and be aided over 12 months to help each mentee work on developing their photographic projects.

Mentees will also participate in the Vital Impacts lecture series, which features monthly talks that will help connect and inspire participants. Mentorship recipients hail worldwide, including the United States, Peru, Mexico, Spain, Kenya, Saudi Arabia, and more.

Image credits: Vital Impacts | Individual photographers credited in captions

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PELLA — Central College students Rebekah Cashen and Gloria Montiel, both class of 2023, were recently recognized for their submissions in the American Association of Teachers of Spanish and Portuguese higher education photo contest.

Cashen, a Spanish secondary education major, won first place in the Places Category with her photograph titled “Ventanas de la Alhambra.” Her photo was submitted to the AATSP by Allison Krogstad, professor of Spanish.

Montiel, a Spanish and communication studies double major, was awarded an honorable mention in the People Category with her piece titled “Saguaro de sabiduria.” Kathleen Korcheck, professor of Spanish, submitted this photo.

View other photos and read more about the contest results at AATSP.

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National Geographic photographer Kiliii Yüyan told Insider’s Joey Hadden that one way to improve nature photos is by including something in the foreground of a shot.

“Great backgrounds, such as mountains or waterfalls, are easy to find because we’re always looking for them,” Yüyan said. “On the other hand, a good foreground subject, such as blooming wildflowers or a craggy tree, can be much harder to find in the right location.”

Yüyan recommended searching for a foreground subject and framing your shot so you can see the scenery in the distance.

“It’ll give your images depth, intimacy, and make your photos unique,” he said.

I went through some of my photos, and found one I took of the Château de Commarque in France. It has a stream and tree in the foreground and a castle in the background:

Through The Lens spotlights emerging and established photographers from around the world. The ongoing series is dedicated to offering unique insights in varying areas of photographic expertise including portrait, landscape, fine art, fashion, documentary and more.

Chiang Yu-yi, better known by her professional persona John Yuyi, embodies the spirit of the post-Internet generation, where her artistic pursuits are deeply influenced by this era. Before establishing herself as an artist and photographer, Yuyi captivated digital audiences as a fashion influencer, showcasing her distinctive style on social media. However, it was her quest for a fresh creative outlet that truly transformed her path. During her travels between Taiwan and New York in 2015, Yuyi sought a more permanent presence in the latter city, leading her to sell temporary tattoos online as a means to fund her artist visa application. Starting with her own illustrations and later incorporating photographs from her swimwear collection, Yuyi’s tattoo designs evolved into conceptual expressions, featuring symbols of the social media landscape. Her tattoos and accompanying images gained widespread acclaim, establishing her as a prominent figure in the art world.

Yuyi’s artistic exploration extends to the human body, considering it both as a canvas for expression and a subject of inquiry. Her temporary tattoos have undergone various intriguing iterations, including unconventional placements on raw meat cuts and the incorporation of dating app profiles on human skin, revealing the masks we wear to present ourselves. Magazine commissions have played a significant role in shaping her projects, with her images transferred onto everyday objects like lipsticks, cigarettes, and knives, highlighting the commodification of the human form.

“I believe everything we see shapes and influences our personalities.”

Consumer culture has remained a recurring theme in Yuyi’s career, from her early tattoo-selling venture to the array of products adorned with her imaginative artwork in her online store. Known for their accessibility and playful nature, her creations exude a vibrant ethos. Notably, her action figure, inspired by her amusing project in airplane lavatories, showcases her wit and ability to evoke amusement.”I often choose objects from everyday life that people can relate to, such as items you’d find in a dollar store or ones commonly used by average individuals. Consumerism and commercialism play a role in my work because I believe everything we see shapes and influences our personalities. Advertisements and influencers impact us, and I aim to explore those influences and their effects through my art,” said Yuyi to Hypeart

In a notable collaboration, Yuyi partnered with THE SKATEROOM to create skateboard art editions, influenced by image-based aesthetics and the technological landscapes of the digital era, reflecting the profound impact of these forces on human connections and the universal longing for belonging.

