State College native Pat Little never used a camera until his senior year at Penn State. Now, he’s a published photographer for the Associated Press and the Centre Daily Times, an author, and he rakes in hundreds of comments on Facebook for his images.

Little’s origin story is a humble one. Interested in newspaper photography at a young age, but with no experience, he joined the Daily Collegian during his senior year after an encouraging encounter with a sports reporter. 

The first event he covered was a bike auction, from which he brought back a silhouette shot of a man holding up a bike over his head. The picture ran in the paper the next day. From there, Little was hooked.

“They decided to take me on the staff and started teaching me and I was reading everything I could get my hands on trying to figure this out,” Little said. “It just took off from there. Once I’d made my first print and looked at it and watched the process, I was absolutely captivated.”

Little spent the rest of his senior year shooting and learning with the Collegian and became a professional within those nine months.

In 1977, the Johnstown Flood became the first major news story Little covered. He slept in his car and walked along with locals all while taking in the damage and reactions as he went. He returned the following week with a relief crew.

A few weeks later, Little was at a conference for National Press Photographers with his folder full of Central Pennsylvania photos. He caught the photo editor of Time magazine in the hotel lobby and showed him his work. Upon request, he spread his shots of the Johnstown Flood on the floor of the Sheraton Hotel.

“I was thinking, ‘Oh my god you’re gonna get crushed,’ and he looks at me and asks my name and if I shot these,” Little said. “He just kept looking down at the prints and at me and asking if I shot them and then said, ‘These are the best things I’ve seen out of the event.’”

Little went on to do a handful of freelance work for Time, but it never amounted to much. What mattered was the confidence boost given in that hotel lobby that set him up for a lifetime of photography.

Little graduated with a liberal arts degree in general arts and sciences from Penn State in 1977. After working professionally for 13 years, he got his master’s degree from Ohio University in photojournalism where the idea for his book, “Penn State Then and Now,” was born.

“I had a class and one of the projects was you had to think of an original idea or fix something,” Little said. “I always liked those ‘Then and Now’ books, but I didn’t like how the photos were different. Always a few feet off or never lined up. It drove me nuts.”

After some trial and error with recreating a photograph of the historic courthouse in Athens, Ohio, Little had a revelation: if only he could see through the original photograph to line it up perfectly.

“I took another picture of the old photograph, made a new negative, cut the sprocket holes off so it was just the image, and then laid the negative inside the prism of my camera,” Little explained. “You can see it through the prism because it goes through a mirror. I could move the camera around and the live image would lock in with the photo. I could find exactly where that guy stood to take the original.”

Nine years later, Little realized he could replicate this at Penn State. With the help of university archivist Jackie Esposito, Little combed through pictures and picked the ones that fit the best. 

“The coolest thing about those is when I would position the camera with the field shot negative in it and looked through, you would see live people walk through these images of people like they were ghosts,” Little said.

Unfortunately, patenting the idea was out of the question. Little, who wrote, edited, and designed the book, included his process in the back for those interested in recreating it.

Throughout this process, Little was a known sports photographer for the Centre Daily Times. Very big on the football scene, he was there for the glory days of Penn State’s football team in the 1980s and even had a photo published in Sports Illustrated as a result.

“There was a football game and they called down and asked ‘if anyone got a shot of this happening, and I had it so I sent it up to them and they published it over two full pages that Monday,” Little said. “Once you’re in the business, people start seeing your work or you just happen to be in the right place at the right time.”

With nothing short of an impressive career, it’s Little’s dependability that still keeps him at the front of everyone’s mind when they need a project done.

After graduating and before returning to Centre County, Little worked at a newspaper in Philadelphia where his editor taught him the importance of showing up and working hard.

“You have to be dedicated. Showing up early and leaving late,” Little said. “When I’d shoot those football games, there’d be people walking down the sidelines. I’d be running.”

While slowly phasing out of that intensity, Little is still providing joy to the community through his photography. 

About six months ago, Little received a call from the Centre Daily Times that he could collect all of his negatives, which previously weren’t available to him. Twenty boxes in a pickup truck later, Little now uploads chunks of those negatives to Facebook day by day inspired by his friend, Tor Michaels, posting a “Photo of the Day.”

“I worked there from ‘82-2000. I probably have well over a million negatives, but it takes a while to look through them and pick out the images and scan them,” Little explained. “People love it, they love seeing the old stuff. And it gives me the chance to see all of my old stuff from assignments and when I was just messing around.”

Little has around a decade remaining of negatives to go through (he’s currently in the 1990s) and is enjoying the feedback and joint reminiscence his photos bring. His collection ranges from streetscapes to football games and everything in between, so everyone can find something to enjoy.

“Most of the major things that have happened in this town since the late ’70s, I was probably there shooting it,” Little said. “I was in the middle of all the riots. I was in the middle of the whole controversy at Penn State. I was in the middle of everything. I lived the history of the town.”

