Photography

Making History Everyday – paving the way through photography

Making History Everyday – paving the way through photography
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Chelsea Football Club and Chelsea Foundation continue the Making History Everyday campaign this February by celebrating Mel D. Cole, a trailblazing New York-based photographer, renowned for his work on the hip-hop scene.

The campaign highlights our commitment to championing Black game-changers in the Chelsea community.

This February, which is US Black History Month, Chelsea Foundation has spotlighted leading photographer and creative Mel D. Cole.

As the founder of Charcoal Pitch FC, the first Black-owned football photography agency, Mel is also paving the way for Black photographers across the football industry.

Collaborating with Chelsea once again, Mel delivered a virtual workshop at Stamford Bridge for a Chelsea Foundation partner school, educating the students on his journey into photography, as well as the power of creativity when it comes to enacting social change.

We sat down with Mel to hear his reflections on Black history, Chelsea’s work championing Black voices, and the impact of photography in making history…

So Mel, why do you think a campaign like Making History Everyday is so important?

The amplification of Black stories is not only important during Black History Month; it is important all year round. This campaign gives people like myself a bigger platform to reach an audience that I may have not reached before. 

Thinking about all of the History Makers who have paved the way across society from the Black community, who has been your biggest inspiration and why?

My grandmother. She inspired me to see the world when I didn’t think it was possible for someone like me, who grew up on the south side of Syracuse, NY, which still to this day isn’t an easy place to live. Travelling allows you to see that there’s more than meets the eye and that there really is a world beyond what you have seen or heard. 

Who would you say has been the biggest History Maker you’ve worked with, and why? 

If I had to pick just one person, I guess I would say Questlove. He is not only someone that I have worked with but he is a friend, and seeing your friends do big things is inspiring. He is one of the most creative and hardest people that I have ever met! A Grammy-winning drummer, music director, author, Academy award-winning director and so much more. He is HIM!

Is there a moment during your photography journey so far that stands out most to you?

Yes – when I started with a disposable camera back in the day, then publishing two books and being awarded Press Photographer of the Year for my work during January 6, 2021 at the US Capitol Building. Oh, and let’s not forget being able to host The Bridge for several seasons!

What has your work with Chelsea shown you about the club’s global community? 

Working with Chelsea for the last four years has shown the club’s reach is extremely diverse and massive. 

Why do you think Chelsea are doing unique things in this space?

I think it is very important to the club and its supporters to champion Black voices on and off the pitch and Chelsea has been doing an amazing job at it before I partnered with them, and I’m sure this inclusivity will continue for years to come. 

What would you say your greatest achievement has been?

My greatest achievement to date is seeing that my son has everything that he needs to become a successful person and have a brighter future than myself. 

What does it mean to you to be chosen as a History Maker?  

It’s a huge honour to be recognised for my accomplishments. I am nothing without you, yes you: the people.  

What drives your passion for working with young photographers in London? 

I love mentoring today’s youth whether it’s here in NYC, London or anywhere in the world. Young photographers at times need guidance and I am always here for it.  

What do you think the role of photography can be in making history? 

Photography provides us with a visual record of what happened within moments. Photography these days is such a ubiquitous thing that most humans take it for granted. In my opinion the invention of photography is one of the most important tools to ever be created by mankind. 

I asked 4 AI image generators to design a logo – the results were pretty messy

I asked 4 AI image generators to design a logo – the results were pretty messy

Using AI for business is still a grey area. It’s extremely useful, but the results are never perfect. The latest and most advanced AI art generators can do a stellar job at bringing your ideas to life, but in nearly every instance, these images can be detected almost instantly from giveaways like multiple fingers and misspelt text. However, there are some AI-generated images that with a bit of enhancement could fool a majority (and even win photo competitions!). 

I’ve been meaning to update my photography logo for years now, though I mainly use it for watermarking my images more so than for advertising or promotion. My photography website could use an update too, as even with one of the best website builders for photographers it still feels pretty bland to me. 

My photography brand needs something fun yet simple (maybe with a bit of colour) to really up my logo game, so I decided to set some AI text-to-image generators with the challenge of designing my new photography logo, or at least to offer me some inspiration to create my own using a Photoshop alternative

AI Photography logo: Stable Diffusion

(Image credit: Creative Bloq / Beth Nicholls)

01. Adobe Firefly

First up, I headed to Adobe Firefly, which is said to be one of the most ethical AI image generators out there, equipped with a suite of generative tools and a data set trained only on open-source images, plus content that is no longer under copyright, and content from Adobe Stock.

