Photography

Inside the life of Scoop’s Jae Donnelly who took the famous Epstein-Andrew photo

Inside the life of Scoop’s Jae Donnelly who took the famous Epstein-Andrew photo

WHEN Prince Andrew was snapped taking a stroll in Central Park with Jeffery Epstein, it was a photograph that would haunt him forever.

Jae Donnelly was the man who took that infamous picture of the royal and the paedophile, and his story is being told in Netflix’s Scoop.

Jae Donnelly is a world famous photographer
Jae Donnelly is a world famous photographerCredit: YouTube/WNYC

Who is photographer Jae Donnelly?

Jae Donnelly is the photographer who shot to fame after he took the picture of Prince Andrew and Jeffery Epstein in Central Park on December 5, 2010.

He is a member of the National Press Photographers Association and started his career in the UK .

Jae was later recruited by an American agency, which led to his move to New York where he was assigned to photograph celebrities.

It was during this job that he managed to snap the biggest picture of his career, Prince Andrew and Epstein.

Read more on Scoop

Jae previously revealed how he learnt “endurance under pressure”, which is vital in his job, by undergoing “military-style training”.

He did this so he could be trusted and insured to “go to places and cover the dangerous stuff”.

Speaking to Vanity Fair in 2021, Jae said: “ [It’s about] Gathering intel and evidence for whoever I’m on contract to find.

“And to do that he must remain invisible, and never get caught.”

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Jae took this infamous picture of Prince Andrew and Jeffery Epstein
Jae took this infamous picture of Prince Andrew and Jeffery EpsteinCredit: Jae Donnelly

Where is Jae Donnelly now?

Still living in New York and now in his early 50s, Jae continues to work as a photojournalist 

According to TheCinemaholic, due to his reputation he can get between $30K to $60K (£23K and £47K) for his pictures.

‘Scoop’ Trailer – Netflix

Because of the infamous snap, his work has also featured in Jeffrey Epstein: Filthy Rich (2020), and Prince Andrew and Scandal in the Royal House of York (2019).

In 2024, Jae was back in the spotlight as he is depicted in the Netflix’s film, Scoop.

The movie is about Prince Andrew’s ‘car crash’ Newsnight interview where he had to address his relationship with Epstein.

Jae continues to be an in-demand photographer
Jae continues to be an in-demand photographerCredit: YouTube/WNYC
In Netflix's Scoop the photographer is played by Sex Education star Connor Swindells
In Netflix’s Scoop the photographer is played by Sex Education star Connor SwindellsCredit: Netflix

Who is Jae Donnelly played by in Scoop?

Playing the role of Jae in Netflix’s Scoop is rising star Connor Swindells.

The film will show him taking that famous photograph which then spiralled a chain of events leading to the Prince Andrew Newsnight interview.

Actor Connor shot to fame playing Adam Groff in Netflix‘s Sex Education.

He has since had roles in Emma, Vigil and SAS Rogue Heroes.

However, Connor hit the big time when he played Aaron Dinkins in the smash hit 2023 movie Barbie.

Get the scoop on Netflix’s Scoop

THE Netflix film brings to life the real events of the 2019 Prince Andrew Newsnight interview.

Discover the winning Winter Landscapes in Digital Photographer contest

Discover the winning Winter Landscapes in Digital Photographer contest

For our latest competition in association with Photocrowd, we challenged you to submit your best Winter Landscape images. After working through all the entries, the winners have been selected. As a prize, the expert winners will get a licence for Affinity Photo professional editing software. Congratulations to all of the winners – as usual, the standard of submitted images was extremely high, and it was a difficult task to select the best ones.

1st PLACE

Peaceful by Steven Zhou (Image credit: Steven Zhou)

We love the simplicity of this shot. We saw many amazing images of far-flung locations in this round, but the great thing about such scenes is that they can be found anywhere. The photographer has turned what is otherwise a flat, empty landscape into a minimalist study with great compositional features. Well done!

2nd PLACE

From the inside looking out by David Feuerhelm (Image credit: David Feuerhelm)

This one is a classic composition of an increasingly famous location. This image’s alignment is ideal for using the cave entrance as a natural frame for the distant mountain. The colour palette is almost monochromatic, allowing us to focus on smooth and rough textures. Nicely conceived and put together.

