The UBS Art Collection, the Swiss bank’s corporate art holding comprising more than 30,000 works, has donated 166 photographs to the National Gallery of Art (NGA) in Washington, DC—the biggest single UBS donation to a museum. Included in the gift are works by Terry Evans, Dorothea Lange, Charles Savage, Alfred Stieglitz, Carleton Watkins and Edward Weston. Of the 96 photographers whose images are included in the gift, 75 are new to or underrepresented at the NGA.

The photographs come from a 300-work sub-collection gathered by the late John Szarkowski, longtime head of the photography department at New York’s Museum of Modern Art, in the years following his retirement in 1991 for the US bank PaineWebber, which UBS acquired in 2000. The works, gathered around the subject of land use, span decades and include landscapes, still lifes and portraits.

Mary Rozell, global head of the UBS Art Collection, tells The Art Newspaper that the NGA was “our first choice given the theme of the group, the importance of the photography department there and the fact that the NGA is a national museum with free admission for the public”. Rozell and her team chose Sarah Greenough, head of the photography department at the NGA, as caretaker of the gift in an effort to preserve Szarkowski’s legacy. Greenough “personally came to New York to examine each photograph”, Rozell says.

Greenough said in a statement: “This wonderful gift from UBS adds important work to the National Gallery’s photography collection that will allow us to explore how artists have viewed our use of and relationship to the land over the last 160 years.”

“Together, all of the images—dating from the 1860s to the 1990s—tell a story, not just of the evolving American landscape in the broadest sense, but also of the evolution of the medium of photography,” Rozell says. “We hope museum visitors will get a glimpse of the various ways land has been used in America—the impact of industry, the transformation of the environment and the celebration of the rich and diverse American topography. It is important to us to be able to share our collection with the public, and I’m thrilled that visitors will have access to the photographs for enjoyment and study.”

An exhibition of the photographs is planned for 2026 at the NGA. Rozell notes that members of the public can also make an appointment to see works not currently on view in the NGA’s Photograph Study Room.

I guess the retro flash look has become popular because Godox has launched yet another retro flash unit. It’s the Godox Lux Master (buy here), and it mounts to the side of your camera like an old-time press photographer.

Despite having a very retro appearance, the Lux Master contains modern tech, too, including a touchscreen OLED display. It also has TTL and wireless sync support for the Godox 2.4GHz flash system.

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Godox Lux Master Retro Camera Flash

The Godox Lux Master joins a whole range of retro flashes from Godox. Others include the Lux Junior (buy here), Lux Senior (buy here), Lux Cadet (buy here) and Lux Elf (buy here). Some are available in a whole bunch of colours, too.

Each flash in the lineup is modelled after a design from a different era and style in photography’s history. The new Lux Master is reminiscent of the side-mounted flashes many press photographers used back in the 1940s.

Retro flash with a modern twist

But the new Godox Lux Master isn’t just a replica of an old flash. It drags it into the 21st century with 2.4GHz wireless control and a touchscreen OLED display. It also supports TTL, High Speed Sync, stroboscopic mode, and front or rear curtain sync.

Unlike other on-camera flashes, this one doesn’t actually mount on your camera. It mounts to the side of your camera using a bracket. This gets the light slightly further away from the lens in two axes for a more flattering angle of light.

It also has a tiltable head from 0-90 degrees, letting you point the light straight up to bounce light off the ceiling. You can’t rotate it behind you, though. Just forward or up. Obviously, that won’t offer the versatility of a more contemporary speedlight, but it will cover a lot of situations.

Godox Lux Master Specs

Price and Availability

The Godox Lux Master Retro Flash is available to pre-order now for $249.99.

More than a year has passed since the two quakes of magnitude 6.4 and 5.8 that struck Turkey’s Hatay province. The spotlight has now died down but citizens continue to struggle for survival in inhumane conditions that strain their dignity. There is one photographer, Italian and very young, Giuseppe Scianna, class of ’99, who has decided to document the current situation to once again highlight the conditions of these people. Scianna is a photojournalist based in Sicily, and at the center of his work are often the most difficult social issues. From environmental pollution to life in the suburbs, Scianna has also worked with various NGOs and received the Sony World Photography Awards 2022. But let’s find out more about this project titled Limited Residency.

«These regions – those of Turkey affected by the earthquake – are inhabited by about four million people, displaced in the various municipalities and other parts of the country, who often live in makeshift settlements lacking any kind of health care,» explains Giuseppe Scianna who chose this area of Turkey – specifically the city of Hatay – to carry out his recent photographic project Limited Residence. «About 70 percent of the injured people have some form of disability,» Scianna continues, «as they do not have access to sanitation, they live in inadequate facilities, and their dignity and right to health are put at risk by the authorities and humanitarian aid.»

