In a remarkable display of nature’s raw interactions, amateur photographer Jacob Hall captured a rare moment of predation when a stealthy bobcat ambushed a great blue heron. This extraordinary event was photographed in coastal Texas, near the Anahuac National Wildlife Refuge, showcasing the unpredictable and often unseen aspects of wildlife behavior.

Nature’s Unscripted Drama

While exploring Canada Ranch with his grandfather, Bobby Hall, and ranch owner Leroy Ezer, Jacob Hall unwittingly became a witness to a dramatic natural event. The photographer snapped what seemed at first to be routine images of a great blue heron in flight. It was only upon later inspection that the reality of the scene became apparent: the first image showed the heron moments before being attacked, and the second captured the ambush by a hidden predator. This sequence offers a vivid illustration of the food chain in action, highlighting the role of predators like the bobcat in maintaining the balance of ecosystems.

The Circle of Life in Focus

The U.S. Fish and Wildlife Service picked up on Hall’s images, using them to educate the public on the complexities of nature. Through a tweet, the USFWS explained the significance of such interactions, emphasizing their importance to ecosystem health. The bobcat, as a mid-level predator, plays a critical role in controlling heron populations, which in turn impacts the populations of smaller fish, frogs, and mammals upon which the herons prey. This incident sheds light on the intricate web of predator-prey relationships that underpin our natural world.

A Moment of Serendipity

Jacob Hall, reflecting on the experience, remarked on the fortuitous nature of his discovery. The photographer had not initially noticed the bobcat lying in wait, making the capture of such a moment all the more extraordinary. This serendipity underscores the unpredictable beauty of wildlife photography, where moments of drama and beauty often unfold in the blink of an eye. Hall’s experience serves as a reminder of the value of preserving natural habitats, such as the Anahuac National Wildlife Refuge, where such breathtaking moments of natural history can occur.

As we reflect on Jacob Hall’s unexpected capture, it’s a poignant reminder of the raw and unscripted drama that plays out daily in the natural world. Such moments, though sometimes unsettling, are essential threads in the tapestry of life, illustrating the delicate balance that sustains biodiversity. Hall’s images not only showcase his photographic skill but also serve as a powerful testament to the importance of conservation efforts. By protecting natural habitats, we ensure that future generations can witness and learn from these profound interactions that are crucial to the health of our planet.

‘What’s great about my age,” says Hannah Starkey, “and going through the menopause, is that you leave the male gaze behind. And it’s really liberating. You can’t really sell me anything. And I’m dangerous – because I can tell you the truth!”

A piercing, perilous honesty and a fully emancipated female gaze are characteristics that rebound in Acts of Resistance: Photography, Feminisms and The Art of Protest, a major show at South London Gallery, organised with the V&A. Crossing continents and generations, this galvanising group show seeks to join up ideas about image-making and dissent, offering a visual manifesto for a fourth wave of feminism.

Belfast-born Starkey, 53, presents a trio of prismatic, large-scale “abstract portraits”. The works belong to a wider series commissioned to commemorate the 25th anniversary of the Good Friday agreement last year. The photographs pay homage to a generation of dovish activists, women who were instrumental in Northern Ireland’s peace process. The three portraits feature Anne Carr, who was part of the Good Friday agreement team; Women’s Coalition co-founder Bronagh Hinds; and activist, actor and playwright Margaretta Ruth D’Arcy – who ran a women’s pirate radio station from her kitchen in Galway in the 1980s and was jailed in 1981 for painting protest graffiti.

View image in fullscreen

Starkey grew up in Belfast during the 30-year Troubles. “I saw the power of women and their bravery in speaking out,” she says, speaking from her studio in east London. “Women had the ability to cut through the shit. I wanted to remind the young generation of how powerful women can be, with an example of what women have achieved in my own country.” It couldn’t feel more topical: Starkey mentions research showing that, when women are involved in peace negotiations, they are more likely to be successful and to endure.