3rd PLACE

Brina in pianura by Alberto Cocco  (Image credit: Alberto Cocco)

When the snow falls, the temptation for many landscape photographers is to capture big, broad scenes. However, looking closer is a great strategy for capturing engaging details. We are drawn to the naturally deep contrast of this scene, the bright snow excellently rendered against the dark shadows. It’s a beautifully quiet composition. Well done!

RUNNER UP

The breath of a frosty morning by Krzysztof Tollas (Image credit: Krzysztof Tollas)

This a gorgeously tranquil shot. It’s also a little different in that it embraces colour when many winter images focus on bleak, barren landscapes. The placement of the sun in the centre of the image, framed by the snow-frosted trees is a magnet to the eye and the white balance has been handled with expertise. 

RUNNER UP

Loneliness by Marta  (Image credit: Marta)

Here, we have another wonderful display of minimalism. The sparseness of detail allows the tree’s skeletal form to stand out against the plain background and sky, while the off-center composition draws in the eye. We like how the contours of the snow-covered ground almost look like paper cutouts.

RUNNER UP

Lake Louise by Trevor Cole  (Image credit: Trevor Col)

What an iconic winter landscape! Although we have seen many images of this location, the arrangement of detail in this shot is exceptional. The subtle reflection, wintery hues and low clouds add atmosphere. The balance created by the focal length choice is also spot-on and the exposure is perfect. Nicely done!


How to enter 

Enter at photocrowd.com/digitalphotographer for a chance to win a licence to Affinity Photo editing software (worth £49 for Mac or Windows). The monthly rounds that are currently open are on the themes of Capture Color and Macro Studies.

Affinity Photo is a toolset for photography professionals. Whether you’re editing and retouching or creating multi-layered compositions, Affinity Photo has the power you need, with non-destructive editing, RAW processing, and color management as standard. Winners will be notified by email and can choose between Mac, Windows or iPad versions. Winning images will be revealed in an issue of Digital Photographer.

41 Winners Of The World Nature Photography Awards 2024

41 Winners Of The World Nature Photography Awards 2024

#1

“Head Massage” By John Saeger, Gold Winner In Behavior — Amphibians And Reptiles Category

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#2

“Lynx Pounce” By Thomas Vijayan, Silver Winner In Animals In Their Habitat Category

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#3

“Underwater Gannets” By Tracey Lund, World Nature Photographer Of The Year 2024 And Gold Winner In Behavior – Birds Category

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#4

“Oxpecker And Water Buffalo” By Lakshitha Karunarathhna, Silver Winner In Behavior – Birds Category

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#5

“Alike” By Michael Stavrakakis, Silver Winner In Animal Portraits Category

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#6

“Reaching For The Top” By Lukas Walter, Bronze Winner In Behaviour – Mammals Category

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#7

“Lightfoot Crabs Puerto Egas Galapagos” By Bill Klipp, Gold Winner In Behaviour – Invertebrates Category

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#8

“Not So Silent Hill” By Panagiotis Dalagiorgos, Silver Winner In Behaviour – Invertebrates Category

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#9

“Earth’s Treasure” By Miki Spitzer, Gold Winner In Nature Art Category

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#10

“Crowd Control” By Andy Schmid, Gold Winner In Underwater Category

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#11

“Difference” By Ivan Pedretti, Gold Winner In Planet Earth’s Landscapes And Environments Category

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#12

“Graceful Turn” By Richard Li, Gold Winner In Black And White Category

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#13

“Aino” By Jouni Erola, Bronze Winner In Behavior – Birds Category

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#14

“Anger Fish” By Nicolas Remy, Gold Winner In Animal Portraits Category

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#15

“Chasing Nature” By Hira Punjabi, Bronze Winner In People And Nature Category

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#16

“Owl-Like Plant” By Chatree Lertsintanakorn, Gold Winner In Plants And Fungi Category

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#17

“Among Bricks” By Roman Willi, Silver Winner In Urban Wildlife Category

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#18

“Bloody Himalayan Vulture”’ By Partha Roy, Bronze Winner Animal Portraits Category

