Major news and photography agencies have removed a photograph of the Princess of Wales, released by Kensington Palace, after doubts arose the image had been “manipulated”.

A photo of Catherine with her children, Prince Louis, Prince George and Princess Charlotte, was released on Prince William and Princess Kate’s official social media accounts on Sunday evening, AEDT.

The image was the first official photograph released following the princess’ abdominal surgery in January and was circulated by major news and photography agencies.

However, four of the largest agencies issued a “kill notice” on the image, asking those who were using the image to remove it.

AP reported that the reason for the image recall was because “it appears that the source [Kensington Palace] has manipulated the image in a way that did not meet AP’s photo standards.”

“The photo shows an inconsistency in the alignment of Princess Charlotte’s left hand,” AP stated.

Reuters, AFP and Getty Images also issued their own notices and removed the image from their sites.

The photo is still up on the Princess’ social media accounts.

First photo after surgery

The photo was the first photo of Princess Kate since she had abdominal surgery in January.

At the time the palace confirmed she was undergoing planned abdominal surgery and would spend two weeks in hospital before returning home to convalesce.

It announced she would temporarily withdraw from public duties until after Easter, which falls on March 31 this year.

No further detail about her condition was given, though the palace acknowledged, “the Princess of Wales appreciates the interest this statement will generate”.

“Thank you for your kind wishes and continued support over the last two months,” the social media post read.

“Wishing everyone a Happy Mother’s Day.”

The photograph was taken earlier this week in Windsor where the family live, her Kensington Palace office said.

Major news and photography agencies have removed a photograph of the Princess of Wales, released by Kensington Palace, over doubts the image has been “manipulated”.

A photo of Catherine with her children, Prince Louis, Prince George and Princess Charlotte, was released on the Duke and Duchess of Cambridge’s official social media accounts on Sunday evening, AEDT.

The image was the first official photograph released following the princess’ abdominal surgery in January and was circulated by major news and photography agencies.

However, four of the largest agencies issued a “kill notice” for the image, asking those who were using it to remove it.

AP reported the reason for the image recall was: “It appears that the source [Kensington Palace] has manipulated the image in a way that did not meet AP’s photo standards.”

“The photo shows an inconsistency in the alignment of Princess Charlotte’s left hand,” AP stated.

Reuters later reported it had removed the photo for similar reasons to AP. 

“Reuters picture editors said part of the sleeve of Kate’s daughter’s cardigan did not line up properly, suggesting that the image had been altered,” it said.

“Reuters could not immediately establish how, why or by whom the alteration had been made.

“Leading picture agencies distributing news photographs prohibit the publication of images that have been overly edited.”

The Reuters Handbook of Journalism states that Photoshop can only be used in limited matters like formatting, cropping, sizing and balancing tone and colour.

“Materially altering a picture in Photoshop or any other image editing software will lead to dismissal,” it says. 

AFP and Getty Images also issued their own notices and removed the image from their sites.

The photo is still up on the Princess’ social media accounts.

Clear evidence of manipulation

Dr TJ Thomson, senior lecturer in visual communication and digital media at RMIT, says the image shows clear evidence of manipulation.

“The most obvious example is around Princess Charlotte’s left sleeve cuff. The left side of Princess Kate’s hair and her right hand also appear to be unnaturally blurred,” he says.

Dr Thomson also ran the image through a forensic analysis software called WeVerify.

“That suggests that in addition to the cuff area on Princess Charlotte, the branches in the top-right corner of the image were also manipulated.” 

The photo was the first photo of Princess Kate since she had abdominal surgery in January.

At the time the palace confirmed she was undergoing planned abdominal surgery and would spend two weeks in hospital before returning home to convalesce.

It announced she would temporarily withdraw from public duties until after Easter, which falls on March 31 this year.

No further detail about her condition was given, though the palace acknowledged, “the Princess of Wales appreciates the interest this statement will generate”.