I thought Firefly would be perfect for designing my photography logo, considering that as a content creator myself, the last thing I want to be doing is stealing work from another artist without even realising it. But, unfortunately, Adobe Firefly really didn’t understand the assignment here and struggled so badly with my logo. 

I started with a simple text prompt: ‘A photography logo for bethshootsbands’, and what resulted was chaos fuel (and a lot of men). Have a scroll through the image gallery below and you’ll see what I mean. I’m not trying to imply that Firefly is at all sexist here, but c’mon. Women are photographers too. 

I had a play around with some of the different art styles available, changed the format from photo to art, turned down the visual intensity slider, and even reverted to Firefly Gen 1 instead of 2 – which was much better for making logo and graphic design-type projects. 

I had a lot of fun with Firefly but if this experiment taught me anything, it’s that graphic designers and typographers really don’t need to worry about their jobs, as these AI generators just can’t seem to get text right, at least not on the first go. 

Adobe Firefly 5/10 (sorry)

AI Photography logo: Stable Diffusion

AI Photography logo made by Stable Diffusion (Image credit: Creative Bloq / Beth Nicholls)

02. Stable Diffusion (Dream Studio)

I next moved on to Stable Diffusion’s Dream Studio generative AI model, created by Stability AI, which offers extremely surreal images based on even the simplest of text prompts. I started with the same basic prompt as Firefly, and the first few results were a little ‘meh’ with misspelt text. 

I also had to specify that I wanted a DSLR or mirrorless-style camera for the logo, as it always defaulted to a traditional film camera which I rarely use for my commissioned work. 

Once I started tinkering around with the prompt wording and setting styles, this quickly became one of my favourite image generators to use. These prompts gradually evolved from: ‘A simple photography business logo with the text ‘bethshootsbands’ into: ‘A professional-looking photography logo with the text ‘beth shoots bands’ and a DSLR camera girl with red hair’ – with the setting’s style selected to anime (see final results below). 

This anime style was a game-changer in creating my logo. While the images were obviously way too exciting and animated to be my actual photography logo, I like them and am so impressed with how these came out after a few attempts and tweaks. I also found that separating ‘Bethshootsbands’ into separate words helped the AI incorporate them better into the generated image. 

The generated images all featured girls (even when ‘girl’ was not in the prompt) despite whichever art style was selected. This made me feel validated as a female photographer, but it isn’t so great for any male photographers wanting representation. Maybe the AI interpreted my name (Beth) as more feminine? Anyway, I loved using this generator and had a lot of fun with it. 

Stable Diffusion 9/10 

AI Photography logo: Bing AI

AI Photography logo made by Bing AI (Image credit: Creative Bloq / Beth Nicholls)

03. Dall-E 2

Now this one was a mess. I didn’t spend too long using OPenAI’s Dall-E 2 image generator as frankly I was a little scared by the results. Not only did this AI also really really struggle with text, but I’m not even sure that what it generated were real images let alone a solid logo. It looked like someone had been taking photos through a peephole? Of scary people with blurry faces? No thanks.

 I don’t think I’m ever using this AI generator again. 

DALL-E 2 1/10 

AI Photography logo: Bing AI

AI Photography logo made by Bing AI (Image credit: Creative Bloq / Beth Nicholls)

04. Microsoft Bing AI 

The generative AI from Microsoft Bing pleasantly surprised me. I already had high hopes that this generator would do well, given that it kicked off the hugely popular Disney Pixar AI pets trend that we reported on last year. I started off with the same basic prompt as Firefly and Dream Studio, and straight off the bat, the very first batch of images got it so right

Although I was already happy with the first logo designs, I tried out a few more increasingly detailed prompts with Bing to see what this generator was capable of. These included: ‘A simple photography logo with the text ‘bethshootsbands’ and a digital camera on a black background’, as well as ‘A professional-looking photography logo with the text ‘beth shoots bands’ and a DSLR mirrorless camera’. 

I absolutely love these results! Even though Bing struggled with the text too, it’s the only image generator out of the bunch I used that did manage to get my logo text Bethshootsbands right on most occasions without any error. I also tried out adding ‘Anime-style’ to the end of a few prompts just to see if it would work, and it did! 

In terms of user-friendliness compared with helpful settings and overall functionality, I think Bing won the challenge here, offering several very useable logos that could genuinely work for my photography business. 