Testimony and empathy

What Giuseppe Scianna shows us in his shots is a Turkey still in pieces. His gaze is always gentle, still as a photojournalist but with an empathy that emerges. Women, children, men-everyone, no one excluded-are the protagonists of this misfortune and of his shots, which highlight on the one hand the strength and adaptability of human beings, and on the other hand the injustice and disregard of the authorities for a situation that goes against basic human rights. Giuseppe’s speech is touching, so we want to report it in full, hoping it will help bring attention to the problem.

People are psychologically broken in a precarious government situation. Monthly aid from the state does not guarantee a meal a day, also blamed on the drastically increased inflation of the Turkish lira. People continue uninterruptedly to salvage what is left of their homes, there is no more day and night due to the endless work of house demolition that amounts to about 300 thousand structures. There are endless expanses of debris fed by thousands of trucks that form veritable mountains of pulped houses. Many children have been traumatized by all this, many schools have collapsed and have been replaced by tents with many recreations because of the heat they give off. The government has sent the military engineer to inspect all structures that have apparently remained standing, but the tendency has been to underestimate the damage, this probably to reduce economic exposure regarding housing reconstruction grants. While everything is proceeding into an uncertain future, the people are responding with a great strength of humanity and sharing.

Giuseppe Scianna

Ph credits and copyright Giuseppe Scianna

Spring in Kyoto ushers in cherry blossom season, but it also marks the return of one of the biggest photo festivals in Asia. Kyotographie, now in its 12th year, fuses the past and present with its striking images and unique locations. The 13 exhibitions are staged in temples, galleries and traditional private homes across the Japanese city, showcasing the work of national and international photographers.

The festival is loosely centred on a theme – and this year the directors, Lucille Reyboz and Yusuke Nakanishi, asked participants to focus on the word “source” by delving into the essence of beginnings and the nexus of creation and discovery.

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The source is the initiator, the origin of all things. It is the creation of life, a place where conflict arises or freedom is obtained; it is the space in which something is found, born or created. It is a struggle Claudia Andujar and the Yanomami shaman and leader Davi Kopenawa know too well. The Yanomami Struggle is the first retrospective exhibition in Japan by the Brazilian artist and activist Andujar with the Yanomami people of Brazil.

It is more than 50 years since she began photographing the Yanomami, the people of the Amazon rainforest near Brazil’s border with Venezuela, an initial encounter that changed their lives. Andujar’s work is not just a showcase of her photographic talent but, with Kopenawa accompanying the exhibition to Japan for the first time, it is a platform to bring the Yanomami’s message to a wider Asian audience.

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The first part of the exhibition features photographs taken by Andjuar in the 1970s, alongside artwork by the Yanomami people and words by Kopenawa. The second part narrates the continuing violence inflicted by non-Indigenous society on the Yanomami. The project is a platform for the Yamomani people to be seen and protected from ongoing threats. The exhibition, curated by Thyago Nogueira from São Paulo’s Instituto Moreira Salles, is a smaller version of one that has been touring the world since 2018.

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The Moroccan artist Yassine Alaoui Ismaili (Yoriyas) is showing new work made during his Kyotographie artist-in-residence programme for young Africans. The images from the Japanese city feature alongside his project Casablanca Not the Movie.

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Yoriyas gave up his career as a breakdancer and took up photography as a means of self-expression. His project Casablanca Not the Movie documents the streets of the city where he lives with candid shots and complex compositions. His work, which combines performance and photography, encourages us to focus on how we inhabit urban spaces. The exhibition’s clever use of display and Yoriyas’s experience with choreography force the viewer to see the work at unconventional angles. He says: “The camera frame is like a theatre stage. The people in the frame are my dancers. By moving the camera, I am choreographing my subjects without even knowing it. When an interesting movement catches my eye, I press the shutter. My training has taught me to immediately understand space, movement, connection and story. I photograph in the same way that I choreograph.”

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From Our Windows is a collaboration bringing together two important Japanese female photographers, both of whom shares aspects of their lives through photography, in a dialogue about different generations. The exhibition is supported by Women in Motion, which throws a spotlight on the talent of women in the arts in an attempt to reach gender equality in the field. Rinko Kawauchi, an internationally acclaimed photographer, chose to exhibit with Tokuko Ushioda who, at 83, continues to create vibrant new works. Kawauchi says of Ushioda: “I respect the fact that she has been active as a photographer since a time when it was difficult for women to advance in society, and that she is sincerely committed to engaging with the life that unfolds in front of her.” This exhibition features photographs taken by each of them of their families.