The portraits were made using simple props and coloured glass. “I didn’t want to traumatise anyone with a camera,” Starkey explains. After close to three decades exclusively photographing women, she’s aware of how critical women can be of their own image. The photographs were staged to make the women visible without subjecting them to scrutiny. They are also, deliberately, not the bombastic representations we’re used to seeing in galleries and museums. “A good image speaks to everyone,” muses Starkey, whose portraits carry a sense of collective power. “It’s about what women can achieve when they get together.”

This sentiment courses through the exhibition. There are groundbreaking artist activists – the likes of Nan Goldin, Guerilla Girls, and Zanele Muholi, known for their advocacy of marginalised communities – alongside younger practitioners, such as Laia Abril, whose work is the outcome of intensive research and interviews with women who have survived abuse and abortions; and Poulomi Basu, who collaborates with women living in rural communities in India.

Among the younger artists in the show is Sethembile Msezane, who takes the idea of collaboration a step further, with live performance works. A photograph by Msezane, called Chapungu: The Day Rhodes Fell, is a celebration of the day a statue of Cecil Rhodes was removed from the University of Cape Town. This is staged at the show, providing a dramatic entry point to the exhibition. In the work, a masked female figure dressed in a black leotard, with her extended arms adorned with elaborate wings, stands in a majestic pose on a plinth, rising from a crowd who lift their phones in the air to capture the moment, while in the background, a statue is lifted by a crane.

View image in fullscreen

This thrilling image documents what Msezane calls an “embodiment” – a live work that took place during the removal of the statue of the former prime minister of the Cape Colony, after months of protests in 2015. Msezane, who appears in the work, embodied a Zimbabwean bird, Chapungu, which she says came to her in a recurring dream.

“The negotiation between myself and the bird in my body was really hard to do,” the artist recalls, speaking by phone from Cape Town. “I was very scared – I wasn’t sure what I was doing or why I was there, or why I felt such a pressing need to do this work. But I knew it was the bird working through me, and I didn’t need to have all the answers. As I stepped on the plinth, my consciousness shifted away – the person in that image is not me.”

The gruelling piece lasted just under four hours. “Coming off the plinth,” she says, “I felt very tired, very thirsty, and I was shaking.” In a second image, So Long a Letter, that also appears in Acts of Resistance, Msezane embodies a mother holding a crocheted baby, made of hair. They stand beside the African Renaissance Monument in Dakar – a 171ft bronze statue that sits at the top of a hill overlooking the capital. The statue has sparked controversy since it was installed in 2010. “The big man is holding the woman and their child,” says Msezane. “But the reality in many African countries is that women are the ones who uphold society, who work and nurture. The statue doesn’t symbolise that.”

In the huge sculpture, the baby is pointing towards the west. “Are we saying the future of Africa is in the west?” says Msezane, whose narrative is very different. Her crocheted infant joins hands with the baby in the sculpture so that they instead appear to point to the ground. “The future is right here, in Africa,” she explains. “We’re the ones, as the youth, who have to create a legacy to be proud of.”

Msezane doesn’t call her work feminist: she identifies more with African knowledge systems and new animism, a spiritual practice that posits a connection between animals, plants and people. “I suppose those are the ideologies that feel more robust for me as an African woman practising and living on the continent.” However, she adds: “We don’t live in a vacuum – the issues and concerns of women are similar across the world.”

Acts of Resistance seeks to decolonise feminism and offer a more pluralistic idea of a female-led movement. It also shows photography’s value as a powerful tool of protest – fast and free to distribute, accessible anywhere, and able to reach a global audience no matter what language they speak.

View image in fullscreen

Mari Katayama began taking self-portraits incorporating handsewn objects she would make as a child. She took the photographs in order to share her elaborate creations on Myspace and Mixi. Katayama now finds herself ensconced once more in her small room at home in the countryside in Gunma, Japan. There, she is working on her largest handsewn object to date. “I’m sometimes told that my work is a fantasy world or a stage made up of my own dream stories.” She sighs. “I’m fed up hearing this. Whenever I talk about feminism, I always think, ‘We have it – rights, equality and liberation – for sure.’ But then when I look at my life, I am always disappointed that this is not the case.”