Microsoft Bing AI 11/10 

AI Photography logo: Bing AI

AI Photography business card made by Bing AI (Image credit: Creative Bloq / Beth Nicholls)

This was a really fun experiment to kickstart the morning, and although I now have some genuinely viable logo options, I don’t think I’m going to use any of them without cleaning them up a bit using Photoshop, or seeking out the help of a professional graphic designer to help me get the logo I actually want. 

I think the takeaway from this article should be that although AI can be a fun and easy way to get free assets for your business, it will never compare to the level of thought, connection, artistry, and detail that working with a graphic designer or digital artist can provide. 

This experiment gave me a ton of inspiration and placement ideas to inform a “real” artist of what I want for my logo, and that’s what I think AI should be used for. To generate and prompt your own ideas. For more idea generation, see our best logo designers.

Century-old Formosa photographs by French military officer to go on show

Century-old Formosa photographs by French military officer to go on show
  • Staff writer, with CNA

The National Center of Photography and Images (NCPI) is presenting an online gallery featuring photographs taken by a French military officer during his visit to Taiwan over a century ago, when the nation was known as Formosa and under Japanese rule.

The gallery titled “Memories from Formosa and the Pescadores Islands” showcases photographs taken by Claude de Rarecourt de la Vallee, who was a lieutenant colonel and the count of Pimodan.

Born in 1859, the French nobleman was a military attache with the French embassy in Tokyo during the 19th century and was invited by Japanese general Kawakami Soroku to tour Taiwan and the outlying Penghu islands in 1896, one year after they were ceded to the Empire of Japan by the Qing Dynasty.

Photo courtesy of the National Center of Photography and Images via CNA

After arriving at the Port of Keelung, he visited several other areas, including present-day Taipei, Hsinchu, Taichung, Changhua, Yunlin, Chiayi, Tainan, Kaohsiung and Magong City in Penghu.

Accompanied by his Japanese hosts during the trip, he was moved by the scenes of ordinary people going about their daily lives, such as farmers toiling in the fields with their buffalo, as well as activities at traditional buildings and temples.

The count of Pimodan later wrote a memoir about his trip and produced an album that included 54 photos made with the collotype technique, images that he gifted to those who hosted him, the NCPI said.

Collotype is a photographic printing process invented in 1855 to print images in a wide variety of tones without the need for halftone screens. The majority of collotypes were produced between the 1870s and the 1920s.

The national center also said that after visiting Taiwan, he also visited other regions in Southeast Asia to observe how Japan, France and Britain ruled their colonies.

The online gallery can be viewed at https://bit.ly/3TSwX3U.

Comments will be moderated. Keep comments relevant to the article. Remarks containing abusive and obscene language, personal attacks of any kind or promotion will be removed and the user banned. Final decision will be at the discretion of the Taipei Times.

Exploring elk, skunks, & wildlife photography with TWRA

Exploring elk, skunks, & wildlife photography with TWRA

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Go Behind the Scenes With an NFL Team Photographer on Game Day

Go Behind the Scenes With an NFL Team Photographer on Game Day

NFL

The Los Angeles Chargers have revealed what game day is like for its team photographer Mike Nowak in a fascinating behind-the-scenes video.

Nowak is in his 25th year and has shot a staggering 524 games in a row. But the lens was flipped on him for a short documentary following him around on game day.

The level of preparation is inspiring for any shooter as Nowak arrives at 07:00 on game day to make his inventory checks as he attempts to cover as much of the event as possible.

“It gives us a little time to set up and if there are any problems we can fix them,” Nowak explains in the video. (Unfortunately the full video cannot be embedded so PetaPixel has linked to it instead).

“We can get into situations where one of my clamps isn’t working, one of my transmitters, the batteries are dead, can’t find the ladder — photography is basically just problem-solving.”

Nowak appears to be using a Canon 1D with all manner of lenses including a 400mm and a 600mm, wide lenses, 70-200mm, and his personal favorite: a 135mm f/1.8.

Nowak explains that with practice, he can predict where the quarterback Justin Herbert is going to throw the ball by “looking at his eyes and his body language” and switching cameras from a 400mm to a wider lens during a play. The 400mm is for capturing the throw and the wider lens capturing a celebration — if it all goes to plan

NFL celebration

On game day, Nowak sets up remote cameras and also uses a utility belt that stores extra batteries, flashguns, and water.

