After “Invisible Man” by Ralph Ellison, the Prologue (1999-2000)

Many of Wall’s works are tinged with a certain melancholy, embodied by the lonely characters who flee the viewer’s gaze, as if lost in their thoughts, and in these indoor locations in which they adopt passive, idle postures. However, in After “Invisible Man” by Ralph Ellison, the Prologue (1999-2000), the melancholy of the figure sitting with his back turned to the camera is not merely the product of the photographer’s imagination, but rather that of the writer Ralph Ellison and his novel Invisible Man (1952). After rereading the book, Wall wanted to recreate the narrator’s home: a cellar in Harlem lit by hundreds of light bulbs – 1,369 to be precise – so that the man could write his story.

A vision which, despite the dreadful portrayal of social misery, also opens the way for magic and fantasy. Among the dirty dishes, piles of books, and hanging laundry, the anxiety-inducing chaos of the setting appears enchanting beneath the magical light of the myriad bulbs, with their almost comforting atmosphere. As a bibliophile and writer himself, the Canadian photographer was delighted to recreate the scene as he had pictured it while reading the book: ‘The process of creating this room, with its twisted floor, its color palette, and the turbulent flow of the light-bulb pattern was a sculptural endeavor which eventually led to the creation of a highly stimulating pictorial treatment.’

Waiting in a Russian police station after being arrested at an opposition protest in 2021, photographer Dmitry Markov surreptitiously raised his iPhone, snapped a photo, and posted it to Instagram.

The image, of a burly police officer in body armour and a black balaclava sitting below a photograph of president Vladimir Putin, quickly went viral. For many, it became a symbol of the brutality of the Russian regime, its crackdown on dissent and – because the police officer was hiding his face – the Kremlin’s fear of its own people.

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It was characteristic of Markov’s ability to capture a zeitgeist moment, and his brand of photography that took the viewer deep inside modern Russia.

Since his death earlier this month, 41, Markov has been hailed as one of Russia’s best photographers. Although his passing was announced just a few hours after that of opposition leader Alexei Navalny, there was no suggestion of foul play.

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He was a “Russian Cartier-Bresson”, said Kirill Serebrennikov, a leading Russian theatre director who collaborated with Markov. “He was able to capture the soul of the people, their DNA. If you want to understand Russians, you should look at Dima Markov’s photos.”

With no university degree, and little in the way of formal training, Markov began taking photos in Moscow in the mid-2000s. From the beginning, he had no interest in historic buildings or celebrities. Instead, he was drawn to places such as train stations, markets, and the edges of Russian cities that are a maze of crumbling Soviet-era blocks of flats.

His subjects were always the most vulnerable in society: orphans, alcoholics, addicts, homeless people, the very old and dying, conscripts and children. It was a side of Russia absent from bombastic official narratives under Putin, but one that was instantly recognisable to most Russians.

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“A lot of people live in the Russia that Dima Markov photographed. But they don’t see it like he saw it. They see it as something terrible, something shameful, and something that should be forgotten,” said Serebrennikov. “Dima looked at it and was able to see beauty, eroticism and some sort of glamour.”

I first met Markov in 2007 when we were volunteering at a state-run orphanage for mentally and physically disabled children in a village in western Russia. He was intense and enjoyed arguing, but he was also kind and generous – and his empathy for the kids trapped in Russia’s orphanage system was obvious.

Eventually, Markov abandoned traditional cameras, and switched exclusively to an iPhone. He set up an Instagram account that went on to attract almost a million followers.

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Not the sort of artist who maintained a distance from his subjects, Markov mixed photography and philanthropy, and used his prodigious talent to support charitable causes from orphan integration schemes, to human rights groups and drug rehabilitation programmes. “Justice is the realm of the devil; the realm of God is charity and forgiveness,” he told one interviewer in 2020.

Perhaps one of the reasons Markov was drawn to those on the margins of society was his own history. He first started using heroin at 18 when growing up in the Moscow commuter town of Pushkino, and in recent years had been very public about his two-decade struggle with addiction – just as he was about his childhood traumas, including an alcoholic father.

“He wasn’t shy about talking about his demons,” said Aleksei Pivovarov, a Russian journalist and friend of Markov.