“Thank you for your kind wishes and continued support over the last two months,” the social media post read.

“Wishing everyone a Happy Mother’s Day.”

The photograph was taken earlier this week in Windsor where the family live, her Kensington Palace office said.

When Kensington Palace released a photograph of Kate Middleton and her three children this morning it was clearly intended to send a positive message about her recovery following weeks out of the spotlight.

However, within 12 hours, mystery surrounded the new image as major picture agencies took the astonishing step of recalling it, with one claiming it appears to have been manipulated.

Picture agencies Associated Press, Associated Foreign Press, Reuters and Getty have all made the image of Kate, Prince George, Princess Charlotte and Princess Louis unavailable. The agencies have cited an “editorial issue” and “post-publication review” amongst the reasons. Agency Associated Press issued the most detailed description, saying that “at closer inspection it appears that the source has manipulated the image. No replacement will be sent.” All of the agency kill notifications were posted online by ITV’s Royal Editor Chris Ship.

The astonishing and unprecedented move came after hours of speculation online that the image had been photoshopped. One of the issues most pointed out was that Princess Charlotte’s left sleeve appeared out of line with her hand.

Kensington Palace has not commented on the furor, but the image remains live on their social channels where they released it at 9 a.m. along with a personal message from Kate. The picture is the first time that she has been seen officially since undergoing abdominal surgery on January 16. Last week, a paparazzi picture showed her in a car alongside her mother Carole.

Social media has gone into overdrive in recent weeks when it comes to speculation on Kate as she recovers from major surgery. This evening it was very clear that this latest development has made things worse as people took to X to discuss the recalling of the images.

Journalist Catherine Mayer, who has written a book on Prince Charles, posted, “Extraordinary how everything the royal comms team does to dampen speculation increases it.” And royal reporter Richard Palmer described it as a “real controversy.”

Town & Country Contributing Editor Victoria Murphy has reported on the British Royal Family since 2010. She has interviewed Prince Harry and has travelled the world covering several royal tours. She is a frequent contributor to Good Morning America. Victoria authored Town & Country book The Queen: A Life in Pictures, released in 2021. 

Annie Leibovitz is under fire once again, days after being criticized for the Coco Gauff shoot, after some people brought up other pictures of Black celebrities the photographer had clicked. Some detractors accused the photographer of not knowing how to take pictures of Black women.

The world no. 3 in tennis, Coco Gauff, recently featured on the April cover of Vogue, shot by Leibovitz. While it was a big moment for the athlete, the cover has been heavily criticized on the internet, especially by Black people, for not showing the athlete at her best.

Annie Leibovitz is a renowned American photographer known for her iconic portraits and documentary-style photography. Her distinctive style often incorporates dramatic lighting and bold compositions. Leibovitz has photographed numerous celebrities and public figures, including John Lennon, Queen Elizabeth II, and Barack Obama. But lately, netizens have been noting an alleged pattern in her photographs of Black celebrities.

Annie Leibovitz has been repeatedly criticized for her shoots featuring Black women

In a recent Reddit post, shortly after the Vogue cover was released, several netizens discussed the many other shoots done by the veteran photographer that feature Black people. They included celebrities from all walks of life, actors, athletes, and even an Associate Justice of the Supreme Court of the United States. Among the people being discussed were Viola Davis, Lupita Nyong’o, Simone Biles, Ketanji Brown Jackson, and Coco Gauff herself.

In a lengthy ongoing discussion, many criticized Annie Leibovitz for having a particular style, only when it comes to shooting Black women, which involves having a “dark and muddy look” and a grayish skin tone.

Some others pointed out how the picturization of all of the shots is an attempt to invoke the “strong black woman stereotype,” often accompanied by “bland and uninspired backdrops.” They claimed that in an allegedly racist attempt to “empower” the Black woman, Leibovitz ends up making all of them look “masculine” and “tired.”