Katayama, who has prosthetic legs, worked as a singer in a jazz bar as a student. One night she was heckled by a customer who shouted: “A woman who doesn’t wear high heels is not a woman.” While high heels have been a polarising symbol for feminists – the tired oppression or empowerment debate – high heels for Katayama were not even a choice. So in 2011, Katayama embarked on a mission to create a pair of high heels she could perform in – and to design the prosthetic joints that would allow her to do so comfortably.

In 2022, her vision was finally realised with the Italian luxury shoe designer Sergio Rossi. Two photographs showcase the custom-made “Mari” shoes. A film, called My Way, was recently shot at another factory – Nabtesco in Japan, where the electronically controlled prosthetic knee joints are designed and made. In the film, we see Katayama strut confidently down dim industrial corridors in her vibrant red, extreme high heels.

Acts of Resistance marks a turning point in the evolution of feminism: an approach that is more inclusive, less western-centric and still has plenty of fire in its belly. Joining up these forces to be reckoned with, the show is a space to observe and highlight the way women continue to be vulnerable and continue to fight. It is an opportunity too, Msezane reflects, “to understand where it’s going wrong, and where could it go right”.

Denver Fashion Week is back with another award show. The DFW Awards highlights some of the best models, designers and photographers who have participated in DFW and we’re asking for your vote.

READ: Just Announced — Denver Fashion Week Spring ’24 Lineup and Tickets

#ctct_form_3 {display: block !important;}

On March 23, the Photographic Society of Northwest Arkansas (PSNWA) will present a unique opportunity for photography enthusiasts and novices alike with a free class focused on eclipse photography. Taking place at Shiloh Meeting Hall in Springdale, the workshop is set to bridge the gap between the celestial wonders of eclipses and the art of photography. At the helm of this educational voyage is Melissa L. Jones, an acclaimed photographer with a rich background spanning over three decades in capturing the ephemeral beauty of the natural world.

Expert Guidance from Melissa L. Jones

Melissa L. Jones, serving as the executive chair of PSNWA, brings to the table an extensive portfolio that includes weather phenomena, fireworks, and architectural marvels. Her proficiency in these areas promises to offer attendees a deep dive into the technicalities and aesthetic considerations of eclipse photography. Jones’ approach is tailored to accommodate a wide range of skill levels, ensuring that every participant, from the curious beginner to the seasoned photographer, leaves with valuable insights into capturing the grandeur of solar and lunar eclipses.

What to Expect from the Class

The class is structured to cover the forthcoming April total solar eclipse, providing a timely and practical relevance to the content. Beyond the immediate event, the curriculum is designed to equip attendees with the knowledge to photograph future lunar eclipses, fostering a long-term appreciation and capability for astrophotography. The session promises an engaging mix of theoretical knowledge and practical advice, including camera settings, composition tips, and safety precautions essential for direct solar observation and photography.

Open to All: Members and General Public

Reflecting PSNWA’s commitment to community engagement and education, the eclipse photography class is open to everyone interested in the subject matter. This inclusivity underscores the society’s mission to promote photography as a form of artistic expression and scientific inquiry accessible to a broad audience. Participants are encouraged to bring their cameras and a sense of curiosity to the Shiloh Meeting Hall, where they will join others in a collective exploration of the intersection between the cosmos and the lens.

As the date of the class draws near, anticipation builds for what promises to be a compelling journey through the art and science of photographing the celestial dance of eclipses. Melissa L. Jones, with her wealth of experience and passion for sharing knowledge, stands ready to guide attendees through the nuances of capturing moments that, while fleeting, offer a glimpse into the sublime beauty of our universe. This event not only highlights the wonders above but also the community below, united in their quest for learning and expression through the lens of a camera.