While plenty of photographers have documented the hardships of those living on the gritty streets of the Tenderloin, Amos Gregory takes a different approach, actually inviting subjects into his studio.

“You take someone who’s never had an opportunity to have these lights in front of them, and within five minutes you’ve got this professional model that’s posing for you,” Gregory explained. 

For the last couple of months, Gregory has photographed dozens of locals, hoping to capture the tender side of the Tenderloin. 

For most of his subjects this is the first time they’ve ever sat for a professional portrait. 

His goal is to refocus the neighborhood’s narrative by showcasing the dignity and resilience of this often-overlooked community.

54-year-old Corui Pounders lives in an alley just around the corner with his two-year-old shar pei named  Goldie. 

He has been homeless on and off for two decades. Like many in the Tenderloin, his bed is the sidewalk. He says living on the streets has made him invisible to others. 

“It’s nice to get some attention and put yourself out there,” Pounders said. 

In addition to the pictures, Gregory also records two-minute videos of his subjects telling their life stories.

“Being out there, that’s the hardest thing. You’re able to see so much stuff on the streets, so much poverty,” Pounders said.

Gregory says his hope is to eventually plaster these photos all over the neighborhood, proving that even in the darkest alleys, there’s always a flash of humanity.

“It would be nice to have community members walk down the street and see themselves featured prominently in a positive light,” he said.

Amos Gregory also co-founded the San Francisco Veterans Mural Project in 2011 to feature artists paintings in Veterans Alley. More information is available on the organization’s website.

Bemidji, Minn. – The Minnesota Department of Transportation is asking residents not to disturb aerial photography targets as crews begin aerial mapping in northwestern Minnesota. Landowners in the area that will have targets placed on or near their property will be contacted directly. Weather permitting, work will begin mid-April and conclude in late May. The mapping will take place in the following locations:

• Highway 2 – Ball Club to Itasca CR 89

• Highway 11 – Williams

• Highway 59 – Thief River Falls

• Highway 89 – Wannaska to Roseau

The aerial survey process relies on clear observations, and must be conducted after the spring melt and before the trees leaf out. To begin the process crews place an “X” on the ground as a reference point for the aerial photographer.

Aerial mapping is used to create a record of existing infrastructure and landscape along MnDOT right of way for transportation planning and highway design. In order to obtain accurate aerial mapping, MnDOT crews paint large white “X” targets on paved surfaces, and place plastic or fabric “X” targets on unpaved surfaces.

A survey crew then records the coordinate position and elevation of the temporary targets for the aerial photography company. The plastic and fabric targets are temporary and will be removed when the photography is completed.

MnDOT requests that landowners not remove or disturb the targets, if possible, until the photography is completed. If a target must be moved, please contact the District 2 survey office at 218-755-6509 or by email at drew.mistic@state.mn.us.

http://www.mndot.gov

By Stephanie Moore

Click here for updates on this story

    RICHLAND COUNTY, South Carolina (WYFF) — A photographer in South Carolina who was previously accused of taking inappropriate photographs of a young girl under his care has been arrested again, according to the Richland County Sheriff’s Office.

According to the sheriff’s office, Gregg Martin, 55, was first arrested on April 8, 2022.

The sheriff’s office said Martin was arrested again on Tuesday for charges out of Georgia.

Deputies said they got a tip that Martin, who had three warrants from Gwinnett County Sheriff’s Department, was at a location on Wilson Boulevard.

Deputies said the new charges include the following: use of computer service to seduce, solicit, lure or entice a child to commit illegal acts, electronically furnishing obscene material to minors and obscene internet contact with a child.

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Editor’s note: This story is part of The Dallas Morning News’ coverage of the 2024 total solar eclipse. For more, visit dallasnews.com/eclipse.

A total solar eclipse will sweep across Texas next month, drawing eyes — and cameras — to the skies as the moon blots out the sun.

This will be quite a spectacle. The next solar eclipse visible from the contiguous U.S. will be in 2044, and Dallas will not be in the path of totality again for some 300 years, in 2317.

It makes sense that many will want to capture photographs of the April 8 eclipse, but amateur photographers likely have a few questions. Do they need special equipment? Is it safe to take photos? Where’s the best place to snap pictures?

Smiley Pool, a staff photographer for The Dallas Morning News who has photographed two total solar eclipses, said such an event is a rare shared experience.

“This is a shared experience for a gigantic swath of North America, and we live in a world where we don’t have a lot of shared experiences anymore,” Pool said. “All eyes will be fixed on a point in the sky, and all cameras will be trained on that same point.”

Here’s the rundown on photographing a total solar eclipse.

What you need

The camera

Take your pick. Smartphone, DSLR, mirrorless camera.