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#19

“Those Last Seconds” By Alex Brackx, Gold Winner In Behaviour – Mammals Category

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#20

“Father Calling” By Karthik Ak, Silver Winner In Behavior — Amphibians And Reptiles Category

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#21

“Cuckoo Wasp” By Kevin Blackwell, Bronze Winner In Behaviour – Invertebrates Category

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#22

“Aspen Trees” By Robert Ross, Silver Winner In Nature Art Category

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#23

“Young Humpback Playing II” By Philip Hamilton, Silver Winner In Underwater Category

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#24

“Light In Light” By Giovanni Crisafulli, Bronze Winner In Underwater Category

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#25

“Ions And Water Over Godafoss” By Cari Letelier, Bronze Winner In Planet Earth’s Landscapes And Environments Category

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#26

“Livin On The Edge” By Amit Eshel, Gold Winner In Animals In Their Habitat Category

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#27

“A Foraging Turtle” By Tom Shelsinger, Bronze Winner In Animals In Their Habitat Category

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#28

“Reflections Of The Frog” By Rafal Dymarkowski, Bronze Winner In Behavior — Amphibians And Reptiles Category

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#29

“Patagonia Dreaming” By Vittorio Ricci, Bronze Winner In Nature Art Category

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#30

“Front Of The Wreck” By Ferenc Lorincz, Silver Winner In People And Nature Category

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#31

“Rainbow At Dawn” By Dr. Martin Stevens, Silver Winner In Plants And Fungi Category

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#32

“Trompet” By Radoslav Sviretsov, Bronze Winner In Plants And Fungi Category

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#33

“Perfect Cloud” By Sr. Francisco Negroni, Silver Winner In Planet Earth’s Landscapes And Environments Category

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#34

“Under A Mother’s Guidance” By Tom Way, Silver Winner In Black And White Category

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#35

“Dragon’s Nest” By Roy Wiesner, Gold Winner In Urban Wildlife Category

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#36

“Budapest Beaver” By Adam Horvath, Bronze Winner In Urban Wildlife Category

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#37

“The Dangerous Toy” By Celia Kujala, Gold Winner In Nature Photojournalism Category

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#38

“Voodoo Sacrifices” By Enrique Lopez Tapia, Silver Winner In Nature Photojournalism Category

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#39

“Price Of Binturong Coffee” By Lennart Stolte, Bronze Winner In Nature Photojournalism Category

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#40

“Catch Of The Day” By Ioannis Pavlos Evangelidis, Gold Winner In People And Nature Category

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#41

“Double Catch” By Tom Nickels, Bronze Winner In Black And White Category

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Unseen Photos of Kurt Cobain, Courtney Love and Frances Bean at Home

Unseen Photos of Kurt Cobain, Courtney Love and Frances Bean at Home

“They were a loving family at home but they were rock and roll, and did exactly what they wanted,” recalls photography duo Guzman, as they unveil their never-before-seen photos of the Cobain family at home in Hollywood

April 05, 2024

On 18 August 1992, Kurt Cobain and Courtney Love welcomed a little girl, Frances Bean, into the world. In the whirlwind year prior, Nirvana had released Nevermind, catapulting the couple from underground notoriety to global superstardom. Cobain, then 25, and Love, 27, moved into a three-bedroom house ensconced in Hollywood Heights the month before Frances Bean’s birth, a far cry from the Nirvana frontman’s life just one year earlier when he’d been living out of his car.

Their rise heralded the arrival of the recently dubbed “Generation X”, whose rage, disgust and disillusionment with the status quo fuelled grunge, the rightful heir to 1970s punk. Now voting age, Gen X posed a significant threat to the Moral Majority, who were scrambling to install George HW Bush as president. With the top job poised to go to a saxophone-playing, boxer-wearing, weed non-inhaling playboy from Arkansas (Bill Clinton), they descended on Houston, Texas en masse for the 1992 Republican National Convention (RNC) that very August.

The day after Frances was born, the RNC hosted a special “Family Values” event at the RNC, headlined by pay-to-pray televangelist Pat Robertson, who dazzled the crowds with dog whistles and religious clichés. The vapid, cloying phrase quickly took root among the right, who seized every opportunity to impose Christian ideology through governance, sparking endless culture wars.