Creativity was one of the ways he tried to deal with his past, and he said on many occasions that, without photography, would have been dead long ago. “Viewers see some of my subjects as bleak, if not, let’s be honest, depressing. But I feel the opposite: peace,” he wrote in his 2018 book Draft. “When I manage to express this bleakness in a text or photograph, I feel as if it becomes a little less inside me.”

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After Russia launched its full-scale invasion of Ukraine in February 2022, Markov remained in the country – a decision that he agonised over, and which sparked much online criticism. While he opposed the war, he was unable to see an artistic future for himself outside Russia, and he felt bound to the people and places he knew.

“I can’t just stop loving those who are close to me and start hating them,” he wrote in one of his last posts on social media. “I don’t know how to act correctly in this situation and be a good person for everyone, or whether, indeed, that is even possible.”

In the days after his death, there has been an outpouring of appreciation for his photography, with some critics placing him in a tradition of socially oriented Russian artists that includes 19th-century painter Ilya Repin.

Pivovarov compared him to Renaissance masters such as Caravaggio. “People will judge what the early 2000s were like by Dima’s photographs,” he said. “He saw the light inside nondescript people, and shone his love on them. And they become the centre of the universe.”

In a world where capturing the moment in the blink of an eye can make all the difference, Kingston Digital, Inc. has just elevated the game for photography enthusiasts and professionals alike. The release of the Canvas React Plus V60 SD memory card, boasting unparalleled speeds of up to 280MB/s and the impressive capacity to store up to 1TB of content, marks a significant milestone in digital storage solutions. This leap forward is not just about numbers; it’s about what those figures mean for photographers capturing fast-action shots and recording 4K Ultra HD videos without the fear of lag or interruptions.

Capturing the Moment, Faster Than Ever

The Canvas React Plus V60 is not just another memory card. Its remarkable write speed of up to 150MB/s transforms the way photographers approach their art, particularly in scenarios demanding rapid-fire shooting or continuous high-resolution video capture. This swift data handling ensures that every burst mode session or 4K video at higher frames per second is captured with crystal clarity, devoid of the frustrations of buffering or missed shots. For those in the field of sports, wildlife, or any genre of photography where speed is of the essence, this technological advancement opens new doors to creative possibilities.

A New Era of Storage Capacity

With storage options scaling up to 1TB, the Canvas React Plus V60 is a game-changer for professionals and hobbyists who prefer to carry their entire digital portfolio in their pocket. This leap in storage capacity means photographers can shoot longer and store more without the need to swap cards, ensuring they never miss a beat. The convenience of having a vast digital canvas at one’s disposal cannot be overstated, especially when it comes to capturing those once-in-a-lifetime moments or embarking on extended shooting expeditions.

Reliability Meets Affordability

Kingston’s reputation for reliability is well-known, and the Canvas React Plus V60 continues this tradition, backed by a lifetime warranty and free technical support. This commitment to quality, coupled with the card’s affordability, positions it as an attractive option for both professionals and budding creatives. In a market flooded with options, the assurance of performance and support at a reasonable price point makes the Canvas React Plus V60 a standout choice. For those wondering about the tangible benefits of faster memory cards, a look at the significance of choosing the right speed class for different photography needs underscores the importance of this release.

In an era where the speed at which one can capture and store high-quality images and videos can set them apart, Kingston Digital’s latest offering is not just a product; it’s a pivotal tool that promises to redefine the boundaries of digital photography and videography. As we move forward, the Canvas React Plus V60 stands as a testament to the relentless pursuit of innovation, ensuring that memories are not just captured but are preserved with the fidelity they deserve.

A photographer has sued fashion designer Vera Wang for posting a photo of Emily Ratajkowski on social media without permission.

Photographer Edward Opinalodo took photographs of model Ratajkowski wearing black sunglasses while walking in New York City on March 10, 2020.

However, the photographer claims that he discovered his image on fashion designer Vera Wang’s Facebook page a few days later on March 13, 2020.

According to a lawsuit filed by Opinalodo on February 12, the fashion brand used his photograph of Ratajkowski without his consent.