Olivia Arratia, a visiting lecturer of photography for SMU, said she is partial to a manually adjustable camera, such as a DSLR or mirrorless camera.

“Our cell phones take wonderful pictures and are great tools,” said Arratia, who has worked as a professional photographer for about 15 years. “However, it may be difficult to take a very clear, crisp picture of the eclipse with your phone.”

If you don’t have a digital camera, don’t worry. It’s still possible to snap a solid photo with a smartphone.

First, turn off your flash, advises the American Astronomical Association, a professional astronomy society.

“Flashes are an annoyance and, if nothing else, spoil the mood of the spectacle,” the society says in a photography guide.

Do not bother with your smartphone’s zoom feature, says NASA. Using a phone’s manual zoom will weaken the resolution, turning the image grainy. Instead, NASA advises smartphone users purchase a $20 to $40 zoom lens phone attachment to magnify images.

Another feature to avoid? Your phone’s auto-focus. Instead, manually focus your camera’s image. To do so, tap the screen and hold your finger on the moon, then slide your finger up or down to light or darken the exposure, NASA says.

For those who plan to shoot photos with a DSLR camera, NASA recommends using a fixed aperture of f/8 to f/16 and shutter speed between 1/1000 to 1/4 second. During totality, when the corona varies in brightness, use a range of exposures from about 1/1000 to 1 second.

Glasses and solar filters

Protecting your eyes during a solar eclipse is critical, and the same is true for photographing an eclipse. You risk damaging your camera or phone if you take photos of the eclipse without a filter.

Arratia likened solar filters to sunscreen that prevents burns.

“The sun is brighter than any of us can really imagine or understand,” she said. “It’s capable of damaging our eyes and our cameras.”

You can find numerous filter options online to protect your digital camera and smartphone, both of which need physical filters. One popular option, Pool said, is Solar Snap, which comes with two glasses, two camera filters and a photography app.

During totality, it’s safe to remove both your glasses and the camera’s solar filter.

Other tools

Consider a tripod for steadiness, Arratia advised.

“We’re humans and not statues. We can’t be fully still,” she said. “A tripod will give you a stronger, less shaky photograph.”

A long-range or telephoto lens will allow you to zoom in on the image, providing an up-close view. Arratia recommends a lens with a range of at least 300 mm. For smartphones, telephoto lens provide 8x to 12x magnification and costs $20 to $40, according to NASA.

How to plan

A couple days before the eclipse, head outside to scout a location, check out angles and backdrops and study the sun’s position, both Pool and Arratia suggested.

In Dallas, the moon will begin to cover the sun around 12:23 p.m., with totality beginning around 1:40 p.m. and ending about four minutes later. The moon will then move away from the sun, with the spectacle ending around 3:02 p.m. Exact timing will depend on location in the metroplex.

In North Texas, this means the sun will be pretty high in the sky, making it somewhat difficult to line up photographs with well-known Dallas spots like Reunion Tower. Many of us will be shooting from our front yards and driveways, said Pool, who is photographing the eclipse for The News.

“Walk into your yard the day before and look up at the sky,” he said. “Where will the sun be? How do you want to frame your photo? The city skyline? Your neighbor’s house? Develop a plan.”

Arratia said she plans to photograph the eclipse from a friend’s apartment patio in a tall Dallas building, which offers an unrestricted view and little distraction. She plans to take a few test shots in the days before the eclipse.

Once you have a plan in place, don’t forget a sometimes overlooked step, she said. Make sure your camera’s sensor and lens are clean and free of fingerprints and smudges.

Savor the experience

Photographs are powerful, but don’t forget to enjoy the moment.

Pool, who spent spent a year embedded with the crew of NASA’s final Space Shuttle mission, said an astronaut once reminded him to take a moment to soak in the experience of liftoff. He advises the same for the eclipse.

“In a matter of moments, it will go from daylight become dusk. It’s transcendent.” Pool said. “You’ve got 4 minutes of totality that are absolutely magical.”

To capture the event, don’t forget to turn your camera to photograph those around you.

The eclipse will be in the sky, but the “shared experience will be happening on the ground,” he said. “There is a sense of wonder on people’s faces.”

Images from 2017 and 2019 total solar eclipses

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Isolated Island (from the series Weaving the world), 2023 by An Liu

Dreams merge with reality, and memories resonate with the present moment, as An Liu employs a dreamy, soft and warm visual language, revealing a large heart at the core of a seemingly sombre theme. Furthermore, many metaphors within the imagery hint at deeper questions surrounding individual narratives, history, memory and existence, shedding light on the broader discourse surrounding issues faced by the elderly

A photographer has shared secrets from a Princess of Wales‘ photoshoot where she was “apprehensive” and secret, unedited snaps were taken.

