Photography

Powell photographer wins grand prize in state contest

Powell photographer wins grand prize in state contest
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POWELL — Rob Koelling’s love for wildlife photography is well known in the Cowboy State. Numerous publications and exhibits feature his awe-inspiring artwork, largely of Wyoming’s avian species.

He doesn’t take it personally when called a bird nerd — it’s a badge of honor for those who are helplessly captivated by feathered species. However, few know of his other talent — one which takes a great deal of discipline, dedication and self-control: Keeping secrets.

Early in December Koelling received a call from a representative at the Wyoming Game and Fish Department letting him know a photograph he entered in the Wyoming Wildlife Magazine annual contest had won the coveted grand prize.

More than 3,000 photos were entered this year; his photo of a hummingbird with a blossom stuck on her beak was judged the best of the best.

But the caller also requested he keep it to himself until the February edition was distributed.

“Essentially they said, don’t tell anybody. God, that was hard to sit on,” he said in his first interview after receiving clearance to share his news.

Not a bad result for a guy who had second thoughts about entering this year’s competition. He has entered every year for the past seven and was starting to wonder if he’d ever have a chance for a major award.

“I’ll send something in that I think is maybe some of the best work that I’ve ever done, and nothing. I’ve had a couple of honorable mentions over the years. But this was a huge surprise,” he said while working on his upcoming book featuring birds in the Greater Yellowstone Ecosystem and Big Horn Basin.

Koelling has long been interested in bird photography, but really ratcheted up his efforts a decade ago after retiring from a long career as an English professor, including decades at Northwest College.

He purchased a stout truck shortly after teaching his final class to increase opportunities to go wherever the birds lead him. He has tested that limit, ending with the truck in a repair shop more than once.

But he persists daily, often traveling with Tesla, his sweet 12-year-old golden retriever.

He didn’t have to go far for the winning photo. The brief moment a rufous hummingbird with a Mexican cigar plant blossom stuck on her beak was taken in his own backyard.

Koelling is locally famous for his photographs of hummingbirds, many of which he posts on social media in the dead of winter to give his friends a happy visual break from the reality of the region’s typical gray skies, snow and cold.

The winning moment he captured in 1/2500th of a second wasn’t the first time he had seen a blossom stuck to a hummingbird beak, but it was the first time he managed to put all the pieces together, complete with the pleasing aperture-softened background of daisies on the berm.

The garden was designed and planted to attract birds.

After his wife Deborah, also a former NWC professor, was diagnosed with amyotrophic lateral sclerosis (Lou Gehrig’s Disease), she knew it would soon be hard for Rob to get away for frequent wildlife photography trips due to the amount of care she would need. So, in a loving gesture, she designed the backyard garden to attract birds throughout the year specifically for her loving husband.

She died on Nov. 4, 2018, at the age of 66.

Yet the garden still draws in many species of birds.

“I feel like Deb is a part of everything that I do,” he said. “I think she would be pleased.”

Uncommon photographs of common birds

Koelling is working on a book of what he calls uncommon photographs of common birds, drawing from more than 30,000 images taken over the past decade.

“It’s not a handbook. It’s not comprehensive. As a matter of fact, it’s easier for me to talk about what it’s not than what it is. But, what it is, is a variety of photos of ordinary birds to give us an opportunity to maybe see them in ways that we haven’t seen them before,” he said.

The book won’t read like most birding publications. The majority of books on the market are written for identification purposes. Koelling’s desk is littered with the best of them.

Instead, he is concentrating on things he finds interesting, including humorous interpretations of the subject matter. His passion for all things feathered comes from a deep respect for his subjects and his love for their beauty and character.

His level of photography skill isn’t easy to achieve. Despite the advances since the days of film and darkrooms, photography hasn’t become much easier or cheaper. Wildlife photography often requires long (pricey) lenses and complicated (pricey) cameras. It also requires hours in the field and a fast computer equipped with sophisticated (pricey) software.

It also takes lots of time.

