By Eleanor Dye

Published: 07:44 EST, 29 February 2024 | Updated: 07:48 EST, 29 February 2024

The hidden stories behind famous photographs of Princess Diana are set to be shared in a hit exhibition coming to London for the first time. 

Iconic moments including Diana’s 1981 wedding to Charles, her black ‘revenge dress’ and game-changing gym wear style all feature in the Princess Diana: Accredited Access Exhibition. 

Photographers Anwar Hussein and his two sons Samir and Zak will share their remarkable photographs of the late Princess and her family, paired with their first-hand accounts of the stories behind each moment. 

It has so far been featured in Melbourne, South Carolina, Las Vegas and more – and is now coming to St Katharine Docks in London for the first time from May 25. 

The exhibition consists of ‘larger than life images, bespoke art installations and first-hand narration’ in a 60-minute experience delving into the lives of the royal family.

Accredited by the Royal Family, the Husseins make up the longest-standing family of official royal photographers, having collectively spent over four decades working side-by-side with the princess and her family. 

They received special access to document the lives of the royals in public, as well as capturing more intimate, private moments, including the unforgettable revenge dress which dared to break royal protocol and the princess’ simple handshake with an AIDS patient that showed the world how to be human. 

Samir and Zak followed their father’s footsteps into royal photography by capturing the lives of Diana’s sons Prince William and Prince Harry, and now are multi-award winning and celebrated photographers themselves  

One story the exhibition tells is the touching image of Diana cradling a sick child in her arms during her visit to Imran Khan’s cancer hospital in Lahore, Pakistan, during April 1996. 

The photographers tell of the moment: ‘Diana later told me that out of so many pictures taken of her, this was her favourite photograph of all… 

‘She was so sad when she found out the boy had passed away shortly after her visit.’ 

The exhibition tells how iconic photographs of Diana wearing her ‘Fly Virgin Atlantic’ jumper, a gift from Sir Richard Branson, may never have come to light without the personal relationship between Anwar and the princess. 

Diana was often seen wearing it when she left the gym at the Chelsea Harbour Club in London. 

Anwar’s sons describe: ‘Father had mentioned to Diana that he wanted to see how health conscious she was and be inspired by her. 

‘She agreed, so he snapped these photographs where we see Diana coming out of the gym.

‘Her popularity sky-rocketed as the public showed their adoration for her willingness to go against the grain and to forgo formality.’ 

As well as the famous revenge dress and the iconic shot of Diana by the Taj Mahal, the family also cast a light on photographs of Diana that haven’t been seen as often by members of the public. 

One shows Diana wearing a casual white shirtdress for a visit to Ayers Rock during a royal tour of Australia in 1983. 

In another, she attends Ascot the month before her wedding to Prince Charles in 1981 wearing a striped dress and a matching lilac hat. 

Anwar said: ‘I am honoured and humbled to have been given the opportunity to photograph Princess Diana so extensively and to have had the pleasure of having many friendly and insightful conversations with her.

‘I am delighted that the images captured, as well as those of my sons, are coming home to London to recognise and memorialise such a remarkable woman and her sons. 

‘There are so many memories of our two families connecting and creating a special relationship, which I am pleased to be able to display in such a unique way through the exhibition.’ 

The Princess Diana: Accredited Access Exhibition is set to open on May 25, 2024 at Dockside Vaults in St Katharine Docks until September 2. 

Tickets will be available to book from 10am on Thursday, February 29 and are available to pre-order now from £17 at PrincessDiana.London

The Wildlife Photographer of the Year is an annual judged competition that celebrates the best in wildlife photography. Winners in most categories were announced in October 2023, but the people’s choice award was announced on Feb. 7. Wildlife Photographer of the Year is developed and produced by the Natural History Museum in London, U.K. The winning photographs are currently on display at the museum. The entire exhibit will also tour several museums around the world, including stops at the Royal BC Museum in Victoria, B.C., and the Royal Ontario Museum in Toronto, Ontario. Keep scrolling to see some of the photos.

The second race of the 2024 NASCAR Cup Series season was an absolute thrill, with a trio of cars crossing the finish line side-by-side, creating a “photo finish” and one of the most incredible endings to a race ever. Photographer Alex Slitz was at the finish line next to the NASCAR official waving the checkered flag, capturing one of the best photos ever of a photo finish.

On the final lap of the Ambetter Health 400 at Atlanta Motor Speedway on Sunday, February 25, Kyle Busch (#8), Ryan Blaney (#12), and Daniel Suárez (#99) battled their way around the 1.54-mile qual-oval track, neck and neck until the checked flag.