After taking a few shots of player’s jerseys and an empty locker room inside the SoFi stadium, the players begin arriving with Nowak on hand to follow them. All the time as he’s shooting he can wire the photos to a dedicated picture editor.

“This is set up to a dedicated web link, we have a lot of bandwidth so we can send photos throughout the game really quick,” he explains.

“I let the editors pick out the best one. I’ll get down low, I’m shooting really shallow depth-of-field. Some of these I know will look better in black and white.”

Football catch

The full video is well worth checking out to see how a consummate professional like Nowak does his job.


Image credits: Los Angeles Chargers

AI Background Generators

AI Background Generators

For freelancers, small business owners, and students, professional photography services can often be out of reach due to cost constraints or lack of specialized equipment – Generatebg disrupts this barrier by leveraging the power of AI to transform amateur photos into stunning, professional-grade images.

Whether it’s product photos for an e-commerce website or headshots for a resume, Generatebg offers an accessible solution for individuals seeking high-quality visuals on a budget. The process is simple: upload a clean image with a clear subject and background, describe your preferred background, and let Generatebg’s AI algorithm work its magic. With the ability to generate realistic, high-resolution backgrounds, this tool empowers users to create visually appealing content without the need for expensive photography equipment or professional services. This innovative application of AI showcases its versatility in streamlining workflows and democratizing access to professional-grade visuals for a wide range of users.

Image Credit: Generatebg

Local Photographer Randy Robbins Clinches Top Honors in Prestigious CA Wildlife Photo Contest… Again!

Local Photographer Randy Robbins Clinches Top Honors in Prestigious CA Wildlife Photo Contest… Again!

In yet another remarkable achievement, local photographer Randy Robbins has secured a prominent position in the California Wildlife Photo of the Year contest. This time, his captivating shot of a Barking Gray Fox, titled “What does the Fox Say,” has earned him the honors. While the top spot was claimed by a mesmerizing shot of burrowing juvenile owls, Robbins’ fox photograph secured a well-deserved spot among the top three selections.

This isn’t Robbins’ first rodeo in the spotlight – his eagle shot, though not a winner this time around, reached the finals. Robbins expresses gratitude for having his work recognized, stating, “It’s an honor to have one of mine selected as one of the top 3.” This marks his second “top 3” finish in the competition.

Robbins has been a consistent participant in the California Wildlife Photo of the Year contest, with an impressive track record. Over the past few years, five of his images have made it to the finals, with the first one earning him the coveted overall winning title in 2019.
Robbins’ winning shot of the Gray Fox was captured just outside of Susanville’s city limits, as stated by Robbins, who is renowned for his deep connection with the local wildlife and their natural habitats.

The 2023 Sierra Nevada Conservancy Win adds another accolade to Randy Robbins’ growing list of achievements, highlighting his skill in capturing the essence of the region’s diverse wildlife.

The overall winning image was selected by CDFW Director Charlton H. Bonham and honored in a ceremony at the State Capitol. The contest is co-hosted by CDFW and California Watchable Wildlife and is sponsored by the Sierra Nevada Conservancy, Out of This World Optics, Chirp Nature Center, and Abbey House Inn.

As we celebrate Robbins’ success, his dedication to preserving and showcasing the beauty of our local fauna remains a source of inspiration for aspiring photographers and nature enthusiasts alike. We eagerly anticipate more captivating moments frozen in time through the lens of Randy Robbins Photography.

Barking Gray Fox

Susanville, Lassen County

Credit: Paulette Donnellon

Four Juvenile Burrowing Owls –

CAWW viewing site

Sony A1 478mm F6.3 1/500s ISO 1000

Great Blue Heron & Iris

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image

In pictures: when Spike Jonze met Björk

In pictures: when Spike Jonze met Björk

A new exhibition and digital zine shines a light on unseen photos from the iconic 1995 meeting

15February 2024

Almost 30 years ago, in 1995, Spike Jonze met Björk for the first time at the Chateau Marmont in Los Angeles, where the musician was staying in preparation to shoot their iconic “It’s Oh So Quiet” music video. Their connection, the filmmaker says, was “instantly natural”, and in their first few hours together he would go on to shoot thousands of photos of her for the now-defunct Detour magazine. Only a few of these images ever saw the light of day, however, until now.