Wildlife rarely presents itself for a portrait session. Birds are especially hard to photograph. Even if you see a bird in the distance, by the time you can get close enough, sneaking to a good vantage point, they easily and often simply fly away. Capturing a bird in flight is also difficult and rarely works out when the bird is flying, fleeing the presence of humans in their broad personal space.

Koelling is on the road most days scouting for new species and improved images of species he has already photographed.

He doesn’t discriminate. Even common birds like American robins, or hated species like invasive European starlings, can make him stop to lift his hefty gear toward the sky. They might look plain to the eye, but the details and subtle colors seen in his photographs highlight their glorious nature.

“When I started looking at [birds], I was surprised by what I saw,” he said. “I wasn’t seeing with my eye what the camera was capturing. I remember the first time I looked at a photo of a kestrel. I mean, I’ve seen this little brown bird sitting on a wire and when I zoomed in and looked at it, I thought, holy cow, this thing looks like something that ought to live in the tropics. It has orange and blue and a striped face.”

He is constantly encouraging others to pick up a camera. Even if you don’t have the budget for top-end equipment, almost everybody carries a camera.

“There’s an old saying that the best camera is the one you have with you. Cellphones have wonderful cameras now. So if you want to get into this, it’s not a bad place to start,” he said.

But be warned, capturing a wonderful image — whether it’s of wildlife, landscapes or friends and family — can be addictive.

“The pleasure you get with seeing an image come out that you’re really happy with is worth it all,” Koelling mused.

A popular contest

While contestants came from far away places — often vacationers in the Cowboy State — six of the award recipients were from Powell. Another seven winners were from nearby communities in the Big Horn Basin.

It could be that having two national parks and countless outdoor opportunities makes finding awesome photographs fairly convenient. It is also a possibility that many local photographers have moved to Park County to be near charismatic critters and bucket-list landscapes.

Either way, becoming inspired by Northwest Wyoming’s natural wonders and western themes is pretty common.

With 3,023 entries vying for one of 99 places, from major awards to honorable mention (HM), regional photographers have made a large impact on the contest, winning about 15% of the available awards.

Big Horn Basin winners include Don Getty of Wapiti (Wildlife HM), Troy Powell of Powell (Wildlife HM), Randy White of Cody (Wildlife HM), Steve Propp of Worland (Wildlife HM), Tony Douzenis of Powell (Wildlife HM), Kathy Lichtendahl of Clark (two Wildlife HMs, Flora HM), Jay Mayes of Lovell (Wildlife HM), Kinley Bollinger of Powell (third place Recreation and two Scenic HMs), Christine Garceau of Powell (Scenic HM), Mark Davis of Powell (Scenic HM), Jim Gate of Worland (two Recreation HMs), Eric Janzer of Powell (Flora HM) and Anita Holdren of Cody (Flora HM).

“Photographers shared their lives and experiences the best way they can — through the camera lens,” said Wyoming Wildlife Editor Tracie Brinkerd in introducing the publication’s most popular edition of the year. “Some photographers spotted interesting animal behavior like a cow moose swimming with her calf as a grizzly approached, a hummingbird with a flower on its beak or lekking sharp-tailed grouse battling in the spring. Others adventured to beautiful locales to show Wyoming’s amazing scenery or stayed out late hoping to capture the northern lights on the few occasions they were visible in the Cowboy State this year.”

The contest was judged by three Game and Fish employees and two artists from Wyoming who brought their expertise to the table.

The publication also published a calendar from entries in a separate competition.

Don Getty is featured in March with a photo of a nanny mountain goat in the Beartooth Range and Amy Gerber is featured in September with a silhouette of a bull elk and December with a photograph of playful American river otters in snow on the banks of the Shoshone River.

Residents and nonresidents alike can enter the contests, but all photos must be taken in Wyoming.

To find information on how to enter the contest or subscribe to the magazine: wgfd.wyo.gov/ about-us/wyoming-wildlife.

To learn about Koelling’s garden, see powelltribune.com/stories/more-than-a-gardenformer-nwc-professor-turns-hisattention-to-the-birds,749.