The Disabled Photographers’ Society has a packed stand at this year’s Photography & Video Show full of brilliant secondhand bargains. The charity has been building up donations of unwanted photographic kit for over a year, ready for this giant photographic jumble sale

Offers we saw in previous shows included offers on memory cards, forests of old tripods, stacks of darkroom processing trays, and masses of great camera memorabilia from both the film and digital eras alike.

Furthermore, why not do your bit for this great charity by bringing your own donations to the show? Simply look out any bits of unwanted photo gear you have around the house and bring it with you. You can then drop it off at the Disabled Photographers’ Society’s stand when you arrive, so they can sell it to raise valuable funds.

They will willingly take any old camera or lens that you have lying around, or tucked at the back of the cupboard – as long as it is still in working order. But they will also be just as grateful for old cables, filters, darkroom gear, bags and other photo paraphernalia. The DPS are also interested in taking your unwanted photographic books too!The stand is one of the must-visit features of the show… a fantastic photo bric-a-brac stall that you will love to rummage through to find something interesting to buy!

The stand number is C503 – so bring your bags full of donations when you get to the show.

The Disabled Photographers’ Society has been running for over 50 years. The charity has developed a broad knowledge of various ways to make photography accessible to people with a wide variety of disabilities. Often with a few simple modifications, the experts at the DPS can open up a whole new world of possibilities to those who would otherwise struggle to operate a camera. The Society is run by a team of dedicated volunteers, most of whom are disabled photographers themselves. 

The Photography Show runs across four days from Saturday to Tuesday March 16-19 at the NEC in Birmingham. For full details and schedules of talks see the The Photography & Video Show website.

Read more
The Photography & Video Show: everything you need to know

Gideon Mendel, a renowned photographer originally from South Africa, has been honored with the Power of Photography award for his compelling portrayal of the human and physical impacts of climate change through his projects, Drowning World and Burning World. Mendel’s career, which began in 1984 amid the struggle against Apartheid, has evolved to focus on capturing the aftermath of catastrophic floods and wildfires, showcasing the resilience and dignity of affected communities. His work, celebrated for its humanistic approach and detailed observation, has been widely exhibited and awarded, marking him as a significant figure in contemporary documentary photography.

From Apartheid to Climate Change: Mendel’s Journey

Mendel’s photographic journey, initiating in the turbulent times of Apartheid in South Africa, has been marked by a consistent endeavour to intertwine creativity with social commentary. Transitioning from black and white to color photography, his work has significantly contributed to documenting the nuanced human experience within broader environmental and social issues. His first book, A Broken Landscape: HIV and AIDS in Africa, set the stage for his lifelong commitment to storytelling through the lens of empathy and engagement.

Capturing the Climate Crisis

For the past sixteen years, Mendel has shifted his focus towards the global climate crisis, documenting its devastating impacts through the Drowning World and Burning World projects. His immersive environmental portraiture goes beyond mere documentation, inviting viewers to step into the lives of individuals confronting the destruction of their homes and environments. Mendel’s ability to capture the dignity and resilience of his subjects amidst such adversity has been a cornerstone of his work, earning him a place of honor within the photographic community. His exhibitions, including notable displays at Photo London and the Greenpeace stage at Glastonbury Festival in 2023, highlight the urgent narrative of climate change and its disproportionate effect on the world’s poorest populations.

Award-Winning Legacy

Mendel’s dedication to documenting the human face of global issues has not gone unnoticed. His accolades include the prestigious Eugene Smith Award for Humanistic Photography, multiple World Press Photo Awards, and recognition from Amnesty International and Greenpeace. Beyond the awards, Mendel’s work has sparked conversations about the climate emergency, making visible the often-overlooked personal stories within the broader environmental discourse. His nomination for the Prix Pictet in 2015 and 2019 further underscores the impact of his contributions to the field of documentary photography.