This, in particular, is a stark contrast to Annie Leibovitz’s work featuring non-Black celebrities. Commenters claimed that there is a whimsy, dreamlike atmosphere in many of her shoots involving white celebrities, which has been noted as missing when it comes to Black women.

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Many were shocked and critical of the fact that Annie Leibovitz keeps getting multiple opportunities to shoot Black celebrities when she always has similar results. However, some people claimed that it is not just Black women, but that Leibovitz has failed to make anyone look good in most of her latest projects.

This is not the first time the photographer has faced criticism for the same thing. In 2022, after Leiboviz photographed Supreme Court Justice Ketanji Brown Jackson for Vogue Magazine, many criticized the photographer for allegedly failing to use proper lighting, with many calling it her “worst lit shot.”

She was called out for a 2020 photoshoot featuring gymnast Simone Biles, a photoshoot that some critics called “degrading.”

Annie Leibovitz, who gained fame as the chief photographer for Rolling Stone magazine and later as a contributing photographer for Vanity Fair and Vogue, is considered one of the most influential photographers of our time. However, it appears her seeming lack of judgment when it comes to photographing Black women is repeatedly opening her up to criticism.

He began taking Polaroids of his peers – “bombing” buildings with cryptic tags, making out, getting high; in short, celebrating life. Pasting the images up on the walls of his East Village apartment, he soon realised he was capturing a particular moment in time: post AIDS, on the cusp of a new millennium with the thrill and uncertainty of a prophesied Y2K armageddon. So he gathered the photos into a handmade book titled The Kids Were Alright, effectively a collective portrait of a generation.

“I feel like my generation was sort of the light after the darkness,” he says.

The book fell into the hands of curator and scholar Sylvia Wolf, who arranged McGinley a solo show at the Whitney Museum of American Art, a very uptown institution. It was 2003 and he was 25, the youngest photographer to have a solo show at the august institution.

Such was the critical acclaim that McGinley was named Photographer of the Year by American Photo Magazine; awarded the Young Photographer Infinity Award by the International Centre for Photography (2007); and honoured at the Guggenheim’s Young Collectors Ball in 2009.

In 2014, GQ declared McGinley “the most important artist in America”.

How did he feel?

“I don’t overthink things, so while I definitely enjoyed the recognition I don’t believe it changed the way I photograph or the way I behave.”

It did make him feel like spreading his wings beyond downtown New York, though. “Not through any kind of rejection, it just felt time to point my camera somewhere else.”

Fortuitously, a friend had bought a country house and offered it to McGinley for extended visits. He began inviting friends, installed a trampoline, made bonfires. They’d get naked and frolic, incarnating a kind of Rousseau-esque back-to-nature bacchanal.

Famously, Kate Moss would pose in such a setting for a W magazine fashion spread in 2003.

Then, another pivot – this time into a studio back in New York to begin a decade-long (2009–2019) project called Yearbook, now installed at the Shepparton Art Museum as part of the PHOTO 2024 festival.

“It’s a continuation of my fascination with youth subcultures but also a personal challenge to find my voice in studio since I’m not a technical photographer.”

But find his voice McGinley does: even though the subjects are stripped of identifying signs of occupation or social standing. Shot on candy-coloured backgrounds and collaged the length and height of the gallery’s walls, the installation offers a kaleidoscopic immersion into what McGinley describes as “a web of friends and friends of friends that binds us all together”.

“Ryan is an important artist who for the last couple of decades has been at the forefront of documenting and celebrating youth culture,” says PHOTO 2024 founder and creative director Elias Redstone. “He uniquely blurs the lines between queerness, pop culture, skateboarding, music and fashion. Through his work he has changed the landscape of photography.”

McGinley’s latest work, a series of more than a dozen images of Australian singer Troye Sivan, is on show as a separate installation.

“These photos capture a free-spirited nature in Troye’s energy,” says McGinley. “They offer a closeness to him that isn’t so commercial. It’s more stripped down and intimate versus the done-up nature of pop stardom.”