The photographer claims that Vera Wang used his image to plug the company’s eyewear line and used the hashtag “#VeraWangEyewear” to highlight a particular pair of sunglasses that the model was wearing.

Vera Wang “used the Photograph to advertise its eyewear which it highlighted in its post writing ‘#EmilyRatajkowski wearing #VeraWangEyewear out and about in NYC. Style: Grace,” Opinalodo alleges in the lawsuit.

The New York Post reports that the photographer is seeking unspecified damages from the fashion company for the alleged copyright infringement.

This certainly isn’t the first time that an image of Ratajkowski has been at the center of a lawsuit.

The model, who has herself been sued numerous times for copyright infringement, has openly spoken out against photographers who have profited from her image and expounded her belief that she should be able to own and control that image.

In October 2019, Ratajkowski was sued for sharing a photographer’s image to her Instagram Stories with the caption “mood forever”. In the picture, she uses a large vase of flowers to hide her face from the paparazzi as she walks down a New York City street.

Ratajkowski described her anger and shock over getting sued for a photo of herself in her essay “Buying Myself Back” in The Cut.

“I learned the next day from my own lawyer that despite being the unwilling subject of the photograph, I could not control what happened to it, ” Ratajkowski writes.

“I have learned that my image, my reflection, is not my own.”

In court, Ratajkowski’s attorneys argued that her use of the image was a legal “fair use,” because she had posted it to Instagram as a criticism of invasive paparazzi. They argued she had transformed the photo from an “exploitative image” snapped without her consent to “a commentary on the harassing and relentless behavior of paparazzi.”

Image credits: Header photo licensed via Depositphotos. and center photo via court documents

On a crisp February evening, the Hilton Istanbul Bosphorus became more than just a landmark; it transformed into a nexus for digital innovation within the art world. The Awards.Photos event, held on February 5th, 2024, wasn’t just another competition. It was the world’s first NFT photography contest, marking a pivotal moment for artists and enthusiasts alike. Organized by a collaboration of entities including the International Federation of Photographic Art, Seed.Photo, and Eurasia, and sponsored by Bybit NFT, this event drew attention not just for its pioneering nature but for what it represented: the seamless fusion of technology and creativity.

The Dawn of a New Artistic Era

The Awards.Photos event broke new ground by showcasing the potential of blockchain technology to safeguard artists’ rights and maintain digital integrity. Competing across six categories – Creative Concept, Human, Nature, Open Color, Open Monochrome, and Travel – photographers from around the globe had their works evaluated not just for their aesthetic appeal, but for their innovative use of digital mediums. Winners like Elina Garipova for ‘Daily’ and Mehdi Nağaşzade for ‘Lily’ exemplified the event’s goal: to champion creative freedom and ensure artists’ control over their work. This convergence of tradition and technology opens up new avenues for artistic expression and sets a precedent for future endeavors in the digital art sphere.

Championing Creative Freedom

The integration of photography with blockchain and NFTs was more than a technical achievement; it was a transformative journey for the art community. By offering a platform where artists could securely sell and showcase their work, the event highlighted a broader shift towards a more inclusive and equitable artistic landscape. The significance of this shift cannot be overstated, as it not only democratizes access to the NFT market but also empowers creators to derive tangible value from their creativity. Statements from the organizers underscored the importance of this event in reshaping the art world, ensuring that the artists’ narratives and the integrity of their creations are preserved in the digital age.

A Catalyst for Future Innovation

The success of the Awards.Photos event in Istanbul is a testament to the evolving relationship between art and technology. It’s a narrative that goes beyond the confines of this competition, sparking conversations about the future of artistic expression. As this event becomes a landmark in the history of digital art, it serves as a catalyst for further innovation, encouraging artists and technologists to explore new ways of collaboration. The intersection of photography and blockchain, as showcased in Istanbul, is just the beginning of a broader movement towards a more dynamic and inclusive art world.

The Awards.Photos event has not only set a precedent but also opened up a dialogue about the possibilities that lie at the intersection of technology and art. As we move forward, the lessons learned and the successes celebrated in Istanbul will undoubtedly shape the future of digital art, making this event a watershed moment for artists and the global art community at large.