Ultimately, as Slitz saw first-hand and brilliantly captured, Suárez piloted his #99 Chevrolet across the line first by a mere 0.003 seconds. You can see Slitz wearing a gray bicycle helmet in the video above.

While it wasn’t the closest finish ever — a pair of two-car battles were separated by just 0.002 seconds in 2003 and 2011 — Suárez’s nail-biting victory is the closest three-car battle in NASCAR Cup Series history and a remarkable sporting moment.

How Photojournalist Alex Slitz Captured One of the ‘Most Exciting’ Shots of His Career

“This image has to be one of the most exciting of my career,” Slitz tells PetaPixel over email of his finish line capture. “I shot this handheld standing next to the flagman. Photographers with Getty Images are the only ones in the stand, so it’s a truly unique shot.”

Slitz took the finish line photo using a Canon EOS R3 mirrorless camera and a Canon 15mm fisheye lens.

Although the fantastic shot makes it easy to believe that Slitz is a seasoned motorsports vet, he says he’s very new to NASCAR and motorsports photography. It was only his third race weekend as a photographer.

“For most of my career, I was a staff photographer at various newspapers with an emphasis on sports,” Slitz explains. “My first race was the Bank of America Roval 400 in 2022, which was a road course when I was a staff photographer at the Charlotte Observer in North Carolina. By the end of the day, I was hooked as a photographer and as a fan of the sport.”

“My first race with Getty Images was the Quaker State 400 in 2023, and unfortunately, that was cut short due to rain. Although I have covered Xfinity and truck series races this was my first complete Cup Series race on a standard track. I have never seen a finish like this. The closest thing that comes to mind is Ross Chastain’s wall-ride at Martinsville in 2023 and if you haven’t seen that look it up, it’s mind-blowing.”

One of the most exciting parts of a race weekend is not simply the race; it’s the surrounding festivities, the air of excitement, and all the fans.

“I think the images of cars on the track are only a fraction of the story surrounding a race. Each sport has a culture that comes along with it and it’s our job to show it,” the photographer says.

Slitz recalls that when he was in college, he heard a talk from photographer Sam Abell, who imparted wisdom concerning the importance of “providing context, emotion, and detail when trying to tell a story.”

“That’s always in my mind when I’m on assignment.”

The Speed and Intensity of Motorsports Photography Pushes a Photographer’s Skills

As for how working a motorsports assignment compares to other sports, Slitz says motorsports is among the most challenging.

“Logistically, it’s a huge undertaking,” he says. “Getty Images photographers work as a team when covering larger events like this and assignments are planned out in advance for complete coverage. My assignment for the race was flag stand at the start and finish, and the outside of the track. I usually stuck to turns one and two and the roof. With the size of the track and my given assignment on the day, I have to plan my shots and be prepared when I’m in place. This definitely pushes me creatively.”

“One of the things I’ve found at NASCAR compared to, say, football or basketball is how fast things can happen. I spent years covering University of Kentucky basketball which will always hold my favorite spot. With basketball, if a player puts up 30 points on any given night, I can spend my time shooting them. In instances like Sunday’s race, Daniel Suárez took the lead at the very end, and I had a matter of seconds to make my images.”

More Sports Photography

More of Alex Slitz’s photography is featured on Instagram and his website. The photojournalist is also active on X (Twitter).

Image credits: Photos courtesy of Alex Slitz / Getty Images

WILDLIFE PHOTOGRAPHER OF THE YEAR

Where: Royal B.C. Museum, 675 Belleville St.

When: March 1-June 2

Admission: Included with regular museum admission ($18 adults; $11 seniors/students/youth; children five and under free)

MIKE DEVLIN

Times Colonist

When the Royal B.C. Museum opens its new exhibit on Friday, it will be an illuminating experience for thousands of museumgoers — in more ways than one.

Wildlife Photographer of the Year will occupy the majority of the museum’s third floor until June 2, giving thousands of guests the opportunity to view the work of top photographers in an entirely new light. The travelling annual exhibit, developed and produced by the Natural History Museum in London, England, gets special treatment when it arrives at the Victoria institution, which takes the unusual step of presenting the 100 selected images backlit using lightbox technology.

“It brings the photographs to life,” said Tracey Drake, CEO of the Royal BC Museum. “It provides an opportunity to really illustrate the power of the photography. I’ve seen [the exhibit] in other organizations, and it feels flat. This is incredible, and because of the impact of these images and the stories they tell — climate change, environmental conservation — the backlighting helps them leap off the wall.”