One Year! Tracing the visual legacy of the miners’ strike

One Year! Tracing the visual legacy of the miners’ strike

“We always have to be aware of the enemy within, which is much more difficult to fight and more dangerous to liberty.” These are the words of Margaret Thatcher – words that leave a particularly sour taste when learning they’re in reference to the miners’ strike of 1984-85, used to describe communities coming together in resistance to their decimation, the removal of their primary source of income with nothing to replace it. It is quotes like these that make you realise how important grassroots documentation is, how important photography, as a medium, can be in highlighting the truth; police violence, batch cooking for hungry families and protestors huddled outside in winter, with little more than a jacket.

A new exhibition at the Martin Parr Foundation in Bristol has compiled photography from the year-long industrial action, as well as ephemera that played a role in widening awareness and showing solidarity, like badges, posters and banners. “Together, the works tell a story of the battle against Margaret Thatcher and the National Coal Board’s pit closures, but also display the imaginative ways people came together in defence of their communities and the powerful images of resistance and solidarity that live on today,” says the exhibition’s curator Isaac Blease. After collaborating with various museums, collections and individuals to source materials, the exhibition features work from a vast range of geographies and demographics, including the work of John Harris, Chris Killip, Jenny Matthews, Imogen Young and more.

For Isaac, one of the main strengths of the exhibition is how it demonstrates solidarity across communities. He highlights Brenda Price, who shot images of women in Nottinghamshire picketing, fundraising and organising food packages. Not only do they demonstrate community spirit, but the ways in which such images also countered stereotypical and reductive portrayals of women at the time. “As things get progressively more polarised today, I like to think these images remind of the importance of sticking together,” says Isaac.

Arsenal Player Turns Photographer After English Premier League Victory

Arsenal Player Turns Photographer After English Premier League Victory
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After a resounding victory against English Premier League rivals Liverpool, Arsenal’s Martin Ødegaard celebrated by indulging in some post-game photography.

London-based team Arsenal has one of the better-known photographers in Stuart MacFarlane who has previously appeared on PetaPixel after he was given the unusual task of giving the pre-game talk instead of the coach, which he delivered in an emphatic fashion.

And yesterday MacFarlane found himself on the other side of the lens after Norweigan player Ødegaard grabbed his camera while still celebrating on the field and began taking pictures of the photographer.

Ødegaard appeared to know what he was doing with the Nikon Z camera: after he pressed the shutter and showed MacFarlane the photo he had taken, he then expressed his displeasure at the shot and insisted they take it again.

Ødegaard ordered MacFarlane where to stand and how to pose much to the delight of the cheering home supporters who were lapping it up.

PetaPixel got in contact with Arsenal to see if Ødegaard has a photography interest but they did not respond as of publication.

Not Everyone Found it Amusing

Despite the seemingly celebratory moment after a hard-fought victory against league leaders Liverpool, not everyone was impressed with Ødegaard’s camera antics.

British pundit Jamie Carragher poured cold water on the happy moment, saying on Sky Sports, “Just get down the tunnel! You’ve won a big game, you’ve got the three points, you’re back in the title race, just get down the tunnel. I’m being serious, honestly.”

But Carragher’s bitterness may have something to do with him having played for Liverpool his entire career before he retired and was smarting from the defeat.

MacFarlane appeared to acknowledge Carragher’s comments in a post to his Instagram account on which the most liked comment was someone’s request for him to post the photo Ødegaard took of the photographer.

“That was such a wholesome exchange,” wrote one fan. “Always a pleasure watching you and your great relationship with the team Stu!”


Image credits: Sky Sports

The legacy of Black women photographers in 80s and 90s Britain

The legacy of Black women photographers in 80s and 90s Britain

Shining Lights: Black Women Photographers in 1980s-90s Britain brings together work by an “important and long-overlooked generation of artists”, says editor Joy Gregory. By highlighting the practices of these 57 photographers, many of whom are now in their 60s and 70s, Gregory hopes to give due recognition to an important chapter in the history of photography while helping others today to feel “empowered to pursue their dreams”.