Israel has condemned a U.S. journalism award for handing a top prize to a photographer who was allegedly embedded with Hamas during the October 7 attack.

Last week, Photographer Yousef Masoud won the prestigious George Polk award for photojournalism for his images of the Israel-Hamas conflict for The New York Times.

Masoud was awarded the prize alongside another freelance photojournalist named Samar Abu Elouf.

“The award for Photojournalism goes to Samar Abu Elouf and Yousef Masoud of The New York Times for chronicling Israel’s bombardment and invasion of their homeland, Gaza,” writes the committee for the George Polk award.

“The two photographed the conflict from its opening hours on Oct. 7 until they escaped the territory exactly two months later.”

However, according to The Times of Israel, Israel’s Foreign Ministry has slammed the committee of the U.S. photojournalism award for giving the prize to Masoud — claiming that he has public connections to Hamas and allegedly knew the terrorist organization’s plans to attack the country on October 7 in advance.

According to Honest Reporting, an Israeli website founded by a veteran journalist by the name of Gil Hoffman, Masoud allegedly claimed he was woken up at 05:30 am by rocket fire — even though the firing only started an hour later.

“I am writing to express grave concern over your 2024 George Polk Award selections,” Itay Milner, a spokesperson for the Consulate General of Israel in New York, writes in a letter to the award committee.

“Equally troubling is the specific awarding of Yousef Masoud, whose public connections to Hamas and well-documented foreknowledge of the terror group’s plans for invasion mortally compromise the integrity of his reporting.”

“By honoring Masoud, the George Polk Awards endorse a journalist whose work is deeply tainted, sending a dangerous message that journalistic recognition can be altogether divorced from any semblance of ethics.”

‘It is Reckless to Make Such Allegations’

However, in an open letter published on Saturday, The New York Times denied the accusations made by Israel’s Foreign Ministry.

“The accusation that anyone at The New York Times had advance knowledge of the Hamas attacks or accompanied Hamas terrorists during the attacks is untrue and outrageous,” it reads.

“It is reckless to make such allegations, putting our journalists on the ground in Israel and Gaza at risk.”

The publication accused Honest Reporting of making “vague allegations” and argued that the publication’s claim that Massoud began shooting photos before the October 7 attack began is 05:30 as false.

“The basis for Honest Reporting’s claim is a fabrication: that Mr. Masoud began shooting pictures at 5:30 when the attack began an hour later. Wrong,” writes The New York Times.

“Mr. Masoud, we know from the photographic evidence, began shooting photographs after 06:30 — from his home’s rooftop with the fighting visible in the distance – when the noise of combat awoke him.”

Last week, several survivors of the October 7 attacks on Israel sued the Associated Press (AP) for hiring freelance photojournalists who are allegedly “embedded with Hamas.”

Image credits: Header photo licensed via Depositphotos.

The 2nd annual Maine Photographers Showcase opens at Boothbay Region Art Foundation Wednesday, March 28. This invitational show features work by some of Maine’s best. Meet some of them at the Opening Reception on Saturday, April 6 from 3 to 5 p.m.

Most photographers in this show had work included in the former juried Maine Photography Show, held in the spring for 17 years. Bruce Burnham, BRAF board member and coordinator of the former Show, continues his commitment to place photographers in the spotlight. This year that light shines on Kathleen Clemons, Jane Davis, Jeff  Bazinet, Allen Cairns,  Meredith Kennedy, Daryl Ann Leonard, William Curran, Isaac Crabtree, Mike Fillyaw, Eva McDermott, Anne Post Poole, Kim Stone, Francesca Galluccio-Steele, Ben Getchell, Martin Grassie, Michael Austin Kane, Jim Nicholson, Zoe Theberge, Burke Long, Sandra Wescott, Hugh Blackmer, Bill Schumaker and Charles Laurier DuFour.

Each photographer will have up to five images displayed together, like a mini-gallery. All of the exhibited images are for sale as well as those brought to BRAF as bin pieces (matted, unframed work) – unless otherwise noted. 

As Burnham explained last year, the new show, “… had to be for and about Maine photographers, but less time-consuming, less complicated without jurors, themes, and awards – just photography.”