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Kawauchi’s two bodies of work, Cui Cui and As It Is, focus on family life. The first series is a family album relating to the death of her grandfather and the second showcases the three years after the birth of her child. Family, birth, death and daily life are threads through both bodies of work that help to create an emotional experience that transcends the generations.

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Kawauchi says: “My works will be exhibited alongside Ushioda. Each of the works from the two series are in a space that is the same size, located side by side. The works show the accumulation of time that we have spent. They are a record of the days we spent with our families, and they are also the result of facing ourselves. We hope to share with visitors what we have seen through the act of photography, which we have continued to do even though our generations are different, and to enjoy the fact that we are now living in the same era.”

Ushioda’s first solo exhibition features two series: the intimate My Husband and also Ice Box, a fixed-point observation of her own and friends’ refrigerators. Ushioda says: “I worked on that series [Ice Box] for around 20 years or so. Like collecting insects, I took photographs of refrigerators in houses here and there and in my own home, which eventually culminated in this body of work.”

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James Mollison’s ongoing project Where Children Sleep is on display at the Kyoto Art Centre with a clever display that turns each photograph into its own bedroom.

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Featuring 35 children from 28 countries, the project encourages viewers to think about poverty, wealth, the climate emergency, gun violence, education, gender issues and refugee crises. Mollison says: “From the start, I didn’t want to think about needy children in the developing world, but rather something more inclusive, about children from all types of situations.” Featuring everything from a trailer in Kentucky during an opioid crisis and a football fan’s bedroom in Yokohama, Japan, to a tipi in Mongolia, the project offers an engrossing look at disparate lives.

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Phosphor, Art & Fashion (1990-2023) is the first big retrospective exhibition devoted to the Dutch artist Viviane Sassen. It covers 30 years of works, including previously unseen photographs, and combines them with video installations, paintings and collages that showcase her taste for ambiguity and drama in a distinctive language of her own.

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The exhibition opens with self-portraits taken during Sassen’s time as a model. “I wanted to regain power over my own body. With a man behind the camera, a sort of tension always develops, which is often about eroticism, but usually about power,” she says. Sassen lived in Kenya as a child, and the series produced there and in South Africa are dreamlike, bold and enigmatic. She describes this period as her “years of magical thinking”. The staging of the exhibition in an old newspaper printing press contrasts with the light, shadows and bold, clashing colours of her work. The lack of natural light intensifies the flamboyant tones of the elaborately composed fashion work.

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The source of and inspiration for Kyotographie can be traced to Lucien Clergue, the founder of Les Rencontres d’Arles, the first international photography festival, which took place in 1969. Arles, where Clergue grew up and lived all his life, was a canvas for his photography work in the 1950s. Shortly after the second world war, many Roma were freed from internment camps and came to Arles, where Clergue forged a close relationship with the community. Gypsy Tempo reveals the daily life of these families – their nomadic lifestyle, the role of religion and how music and dance are used to tell stories.

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During this time, Clergue discovered, and then helped propel to fame, the Gypsy guitarist Manitas de Plata and his friend José Reyes. Manitas went on to become a famous musician in the 1960s who, together with Clergue, toured the world, including Japan.

Kyotographie 2024 was launched alongside its sister festival, Kyotophonie, an international music event, with performances by Los Graciosos, a band from Catalonia who play contemporary Gypsy music. Meanwhile, the sounds of De Plata can be heard by viewers of Clergue’s exhibition.

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Kyotographie 2023 runs until 12 May at venues across Kyoto, Japan.

Members of the Millennium Stars pray before the start of a practice football match in Monrovia, Liberia. Many young men in Liberia are drawn to the sport. Despite the social breakdown that took place during the war, football has always remained an important way to bring young people together. In 1999, a football team called the Millennium Stars, comprised predominantly of ex-combatants, travelled from Liberia to the UK.

Tim Hetherington used to get so hung up about time. This was his issue on every photography assignment, his main bone of contention: how much time did he have? He could never understand why a writer was allowed a full hour with a subject while the photographer had to shoot around the edges, grabbing 10 minutes here and there. “Hold on, hold on,” he would say, whenever I dared hurry him. He had important work to be doing. He absolutely refused to be rushed.