Humberto Leon – the founder of Opening Ceremony, turned restaurateur – met Jonze at a Christmas party in 2008, and the pair quickly became close friends and collaborators, working on joint clothing collections, a play, a musical, and various other projects. More recently, Leon was helping Jonze to organise his archive when he stumbled on the outtakes from the historic Björk photoshoot. “I felt like I just got tickets to the most incredible cultural museum,” he tells Dazed.

Now, Leon is helping to bring a broader selection of the photos – more than 25 of them – into the public eye, via an exhibition at his recently-opened restaurant and gallery space in Los Angeles, Arroz & Fun. Accompanied by a commemorative printed and digital zine (downloadable now via WeTransfer) The Day I Met Björk gives an insight into an iconic part of the Björk canon, with a conversation between Jonze and Leon offering an even deeper dive into the story behind the shoot.

The images themselves are the real star of the show, of course, with the “otherworldly” soon-to-be-superstar shown sipping her morning coffee, jumping on the bed, bundled in blankets, and floating (fully clothed) in the hotel pool. Take a look at some of the highlights in the gallery above, and read Dazed’s conversation about the exhibition with Humberto Leon below.

In the zine, you talk about growing up in the 90s – what did Björk and Spike Jonze’s work mean to you then? 

Humberto Leon: This was pre-internet, pre-cellphone, pre-iTunes. You found your culture through music, and music videos had a profound impact on everything. I knew Björk’s work from the Sugarcubes, but when her Debut album released it was refreshing and amazing. She was a fashion icon and everything she did and wore was mind-blowing to the 18-year-old me. Spike had done the Beastie Boys and I was instantly a fan.  Everything Spike did was epically mind-blowing, simple, heartfelt… and above all it was always storytelling that I was amazed by!

How has your perspective on Spike’s work changed since becoming friends and collaborators?

Humberto Leon: Spike is forever evolving as an artist and has no fear entering any realm. It’s been both inspiring and humbling to call him a friend and collaborator. He constantly inspires me and we have a lot of fun working together. All the work that we have done together really comes down to two friends whose conversations come to life.

And has the way you feel about Björk’s work changed in the last 30 years?

Humberto Leon: Björk is one of the most important artists of our generation. She is unique and has a sensibility that continues to empower and grow as she evolves.

Can you recall the moment you first stumbled on the images in Spike’s archive? How did that feel?

Humberto Leon: I felt like I just got tickets to the most incredible cultural museum. I asked to see his archives because I wanted to do a collection based on his photos.  He showed me his storage and I wanted to dive in and help organise. I discovered the past through his incredible lens and it was truly, truly incredible.

Do you have a favourite image from the archives?

Humberto Leon: There are so many eras that it’s hard to choose a favourite. From BMX, skate, and music videos, [to] movies, photoshoots and commercial work, they all have the same sense of storytelling. My favourite photos are some that Spike’s mum shot of him when he was a kid.

I loved that [the shoot] was the first day they met, knowing that they are such good friends now. Through the photos you just see the amount of trust Björk had with Spike right away” – Humberto Leon

In the zine you talk to Spike about how the photoshoot came together – what detail stuck with you most?

Humberto Leon: I loved that [the shoot] was the first day they met, knowing that they are such good friends now. There are so many rolls of film from this day and through the photos you just see the amount of trust Björk had with Spike right away. It’s very endearing.

What makes Arroz & Fun the right place to finally unveil these unseen photographs? 

Humberto Leon: Arroz & Fun is a café concept by me and my family, and I want it to be a place where people can enjoy great food but also a place where they can discover culture. This debut exhibition will open up the space as a place to view fun things that might not be seen otherwise. More to come…

The Day I Met Björk runs at Arroz & Fun from February 15. The accompanying zine is now available to download via WeTransfer, here.

Las Vegas Headshot Photographer Christian Purdie Transforms Headshot Photography with Classical Lighting Techniques

Las Vegas Headshot Photographer Christian Purdie Transforms Headshot Photography with Classical Lighting Techniques
Las Vegas Headshot Photographer

Las Vegas Headshot Photographer

Corporate Headshot Photographer

Corporate Headshot Photographer

Headshot Photographer

Headshot Photographer

Las Vegas Photographer uses classical lighting, capturing subjects with sophistication using chiaroscuro and Rembrandt techniques.