For our latest Through the Lens feature, we synced with Yuyi over a late night FaceTime chat to discuss her personal worldview, her photography practice that challenges societal norms, and her ongoing artistic journey as she explores new horizons.

At Gagosian, Marian Anderson, Marilyn Monroe, Dovima and a cast of showstoppers.

In the 1980s, Andy Warhol created an illustration of the musician Prince, which drew heavily from an existing image by photographer Lynn Goldsmith. 

Now, four decades later, the Supreme Court has ruled that the Pop artist infringed on Goldsmith’s copyright. Experts say that the case has complex implications for the ever-shifting boundaries of copyright infringement and fair-use law. 

Seven out of the nine Supreme Court justices ruled against Warhol’s estate, which argued that the portrait in question should be considered the work of Warhol alone. 

“To hold otherwise would potentially authorize a range of commercial copying of photographs, to be used for purposes that are substantially the same as those of the originals,” wrote Justice Sonia Sotomayor in the majority opinion.

The two dissenting justices, Elena Kagan and John Roberts, argue that this ruling could stifle the creativity of artists who want to riff off of copyrighted material.

“It will impede new art and music and literature,” wrote Kagan. “It will thwart the expression of new ideas and the attainment of new knowledge. It will make our world poorer.”

The saga began in 1981, when Newsweek commissioned Goldsmith to photograph Prince. In 1984, Vanity Fair hired Warhol to create an illustration of the musician for an article; the magazine also paid Goldsmith a one-time fee of $400 so that Warhol could use one of her photos as a reference point.

After Prince’s death in 2016, Condé Nast (which operates Vanity Fair) used Warhol’s art for a tribute to the musician. The company paid Warhol’s estate for the right to use the image, reasoning that this version of the work was Warhol’s. 

Goldsmith, however, had only authorized Condé Nast to use the image once.

The legal battle revolves around a divisive question: After Warhol altered the image, did it belong only to him, or should Goldsmith retain some degree of control?

The court’s decision relies on how the image was used. In this case, wrote the justices, the commercial nature of the Prince portraits means that the images aren’t covered by fair-use law. 

Still, the ruling stipulated that certain other Warhol pieces—such as his famous depiction of Campbell’s soup cans—should be viewed in a different light. Sotomayor wrote, “The purpose of Campbell’s logo is to advertise soup. Warhol’s canvases do not share that purpose. Rather, the Soup Cans series uses Campbell’s copyrighted work for an artistic commentary on consumerism, a purpose that is orthogonal to advertising soup.”

Michael W. Carroll, a scholar of intellectual property law at American University Washington College of Law, tells the New York Times’ Matt Stevens that this distinction is critical. “It was the licensing use, not the creative use, that was at issue,” he says. 

Warhol built his career by transforming the photos of others. For example, his 1964 Marilyn Monroe portraits are based on a publicity photo for the film Niagara (1953); last year, one of those portraits, Shot Sage Blue Marilyn, became the most expensive 20th-century American artwork ever sold. Other images from popular culture—from Coca-Cola bottles to Disney characters—also served as source material. 

Reactions to the Supreme Court ruling are mixed. Noah Feldman, a scholar of law at Harvard, writes in Bloomberg that the decision helps artists but harms creativity. 

“The upshot is that little-guy artists win, because they now have more rights than they had before to claim credit for works reused by others,” he writes. “But art as a whole loses, because the decision restricts how artists generate creativity by sampling and remixing existing works.”

Carroll tells the Times that the ruling leaves a lot of room for conflicting interpretations, and the legal battle has only just begun.

“Is it really just about competitive licensing use, or is it more broadly about creating derivative works?” he adds. “I think what you’ll see is lower courts reading it each way, and then eventually this issue is going to find its way back to the Supreme Court.”