Tim and I were colleagues back in the late 1990s when we were both at the Big Issue magazine. The editorial office was like a dysfunctional family: everyone fighting their corner and mostly learning on the job. For some of us, it was home, but Tim was only passing through, bound for wilder places and greater glories. He joined rebel convoys in west Africa, bunked alongside GIs in Afghanistan and chronicled the first green shoots of the Arab Spring. He won a quartet of World Press Photo awards and earned an Oscar nomination for Restrepo, the war documentary he made with US author Sebastian Junger, drawing on their 15 months embedded in Afghanistan’s Korengal Valley. On assignment, his approach was methodical and deliberate. In life, he went at things full-speed. It was as if he was running to his own internal stopwatch, subconsciously aware that he had to make the most of each moment.

Now along comes Storyteller to put a further twist in the timeline by stitching Hetherington into history. This bumper exhibition, at the Imperial War Museum in London, features his photographs and films, his journals and cameras. Tim’s pictures tell us vivid stories about men and women on the frontline. But indirectly, implicitly, they tell us his story as well. The retrospective leads the visitor remorselessly, step-by-step, from his early work in Liberia, through to Sierra Leone and Afghanistan, all the way up to his final days in Misrata, covering the Libyan civil war.

The stereotype of the war photographer is of a thrill-seeker, a loose cannon, babbling on the sidelines like a demented Dennis Hopper in Apocalypse Now. But Tim wasn’t like that. He was serious and idealistic, diligent and principled. He came to conflict via humanitarian work and this shows in his pictures, which are more interested in military software than hardware, fascinated by the human cogs in the machine and the relationships between them. So he’s drawn to what might otherwise be dismissed as small details: the knackered young rebel with his hand grenade on the counter; the bullet-headed captain who cradles a small dog he’s adopted; the bored soldiers wrestling on the floor of the barracks. The pictures in Storyteller are nuanced and empathic. Time and again, they find unconventional routes through the carnage.

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“That’s why so many photographers have been influenced by him,” says show curator Greg Brockett. “If you talk to people in the industry, they all know his work and think it’s great. When you talk to the general public, they’ve never heard of him. So hopefully this introduces him to a wider audience, as a communicator, an interpreter – someone who looks at conflict in visually impactful ways but who talks about it in ways they never would have expected.”

Typically, tellingly, Tim worked at his own pace. At a time (the early 00s) when most photojournalists were crossing to digital, he shot colour negative film on an analogue camera: 10 frames on each roll. This forced him to think carefully about each composition, lifted him out of the frantic news cycle and nudged him towards such long-term themed projects as his sensual Sleeping Soldiers series, , with its elegant framing of servicemen at rest. Tim liked circling back to revisit people and locations. Best of all, he liked immersing himself within a group dynamic. Embedded alongside Junger in the mountains of eastern Afghanistan, the pair condensed hundreds of hours of footage to make Restrepo, named after the platoon medic who was killed early in the tour.

Today Tim has been typecast. The frontline is his legacy. The photographer Stephen Mayes, executive director of the Tim Hetherington Trust, has mixed feelings about that. “Tim has now reached the point where he’s turned from memory to history,” Mayes says. “History will selectively view us as it wishes and there’s nothing we can do about that. But I think he’d be appalled to be represented as a war photographer. That’s not how he defined himself. The human characteristics he was interested in revealed themselves most strongly in times of conflict. But his subject wasn’t war. It was more profound: it was people.”

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I speak to James Brabazon, the frontline journalist who worked with Tim in Liberia. Brabazon recalls their experiences in 2003, covering the Lurd rebel advance on the capital, Monrovia. Bullets flying. Casualties left and right. He says that 80% of war reporting is logistics. It’s about staying hydrated, keeping safe, moving between locations, resting when you can. The risk, after all that, is that you’re too exhausted to pay attention to the story. To focus on the human beings. To remember why you’re even there.

“To be honest,” he says, “I’ve found it a drag, having to be interested in other people. I want to say, ‘Please, just let me be alone in my hell.’ But Tim was always super-engaged. His curiosity and humanity persisted through it all – however intense it had been, however traumatised he was. And they deeply affected him, the events that he witnessed. He carried deep psychological harm for the rest of his life. But somehow, he could then turn around and create beauty out of horror. He could immediately sit down with someone and capture the essence of humanity that somehow existed outside the architecture of war.”

On 20 April 2011, Tim was filming inside the besieged city of Misrata when the rebel army was shelled by Gaddafi’s government forces. His femoral artery was cut by a small piece of shrapnel. He bled out in the van, a few minutes from hospital.

“It’s difficult,” says Brabazon. “I’ve spent years trying not to think about it. I wish I’d been there. I wish I’d been with him. Sebastian feels the same. We both operate under the strong delusion – or certainty, depending on our mood – that Tim would still be alive if we were with him that day.”