The book is split into themed chapters filled with portfolios on individual photographers, testimonies, essays, and ‘roundtable discussions’. Its pluralistic approach was purposefully devised, with Gregory and associate editor Taous Dahmani striving to make the book a work of collaboration that truthfully reflected the photographers’ perspectives.

Top: Shirley, montage by Claudette Holmes, 1990; Above: From the series Untitled by Maxine Walker, 1987; All images from Shining Lights by Joy Gregory, Mack, 2024, courtesy the artists and Mack
Cowgirl, London from the series Cross Colour by Lola Flash, 1999

“As Black women we have constantly endured other people telling our stories or explaining to us what we mean. Voice is an essential aspect of this book, because for decades we have not been heard,” Gregory writes.

Among the book’s 57 featured photographers is Gregory herself, whose contribution to this period is relayed in the foreword written by fellow artist Sonia Boyce. The two met at the opening of the very first exhibition held by Autograph – also co-publisher of the book – in 1990. “Her relation to the camera – the mechanical eye –seemed to reflect surveillance, self-fashioning, and poetry,” Boyce writes.

Autoportrait by Joy Gregory, 1990/2006

Explaining the backdrop to the chosen period, Boyce says that the “groundswell of creative expression” during the 1970s, combined with the critical analysis of photography as a medium, laid some of the foundations for the following decades. But it appears that, more than anything else, this generation of artists was prolific thanks to the formal and informal networks established by the photographers themselves, from cooperatives to magazine publishing.

The book itself is the product of a journey dating back some 35 years, when Gregory and the late publisher Araba Mercer set about creating an anthology of Black women photographers, before their progress was curtailed by costs.

‘Design Cut’ haircut by Twin Barbers, Brixton by Carole Wright, 1992
Whitechapel Girls by Suki Dhanda, 1999

“The main inspiration for Araba and myself back in 1987 was the absence of books that showed our pictures and told our stories. Making this book has been a continuation of that DIY culture because today there is still nothing on the shelves and little included in the tomes compiled by experts beyond the same four or five repeated names,” Gregory writes.

“It has truly been a labour of love to address this unwritten story that should have always been a major chapter of late-20th-century British photographic history.”

Memories of You II by Menika van der Poorten, c. early 1990s
Her, from the series Black Beauty by Maxine Walker, 1991
Portrait of two girls from a series for fashion designer Wale Adeyemi MBE by Jennie Baptiste, 1995
Untitled, from the series Afro Hair and Beauty Show by Eileen Perrier, 1998

Shining Lights: Black Women Photographers in 1980s–90s Britain by Joy Gregory is published by Mack and Autograph; mackbooks.co.uk

Uncovering Britain’s Groundbreaking Black-British Women Photographers

Uncovering Britain’s Groundbreaking Black-British Women Photographers

February 05, 2024

Lead ImageEileen Perrier, ‘Untitled’ from the series Afro Hair and Beauty Show, 1998, from Shining Lights by Joy Gregory (ed.) (MACK, 2024)Courtesy of the artist and MACK

In Shining Lights, the “first critical anthology to bring together the groundbreaking work of Black women photographers active in the UK during the 1980s and 1990s”, a constellation of rarely-seen stars finally take their rightful place in the sky. Published by Mack Books and Autograph – previously known as the Association of Black Photographers – and edited and researched by influential photographer Joy Gregory and art historian Dr Taous Dahmani, Shining Lights offers a fascinating deep-dive into a vital period of photographic history. Besides photographs, the book features roundtable conversations, ephemera, and essays.

The genesis of Shining Lights originates with a friendship. In 1986, after Gregory moved to London to enroll in a photography course at the Royal College of Art, she met Araba Mercer, a young woman who was studying to be a librarian. Soon enough, the two were “hanging out in each other’s homes, drinking gallons of tea”. Eventually, they came up with the idea to publish a book on Black women’s photography. “As Black women, our work as artists and photographers was considered to be unimportant and appealing only to a limited audience of ‘our own community’,” writes Gregory in the book’s introduction. This myopic view often excluded Black women photographers from museums and galleries. “Books and magazines were often the only ways photographers could share their work. By producing publications, we were able to show what we were doing within our community, and to show that we existed, that we understood and could write about our context, and that the work we were producing was hugely varied.”