McGinley will be in Melbourne to give a keynote at the PHOTO 2024 Ideas Summit, speaking about his creative process, his rapid rise to fame and his grounding in community. After which he intends to head to Hanging Rock, the location of Peter Weir’s 1974 classic, Picnic at Hanging Rock.

“It’s one of my all-time favourite films, and I am hoping to shoot some new work there,” he says.

Every week, rain or shine, winter or summer, I try to find something fun, interesting and positive to talk about in my column. This is actually an easy thing to do, but what can be somewhat problematic is finding a photo that will pair nicely with the idea that I have in my head. For me, it is the photo that drives the column.

During the warmer months, the acquisition of new photos is easy. In fact, it is delightful and I spend hours just sitting and observing nature with my camera at the ready. Regular readers of my column will be familiar with my Thinking Chair, but there are many other favorite spots that I have where I can pause and wait to see if something interesting comes along. I have a regular route that I walk to and from the meadow and over the years I have found some real treasures.

The arrival of cold weather does put a bit of a damper on things. I can still go out and wander, but the opportunities are fewer and further between. So, perhaps like many of you, I set up shop inside and spend my time looking out into my yard from the warm, dry and wind-free shelter of my home. The Thinking Chair is replaced with the Kitchen Chair and instead of gazing out across a meadow I spend my time looking at my deck and the many birdfeeders that I have arranged there.

I have taken many photos and written many columns on the birds that visit my feeders in the winter. I want to make sure that all of my readers understand that birds and mammals will readily approach your homes if you put out some food and keep a sharp lookout. Chickadees and cardinals are common enough, but I have also seen hawks and turkeys on my deck. Squirrels are the most common mammals to visit, but I also see rabbits and raccoons from time to time.

The photographer in me is happy to take photos of all of the birds that visit, but the artist in me sometimes wishes that I could do something about the background in my photos. Does that bird really need to be standing on the railing of my deck? It makes the photos “real,” but not always as beautiful as they might be. So, after reading many articles in photography magazines, I got the idea of bringing tree branches to the deck and propping them up so the birds had a “natural perch” to land on. This has worked reasonably well, but this year I really went all out.

Just about one year ago we had a major snowstorm in March that caused all sorts of trouble. Temperatures had been relatively warm, which meant that the ground was not completely frozen, and when we received almost 12 inches of heavy, wet snow, the trees paid a price. Some lost large branches, others lost parts of their trunks and still others just tipped over and pulled right out of the ground.

I have a birch tree in my yard and it lost the top of a particular stem that was trying to become a vertical trunk. The section that had snapped off the tree was about 10 feet tall and because it had broken free in March it had no leaves. During my spring cleaning I dragged this stem over to a brush pile and forgot about it, which meant that it had a chance to “cure” in the warm months of summer. Thus, at the beginning of winter, this section of tree trunk was a perfect candidate for a natural perch on my deck.

Named the “Birch Perch,” I positioned it so that it was behind my feeders, but close enough to them so that the local birds would find comfort in finding a place to land and survey the situation before committing to land on the deck. It also happens to be directly in front of my kitchen window, where I can get a direct shot at any bird courteous enough to pose for me. Even with this advantage I have still had to contend with the myriad issues that face all photographers. The weather has to be right, the lighting needs to cooperate and the birds have to sit at the right angle.

Because the Birch Perch is right there I have been able to do a little pruning to remove troublesome twigs. I have also had to contend with the fact that the smaller branches are fragile and have a tendency to break off when larger birds and squirrels arrive. However, at this point the most vulnerable bits have fallen away and the branches that remain are fairly robust.