Tim’s death still feels strange. It leaves the man fixed in time, forever 40 years old, as much a piece of history these days as his Arab Spring pictures. It also prompts others to speak on his behalf. The unfinished Libya work is flash-lit, hyperreal and contains an element of performance. Tim had started taking pictures of photographers taking pictures. He seemed fascinated by the feedback loop of warfare, the way in which one image of conflict influences another. Brockett thinks that this may have been his next direction: a project focused on the theatre of war. Ultimately, there is no way of knowing.

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Tim’s closest friends like to joke that their two most dreaded words are “Tim would”. Tim would have thought this, Tim would have done that. The point is that it is ridiculous, says Mayes, because nobody has a clue. “Even Tim didn’t know. Tim didn’t fully know who he was. He didn’t know where he was going. I knew him for 15 years and he was all about the journey.”

By 2011, thinks Mayes, Tim had largely fulfilled his agenda. “He’d explored the world. He’d explored multimedia. He had recognition, an audience, an Oscar nomination. The tragedy was that he was cut off with a full stop at the end of a sentence. He was about to start the next sentence. Nobody knows what it would have been.”

Just before his death, Tim produced a 19-minute documentary called Diary. It’s a fine piece of work: a freeform, abstract audit of 10 years of war reporting, cross-cutting between rainwashed African roads and bustling London streets, dropping us without preamble into the aftermath of a massacre in eastern Chad. Tim has come to record the remains: the broken pots, the burnt corn-cobs and the charred human-shaped shadow laid out on the grass.

“Hold on, just hold on,” he tells the African guide who tries to move him along – and there it is, like a seance, our photographer from the past. Bold and brilliant, authoritative and exasperating. He was constantly demanding more time, the awkward bastard. There were always so many things that he wanted to do.

• Storyteller: Photography by Tim Hetherington is at the Imperial War Museum, London, from 20 April to 29 September

Google has created a special doodle on the occasion of annual Earth Day. “The Earth Day doodle features aerial photos of the planet’s natural beauty and biodiversity and reminds us of the importance of protecting it for future generations,” said the company.
The Google logo highlights global efforts to preserve the Earth’s natural beauty, biodiversity, and resources in various communities worldwide.These serve as a reminder that tackling the climate crisis and biodiversity loss requires further action.
What the Earth Day doodle represents
G: Turks and Caicos Islands. The islands are home to important biodiversity areas with conservation efforts aimed at addressing ongoing environmental challenges.
O: Scorpion Reef National Park, Mexico. Also known as Arrecife de Alacranes, this is the largest reef in the southern Gulf of Mexico and UNESCO biosphere reserve.
O: Vatnajökull National Park, Iceland. Established as a national park in 2008 after decades of advocacy, this UNESCO World Heritage Site protects the ecosystem in and around Europe’s largest glacier.
G: Jaú National Park, Brazil. Also known as Parque Nacional do Jaú, this is one of South America’s largest forest reserves and a UNESCO World Heritage Site.
L: Great Green Wall, Nigeria. Started in 2007, this African Union-led initiative is restoring land affected by desertification across the width of Africa, planting trees and other vegetation while implementing sustainable land management practices.
E: Pilbara Islands Nature Reserves, Australia. Located by one of the Pilbara Island Nature Reserves, one of 20 nature reserves in Australia that help protect fragile ecosystems.
Globally, more individuals are turning to Google to seek sustainable living practices. As Earth Day is observed by over a billion people worldwide today, it serves as a reminder to adopt sustainable habits consistently and to persist in the ongoing efforts to conserve resources such as water and electricity.

ROCHESTER, Minn. (KTTC) – On Sunday, Rochester Area Officials Association (RAOA) awarded an honor to KTTC Chief Photographer Charles (Chuck) Sibley for his contributions to youth sports as part of media.

Chuck Sibley joined KTTC in 1972 as a part time Studio Camera Operator. 2024 is his 51st year as a staff member of the station.

“He is very well known and he’s done exceptional work. Chuck goes back a long ways. I know he’s been doing this for over 50 years now with KTTC and we just felt like we needed to take the time to acknowledge, recognize, and bring Charlie to the forefront for one day at least.”

RAOA hosted its Southeast Minnesota All Sports Reunion event this afternoon at Charlie’s Eatery and Pub. Along with Sibley, the organization honored five individuals in recognition of their work as a coach, athletic director, sports official, and site staff.

RAOA’s committee member, Greg Rathbun, stated media is a new category of honor for the event and Sibley is the first person to be recognized with it. He said, “We felt we needed to exemplify the media and give some recognition to the media. Chuck was the first name that popped up that all of us on the committee said, ‘He’s got to be recognized.’”

The reunion was the RAOA’s third event honoring past and present community members who contributed significantly to local youth athletics.

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