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Future: Blind photographer Ian Treherne’s arresting black-and-white portrait of disability model Olivia Deane.

He eschews innovation in terms of the latest kit and lighting – “I’ve learnt that less is more –
too much equipment hindered and distracted me from focusing on the subject” – but says
technology has been transformative in terms of connecting and discovering likeminded
people, creating a network that inspires him. It’s also helped him change societal
perspectives around blindness and photography (“they don’t really go together, do they?”).
“Today we [photographers] have such a huge opportunity to showcase our work on social
media platforms. On social media, I can share my photography, be vulnerable, share my
story and hopefully inspire other people to be creative.” 

It’s important to note, however, that however advanced image making technology becomes,
it works alongside and is complementary to human creativity. In the case of elevated
printing, says Williams, translating a photograph into the tactile domain requires a more
complex thought process than the software alone is capable of: “As we know from the
development of braille itself, simply raising all print elements does not automatically make
content fully accessible. Careful decisions have to be made about what can be perceived by
touch and will make sense under human fingertips.” 

Courage, enthusiasm, passion and determination comes from a human element. 

AI, meanwhile, has already shown to be vulnerable to perpetuating stereotypes, which is
why it’s vital that developers consult with the blind and partially sighted community to ensure
that their unique perspectives, experiences and emotions are reflected in the images
generated by AI.
Ultimately, “[the] ease of technology has been a wonderful, powerful tool, but the groundwork
of creativity stems from within. Courage, enthusiasm, passion and determination comes from
a human element,” concludes Treherne.

Main image: Prayer to the Yanomami Goddess by Sebastião Salgado, the world-renowned photographer’s snapshot of life in the Amazon. The shaman in the photo, Koparihewë, was praying to the Yanomami goddess to ask her to stop the rains so Salgado could climb the region’s highest mountain.

Visit here to experience more from the World Unseen exhibition and listen to supporting audio.

Introduction

Arman

Welcome back to The Chomp podcast. My name is Arman Archouniani and I’m the sports editor.

Victor

I’m Victor Harris, Jr. I’m the podcast editor.

Arman

And today we’re going to be talking to Vanden Harris about his time as a sports photographer and as the head photographer for the SFSU athletic department. 

Interview

Arman

Welcome back to The Chomp podcast — today we’re here with Vanden Harris. He’s a sports photographer, how are you?

Vanden

I’m doing well. It’s been a long week already.

Arman

I feel like you know, finals coming up and stuff like that. How are you kind of holding up with that?

Vanden

I’m holding on. I’m trying on top of working and stuff too so.

Arman

So you know, photography for you has been like something you’ve been like dedicated to, when did you kind of like start that journey of just like being a photographer?

Vanden

So I started taking photos probably about 12 years ago; my sister Laila was running track. I have two sisters who are twins. Laila was running track and my dad had a Nikon D-90 and I would wait to go to my baseball games, run around with the other kids and stuff and my dad took his D-90 one day and he was like, here, make yourself useful and so I went full-auto point and shoot, basically. And I was coming back with stuff and he’s like, “Hey, you kind of have an eye for this.” Like, like, keep getting that in and at a certain point, he’s like, “Hey, you want to take some classes?” So I went to Sammy’s camera in LA, I think, and took some real quick classes, like learn about lighting and stuff, and how to set settings and stuff and I kind of just messed around with that and then my junior year of high school, I transferred to a private Christian school in SoCal and they had a photo class — David Hessemer shot for Nike and went to University of Oregon — real, real nice photographer and I took some photo classes with them. I was like, hey, I want to learn more about this and learn settings and lighting and all types of different stuff, learn how to develop my own film, we develop film in that class, and basically ran with it. 2020 I graduated high school, and I hit up our yearbook teacher, I was like, “Hey, I’m still around, do you guys need help with like taking photos or anything?” And she was like, “Yeah, I actually really need the help,” so I took photos for them for the yearbook. Sports, I had never done before like tennis, football, I’d never shot football, just mess around and stuff and I put that on my resume. My sister running track — they went to CIF southern section like championships and stuff so I was — I added that to my resume just going out to big events and just following the team and when I got to the school, I was like hey, I’ve been doing this for a minute, let me ask if there’s a position I asked if there was a position, it was a position open for a photographer and so I got that role and I’ve just been messing around dabbling ever since.

Victor

So you being a SoCal guy,

Vanden

Yup.

Victor

What made you decide to choose SF State?