The museum made a bigger investment in the exhibit this year by purchasing the lightboxes it rented during previous years. Drake said the museum is committed to staging the exhibit “for many years to come,” which made the purchase a shrewd one heading into its 10th instalment of Wildlife Photographer of the Year.

“The reason why a lot of the other organizations that take this exhibit do not do it in this way is because of the cost,” she said. “You acquire the exhibition, but if you want everything that goes with the technology, it’s extra to rent [the lightboxes] and extra to ship them. So it’s a commitment. But we’ve always bought into that because we felt it was a better experience for the museumgoer.”

The exhibition meets at the intersection of photography, science and art. The photos, culled from more than 45,000 international entries each year, represent some of the best of the world, which puts pressure on the institutions selected to host the exclusive exhibit. As such, the images on display are printed overseas, on a transparent, synthetic material known as Duratrans for quality purposes.

When backlit with a light source, the imagery is illuminated with staggering clarity, according to Victoria’s Garth Lenz, who is among the participating photographers this year.

When presented in this manner, the work of Lenz, Mark Williams of Jordan River (who has two photos in the exhibit), and the remaining photographers seems digitally manipulated. But nothing could be further from the truth, according to Lenz.

“You have to send the judges your original file, because they are looking for a number of things. For instance, if you did a lot of the things you’re not supposed to do — such as goose the image in Photoshop, or crop something out — they can tell that immediately.”

Lenz has been involved with the exhibit twice previously, and never takes the opportunity for granted. To have his work showcased alongside “the best of the best” is a wonderful opportunity for the local landscape photographer, whose work has appeared in numerous newspapers and magazines, including Time, The New York Times, Esquire, and The Guardian.

Wildlife Photographer of the Year gives him the chance to learn about new photographers and reconnect with established ones. “If you’ve been doing this for a while, and making the rounds from time to time, as I have, you end up knowing lots of people,” he said. “I probably know 10 or 15 of the photographers.”

Mark Williams of Jordan River has two photos in the exhibit, featuring an Arctic fox in one photo and beluga whales in the other (Williams, whose photos were taken in Nunavut, was said to be in Antarctica this week and was not available for comment.)

Lenz’s photo — an aerial shot of the Bingham Canyon Copper Mine near Salt Lake City, Utah — features no animals, which is acceptable per the contest’s rules. The photos in the exhibit need only showcase the diversity of the natural world, wildlife or otherwise. His image of the largest open excavation on Earth certainly qualifies.

The photo is one of the last to capture the mine it its former state; two landslides, which occurred months after the image was shot, cratered a massive section of the mine, resulting in the largest non-volcanic slide in North America’s modern history.

The environmental impact of such a site, which poses a significant health risk to wildlife and human populations in the area, pushed Lenz’s image into the category of photojournalism, which is one of the foundations of the exhibit.

“Some of the photography is quite jarring because it’s telling the story of where we are as a society,” Drake said. “But if you understand the language that comes with the photographs, and the language behind the image itself, these are really important stories to tell. It helps you understand the issues of climate change and global warming.” mdevlin@timescolonist.com

Kari Greer, a seasoned photo documentarian, brings the vivid and complex world of wildfire photography to the Old Capitol Museum in Iowa City through her exhibit ‘Facing the Inferno.’ This showcase, running until May 10, 2024, delves into the dual nature of wildfires, portraying both their devastating force and the unexpected beauty they can unveil. Greer’s work, deeply rooted in her experiences as a firefighter and photography student, offers a unique perspective on the vast landscapes and human efforts surrounding wildfire control.

From Firefighter to Photographer

Greer’s journey into wildfire photography began in the 1990s, merging her firefighting background with her passion for photography. This combination allowed her to capture the essence of wildfires from an insider’s perspective, focusing on safety, knowledge of firefighting protocols, and health precautions against smoke inhalation. Her work emphasizes not only the destructive power of wildfires but also the human resilience and efforts to combat these natural disasters.

Educational Impact and Resonance

The exhibition, initiated by Roger Rowley of the Moscow Contemporary in Idaho, has toured for about five years, highlighting the educational and aesthetic value of Greer’s photography. It resonates with the ‘Living with Smoke’ initiative at the University of Iowa, focusing on the impacts of smoke and respiratory infections in the Midwest. This thematic alignment underscores the relevance of Greer’s work to current environmental and health concerns, particularly in regions like Iowa, where smoke from distant wildfires affects air quality and visibility.

Exhibition Details and Offerings

‘Facing the Inferno’ not only showcases Greer’s stunning wildfire photography but also offers educational opportunities across multiple disciplines. The exhibit’s tenure in Iowa City until May 2024 provides a platform for discussions on environmental science, public health, and art. By capturing the harsh realities and unexpected beauty of wildfires, Greer’s work encourages a deeper understanding and appreciation of the challenges and strategies associated with wildfire management and the broader implications of smoke on health and the environment.