Due to cost constraints, that book never came to fruition. When Autograph invited Gregory to speak during an occasion to celebrate photographer Maxine Walker in 2019, Gregory was prompted to reflect on “the context in which we had both developed a practice.” “Maxine and I go back a really long time,” says Gregory. The two both worked at the North Paddington Community Art Room in the mid-80s and Walker helped Gregory secure her first job in the arts. Despite Walker’s significance – she created seminal self-portraits in her Untitled (1987) and Black Beauty (1991) series – Walker never got her due. “She had an accident in the early 90s and it really knocked her confidence,” explains Gregory. Walker was never the same again. “It was a really big thing for her to have an exhibition because she really was one of the pioneers of that time in terms of practice.” Like her peers Carrie Mae Weems and Deborah Willis, Walker laid the groundwork for an entire generation of Black women photographers.

As Gregory prepared for the talk, she found plenty of ephemera – leaflets, “DIY stuff” – but had difficulty sourcing Walker’s images. Walker is just one in a generation of Black women whose contributions to the practice of photography have been criminally forgotten, neglected, or ignored. Much of this has to do with a lack of preservation. Gregory cites Liz Ward, a librarian at Chelsea College of Arts, as an important archivist who started collecting material in the 80s. Gregory visited Chelsea in her search to generate material for what would eventually become Shining Lights. She went to the archives of Iniva, Goldsmiths, and Autograph as well. “There’s a lot of invisible work that goes on with doing a project like this,” says Gregory. “You have to take into account [that] not a lot of people are actually on the internet. They’re very suspicious of it. We’re dealing with a level of communication where people will happily write a letter or go on the phone.” Gregory took the old-fashioned, more personal approach, making house calls and even organising a tea party. “I went under a number of beds,” she says.

Some found revisiting the period in which they made the work traumatic. “Some people had quite chaotic lives,” Gregory explains. “It was quite hard for people to make any sort of living, particularly once various institutions started to have cuts or disappeared. People’s income went and they had to think quite differently about how they would make their way in the world.”

Shining Lights excavates the photographic practices and spaces outside “the white cube gallery” that allowed these artists to flourish. In the book’s roundtables, artists cite Camerawork, Photo Co-op, and Monocrone as a few locales that were crucial to their development. “People would be in their late twenties, thirties, and forties. They’d be thinking they’d be having families or did have families that needed to be supported,” says Gregory. “The dream of being a photographer is one that is very privileged. It was a very privileged moment at that particular time because the materials were quite expensive. Access was expensive and difficult, universities were not like they are now. To go to art school was a huge thing. And you’d need quite a lot of encouragement from your family,” Gregory elaborates.

“The book is just a starter. It’s the sharp end of the wedge, because there’s so much more to be said” – Joy Gregory

DIY, community-driven spaces and grassroots organisations were essential. “We’d support each other through these networks,” says Gregory. The diversity of backgrounds and experiences meant that there would be “huge discussions” and disagreements, but there was a general sense of coalition that came from a shared political position. “Blackness at that particular time in the UK was very different from the American version or even the British idea of Black today,” says Gregory. In the words of Paul Gilroy – whose writings shaped how many of these Black women thought about and approached their artistic practice – Blackness was not “a phenotype or a physical description” but instead an identity “collectively assembled in adverse circumstances and conditioned by the effects of systematic racism.” Shining Lights reveals the ways in which these women embodied intersectionality before the phrase came to be.

Shining Lights’s design reflects a deep care for not just the photographic material, but also the actual people who created them. In the table of contents, the books’ themes are highlighted in orange, a specific request of Gregory’s. “A lot of the women that worked in photography and a lot of my students in photography are really dyslexic or dyspraxic and they have some sort of difficulty with seeing lots of text,” Gregory says. As a text, it is extremely comprehensive. The work within is broken down according to ten themes, ranging from ‘Together: Community and Activism’ to ‘Exploring Process and Materiality’, and features multiple roundtables as well as portfolios from Carole Wright, Mitra Tabrizian, and Cristina Piza. One design element that couldn’t be included were biographies for each photographer. “As a young person, I’d find that really interesting, to think of somebody whose main practice was doing one thing to actually be doing something completely different 20, 30 years later,” says Gregory. Although the professions range – from psychotherapy to nursing to running an allotment – ”they’re very people-based,” she says.