Vanden

So I wanted to stay in California, but I wanted to get away from home, I wanted to be my own person, be a little individual. I mean, I love my parents, and we get along well, but I wanted to kind of branch out, be my own person, you know, pay for my own stuff and kind of be independent. So I applied to San Jose and a few other schools, San Jose didn’t accept me on my major, which I declared, my declared major was computer science so I came here with computer science. The first day I drove up here, like, I didn’t come check out the school before I was like, “Hey, I’m going to SF like,” I’ll like it. I’ll either like or I won’t like it because I’ve always been a type to just get in where I fit in type person so that rest was history, came up here, and I’ve been here since.

Arman

When did you kind of like realize you were good at photography? Like, did you ever feel like there was a moment where you were like, Oh, that was a really good, like, shoot, like, I love that shoot.

Vanden

I kind of I’m, I’m my own worst critic, but going to certain events, and you know, getting parents coming back to me like, “Oh, that’s an amazing shot” and something I maybe thought was subpar myself, but hearing just people in general, “Hey, it’s pretty nice” and then going to photographers that are taking photos and me being a kid and they’re like, “Oh, let me get your info,” Oh, these are pretty nice shots for for my age in general. But yeah, and then I took a studio lighting class last year — my first time doing that and just messing around and trying stuff out and just people’s reactions. Like “Oh, that’s really sick.” I’m like, “Okay, I thought it was subpar.” Yeah, bet.

Victor

Just from our even our interactions, like I always see you around like, yeah, like super busy all the time. 

Vanden

Yeah.

Victor

I see you at every game, any game I’m covering — I’m like “Alright, Vanz’s probably going to be here” — people forget, like, you’re still a student so how’s that balance? Like, what is it like, you know, being the media guy, but also like, trying to balance your own education?

Vanden

It’s tough sometimes, man. I mean, I’ve had periods of burnout myself just taking flicks. I mean, I have quota and stuff that I meet for them and then the rest goes in my resume and I give the athletes stuff but I’ve had a couple of times where I’ve stressed myself out over that like trying to balance school and work and not I had a period of time where I was doing the work for the money because I needed it to support myself and that kind of took away from the fun of it but getting back into that, hey, I’m doing this for fun and putting it on my resume but I’m here for school type thing. It’s been the change in the last few years but I mean, this year, I’ve had a couple of stuff going on outside so it’s like, trying to still find that balance and stay on top of my stuff. It’s hard hard this year so.

Arman

What was your favorite shoot you had this year in any sport or was there a certain event that you just loved?

Vanden

A favorite. I can’t think of a favorite moment, I — when I think of moments I think of not necessarily photos came out of it but the instances our baseball’s had like four walk-off games at home and I’m, I’m partial to baseball. I played baseball so I’m in the dugout they are quiet Why y’all quiet like, Let’s go turn me up. I see yall score more than this and they go and hit something and get a roll going and I’m screaming with them. They run out onto the field getting a walk off and I’m running out with them camera shaking. I’m like, “Oh, I gotta get footage” and so.

Victor

I was gonna ask I was like, you getting like really passionate. I mean, you have a sports background so like how hard is it for you to stay in the moment like “I do gotta get this shot?”

Vanden

It’s hard sometimes and I’ve started telling our athletes like “Hey, something goes on, find me” because I need to get the shot like soccer. You score a goal and I’m behind the goalposts give me some like “@ me-type stuff, or like cheer going by, but make sure you find me and make sure it’s something that’s easier-to-get-type thing,” yeah.

Arman

You were just saying how like you’ve been like rooting on the baseball team and just being like a cheerleader almost but also like a friend to them. How has it kind of just like growing with the community just with like every team around?

Vanden

It’s really interesting to see the cultures of the different teams have, different connections to different teams will have some sort of connection. It started with volleyball and so that was kind of off the jump they were really inviting and welcoming and basketball teams — they’re both kind of on the same thing; I’m tighter with the guys. The girls are really cool. They’re quiet, quiet and reserved. So I see him in passing “Hey, how’s it going,” like, “Hey Vanz, take this flick” they will like turn to the side after they’re locked into the game they turn to the side. Softball is really, really outgoing like really fun. I’m in the dugout with them probably laughing more than I am, same thing with baseball, I’m probably in there talking more than I’m taking photos. I’m like, I’m like have a camera in my eye. and they are like “Ayyye” I’m like what are y’all talking about so and then track is track is kind of kind of different because it’s hard to run into the athlete so I’m all over the place trying to be at events but I went to Sacramento with women’s track for an event and I realized they are clowns. They are just straight clowns — straight clowns — we are sitting in the grass and there’s no event in between I’m like just messing around I was like “Oh I’ll get some I’ll get some b-reel video” because track doesn’t get a lot of love; they get less love than they should get. It’s like “Oh let me get some like b-reel video” — they are just cracking up and I didn’t post them, because I’d probably don’t want to post them, but since, they had a ball so just my connections with each of the teams is real different but it’s all it’s all really tight wrestling is wrestling is really like a home I spend a lot of time with them just inside outside. I sat with them at the banquet last night just because those are guys those are guys  —I’ve really really get along with like inside and outside I see them in the gym and see them out and about in the city so yeah, it’s — I’ve a really unique connection with each of the teams and it’s not necessarily anything over the other it’s all pretty — they have their own little things.