Then, on September 1, Vanity Fair published Strange Love: The Story of Kurt Cobain and Courtney Love, Lynn Hirschberg’s brutal hatchet job that painted Love as a monster who held Cobain in her clutches, with a knowing nod to the tragic fate of Sid Vicious and Nancy Spungen. Hirschberg cast Love as an opportunist, addict, artist of questionable talent and woman of moral repute. The young couple decided the time had come to fight back. They teamed up with longtime friend and collaborator Jonathan Poneman, co-founder of Sub Pop, for the December cover story of Spin magazine.

But the story was more than damage control, it was their opportunity to tell their story on their own terms. Suffering from chronic stomach pain, Cobain self-medicated with heroin and spiralled into addiction that led him to suicidal ideation, a fight that would ultimately lead him to take his life on 5 April 1994. During the summer of 1992, he had been in and out of rehab, trying to get his life sorted out. Shortly before Frances was born, they moved into their new home nestled deep in the Hollywood Hills.

On September 23, Constance Hansen and Russell Peacock, the husband and wife photography team of Guzman, arrived at the 1921 craftsman-style house for the Spin shoot, wholly unaware of the world that lay behind those closed doors. “On our way flying out to LA, we were talking and laughing about the idea of having them do domestic chores like Courtney hanging up laundry and Kurt mowing the lawn,” Peacock says. “But all that went right out the window when we arrived.”

Opening the door, Love greeted them with offerings of coffee and fresh guava pie. Cobain was still upstairs and a five-week-old Frances was still asleep, the newborn baby’s presence creating a tender awareness of the fragility of the moment. “The baby chilled everybody out,” says Hansen. “You don’t want to wake the baby or freak them out. You want to be authentic and real.”

Three decades later, Hansen and Peacock are revisiting this fabled shoot for the first time in their new book, Family Values (powerHouse Books), an intimate chronicle of a young couple driven by passion and love that eschewed the trappings of fame and celebrity for truth and art. Through Guzman’s portraits, we see the last of a fading breed: the true rock star who spoke for outsiders, misfits and radicals who wanted nothing more than to live by their own rules.

Hansen and Peacock understood the challenges of parenting without the harsh glare of the public eye. “We had a two-year-old and related to Courtney, the baby, and how freaked out they were by people coming down on them about the Vanity Fair article,” Hansen says. “Courtney was irreverent and inspirational to me. She’s very smart, quick and doesn’t have a filter. She just says what she thinks.”

As Love gave them a tour of their spare home, Hansen and Peacock realised the house was far too bare to stage scenes of suburban bliss and readily changed course, letting the story of the young family tell itself over the course of the afternoon. “We weren’t really directing, we were just hanging out for four or five hours until they had to leave,” Hansen says. “They were a loving family at home but they were rock and roll, and did exactly what they wanted.”

Like Allan Tannenbaum’s portrait of John Lennon and Yoko Ono in bed for the cover of Double Fantasy, Guzman’s photographs of Cobain, Love and Frances have become emblematic of another kind of “family values”, which Cobain wrote across Love’s belly for the pièce de résistance. Though we know their stories soon turn to tragedy, they embody the spirit of the American Dream: life, liberty, and the pursuit of happiness.

Family Values by Guzman is published by powerHouse Books, and is out now. 

Street-style photographer Watching New York knows you’re tired of all the influencers

Street-style photographer Watching New York knows you’re tired of all the influencers

There are some obvious places to go to see great style in New York City.

SoHo is one of them — not only because of its luxury boutiques, but also because of the streetwear-inflected brands that have begun to fill in the neighborhood’s edges.

The L train and Chinatown’s eastern reaches have become stomping grounds for a certain set of young styles, from workwear and streetwear to more discordant Gen-Z styles.

Courtesy of Johnny Cirillo / @WatchingNewYork

Johnny Cirillo’s favorite corner is located just south of the Bedford Avenue train station in Williamsburg. That’s where the photographer spends up to 10 hours a day, several days a week, shooting thousands of pictures of passersby who catch his eye.

Johnny Cirillo in Greenpoint

Photo by Ryan Kailath / Gothamist

He catalogs the most interesting looks on his Instagram account, @WatchingNewYork, which has developed a following of over 1.3 million in a few short years.