I spend at least an hour at my kitchen window every Saturday and Sunday and during that time I have captured many beautiful photos of birds on the Birch Perch. The one that I share with you today features a stark monochromatic background with a stunning Blue Jay in the center. The careful observer will note that there are a couple of snowflakes in the frame (from one of our rare snow days this winter) and that there are birch catkins on some of the smallest twigs. This is a legit wild bird that has come to my deck for free food and I have merely managed the appearance of its perch.

So if you are a bird enthusiast and you are looking for a way to improve your photos, one strategy is to get closer to the birds, or to bring the birds closer to you. Even at a distance of only 20 feet you may find that the details just aren’t good enough and that can only be fixed by spending lots of money. For now, however, why not try setting up a sort of outdoor photo studio where you can bring the birds to you. I promise you that the struggle of trying to get things just right will be a lot of fun.

Bill Danielson has been a professional writer and nature photographer for 26 years. He has worked for the National Park Service, the US Forest Service, the Nature Conservancy and the Massachusetts State Parks and he currently teaches high school biology and physics. For more in formation visit his website at www.speakingofnature.com, or go to Speaking of Nature on Facebook.

Aerial photography has never been more popular. The rise in use of drones has been very apparent in Norway in recent years. Before you get started, make sure you’re up to date on the regulations or you risk a big fine.

Flying a drone in Norway might sound like just another fun adventure, but before you let your buzzing buddy loose in the land of the fjords, there’s a bit of homework to do.

Ignore local rules, and capturing stunning footage in Norway’s majestic landscapes could end up being a lot more expensive than planned.

We’re here to point you in the right direction. Read on and we’ll tell you everything you need to know and do, long before you press that lift-off button.

Ready to find out how to keep your drone soaring high and trouble-free in Norway? Let’s dive into the details that will keep you, and your drone, happily airborne and on the right side of the law!

Careless flyers risk heavy fines

Some people have learned the hard way that not following drone rules in Norway can be expensive. If you break the rules, police can confiscate your drone and issue you a fine of up to NOK 12,000.

This is exactly what happened to an American tourist in May of 2023. The unnamed individual was approached by the police and had their drone seized after flying it on the grounds of the royal palace on 17^th of May, the country’s national holiday.

Flying a drone over the palace grounds is prohibited, and flying a drone in the centre of Oslo on National Day is also not allowed, so this particular tourist was doubly at fault.

Finding out where you can and can’t fly requires a bit of effort, but avoiding obvious mistakes is not too difficult. Let’s go through the basics.

New drone rules in Norway in 2024

Rules regarding drones have been tightened in Norway on January 1^st, 2024. According to those new rules, drone operators must be registered if their aircraft is equipped with a camera, regardless of its weight.

Previous rules had an exemption for drones of less than 250 grams, but this exemption is now only given to drones that are classified as toys and those of less than 250 grams that don’t have a camera.

The registration process is relatively simple and can be done online. Registration is not the only requirement though; there are several other rules to keep in mind. Let’s go over them.

Flying a drone of less than 250g in Norway

The rules we will summarise for you now apply to drones weighing less than 250 grams. Stricter rules apply for heavier drones, but this article will not go into those.

1. As we said earlier, register your drone.
2. Keep your drone within your line of sight while flying. If you are unable to do so because you’re looking at your screen, get the help of a “spotter” who can help you keep track of where your drone is.
3. Do not fly over large groups of people (the crowd at a concert or a busy park, for example).
4. Do not fly in forbidden areas (see our section about this below).
5. Do not fly over the maximum allowed altitude of 120 metres.
6. If your drone is equipped with a camera, respect people’s privacy (see our section about this below).
7. Ensure you have liability insurance.

Where can’t I fly drones in Norway?

Many areas in Norway are a no-go when flying a drone. The most important rule to remember is that flying is forbidden within a radius of 5 kilometres around an airport.

Do not measure this distance yourself on Google maps. Instead, consult official airport maps.

In some smaller places, the entire city fits within the 5-kilometre no-fly radius. This is the case in Tromsø, for example: the whole of Tromsø island is less than 5 kilometres from the airport.