Victor

And then just — I know you do the photo stuff. So but do you ever feel like you know pressure like when you go to events like you still like get nervous a little bit or you have like questions about like, how you’re going to attack an event or how are you going to prepare for a shoot?

Vanden

I’m actually going through that right now thinking about this grad shoot I have after I’m like I send them like hey create a pinterest board and stuff you want type thing but I tried to come up with ideas on myself which that creativity slowly started slipping so I look through stuff on reels but I get I still get kind of kind of anxiety like upfront like you know you about to step into the box you about to you know step onto the court and get the pre game jitters, alright let’s go because I’m really in the moment with them and I try to get there early about an hour hour and a half early set all my settings check my white balance check my shutter speed I’m going to run get a few test clicks alright, you decided for today and maybe set auto ISO if it’s something like in the gym but just kind of I have my routine stuff that I kind of go to and every once in a while if I get the shots that I need for athletics then I mess around with other stuff — slow shutter speed, panning stuff.

Arman

So you also like just talked about how like comfortable you are with — like it feels like almost every athlete knows you on campus.

Vanden

Yeah.

Arman

What does it feel like just, you know what for a beginner photographer, what would be your advice to them just to like get comfortable with the people they are working with?

Vanden

It’s um, it’s really important to kind of build that relationship upfront. When I go on shoots I’d make sure people laugh and smiling, like, we’re humans, at the end of the day, it’s business but I don’t want it to be so stuck in business where you know, you are a a-hole or whatever, like, I try to be a good, a good person upfront and I get that vibe off of them, when I do shoots with people, like freelance shoots with people, I always tell them, Hey, bring a friend or two, I don’t, I don’t really want to do the one on one stuff, bring somebody you’re comfortable with so you can just get along and I crack jokes and stuff.

Arman

What’s something you like, when you came up to San Francisco? What was something you just loved about SF State or maybe the city in general?

Vanden 

Diversity, diversity, for sure, like I’ve always, always considered myself an ally to a lot of different communities but you can only do that to an extent without knowing the community and being engaged in that — and so being in my own little bubble, and suburban SoCal, you know, kind of people kind of snobby and you see stuff around, but you’re not really engaged in it. Coming up here it’s like, you jumped right into that pool, alright let’s go get to know more about people, you get to ask them questions to understand because if you don’t ask questions, can you really consider yourself an ally type thing so diversity, for sure. Diversity of culture, identities, it’s, it’s a mixing pot, and I love that up here.

Victor

And then I kind of got like a lengthy question, but.

Vanden

Go for it.

Victor

With you being a former athlete, everybody in here has probably played sports so you know, we all get to SF State and we all have that experience and where you’re like, where is the enthusiasm for our sports community on campus? It’s something I’ve dealt with when I started reporting here, and I was just like, where’s the support? You know, where’s the acknowledgment? Where’s like, you know, just exposure for athletes? Yeah, you know, we always hear, like, Oh, we’re not really a sports school, like our sports aren’t that great but you know at the end of the day, our athletes are still having an experience, and you’re just somebody who’s able to follow them through that whole experience and you’re kind of like the fly on the wall so you get to see everything. Just what is your perspective on the sports community on campus? What are some I’m not gonna say misnomers, I guess, you know, about our sports on campus and how important is it for our community, just not even just student-athletes, but for the students to finally recognize, like, you know, our, our athletes are unique, not everybody’s winning, but it’s the — it’s the culture around it like.

Vanden

Absolutely.

Victor

What’s kind of your perspective on it?