Despite the efforts of Gregory and countless others, the archive still contains gaps. “I still work at the University of the Arts, London, which means I have access to all of the libraries. I worked at the London College of Printing, now the London College of Communication. I did that for ten years, from 1998 to 2008,” Gregory says. “Having access to that and not being able to find any material also drove me on to think about how you tell that story so it includes everything, [or] as much of that space as possible.” Despite the celebration and joy found in Shining Lights, there’s an underlying sense of grief, a knowledge that among the many images found are hundreds lost. “One of my biggest regrets is not being able to find Rona Harriet. I asked every person who was alive if they knew where she was. She’s so completely hidden from sight.”

The enthusiasm around the book’s release, however, is reassuring. Tickets for the launch, which takes place February 22, sold out within a few hours. Gregory hopes there will be an exhibition to coincide with the book’s publication. “The book is just a starter,” she says. “It’s the sharp end of the wedge, because there’s so much more to be said.”

Shining Lights: Black Women Photographers in 1980s–90s Britain, edited by Joy Gregory, is published by Mack, and is out now.

Harnessing the power of light diffusers in natural light photography

Harnessing the power of light diffusers in natural light photography

In the world of photography, light is the key element that can make or break an image. Natural light, with its warmth and authenticity, is often a preferred choice for photographers seeking to capture genuine moments. However, even the most beautiful natural light can be harsh and unforgiving at times. This is where light diffusers come into play as powerful tools for creating stunning visuals. Let’s explore the importance of using light diffusers in natural light photography.

Harsh natural light without diffuser

Understanding natural light

Natural light, provided by the sun, is a dynamic and ever-changing source. The angle, intensity, and color temperature of sunlight can vary throughout the day, influencing the mood and atmosphere of your photographs. While direct sunlight can create strong contrasts and deep shadows, diffused light offers a more even and flattering illumination.

Challenges of harsh light

Photographers often face challenges when shooting in harsh light conditions. The intense brightness can lead to overexposed highlights, loss of detail in shadows, and unflattering contrasts. This is especially true during midday when the sun is directly overhead. Without the right tools, capturing a well-exposed and balanced image in such conditions can be a daunting task.

Enter light diffusers

Light diffusers act as a transformative element between the harsh sunlight and your subject. These tools soften and spread the light, reducing the intensity and creating a more even illumination. The result is a flattering, natural-looking glow that minimizes harsh shadows and highlights, allowing photographers to capture the details and emotions of their subjects with finesse.

Light diffusers

Diffusion Panels: These are large, semi-translucent panels that can be positioned between the subject and the sun. They create a broad, diffused light source, perfect for softening harsh sunlight. A terrific way to buy a diffusion panel is as a 5-in-one diffuser kit.

Benefits of using light diffusers

  • Improved Skin Tones: Diffused light minimizes harsh shadows and reduces the risk of unflattering highlights, resulting in more natural and pleasing skin tones.
  • Enhanced Detail: By softening the light, diffusers help preserve and enhance the details in both the highlights and shadows of your images.
  • Versatility: Light diffusers are portable and easy to use, making them essential tools for photographers working in various settings, from outdoor portraits to product photography.
  • Artistic Control: Using diffusers provides photographers with greater control over the quality and direction of light, allowing for more creativity and expression in their work.
Using a diffuser to soften the harshness of the light for more even skin tone
Using a diffuser to soften the harshness of the light for more even skin tone

Summary

In the world of natural light photography, harnessing the power of light diffusers is a game-changer. Whether you are a portrait photographer aiming for soft, flattering light or a nature enthusiast seeking to capture the intricate details of your surroundings, incorporating light diffusers into your tool kit can elevate your photography to new heights. Embrace the versatility and creative potential that these simple yet effective tools offer, and watch as your images come to life with a beautiful, natural glow.