Gideon Mendel’s recognition with the Power of Photography award is not just a testament to his individual talent but also an acknowledgment of the critical role of photography in illuminating the pressing issues of our time. Through his lens, Mendel has humanized the statistics of climate change, offering a poignant reminder of the resilience and vulnerability of those at the frontlines of environmental disasters. As we reflect on his body of work, it becomes clear that the power of photography lies in its ability to bear witness, to evoke empathy, and to inspire action in the face of global challenges.

The Photographic Society of Northwest Arkansas is set to host a free eclipse photography class from 2-3 p.m. on Saturday, March 23 at the Shiloh Meeting Hall, located at 110 W. Price Ave. in Springdale.

The class, led by the society’s executive chair and award-winning photographer Melissa L. Jones, is designed to teach attendees how to capture the beauty of eclipses with a camera.

The event is open to both PSNWA members and the general public.

Jones, who has over 30 years of experience in the field of photography, including expertise in weather photography, fireworks displays, and architecture, will provide a comprehensive guide to photographing both the upcoming April total solar eclipse and future lunar eclipses.

Jones’ teaching approach aims to offer an engaging and insightful learning experience for participants, regardless of their photography skill level.

Picking up a camera has transformed the lives of many creatives, including Bella Kotak. A student of architecture at the time, Bella found a creative outlet in photography that allowed her to visualize and capture her thoughts and imagination, combining a passion for design and storytelling with a fascination for nature and the human form. 

In her work, Bella draws inspiration from fairy tales and the natural world, and her themes of women’s empowerment, diversity, and culture are woven into her art. Her images tell a story by revealing the hidden beauty in spaces and faces and her skill in crafting magical backdrops for her subjects not only creates aesthetically pleasing images but also conveys a deeper meaning.

Bella is an expert in creative photography and post-processing techniques, and she is renowned for her educational workshops and speaking engagements. Since her early days as a photographer, The Photography Show has been a focal point, helping nurture her creative growth over the years and, this year, she is a speaker at the event. We met up with Bella to discover what we can expect from her presentation in Birmingham and what she is most looking forward to when engaging with the creative community at the show.

Bella Kotak

Bella Kotak is a fine art, fashion and portrait photographer known for her ethereal, feminine, and whimsical style. Her work is heavily influenced by the natural world, fairy tales, and strong feminine characters. Bella grew up in Kenya but is currently based in both the UK and the US, and her work has gained international recognition, featuring in various exhibitions, magazines and art publications. She is also known for her educational workshops and speaking engagements, where she shares her expertise in creative photography and post-processing techniques.

Interview

Choice of camera

Why Bella loves to shoot with a Phase One

“I had an opportunity to use a Phase One camera back in 2016 and completely fell in love with the files from the very beginning. A few years ago, I was invited to be an ambassador for the brand and have been using it ever since to create many of my photography pieces. 

The camera itself forces you to slow down and observe everything for the moment or expression that you want to capture. The dynamic range has come in handy several times and, of course, the quality of the files speaks for itself. They are so beautiful and have an almost film-like texture and allure that I haven’t been able to recreate with any other camera so far.”

Kitbag essentials

Cameras

Lenses

Other gear

• Profoto A1
• Clicbox
• Gels
• Gaffer tape

#pgevoke-tipform {
margin: auto;
max-width: 300px;
background-color: white;
border: 5px solid #ccc;
border-radius: 5px;
color: #222;
padding: 45px 15px 15px;
position: relative;
font-size: 14px;
font-family: proxima-nova, Arial, sans-serif;
}
.pgevoke-tipform-header {
background-color: #eee;
color: #222;
font-weight: bold;
font-size: 14px;
text-transform: uppercase;
position: absolute;
top: 0;
left: 0;
width: 100%;
padding: 10px 5px;
margin: 0 auto 10px;
}
.pgevoke-tipform-field {
width: 100%;
margin-bottom:10px;
}
.pgevoke-tipform-field input {
width: 100%;
}