Vanden

I found that some people don’t know we have certain sports on school, oh we have a volleyball team, oh we have a basketball, are they nice? This is the first thing to ask, Are they good? Like, who cares, if they’re good? Like pull up — pull up and support you guys showing up to games, gets them hyped they perform better so it’s just getting that out there the public outreach, and that reaching main campus has been a struggle, like we post stuff around every once in a while. It’s mainly on social media, we don’t see stuff like public stuff. Like you go to like UCLA, they got a banner: “Hey, we got this game going on this. This is a rivalry game, be there” and so I’ve seen — I’ve seen people that showed up to one or two games, and it’s like, “Oh, this is kind of rocking” and then they start showing it to games regularly so just getting that out there and, you know, not realizing it’s always about winning type thing. We are a D-2 program where we’re low-funded so the fact that we do as well as we do with the funding that we get is, is a testament to how well our athletes play and they’re all great people., they’re cool people do you know somebody in one of your classes it’s Oh, it’s their bag says basketball, let me go check out a basketball. Let me ask them like, when their next game is and just go check it out like that’s how it starts so just getting out of your comfort zone like hey, we’re gonna start going out party and we’re gonna check this — check this game this Thursday night like you know what I’m saying so.

Arman

I was gonna say every time like I walk by like the Gymnasium everybody’s just like, they know each other on a first name basis, whether it’s like a men’s soccer player talking to a woman’s like volleyball player, everybody just knows each other. 

Vanden

Yeah.

Arman

What do you think is kind of made them so in tune with each other and also like, everybody, so like, comfortable with each other?

Vanden

I’m gonna shout out somebody real quick. I’m gonna shout out Kimberly DeBoer, (Kimbo) SAAC president, she’s done really good at making sure that the community is inclusive, and that we all get to know each other, we go to SAAC meetings, like, hey at the end of this, at the end of the year, we’re like, we should be able to know everybody in their sports and just making sure we’re all included in that having a Mental Health Awareness Month and doing those activities together, like join groups of people that you’ve never been with. Like if you know these people, you shouldn’t be in a group with them type thing that’s been pivotal in the last like two years and her being in that position and going forth with that has been really unique.

Victor

What is kind of your plans like once you’re done with State like, what do you have up your sleeve?

Vanden

So I’m actually a graphic design major, which goes well with photography so I plan to continue into photography for a pro sports team is kind of ideal. I have maybe a few connections, I could try to work with that or maybe shadow somebody but if I can work on a communications team to be able to do the graphics and the photography type thing like hey, you guys don’t need to hire two people. I can handle it both. It might take me a little bit more time but bet and I can work with them and type stuff so that’s kind of my plan. I’ve got a couple of things lined up I had an internship just fall through, but that just opens the door for something else so just trying to keep at it I have, fortunately, the gig at this school is experience, the problem we have as young people now is applying for jobs and they’re like, Oh, well, you need experience, you guys are supposed to provide that experience that’s why I’m coming to you guys and so I kind of have my foot in the door in that even if it’s not A1 sauce, I’ve worked in a setting and kind of know how it operates so I’m hoping that hoping that kind of goes through. I’m leaning more towards photography, even though I’m doing graphic design.

Arman

Yeah, I was gonna say my last question was gonna be like, what’s the end goal or what’s the dream for you? What, what keeps you going? What’s your why?

Vanden

Oh, the — the why for me is real deep so growing up — my mom and dad, I have the benefit of having parents that have been together 26 years recently, I think it’s 26, and growing up and seeing them you know, showing up to all my games or our dance recitals and stuff and just being there — and my parents are older — they’re like the last of the baby boomers and so a lot of perspective of stuff of the culture and moving forward you know, from times where we were oppressed is a lot more personal to me. My grandparents — my grandfather’s family came from Texas, my grandmother’s family came from Louisiana both my grandma’s family came from Louisiana — so that’s a lot more personal. Like, I realized, like, my great grandfather, he’s like born in 1885, lived 100 years like, hey, that’s people are like, “Oh, slavery, whatever was so long ago.” No, it’s a lot more personal for me and so I look at it as in terms of, “Hey, all the sacrifices and stuff that were made, like, the least I can do is get after it.” I mean, obviously, check out for your mental health that’s always a priority but the least I can do is get after it. They aligned all this up for these opportunities, just put my foot in the door. Make them tell me no so that’s, that’s my why. that’s what keeps me driving.

Victor

That probably would have been the best way to end it but.

Vanden

You good, I could talk all day.

Victor

My last question would just be for anybody who just getting started, you know, especially with sports photography, people are kind of intimidated by it. 

Vanden

Yeah.