At the opening reception for last year’s inaugural Showcase, Burnham announced the photographers for this year – and he plans to do so again on April 6. This year, however, Burnham is interested in inviting photographers not previously included in the former Maine Photography Shows.

If interested in showing your images in the 3rd annual Maine Photographers Showcase, call Burnham at 207-350-6405 for consideration.

BRAF is at 1 Townsend Ave. in downtown Boothbay Harbor. The 2024 Showcase runs through May 3. The gallery is open Thursday – Saturday from 10 a.m. to 4 p.m. and Sunday from 11 a.m. to 4 p.m.

Imagine peering down from the sky, observing the delicate harmony between man and nature as it unfolds upon the shimmering waters of Lidao Bay and Ailun Bay in Rongcheng City, Shandong Province. This is the scene captured through the lenses of aerial drone photographers Li Xinjun and Wang Fudong on February 26, 2024, offering a breathtaking glimpse into the daily lives of local fishermen. Their work provides a fresh perspective on the ancient practices that continue to thrive against the backdrop of China’s eastern coastline.

The Symphony of the Seas

The aerial photographs reveal more than just the physical exertions of the fishermen; they capture the rhythm and poetry of a lifestyle that has sustained generations. The images, characterized by the vibrant blues of the sea interwoven with the delicate movements of the fishermen, highlight the beauty and resilience of human labor. This unique vantage point underscores the interconnectedness of the community with the marine ecosystems of Lidao Bay and Ailun Bay, showcasing a sustainable approach to harvesting the bounty of the sea.

Technology Meets Tradition

In the age of technological advancement, it’s rare to witness traditions that have remained largely unchanged over centuries. The use of drones by photographers Li Xinjun and Wang Fudong introduces a modern twist to documenting these age-old practices. This innovative approach not only serves to preserve the visual heritage of the fishermen’s daily routines but also opens up new avenues for appreciating the intricate balance between human endeavor and nature’s offerings. Through their lenses, a story of resilience, adaptation, and continuity is eloquently told, bridging the gap between the past and the present.

Environmental Harmony and Challenges

While the photographs celebrate the beauty of this symbiotic relationship, they also prompt reflection on the environmental challenges facing marine ecosystems worldwide. The serene imagery of Lidao Bay and Ailun Bay belies the pressing issues of pollution, overfishing, and climate change that threaten the livelihoods dependent on these waters. Through documenting the fishermen’s work, the photographers inadvertently highlight the importance of sustainable practices and conservation efforts to ensure the future health of our planet’s oceans.

The drone photographs of Li Xinjun and Wang Fudong serve as a poignant reminder of the enduring spirit of coastal communities in Shandong, China. As we gaze upon these images, we’re invited to reflect on our own relationship with the natural world and the imperative to protect these delicate ecosystems for generations to come. In capturing the dance of the fishermen, a deeper story is told — one of hope, resilience, and the enduring bond between humanity and the sea.

Navigating the complexities of starting a photography business in 2024 is a daunting task for many aspiring photographers. Understanding the state of the industry and strategizing for success amidst intense competition and technological disruptions is crucial for those looking to make a mark.

Coming to you from Justin Mott, this insightful video shares Mott’s personal journey and the lessons he’s learned from over two decades in the photography business. Mott emphasizes the importance of mental preparation and understanding the saturated market photographers are entering. He candidly discusses the challenges posed by a plethora of content creators and the declining value of content due to technological advancements like AI. This perspective is invaluable for newcomers who need to grasp the reality of the photography industry today. Mott advises on the necessity of diversifying skills, including storytelling, video production, and editing, highlighting how these can differentiate a photographer in a crowded market.

Moreover, Mott touches on the practical aspects of starting a photography business, such as selecting the right gear without overspending and the significance of mastering the business side, including contracts, accounting, and marketing. He stresses the importance of storytelling in creating compelling content that stands out. Mott also provides guidance on navigating the digital landscape, leveraging social media for marketing, and continuously adapting to new opportunities. His advice on maintaining a balance between commercial work and personal projects to stay connected with the passion that drew one to photography initially is particularly resonant. Check out the video above for the full rundown.