Cirillo features mostly young, cool New Yorkers on Watching New York, though he includes many styles, bodies, and aesthetics. He often organizes posts into themed slides, featuring cowboy boots one day, fringe the next. He’s often among the first to document emerging and established trends like the coquette aesthetic or monochrome neutrals as they pour back and forth from the streets to social media.

Courtesy of Johnny Cirillo / @WatchingNewYork

Abrams is releasing a book of Cirillo’s photographs on April 16, with a foreword by his fan Gigi Hadid.

The account @WatchingNewYork was born from one of Cirillo’s biggest inspirations. The Queens-born photographer worked in restaurants in the 2000s making ends meet, and would shoot wedding, baby and engagement photos on the side.

He took the first photo for what became his full-time job as a street style photographer in 2016, on the day that the beloved New York Times photographer Bill Cunningham died.

“That’s what sparked it, that day,” Cirillo said. “I went out and shot some photos in SoHo. It was a hobby to me, I didn’t put them anywhere.”

Cirillo spent a year taking pictures and sharing them with his wife Kristin, who loves fashion. Eventually he began archiving his favorites on Instagram.

“I never had any expectations,” Cirillo said. “I was enjoying just having them live someplace besides my hard drive.”

Courtesy of Johnny Cirillo / @WatchingNewYork

The local publication “Greenpointers,” in Cirillo’s longtime neighborhood, began featuring his photos, and he picked up a few editorial gigs shooting for the New York Times and other publications.

Things took off after he was featured in a local NBC segment in 2021. As the city emerged from its pandemic-induced sweatpants era, Cirillo was there to document the way we readjusted our style.

“I was coming out in my car and sitting safely behind the window, capturing people as mask culture became a thing,” Cirillo said. “It started as bandannas and then more decorative masks; people got really creative with them.”

He got his first sponsored deal after the NBC segment aired. Though he only had around 30,000 followers, the jewelry brand Pandora reached out about shooting its latest styles in his signature fashion. He realized that his hobby could become a career.

Cirillo said he’s careful to keep the brand shoots minimal by sticking to pitches he believes in. He’s done recent campaigns with Adidas and Gucci. But he’s wary of diluting his brand’s value by taking too many commercial offers.

L’Amour Supreme

Courtesy of Johnny Cirillo / @WatchingNewYork

“Johnny’s whole thing is to inspire, ignite, spark and enjoy,” said L’Amour Supreme, an artist who Cirillo has photographed twice. “There’s no hierarchy about it.”

Rebekah Ambjor got to know Cirillo in the neighborhood as their kids played together in McGolrick Park.

“He was always the person with the camera capturing the kids,” Ambjor said. “Everyone I know has one of his photos of us with our children and these wonderful moments, we’ve all framed them.”

Ambjor said Cirillo’s genuine enthusiasm has been the key to his success.

“Johnny just loves people’s style,” she said. “As a person who grew up in a small town in the middle of America, you think ‘Where are the rest of the freaks like me?’ And then you move to New York City and someone sees you and says ‘I love what you’re doing, keep doing this.’ That’s what Johnny’s doing, he’s building everybody up.”

The page’s critics mostly take exception with the styles and neighborhoods that Cirillo highlights.

Courtesy of Johnny Cirillo / @WatchingNewYork

“Everyone is over-stylized and looks like they just walked out of Urban Outfitters,” said one commenter on a Reddit thread titled Am I the only one who really hates watchingnewyork? “I mean, it’s fitting for Williamsburg, which is basically a gift shop.”

“All he posts are the Gen Z version of hipsters. It’s so boring,” commented another user.

Comments on another thread accused the account of staging photos or featuring the same people over and over.

Cirillo conceded that some people may be gunning for a cameo on his Instagram – a few have even messaged his account to say that they walked by a few times that day and were disappointed he never took their picture.

“People know that their lives can be changed by social media,” Cirillo said.

Courtesy of Johnny Cirillo / @WatchingNewYork

He also noted that more and more people have begun to tire of influencers like him who regularly create content on the streets, such as the “what are you listening to” guys, the “what do you do for a living” guys and the “how did you two meet” guys.