Victor

What would be your advice to anyone who’s just picking up a camera for the first time and they’re like, I want to take photos.

Vanden

The biggest thing I did was just keep taking photos, like clicking away and you know, coming back and seeing like, hey, that works or that doesn’t work and see what people think about stuff and kind of read a little bit on how to understand that stuff but the biggest thing for me was just keep taking photos. In terms of opportunities and stuff, just ask questions. It’s automatically a no if you don’t ask if you ask and get your foot in the door and same thing I said earlier you get your foot in the door and make them tell you no. Alright. If you ask a question and they let you in, bet I’m there and so you use that to just kind of keep driving forward.

Arman

I think that’s the best way to end it, just keep going.

Vanden

Keep pushing always.

Arman

Thank you Vanden, we appreciate you so much. Good luck with the rest of the week and finals and see you soon.

Vanden

For sure, appreciate you guys.

Outro

Victor

Thanks for listening to The Chomp pod, we’ll be back with more episodes.

LEBOHANG KGANYE, “Mohlokomedi wa Tora,” 2018, Scene 2 (Xanita board on wood). | © Lebohang Kganye

SOUTH AFRICAN ARTIST Lebohang Kganye emerged from a shortlist of four international artists and collectives to win the Deutsche Börse Photography Foundation Prize 2024, including a £30,000 award (about US $38,300). Drawing on oral histories, family photo albums, and South African literature, Kganye’s photography practice is centered on visual storytelling. Her unique approach spans sculpture and moving images, resonating with the performative and theatrical.

Awarded annually, the Deutsche Börse Photography Foundation Prize goes to “a living artist of any nationality who has made the most significant contribution, either through an exhibition or publication, to the medium of photography in Europe in the previous year.” Billed as “one of the most prestigious prizes in the world of photography,” the juried prize seeks to bring attention to notable developments in contemporary photography and works of artists shaping the direction of the international photography scene.

Kganye was selected for the prize based on her exhibition “Haufi nyana? I’ve come to take you home,” which was presented at Foam in Amsterdam, The Netherlands last year. The award was announced May 16.

KGANYE LIVES AND WORKS in Johannesburg, where she is pursuing an MFA at Witwatersrand University. Her academic background also includes studying fine arts at the University of Johannesburg (2016) and photography at the Market Photo Workshop in Johannesburg (2011).

Exploring her personal family history, notions of home, and the collective history of South Africa in the aftermath of colonialism and apartheid, she produces complex works that exist between memory and fantasy. The works include photographic montages, film animation, and sculptural installations that employ life-size, cut-out figures and silhouettes to create layered scenes evincing stage settings.

Her exhibitions include “Sue Williamson & Lebohang Kganye: Tell Me What You Remember,” which was featured at the Barnes Foundation in Philadelphia, Pa., last year.

Kganye is the recipient of several photography awards, including the Grand Prix Images Vevey 2021/22; and Camera Austria Award, 2019. She also won the 2022 Foam Paul Huf Award, which gave her the opportunity to present “Haufi Nyana? I’ve Come to Take you Home,” the solo exhibition the led to her receiving the Deutsche Börse Foundation Prize.

The show features four projects in various mediums—“It’s my inheritance: Her-Story,” 2013 (photographic montages), “Lighthouse Keeper,” 2018 (spatial installation), “Shadows of Re-Memory,” 2021 (film animation), and “The Work of Shadows,” 2022 (patchwork). Kganye discussed her practice and the exhibition in a video made for the prize:

On Storytelling
I always knew that I was passionate about storytelling. When I finished school, I imagined I would become a journalist because I thought that that’s what people who write, that’s the sort of career path that writers go into. I think my earliest work really starts with going back to the sort of literature that I was introduced to as a child, being Western fairy tales. And then I really moved away from that.

On Oral Histories
Oral history has really informed my work a great deal. This is really where the start of me telling my own story began. And so it later then translates into it becoming about the story of my grandfather, who then becomes quite central in the story because he was the first one to move to the city. The installation is these four scenes, two scenes that are about life in the countryside in South Africa. Stories that were shared with me from my family that are about the countryside and two stories about city life.

On Identity and Erasure
Then in the center is meant to be the light and the light is central in the work that’s particularly about my family because Kganye, which is what I’ve been researching—my surname—all of these years, is a Sotho surname which means “light.” It’s meant to have these four different parts that lead you to the center and to experience these four stories that relate to the four different ways in which the family name, Kganye, is spelled. It isn’t just about this surname that evolved over time. It’s very much about the sort of erasure of family identities, the erasure of family names, the erasure of languages. The work is beyond my own family story.