This is important to keep in mind because you might see amazing photography on social media that were created by flying a drone in the restricted area.

If you see such images, remember that they were either created by someone who broke the rules, or by a professional who went through the proper channels and contacted the control tower to get permission to fly.

In other words, just seeing that “it’s been done before” doesn’t mean it’s allowed. It certainly is not a great defence when the police approach you.

Other no-fly zones in Norway

Other areas that are out of bounds are military installations, embassies, sporting events and outdoor concerts. National parks and some nature reserves also have stringent restrictions.

In the city centre of Oslo, the parliament (Stortinget), the palace grounds and the government buildings (Regjeringskvartalet) are out of bounds for reasons of security. Several of the fjord islands are also entirely or partially a no-go.

Check out the UAS Norway map to plan your flight. You can toggle the various layers on and off. Google translate can be helpful here.

If you are a Russian citizen, you can’t fly at all. This rule is part of the sanctions raised against Russia in the wake of the country’s invasion of Ukraine.

Speaking of the invasion, be extra careful if you plan on flying near sensitive infrastructure. Enquire about the rules beforehand and be on the lookout for signs – the war has made the authorities nervous about unidentified drones flying near things like power plants and oil and gas terminals.

Privacy rules when flying a drone in Norway

There are no privacy laws written especially with drones in mind in Norway (so far). This means that drone operators are subject to the general Norwegian privacy law–the Personal Data Act or Personopplysningsloven–and EU privacy laws such as the General Data Protection Regulation (GDPR).

Here are a few golden privacy rules to make sure you don’t break any laws.

1. Avoid taking video and pictures where individuals can be identified. This means keeping a respectful distance from people and using privacy-friendly systems such as image blurring.
2. Be visible when operating drones. Proactively inform people nearby about what you are doing.
3. Remember that you’re a guest. In some very scenic areas like Reine i Lofoten, there are so many drones flying in high season that locals can sometimes get annoyed. Try to see things from the locals’ perspective and be respectful of their concerns.

Flying a drone on Svalbard

The archipelago of Svalbard boasts fantastic, out-of-this-world landscapes attracting photographers and drone pilots alike. The same rules apply here as in the rest of Norway, but there are a few extra considerations to keep in mind.

Two thirds of the archipelago’s land area is covered by national parks and nature reserves, which are out of bounds to drones.

In addition, disturbing the wildlife on Svalbard is strictly forbidden. This includes approaching reindeer and polar bears with your drone, as tantalising as that sounds.

Finally, remember the 5-kilometre rule? The entirety of the city of Longyearbyen falls within the 5-kilometre no-fly zone surrounding the local airport, so no flying there.

PhotoMuse, a photography museum, has opened a permanent museum at Chungal, near Kodakara, in Mattathur panchayat, on Sunday.

Herbert Ascherman Jr., American photographer and founding director of the Cleveland Photo Fest, USA, inaugurated the museum. The museum will open up aspace where the public can delve into the socio-cultural, natural, and photographic history of the country and beyond.

A seminal exhibition of photographic history, titled The Evolution of Photograph as a Palpable Object, curated by Unnikrishnan Pulikkal, the director of PhotoMuse, was also opened on the same day at the museum. Murali Cheeroth, chairperson of the Kerala Lalithakala Akademi, inaugurated the exhibition, which will be open for three months.

The exhibition will showcase a collection of historical and modern photographic printmaking processes. Spanning from the 1850s to the present, it traces the evolution of the photograph as a handheld object over the centuries, exhibiting originals collected from different parts of the world, according to the organisers.

PhotoMuse, arguably the first-of-its-kind institution in Kerala, has more than 15,000 museum objects related to photography, photographic equipment, cultural documents, books, and digital images in its permanent collection.

PhotoMuse is run by a public charitable trust Better Art Foundation (BAF) and managed by photographers, artists, and educators.

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