LAS VEGAS, NV, UNITED STATES, February 15, 2024 /EINPresswire.com/ — Christian Purdie Photography, a leading name in the world of professional headshot photography, is proud to announce a new approach to their craft. Elevating the art of personal, actor, and corporate headshot photography, Christian Purdie Photography is now incorporating lighting techniques inspired by classical paintings, bringing a timeless and sophisticated quality to their headshot sessions. Seamlessly weaving the timeless lighting styles of painting masters into their contemporary approach. Specializing as a headshot photographer, Christian Purdie, and his team skillfully apply techniques inspired by artistic luminaries like Rembrandt and Caravaggio to elevate their work to an unparalleled level of artistry. Through the adept use of chiaroscuro and Rembrandt lighting, they craft headshots that not only capture the essence of their subjects but also add a touch of classic sophistication to the modern corporate image.

As a prominent corporate headshot photographer in Las Vegas, Christian Purdie Photography understands the significance of merging classical aesthetics with the demands of the business world. The incorporation of painting master’s lighting styles allows them to create headshots that transcend the ordinary, presenting professionals in a unique and compelling light. In a city known for its dynamic energy and diversity, Christian Purdie Photography’s ability to harmonize the age-old techniques of the masters with the contemporary needs of corporate clients establishes them as a go-to source for individuals and businesses seeking headshots that exude both timeless elegance and modern professionalism in the vibrant backdrop of Las Vegas.

In an industry where innovation has stagnated and everything is starting to look the same, Christian Purdie Photography stands out by drawing inspiration from the masterpieces of classical art. By carefully studying the lighting techniques used by renowned painters throughout history, Christian Purdie has developed a unique approach that infuses his headshots with a sense of artistic flair and classical elegance.

“I’ve always been fascinated by the interplay of light and shadow in classical paintings. It adds depth and richness to the truly captivating subjects. I wanted to bring that same level of artistry to modern headshot photography,” says Christian Purdie, the visionary behind this innovative approach. With a commitment to delivering headshots that not only capture the essence of the individual but also reflect a timeless aesthetic, Christian Purdie Photography has invested in state-of-the-art lighting equipment and a meticulous understanding of the nuances of classical lighting. This dedication ensures that every client receives a headshot that goes beyond the ordinary, creating a lasting impression in the professional realm.

The classical lighting techniques employed by Christian Purdie Photography working as a Las Vegas headshot photographer bring out the best in every subject, highlighting their features with a natural and flattering glow. This attention to detail sets Christian Purdie Photography apart, making them the go-to choice for professionals seeking headshots that stand out in a competitive market.

In addition to the classical lighting approach, Christian Purdie Photography offers a range of customizable packages, ensuring that clients receive a tailored experience that meets their specific needs and goals. Christian Purdie Photography remains dedicated to delivering exceptional results, Whether for corporate profiles, acting portfolios, or personal branding.

For more information about Christian Purdie Photography and their innovative approach to headshot photography, please visit www.christianpurdie.com.

About Christian Purdie Photography:
Christian Purdie Photography is a leading Las Vegas-based photography studio specializing in headshots, portraits, and corporate photography. With a commitment to delivering high-quality, professional images, Christian Purdie Photography combines technical expertise with artistic vision to create stunning visuals that leave a lasting impression. Christian Purdie Photography serves a diverse clientele, including professionals, actors, models, and individuals looking to enhance their personal and professional image.

Christian Purdie
Christian Purdie Photography
+1 702-530-4384
email us here
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What does it take to be a headshot photographer?

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The rising censorship of Berlin’s art scene

The rising censorship of Berlin’s art scene

The German authorities have been coming down hard on expressions of Palestine solidarity, with scores of events being cancelled. We spoke with some of the cultural workers who are resisting

15February 2024

Perhaps more than any other country in the West, Germany has responded to the resurgent Palestine solidarity movement with a campaign of censorship and repression. This has taken many forms, from a wave of police brutality directed – primarily – against its Arab communities, to the exercise of cultural power. The language of ‘cancellation’ has become tainted in recent years, bringing to mind right-wing celebrities complaining about people being mean to them on Twitter, but in the German context its meaning is entirely literal: hundreds of events – including talks, film screenings and exhibitions – have been cancelled in recent months, either because they concerned Palestine directly or because the artists involved had expressed pro-Palestinian views elsewhere (a new Instagram account – Archives of Silence – provides an exhaustive catalogue of these incidents).

These efforts have succeeded in creating a chilling effect, up to a point, but many of Germany’s artists are fighting back. We spoke with members of the new organisation Art and Culture Alliance Berlin (ACAB) and Louna Sbou – the director of the cultural centre Oyoun, which has recently had its funding cut – to discuss the importance of Palestine solidarity, why the authorities are taking such a hard line against it, and what this tells us about the deep divisions at the heart of German society.