The other day he stopped a woman for her photograph and she declined, saying she’d had her picture taken 10 times that day. “I was like, ‘Wait, please!’ but she just put her headphones back on and walked away,” Cirillo said.

But Cirillo remains undeterred, and said the great reactions outnumber the bad. He recalled photographing a couple of sisters from India a few years ago.

It turned out they and all of their friends followed @WatchingNewYork and were visiting New York with hopes of running into him.

“It never dawned on me that the account was reaching that far,” Cirillo said. “I thought that was really cool.”

ARTS AND HUMANITIES: Columbia museum celebrates regenerated photographs

ARTS AND HUMANITIES: Columbia museum celebrates regenerated photographs
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Perhaps nothing is sadder than a life whose promise remains unfulfilled. Such was the case with countless young men who died in the AIDS pandemic in the 80s and 90s before a practical therapy was developed. One such individual was the 33-year-old mixed media artist Darrel Ellis, whose innovative work is currently on display in a special exhibition at the Columbia Museum of Art.

Among the countless individuals who fell victim to an AIDS-related illness in those early years were notable American photographers like Robert Mapplethorpe and Peter Hujar, both friends of Darrel Ellis. Photography became a principal creative medium for Ellis as well, but he was not content to let the camera do all the work.

Darrel Ellis most often used a photograph as a reference point for drawings and paintings. A good example of this approach is the signature piece of the current show, a self-portrait of the artist inspired by a Peter Hujar photograph. On display at the CMA are both the original Hujar silver gelatin print produced in 1981 and the black ink, wash, and charcoal rendering made by Ellis eight years later. In both images, Ellis is seen in profile, his shoulder bared. The paper drawing the artist subsequently mounted on canvas, thus amplifying the seductive quality of the pose with additional surface interest.

The piece in the current show that best showcases Ellis’s experimentation with surface treatment is, however, a manipulated portrait of Joseph Tansle, his great uncle. Based on a distorted photographic image of his male relative – the lower half of the face appears to bow outward – Ellis created between 1989 and 1991 a graphite and ink likeness on a wood panel whose surface is encrusted with modeling paste. The resulting work reads like a low-relief sculpture. The surface irregularities combined with the fishbowl effect of the camera image provide an effective incarnation of how memory works. Nothing is ever sharply focused.

Critics seem to agree that Ellis was obsessed with capturing the passage of time, most often either moments in the social life of his extended family or, especially after his HIV diagnosis, phases of his own physical and psychological decline.

In chronicling the life of his family, so many of the photographs that he chose as his source material were from a collection he had inherited from his late father, a man he never knew. Thomas Ellis, a postal worker and amateur photographer, was killed during a police altercation in the 1950s.

The current show includes, for example, a triple portrait that Thomas Ellis took circa 1953 of himself, his wife, and his daughter. His father’s vintage photograph is juxtaposed with the artist’s acrylic and charcoal reworking of the same trio; but in this case, the central figure of his father is almost completely wiped out with thick white horizontal brushstrokes as if he had been erased from history. The artist’s sensitive exploitation of his father’s photos is thus a way of perpetuating his parent’s tragically truncated place in the family narrative.

The same might be claimed for the variety of self-portraits in the present exhibition. Even before his HIV diagnosis around 1984, Ellis was using himself as a subject for his figurative drawings and paintings, most based on either selfies or photographs taken by others. The number of self-portraits increased dramatically after his participation in a 1989 group show in New York entitled “Witnesses: Against Our Vanishing.” That now-iconic exhibition, which featured works by Hujar, Mapplethorpe, Mark Morrisroe, David Wojnarowicz, and Ellis along with a score of other artists lost to the HIV/AIDS pandemic, gained front page headlines because it called attention to all the creative people whose untimely deaths were due to AIDS-related causes.

One particular self-portrait from that final phase – yet another graphite and ink drawing over acrylic modeling paste on paper – shows the artist, his knit-capped head tilted to the side and his open palms outstretched toward the viewer in a gesture of supplication. Did the artist deliberately choose to depict himself as one of society’s outcasts, pleading for some acknowledgment of his plight?