“I always knew that I was passionate about storytelling.… Oral history has really informed my work a great deal. This is really where the start of me telling my own story began.” — Lebohang Kganye

The Deutsche Börse Photography Foundation Prize was first awarded in 2005. Recent recipients include Cameroon-born Nigerian photographer Samuel Fosso (2023) and American photo-based artist Deana Lawson (2022), the first Black artist win the prize.

This year, artists VALIE EXPORT (Austria), Gauri Gill & Rajesh Vangad (India), and Hrair Sarkissian (Syria, lives in London and The Hague), were shortlisted alongside Kganye.

An exhibition of the four shortlisted artists is currently on view at The Photographers’ Gallery in London (Feb. 23-June 2, 2024) and will travel to the Deutsche Börse Photography Foundation in Eschborn/Frankfurt, Germany, where it opens on Jun 13 and runs through Sept. 22, 2024. CT

IMAGE: Above, at right, Lebohang Kganye. | Photo by Audoin Desforges

FIND MORE about Lebohang Kganye on her website and Instagram

BOOKSHELF
The catalog “Sue Williamson & Lebohang Kganye: Tell Me What You Remember” accompanied the recent exhibition at The Barnes Foundation. A new catalog “Deutsche Börse Photography Foundation Prize 2024” documents this year’s prize and explores the work of the four shortlisted artists, including Lebohang Kganye.

A photographer at Prince Harry and Meghan Markle’s 2018 wedding has slammed the event as “miserable” and a “disaster” six years after the Sussexes’ nuptials.

Harry tied the knot with the Suits alum in St. George’s Chapel at Windsor Castle on May 19, 2018, in front of 600 guests and a global TV audience estimated at 1.9 billion viewers.

Arthur Edwards, who has been photographing the royal family since 1977, said the couple made his job really difficult and did everything they could to avoid the press.

“I hated the day. The day was a miserable day,” the experienced photographer revealed during an interview with The Sun.

Share iconArthur Edwards, a photographer at Prince Harry and Meghan Markle’s wedding, said the event was the “worst royal engagement” he ever attended

Image credits: Karwai Tang/WireImage

“It was the worst royal engagement I ever did. Because Harry was determined to keep the newspapers away from it as much as possible,” alleged the 83-year-old.

Arthur reportedly covered royal weddings in the past, such as Prince William and Princess Catherine’s nuptials in 2011 and the wedding of Prince Edward and Sophie Wessex in 1999.

On that occasion, trying to capture a good photograph of the newlyweds was “hopeless.”

“Harry was determined to keep the newspapers away from it as much as possible,” alleged the 83-year-old

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Image credits: The Royal Family

The photographer said the couple turned away when they rode past him in their carriage while greeting the crowd outside, preventing him from getting a good angle for his pictures.

“And then the carriage shot, where they went past me in the carriage, they looked the other way,” he recalled. “So, for me, it was a disaster.”

When the journalist asked whether the Sussexes’ behavior had been “deliberate” to make him feel “unwelcome,” Arthur responded, “I felt so. It wasn’t just me. In many ways, [the press] were badly treated.”

“Harry was angry at us about things said about Meghan. Some of the things were pretty harsh. Some were pretty unfair.

“He was angry, and I felt we were punished for that.”

Arthur reportedly covered royal weddings in the past, such as Prince William and Princess Catherine’s nuptials in 2011

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Image credits: ArthurJEdwards

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Image credits: Jane Barlow/PA Images

Two years after the wedding, Harry and Meghan would step down as senior working royals to move to Montecito, California.

The couple kept their Duke and Duchess of Sussex titles but are no longer addressed as his or her royal highness (HRH). Harry also gave up his military titles.

They are parents to two children: four-year-old Prince Archie and two-year-old Princess Lilibet.

Harry was very critical of the press in the Netflix documentary Harry & Meghan, which premiered in 2022.

In the six-episode series, the Duke of Sussex said there was an “unconscious bias” around race within Buckingham Palace, which especially affected his wife, and denounced the “planting of stories” by the media.

“I feel as though being part of this family, it is my duty to uncover this exploitation and bribery that happens within our media,” Harry said in the first episode. “There’s leaking, but there’s also planting of stories.”

“Harry was angry at us about things said about Meghan,” he explained

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Image credits: The Royal Family

“It all comes down to control; it’s like, ‘This family is ours to exploit. Their trauma is our story and our story and our narrative to control.’”