“The silencing of pro-Palestinian voices has been going on for a long time, and unfortunately it’s been highly effective,” the ACAB organisers, who asked to be quoted collectively, tell Dazed. Since 2019, the German government has classified BDS – a boycott movement aimed at pressuring Israel into complying with international law – as antisemitic, and a number of regional parliaments have introduced measures which severely restrict its operation. But while the current wave of censorship isn’t anything new, it is more intense than ever before.

Last month, the Berlin senate rushed through a new “anti-discrimination clause”, which would require recipients of cultural funding to renounce “any form of antisemitism according to the International Holocaust Remembrance Alliance’s [IHRA] definition of antisemitism.” This may sound reasonable, but the IHRA definition is controversial and highly contested. According to its detractors, it is vague, unclear, and open to abuse as a tool to shut down criticism of Israel: both Amnesty International and Human Rights Watch, for example, have been accused of antisemitism using the IHRA definition after writing reports which described Israel as practising apartheid. Even one of the people who originally drafted it – American attorney Kevin Stern – has since argued that it is being misused to suppress political speech.

Many artists in Berlin understood the proposed clause as a defacto loyalty pledge, an attempt to strong-arm them into remaining silent on Palestine and to cement the idea that criticising Israel is antisemitic – all at a time when Gaza was facing (as it still faces) what many legal and human rights experts have described as a potential genocide – a charge which was recently judged plausible by the International Court of Justice. The proposal provoked a wave of protests – at one ACAB demo, artists gathered outside the senate and signed a giant mock contract with “discrimination clause” blazoned across it – and it was eventually repealed. But while this result is a testament to the movement’s efforts, no one involved considers it a final victory. The senate has since indicated that it is looking for ways to reintroduce the clause, and even if its efforts prove unsuccessful, the censorship of artists in Germany is likely to continue – just in a more underhand, informal and insidious way. “The conditions of silencing are still there, and they’re trying to take this to the federal level. There’s just so much still to be done,” the ACAB members say.

“There were so many people I know who said they supported our cause, but didn’t want to sign any letters because they were afraid to make their lives even more unstable” – a member of the Art and Culture Alliance Berlin

The dream of a cheap, bohemian life in Berlin is not what it used to be, which makes artists especially vulnerable to coercion by the state and the ideologically driven way in which it dispenses cultural funding. Rent is still OK if you’re lucky enough to secure an old contract, but it’s getting more expensive for most people, and the war in Ukraine has led to a soaring cost of living. After a brief splurge of arts funding during the pandemic, the state has been cutting back on costs, which makes public grants more elusive than ever. These conditions have made many cultural workers reluctant to speak out on Palestine, because they feel that their basic survival is at stake – financial precarity can have as powerful an impact on freedom of expression as direct forms of censorship. “There were so many people I know who said they supported our cause, but didn’t want to sign any letters because they were afraid to make their lives even more unstable,” the ACAB members say. “On the other hand, there are people who are staying silent because they don’t really care and are motivated by cynical careerism.”

This campaign of censorship is mostly being imposed from above, but that’s not the whole story. While there is a chilling effect around Palestine in almost every country in the Western world, Germany is different in one key respect: even young people on the left are – almost unanimously – committed to defending Israel (if they’re white, anyway). The UK and the US are both oppressive environments for Palestine solidarity, but it would be unusual to encounter a self-identified leftist who wasn’t at the very least calling for a ceasefire – in supposedly radical Berlin, it’s the other way around.

“I think what distinguishes Germany from other countries, with the possible exception of Austria, is the distortion of the legacy of the Holocaust,” one of the ACAB organisers tells me. “The German left has, for a long time, dedicated itself specifically to organising against antisemitism, with the understanding that mainstream German culture remains antisemitic, which in many ways it does.” The prevalence of this tendency, however well-intentioned, has created a stark divide between locals and migrants on the issue of Palestine, even in progressive circles. Only an “exceedingly small minority” of the artists involved with ACAB are German, and of those who are, they are mostly people of colour.

“The level of mobilisation against antisemitism that’s happening now within the German left is missing the mark,” they say. “I’ve had queer, left-wing German friends try to explain to me why ‘the German context’ is so complicated. I’m Jewish, and it’s really patronising to have Germans try to educate me on the history of the Holocaust as though I don’t understand it, as though I’m somehow an agent of antisemitism, as though they need to teach me how to be a better Jew.”