Co-organized by the Baltimore Museum of Art and the Bronx Museum of the Arts, “Darrel Ellis: Regeneration” runs until May 12. The show offers not only a showcase for the work of an important African American artist but also a glimpse of the creative spirit of a lost generation.

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Roe Ethridge Captures the Best Accessories of the Season

Roe Ethridge Captures the Best Accessories of the Season
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Lead ImageRosalieke is wearing a tool belt in leather by FENDIPhotography by Roe Ethridge, Fashion director Katie Shillingford, Set design by Andy Harman

Hair: Erin Piper Herschleb at L’Atelier using ORIBE. Make-up: Whittany Robinson using ADDICTION TOKYO. Manicure: Eva Suriaty at Lady Panda Nail NYC using Gel-X by APRÈS and Nail Lacquer in Big Apple Red by OPI. Model: Rosalieke Fuchs at Ford Models. Casting: Nicola Kast. Digital tech: Jonathan Nesteruk. Photographic assistant: Taylor Schantz. Styling assistant: Precious Greham. Set-design assistant: Eric Brittan. Production: Jemma Hinkly at Artist Commissions and Alana Amram at Hen’s Tooth Productions. Post-production: Two Three Two. Special thanks to 16 Beaver Studio

This story features in the Spring/Summer 2024 issue of AnOther Magazine, which is on sale internationally now. Order here

Empowered Artistry: Breaking Boundaries with 35mm Photography

Empowered Artistry: Breaking Boundaries with 35mm Photography

Zenniesha Opakul and [Z] Zalekta redefine art’s boundaries, captivating audiences with raw femininity and societal defiance in a groundbreaking exhibition collaboration.

Empowered Artistry: Breaking Boundaries with 35mm Photography

In a captivating fusion of artistic vision and entrepreneurial spirit, Zenniesha Opakul (Third from Left) the dynamic Creative Director of “Bad Girls Do It Well Creative”, Khanngoen Nuanual (Third from Right) – Director and Songphon Chaovanayothin (Second from Left) Director, Chief Operating Officer and Member of the Executive Committee of [Z] ZALEKTA Public Company Limited. Together hosted the exhibition “Bad Girls Do It Well Art Selected By [ Z ] Zalekta”

For this event, there were Hip-Hop Artists, Rappers, and Celebrities such as Zean Natcha Opakul, Aum Lakkhana Wattanawongsiri, Luke Ishikawa Plowden, Tong Twopee, CD Kantee who attended her latest exhibition. This is considered to be the first Collabs with [ Z ] ZALEKTA at COASTIERA Bangkok.

Zenniesha Opakul, celebrated for her bold exploration of identity and femininity, fearlessly challenges societal norms through her mixed media artworks. Her creations serve as a defiant proclamation, urging viewers to reconsider conventional standards of beauty and strength. “Bad Girls Do It Well Art Selected By [Z] ZALEKTA Exhibition” stands as a courageous declaration of independence, compelling its audience to reevaluate ingrained perceptions. As Creative Director of “Bad Girls Do It Well Creative, “Zenniesha” continues to be captivated by the timeless charm of 35mm film. This medium, known for its evocative photography, refuses to be relegated to the annals of history. Renowned for capturing both vulnerability and unbridled passion, “The Film Never Die” exhibition plunges into the complexities of female empowerment through the lens in an age dominated by digital technology, the nostalgic allure of analogue photography remains undiminished. It serves as a poignant reminder of art’s capacity to transcend the confines of the present moment, inviting contemplation and reflection.

[Z] ZALEKTA earned a reputation for curating art exhibitions that challenge the status quo & redefine the artistic landscape, this collaboration with Zenniesha Opakul, the visionary behind Bad Girl Do It Well Art, represents a meeting of minds, a convergence of two distinct yet complementary visions. Upon stepping into the venue for this revolutionary showcase, visitors are welcomed by a meticulously chosen array of artworks encapsulating the spirit of “Empowered Artistry: Breaking Boundaries.” From audacious, thought-provoking pieces that confront societal norms to personal, soul-searching works delving into notions of identity and individuality, the exhibition presents a rich tapestry of viewpoints and journeys.