Harry also slammed the role of the British press in the death of his mother, Princess Diana, in August 1997.

“I think one of the hardest things to come to terms with is the fact that the people that chased her through into the tunnel were the same people that were taking photographs of her while she was still dying in the back seat of the car,” he said in the 2017 documentary Diana, 7 Days.

“William and I know that. We’ve been told that numerous times by people who know that was the case.

“Instead of helping, [they] were taking photographs of her dying on the back seat. And then those photographs made their way back to news desks in this country.”

“It was certainly a disaster for the British taxpayers,” wrote a Facebook user

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An exhibition of work by Dora Maar, the Surrealist photographer immortalized as Pablo Picasso’s “Weeping Woman,” is going on view at the reopening Amar Gallery in London in June amid growing popularity of her work and the reframing of her career.

The show will feature Maar’s photograms and photographs, including her pictures of Picasso and his celebrated anti-war mural Guernica—of which she was the official photographer.

Dora Maar. Virgin and Crucifix II (ca. 1980.) Photo courtesy of Amar Gallery

“As a photographer, she was a pioneer admired by the likes of Henri Cartier-Bresson and Man Ray. Her position as Picasso’s lover clouded over her undeniable artistic talent which extended far beyond photography and included writing, poetry and painting,” gallerist Amar Singh said in a statement.

The exhibition, “Dora Maar: Behind the Lens,” coincides with the upcoming July 4 release of author Louisa Treger’s historical fiction The Paris Muse, published by Bloomsbury, about the relationship between the two artists and the theatrical production Maar, Dora that will perform at Camden Fringe in August for its third run.

“I’m so glad it seems like her work is finally getting its moment in the spotlight,” said the artist Nadia Jackson, who wrote the play—which is produced by Amar Gallery.

Dora Maar. Picasso Under The Trees—Hotel Vaste Horizon, Mougins (ca. 1936). Photo courtesy of Amar Gallery

Maar was born in 1907 and came of age as Surrealism was taking hold in the French capital. Beginning in the 1930s, she ran her own photography studio, producing fashion editorials and advertisements that nonetheless bore a surrealist edge. On assignment on the set of Jean Renoir’s film The Crime of Monsieur Lange, Maar met Picasso, commencing an affair that lasted almost a decade. During that time, Maar served as muse and model for a number of the Spanish painter’s works, including his 1937 Portrait of Dora Maar, while Picasso treated her (and Marie-Therese Walter, who was also his lover) with unabashed cruelty.

After leaving Picasso, Maar commenced a painting practice, creating figurative then abstract works that were shown in various exhibitions through the 1940s and ’50s. In her latter-day career, in the 1980s, Maar would return to photography with her photograms—the technique of creating images without a camera—that once again drew out her surrealist bent. Maar died in 1997 aged 89.

Dora Maar. Virgin and Crucifix (ca. 1980). Photo courtesy of Amar Gallery

Treger said she felt compelled to put Maar at the forefront of her book because she is among many other women who have “often been overshadowed” by their male counterparts. However, she said “there’s a promising shift” towards recognizing and amplifying such female voices.

“This renewed interest in her reflects a broader movement towards viewing iconic male artists like Picasso in a more nuanced way, from the perspectives of the women who shared their lives,” Treger said. She pointed out that Françoise Gilot, whose career Picasso allegedly tried to suppress when she left him, is having her own exhibition at the Musée Picasso Paris.

Jackson likewise said it was fascinating that the photographer “seems to be acknowledged only in conjunction with Picasso,” but warned that erasing him from her legacy would do her a disservice because it would be erasing an important part of her story.

“It was a theme we explored a lot in our play actually—how, as much as Dora would’ve perhaps wanted her work to outshine her relationship with him, it fundamentally couldn’t have existed without him,” Jackson said. “Unfortunately, you have to acknowledge Picasso in order to respect Dora’s legacy in its entirety, but it is also possible to recognize her artistic career and talents without it being overshadowed by him.”

Dora Maar. La Sagrada Familia (ca. 1933). Photo courtesy of Amar Gallery

In talking about the photographer’s artistic talents, Treger said a piece in Amar Gallery’s exhibition that particularly stood out to her is Virgin and Crucifix (ca. 1980), which she said showcases Maar’s mastery of the photogram technique.

“Through the use of tight framing, and dramatic light and shadows, the Virgin and crucifix materialize from an inky background, radiating magic and mystery,” Treger said. “The juxtaposition of sacred and eerie elements prompts contemplation of the deeper layers of meaning within the image.”