Over a third of the people who have been ‘cancelled’ in Germany for alleged antisemitism have themselves been Jewish, as reported in the Guardian this week, which reflects a larger pattern. According to ACAB, artists who are migrants or from ethnic minority backgrounds are more vulnerable to censorship, and the repression of Palestine solidarity – whether through police brutality or legislative efforts – has the enthusiastic backing of the country’s far-right, including the AFD, a political party that is experiencing a surge of popularity and which recently advocated the mass deportation of migrants from Germany. Last month, when around 350,000 Berliners gathered to march against the AFD, the pro-Palestine bloc was “spat on, told to go back where they came from, insulted, faced with violence and cordoned off by the police,” according to ACAB. This harassment was being carried out by people who were protesting against racism, which makes you wonder: what exactly is it that they object to about the AFD? They share so much in common.

One of the most casualties of the recent spate of censorship is Oyoun, an award-winning cultural venue which centres decolonial, queer feminist and migrant perspectives. “The body of work stems from whatever we as marginalised people, as migrants, as queers, as Muslims, as Jews, find necessary to discuss,” Sbou tells Dazed. For most of its existence, Berlin’s local government considered Oyoun to be a flagship project, and a shining example of their own (as it turns out, deeply shallow) commitment to diversity and inclusion.

“I’ve had queer, left-wing German friends try to explain to me why ‘the German context’ is so complicated. I’m Jewish, and it’s really patronising to have Germans try to educate me on the history of the Holocaust” – a member of the Art and Culture Alliance Berlin

Last November, Oyoun hosted an event with the Berlin chapter of Jewish Voice for Peace (an anti-Zionist Jewish organisation based in the US). This was originally intended to be a celebration of the group’s 20th anniversary, but after the events of October 7, they decided to host a vigil instead – there was music, speeches, and food in the tradition of the Shiva (a Jewish mourning ritual). “It was a much-needed event, where people could get together, sing, grieve and mourn,” Sbou says. Shortly after, and as a direct result, the senate announced that it was cutting Oyoun’s funding. The decision to host a Jewish event by a Jewish organisation was, according to culture senator Joe Chialo, a form of “hidden antisemitism.”

This was not the first time that Oyoun had gotten into trouble for hosting Jewish Voice for Peace,  which has been deemed controversial by the German authorities for its critical stance towards Israel and its refusal to denounce BDS. The senate first demanded that Oyoun cancel an event with Jewish Voice back in 2021. When Sbou suggested that this was censorship, the senate staff agreed but ordered her to cancel the event nonetheless. On this occasion, Oyoun decided to comply, due to concerns about losing their funding and the effect this would have on their staff, many of whom would risk deportation if they lost their jobs. So when it came to last November, they were well aware that they were taking a risk by hosting the vigil but decided that it was important to take a stand.

Oyoun has now been left almost entirely without income, and the senate has rebuffed all of their attempts at mediation; when Sbou personally approached Chialo at a public event, hoping to resolve the issue, he blanked her and hurried away. Oyoun has since taken the senate to court, in a complicated process which is still underway – there is a reasonable chance that a judge will rule that their existing contract is legally binding.

There has also been a groundswell of support in Berlin: an open letter and petition to save Oyoun garnered 14,000 signatures in two weeks, and a crowd-funder for its legal fees has raised close to €100,000. The artistic community is watching the case closely, in the belief that the outcome – whether good or bad – will act as a precedent. If this form of censorship is deemed acceptable, Sbou has no doubt that local governments across Germany will follow suit, and that migrant-led spaces will be especially vulnerable.

Thanks in part to the efforts of the ‘Strike Germany’ campaign, several international artists have recently boycotted the country’s cultural institutions, whether that’s authors cutting ties with their publishers, artists turning down grants or DJs pulling out of festivals. Germany is not quite a pariah, but its standing has taken a blow. “I’ve been seeing that it does make an impact, which might lead certain people in power to reflect on their actions,” says Sbou. Berlin has long traded on its reputation as a centre of political radicalism, liberal social attitudes and daring, anything-goes creative expression. The hollowness of this image – never the unvarnished truth to begin with – has been made clear. The authorities are clearly unmoved by the massacre of thousands and displacement of millions of Palestinian civilians, but the decline of Berlin’s cultural prestige might prove more difficult to swallow.