The exhibit ‘Facing the Inferno: The Wildfire Photography of Kari Greer’ at the Old Capitol Museum serves as a poignant reminder of the dual nature of wildfires and the importance of education, awareness, and preparedness in the face of natural disasters. Through Greer’s lens, visitors are invited to explore the complex relationship between humanity and nature, fostering a greater appreciation for the efforts to protect and preserve our environment amidst the challenges posed by wildfires.

The ‘Illuminating Whiskers’ exhibit, a collaborative effort between Juliane Troicki and Christine Peck, offers a profound exploration of masculinity, storytelling, and empathy through the lens of photography. Opening on March 1 at the Thelma Sadoff Center for the Arts in Fond du Lac, Wisconsin, this unique showcase pairs black-and-white portraits of diverse men with their personal narratives, challenging stereotypes and fostering a sense of belonging.

A Fresh Perspective on Masculinity

At the heart of ‘Illuminating Whiskers’ lies the intention to redefine masculinity. By focusing on facial hair as both a literal and metaphorical frame to introduce the subjects, Troicki and Peck aim to highlight the importance of being remembered and the role of facial hair in crafting a man’s story. This exhibit not only offers a platform for men of various backgrounds to share their experiences but also seeks to break down the barriers of traditional masculinity, encouraging viewers to engage with the narratives and empathize with the subjects.

From Concept to Reality

The collaboration between Troicki, known for her narrative-driven approach, and Peck, a skilled photographer, began in 2019 with the Illuminating Project. Initially focusing on women, the project has now expanded to include men, reflecting on what it means to be a good man across different cultures and professions in Wisconsin. The exhibit showcases the diversity of male experiences, from a Santa Claus to a business owner, a priest, and even a curling enthusiast, each story shining a light on the multifaceted nature of masculinity.

Community Engagement and Impact

‘Illuminating Whiskers’ is more than an exhibit; it’s an experience designed to foster community engagement and understanding. With the portraits and narratives presented side-by-side, viewers are invited to connect with the subjects on a deeper level, sparking conversations about masculinity, identity, and empathy. The exhibit, running through April 12, offers a free and accessible space for these important discussions to take place, promising a memorable experience for attendees.

As ‘Illuminating Whiskers’ opens its doors to the public, it stands as a testament to the power of photography and storytelling in challenging societal norms and fostering a sense of belonging. By spotlighting the diverse experiences of men in Wisconsin, Troicki and Peck invite us to reconsider our perceptions of masculinity, inviting a deeper understanding and empathy towards the stories that shape us.

On a groundbreaking day for mobile photography, OnePlus unveiled the 2024 OnePlus Photography Awards (OPA) in a prestigious collaboration with the International Photography Awards (IPA). This initiative, announced on 29 February 2024, not only promises to elevate the smartphone imaging experience but also aims to bring together the world’s most creative minds in photography.

Revolutionizing Mobile Photography

The 2024 OPA seeks to redefine the boundaries of mobile photography by offering an inclusive platform for photographers worldwide. By integrating the expertise of OnePlus imaging product specialists with the discerning eyes of the IPA jury, along with the esteemed Hasselblad ambassadors and masters, this year’s awards are poised to set a new standard in the competition. The collaboration underscores a shared vision between OnePlus and IPA: to harness the power of smartphones in capturing extraordinary moments.

Incentivizing Creativity with Unprecedented Prizes

OnePlus is determined to ignite the passion of photography enthusiasts by announcing an array of enticing rewards for the 2024 awards. The stakes are higher than ever, with a grand prize of up to US$10,000 and a complimentary OnePlus device awaiting the Photo of the Year winner. This substantial prize pool is designed to motivate participants from across the globe to share their unique perspectives and artistic talents through the lens of their smartphones.

A Call to Action for Photographers Everywhere

The launch of OPA 2024 marks an exciting opportunity for photographers, from amateurs to professionals, to showcase their skills and creativity. With the competition now open for entries, OnePlus encourages participants to seize this moment and make their mark in the world of mobile photography. This year’s awards not only promise recognition and rewards but also an unparalleled platform for photographers to connect, share, and inspire.

As the 2024 OnePlus Photography Awards draw near, the anticipation builds for what is set to be an extraordinary celebration of talent, vision, and innovation in mobile photography. This collaboration between OnePlus and IPA, backed by the legendary Hasselblad, is a testament to the evolving landscape of photography and the endless possibilities that lie within the reach of our smartphones.