From the moment she began dating Prince William, Kate has been captured through the lens. The princess has long had a fascination with photography, and her own passion for the art came under scrutiny recently when she admitted to editing a Mother’s Day snap of her and her children, taken by William.

This isn’t the first time Kate has tried out new challenges in photography; she was “a little fearful” when she met with a photographer for a special occasion photoshoot after discovering he usually snaps models.

The pictures were taken during a secret photoshoot at Kew Gardens last November, 2021, by famous fashion photographer Paolo Roversi, whose previous work has graced the pages of Vogue and Vanity Fair. Royal fans had been hoping the princess would release new official photos to mark her 40th birthday – and they were not disappointed.

Three beautiful portraits were shared for the occasion – each showing Kate in a different light. In two of the images, she wears flowing light dresses while in the third she dresses up in a vibrant ruby red gown – completing the look with loose curly hair and natural-looking make-up.

Mr Roversi has opened up on exactly how he came to work with Kate and how he snapped some secret photographs which have never been shared.

Meeting the Princess

The first meeting between Kate and Mr Roversi came at Kensington Palace, where the photographer says they met for tea and biscuits. He says he found Kate a little nervous about carrying out the shoot.

He told Italian newspaper Corriere della Sera: “At first [Kate] was apprehensive. She is machine-gunned by photographers every day but is not used to posing. Knowing my photos with models she was a little fearful of facing a real session, which required about four hours of work. But I reassured her that once we started it was going to be very easy.”

While taking her picture, Mr Roversi said he was moved by Kate’s “warm and friendly welcome and enchanted by her shining eyes that reflected the loveliness of her soul and her smile showing the generosity of her heart”. He added: “It was a profound and rich experience for me, an unforgettable moment. I have met a wonderful person, a person who, with her positive energy, can bring hope to the whole world.”

Styling and makeup

In the portraits, Kate wears three stunning dresses created by a designer who she’s worked with several times – Sarah Burton for Alexander McQueen. Sarah’s relationship with Kate goes back more than 10 years; she also created her iconic wedding gown. So, knowing how trustworthy the designer is, Kate asked Sarah to pick her looks for the shoot.

For the official portrait (the side profile image), Kate wears a stunning light organza dress, which Mr Roversi says makes the princess look like a “classical ballerina”.

In terms of jewellery, Kate wears her eye-catching engagement ring and in two of the shots, opts for a pair of diamond earrings on loan from the late Queen. In the photo where she wears the red dress, she wears diamond and pearl drop earrings that once belonged to her late mother-in-law Princess Diana.

Roversi told the Italian publication: “I didn’t want her to look too Lady Duchess, too establishment, but as pure and contemporary as possible. Or even timeless.” When it came to Kate’s hair and make-up, the photographer was keen for a less is more approach, with a loose hair style and little make-up.

Secret snaps

The photographer also revealed that for some of the images he took, he persuaded Kate to dance and twirl across the floor – something she’s rarely done in public. He said: “In the end I wanted to take some moving pictures, so with that wonderful wide skirt I made her dance in front of my lens, a sort of accelerated waltz mixed with a pinch of rock ‘n’ roll.” But unfortunately, he says these dancing images are likely to remain private and have not been released.

After the shoot, the photographer was left with a set of around 250 pictures, which he whittled down to 30. He says he and Kate then worked together to choose the three final portraits. The Italian newspaper suggests that Prince William and their children’s favourite shot is the one where she looks directly into the camera.

The photos, part of the National Portrait Gallery’s Coming Home exhibition, went on display in Berkshire, where Kate grew up. They were also put on display in St Andrews, where she met Prince William, and Anglesey, their first marital home.

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What project, client, or personal endeavor has been the most fulfilling or enjoyable to work on?

I did a series of portraits during lockdown in the summer of 2021, going into 2022. That project was born out of boredom and being at home—given the changing lockdown rules, I saw it as an opportunity to do something creative. What started as photographing my friends kind of blew up into people wanting to participate in this random lockdown photo project.

That was one of my favorites, just because of the community connection. With that summer as well, it was unclear how we would move forward in terms of lockdowns and stuff in New Zealand, so I wanted a more aspirational approach and talk to people about what they were looking forward to post-lockdown, as opposed to focusing on all the negative aspects present at that time.

How was your experience with your first solo exhibition, “Community Service: Family Portraits”?

It was great. I went into that project really confident—it was, in some ways, an extension of the front yard series I’d done in 2021. The theme of that project was ‘community service,’ specifically in relation to Pacific artists. Being a Pacific Islander, you might think of service as family or in a church. But one question I wanted to pose and answer was, “What does that service look like as a creative, as an artist?” For me, it was providing photos and capturing moments that the community really values—and took the form of family photos that people usually have to pay thousands of dollars for. Not everyone has disposable income for that, so it was cool to do.