“Dora Maar: Behind the Lens” is on view at Amar Gallery, 48 Penton St, London, June 16–August 18.

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For Terry Maday, Chicago offers not only incredible restaurants and museums, but also amazing views.

The award-winning Evanston native has been in the videography business for nearly 30 years. For his most recent project, he sought to capture the Windy City in ways that couldn’t be achieved from down on the ground.

Maday, 56, is one of 15 photographers featured in “Above and Across Chicago,” a new book from Trope Publishing with a collection of photographs taken from helicopters, atop skyscrapers and with drones. The book includes unique views of Lake Michigan, the Chicago skyline and the Lincoln Park Zoo’s winter light display.

“I just helped execute the story, but I feel lucky to be a small part of it,” Maday told the Chicago Sun-Times.

Maday first picked up a DJI Inspire 1 drone in 2016. He said drones, as tool, have been a transformational for his work.

“It’s hard to overstate the game-changing ability of a drone,” he said. “A drone is an incredible tool. I can get a bird’s-eye view and move it exactly to where I want to be without moving from where I’m standing.”

Several of Maday’s photographs are featured in the book, but his favorite is one that doesn’t even look like it’s Chicago.

“It’s a view along Michigan Avenue,” he said. “We, of course, all know Michigan Avenue but as you look South it doesn’t even look like Chicago. It’s not even an epic shot to me — and some of the shots in this book are epic — but it just looks different to me. … I’m always trying to find angles that would surprise someone.”

Maday said the day he took that shot, he was aiming to photograph Cindy’s Rooftop in the Chicago Athletic Association Hotel. All it took was turning his camera south, and he ended up with a surprise.

“I saw those buildings way in the background,” he said. “I just thought if I could get close to the building in the foreground I could create a really interesting perspective.”

Another of Maday’s featured photos is of The Bean at Millennium Park in winter. Access to the iconic Chicago landmark closed down last year as the plaza undergoes renovations. Instead of tourists, the sculpture is ringed by fences.

Maday took the current state of the construction site as an opportunity.

“I captured The Bean, which to be honest it’s disappointing that it’s under construction,” he said, “but as photographers we often say, ‘It’s not a beautiful shot, but it is a moment in time.’”

Though he works with all kinds of cameras, Maday said drones are a tool like no other. And while the quality of images and videos using drones is incredible, there are extra steps required to ensure a safe flight.

“Working with drones is part science, part art,” he said. “You’re flying for the art, but you have to be really diligent about where you’re taking off from, where you’re landing, or if you’re flying over people or over traffic. You need to be really smart and take time to plan and it’ll pay of in the end.”

In the eight years he’s been using drones, Maday said the quality of the tool has increased exponentially. He said while the size and weight of the flying machines has reduced, the quality of the images has increased.

“There is a time and a place for larger drones where you integrate a cinema camera onto a larger platform, but the smaller, lighter all-in-one options on the market are amazing,” he said. “On the motion side, we are able to create beautifully dynamic moves that elevate the production value of our work.”

He felt that the biggest photographic advancement was a feature called Auto Exposure Bracketing. “This allows the camera to capture five photos in rapid succession, which maximizes the exposure across highlights and shadows,” he said. “This is a particularly important feature to utilize when trying to shoot high contrast scenes like sunrise or sunset.”

Maday said he wouldn’t have become a videographer if it wasn’t for his brother Tom’s influence. His brother, who is another Chicago-based photographer, introduced him to cameras and gave him the push to get in the videography business.

Maday attended the University of Kansas and graduated with a degree in journalism in 1991. Though he wanted to study film, he said, there was no hands-on curriculum for film and video production at the time.

He went on to start his own business. Maday Productions, which opened in 1996, is a video production company that helps create content for other companies.

“I wanted to tell stories that were in motion, and after almost 30 years I still absolutely love what I do,” he said. “You go out and you come back and realize that you’ve created something and it’s so satisfying. I feel so lucky that I got involved in a business that allows it to be so gratifying and so fulfilling.”

Now Maday works with a small team of creators that includes his daughter Michaela, who helps run the business’ social media accounts.

He hopes to continue working in the business for as long as he can and though he loves the travel that comes with his job, Chicago holds a special place in his life.

“Chicago is filled with so much talent and I love continuously discovering new things here,” he said. “I just think Chicago is continuing to evolve and change. I like discovering new places, whether that’s restaurants, people or museums — and that includes new angles too.”