Renowned Canadian photographic artist and filmmaker Edward Burtynsky has taken over two vast floors at London’s Saatchi Gallery to present Extraction/Abstraction, the largest exhibition of his 40 year career. His remarkable photographs and films of global industrial landscapes represent his dedication to bearing witness to the impact of humans have had on the planet.

The blockbuster photography exhibition is curated by Marc Mayer, former Director of the National Gallery of Canada and Musée d’art contemporain de Montréal. It features 94 of Burtynsky’s large-format photographs as well as 13 high-resolution murals and an augmented reality (AR) experience. The exhibition is organised into five main sections: Abstraction, Agriculture, Extraction, Manufacturing & Industry, and Waste.

Burtynsky’s photographs and films are awe-inspiring, beautiful and often painterly but they also show how humanity impacts the planet and the environmental consequences of industrial processes. The examples are both arresting and shocking: severe erosion caused by mining in the Ankara Province in Turkey; a river turned lurid orange caused by nickel tailings from mining in Sudbury, Canada; damage created by the oil industry in the Niger Delta, Nigeria; and wrecked ships just left to decay in Chittagong, Bangladesh.

Burtynsky invites viewers to look at places that exist beyond our common experience, places that satisfy our wants and needs in the present while they determine the future of our habitat. Paired with the serious ecological concern that drives Burtynsky’s creative process is an equally compelling exploration of the strangely beautiful marks industry leaves on the canvas of the Earth. In addition to the art, visitors can see the fascinating “Process Archive,” featuring Burtynsky’s journals, cameras and equipment tracing his navigation through each of the technological shifts in the photography that have occurred over recent decades.

A presentation of Burtynsky’s most ambitious project to date, the European premiere of Burtynsky’s multimedia piece In the Wake of Progress. This 22-minute experience, co-produced by legendary music producer Bob Ezrin (known for his work with Pink Floyd, Andrea Bocelli, Peter Gabriel, and many others), immerses the viewer in the story of human industry’s impact on Earth, told through artistry and scale, urging us to rethink our legacy and seek a more sustainable future. Forty years in the making, In the Wake of Progress combines the most powerful photographs and film footage of Burtynsky’s career, choreographed to a compelling award-winning original score.

In addition to enjoying the mastery behind the arresting images, the exhibition can be viewed as yet another environmental wakeup call to change our ways. As Edward Burtynsky says: “I have spent over 40 years bearing witness to the ways in which modern civilization has dramatically transformed our planet. At this time, the awareness of these issues presented by my large format images has never felt more urgent.”

Edward Burtynsky’s photographs are included in the collections of over 80 major museums around the world including the New Orleans Museum of Art & Contemporary Art Center, Louisiana; the Corcoran Gallery of Art in Washington D.C.; and the National Gallery of Canada. Burtynsky was also a key production figure in the award-winning documentary trilogy Manufactured Landscapes (dir. Jennifer Baichwal, 2006), Watermark (dir. Baichwal and Burtynsky, 2013), and ANTHROPOCENE: The Human Epoch (dir. Baichwal, Nicholas de Pencier, and Burtynsky, 2018). All three films continue to play in festivals around the world.

Burtynsky: Extraction/Abstraction until 6 May 2024, Saatchi Gallery, Duke of York’s HQ, King’s Rd, Chelsea, London SW3 4RY Opening Hours: Daily 10 AM – 6 PM Tickets: Adults £19.50

A special preview of the Saatchi exhibition will be at Outernet, next to Tottenham Court Road station until 3 March

Edward Burtynsky — New Works is at Flowers Gallery, London W1, until 6 April 2024

The Marco Island Historical Society is preparing to host an exhibition of works by Florida-based artist, conservationist, historian, educator and documentarian Niki Butcher titled, “Daydreaming: Niki Butcher’s Hand-Painted Photography.”

Butcher’s approach starts with her own black and white photographs, and then adding vibrant, often pastel oil paints in a way she says allows her to transform “landscapes into dreamscapes and reality into fantasy.”

The more than 60 works featured in the exhibition span more than five decades of Butcher’s creative output. This show comes after last year’s publication of her debut book titled “Daydreaming,” which contains images included in the exhibition.

For six decades, Niki has been married to fellow photographer Clyde Butcher, whose long been known for his large-scale striking black and white photographs of South Florida’s pristine wild spaces.

This latest exhibition runs March 12 through June 8. There will be an opening reception March 14 from 4:30 – 6 p.m. including an artist meet-and-greet and book signing. The exhibition will be free and open to the public to experience.

We’ll get a preview of the exhibit in a conversation with the artist herself.