ABOUT [ Z ] “ZALEKTA”

ZALEKTA PUBLIC COMPANY LIMITED. Invested in companies engaged in the movie media business, provides and acquires Thai and International films copyrights for cinema, and provides rights to Free TV, Cable TV, Pay TV, Video on Demand, Film, Music, and DJ. Exhibition and other digital media. In addition, the Company has invested in Thai Film

Production and Home entertainment business which generated the most revenue for the Group. For more information: https://www.zalekta.com

ABOUT “BAD GIRL DO IT WELL”

Bad Girls Do It Well Creative. Bad Girls is the brainchild of Thai artist and creative genius “Zenniesha Opakul”. In a world where conformity often reigns supreme, a rebellious spirit refuses to be tamed. This spirit is embodied by the “Bad Girls Do It Well Art Exhibition” curated through the Lens of 35mm Film Photography since 2017. She invites viewers to explore the raw, unfiltered essence of female defiance through the captivating medium of 35mm film photography. Her curation transcends the traditional boundaries of art, offering a bold and unapologetic celebration of femininity in all its complexities. Through her discerning eye, she captures moments of defiance, strength, vulnerability, and resilience, weaving together a narrative that challenges societal norms and empowers the female gaze. Based in Bangkok but with a global reach, she collaborates with models from diverse backgrounds, spanning cities like Paris, London, and beyond. Her Instagram feed serves as a virtual gallery, showcasing the raw and unfiltered beauty of her subjects through the lens of a 35mm format adds a layer of authenticity and depth to her work, capturing the nuances of light and shadow in a way that digital photography simply cannot replicate. It’s time to invite viewers to join her on a journey of rebellion and self-discovery with each post, she challenges us to embrace our true selves and celebrate the beauty of imperfection that often seeks to silence dissent, Bad Girls Do It Well Creative is a powerful reminder that sometimes, it’s the “BAD GIRL” who does it best with proceeds to adopted the stray dogs since this project starts at Harlow Pool Villa.

For more information: https://www.instagram.com/badgirlsdoitwell_creative/

#BadGirlsDoItWellArtsSelectedByZALEKTA

Wisor Photography & Videography takes step back from traditional business ways

Wisor Photography & Videography takes step back from traditional business ways

DuBOIS — Andrew and Victoria Wisor of DuBois have spent much of their lives capturing memorable moments behind the lens. Now, after 12 years of dedication to Wisor Photography and Videography, the couple plans to put more of the focus on themselves.

The Wisors, who have basically grown up photographing/editing beside one another since high school graduation, were just teenagers when they started the business. Both have learned many lessons over the years.

Wisor Photography’s official anniversary is June 20, 2024. The business rebranded with a new logo and new colors Jan. 1 of 2024.



The Wisors snapping pictures




Like many business owners, the Wisors have encountered their fair share of challenges, including never having recovered from the pandemic, making it difficult for them to have taken any personal time for themselves over the years. In addition, it’s getting more difficult for professional photographers to compete with iPhone cameras, and pricing for local photography is competitive.

Widely known for their wedding photos and footage over the years, the Wisors are now taking a “hiatus” and setting boundaries for the 2024-25 year, as they will no longer be doing weddings or newborn sessions for anyone outside of family and friends. The plan is to have more creative freedom with the photography business, while also having more physical and mental relief in their personal lives. And, aside from taking headshot/action shots for the Reitz Theater of DuBois, there will be no more donated photography work.



Head shots at the Reitz Theater




“We’ve been at it for 12 years. We needed a fresh, new start,” said Victoria.

The couple also now operates a second business full time –the Ronin No Yatai Japanese/Korean cuisine food truck, which will have much of their attention with over 60 events scheduled this year.

Wisor Photography will be doing more “out of the box” photo shoots and incorporating more of their own artistic/creative ideas. For example, one of their favorite unconventional shoots features Invictus owners Joe and Shealene Morrison, who are pictured in a darker Viking-esque type of setting in the woods, sporting war paint and holding axes.

In addition, Victoria noted that they will continue to offer “close to end of life” photo sessions for pets and their owners.



Favorite photo shoot




The Wisors were sure to mention the other local photographers, DJs, caterers, businesses and more that they have formed friendships with over the past 12 years.

For more information, visit www.wisorphotography.com and the Wisor Photography and Videography Facebook page: www.facebook.com/wisorphotography/