  • Model: Emily Reinhard
  • Makeup: Em Mrietta
  • Hair: Teighan Felton

WePresent | How photographer Qarim Zam captures the heart of Zanzibar

WePresent | How photographer Qarim Zam captures the heart of Zanzibar

Zam has a policy of asking a potential subject for permission to photograph them. Sometimes they say no, but most quiz him about what the photo is for before agreeing, satisfied with his answer. He doesn’t like to show people the photos on his phone before “the magic of Lightroom” but he often makes the trip out of town to print copies to give them once he’s pleased with the end result. If someone is interested in buying one of his images, he splits the profits with the people in the photo. It’s important to him to be respectful and keep good relationships with his community. “I want to keep things easy between us,” he says. “But most people like to show how they live so they’re happy to be photographed.” 

According to Zam, the creative scene in Zanzibar is small—it’s pricey and difficult to get your hands on an imported camera, and as he’s still starting out, he has to make time for photography in between other responsibilities. But he’s determined, and he hopes to make a career as a documentary photographer. “I’m not going to give up,” he says. One’s own backyard is often the perfect place to start—if you can really see what surrounds you.

The best of photography at India Art Fair 2024

The best of photography at India Art Fair 2024

Published on Feb 05, 2024 05:05 PM IST

India Art Fair 2024 saw its biggest edition, featuring 109 exhibitors and leading lens based artists Dayanita Singh, Gauri Gill and Raghu Rai among others.

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(L to R) Offset Projects’ founder Anshika Varma and artist Sheetal Mallar in conversation at the India Art Fair about Mallar’s book ‘Braided,’ which looks at inter-generational intimacies, ageing and maternal lineages.( Paroma Mukherjee/ Hindustan Times)
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Published on Feb 05, 2024 05:05 PM IST

(L to R) Offset Projects’ founder Anshika Varma and artist Sheetal Mallar in conversation at the India Art Fair about Mallar’s book ‘Braided,’ which looks at inter-generational intimacies, ageing and maternal lineages.( Paroma Mukherjee/ Hindustan Times)

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A visitor looks at immersive photographer Gauri Gill’s works at the Vadehra Art Gallery booth. Gill’s practice is guided exhaustive enquiries into rural, marginalised and indigenous communities in India. ( Paroma Mukherjee/ Hindustan Times)
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A visitor looks at immersive photographer Gauri Gill’s works at the Vadehra Art Gallery booth. Gill’s practice is guided exhaustive enquiries into rural, marginalised and indigenous communities in India. ( Paroma Mukherjee/ Hindustan Times)

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Artist and bookmaker Dayanita Singh presented unique, flexible structures that housed a selection of her photographic prints, with the one held in the groove on top best engaged while in seated conversation, highlighting the human scale of her works.( Paroma Mukherjee/ Hindustan Times)
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Published on Feb 05, 2024 05:05 PM IST

Artist and bookmaker Dayanita Singh presented unique, flexible structures that housed a selection of her photographic prints, with the one held in the groove on top best engaged while in seated conversation, highlighting the human scale of her works.( Paroma Mukherjee/ Hindustan Times)

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At the PHOTOINK booth, a visitor looks at ‘Assembly, 1952’ by Ahmed Ali. Created from his pioneering industrial work, this collage of probably the factory’s entire workforce, is a set of 96 photographs all shot at the Machinery Manufacturers Corporation Ltd. Calcutta in 1952.( Paroma Mukherjee/ Hindustan Times)
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Published on Feb 05, 2024 05:05 PM IST

At the PHOTOINK booth, a visitor looks at ‘Assembly, 1952’ by Ahmed Ali. Created from his pioneering industrial work, this collage of probably the factory’s entire workforce, is a set of 96 photographs all shot at the Machinery Manufacturers Corporation Ltd. Calcutta in 1952.( Paroma Mukherjee/ Hindustan Times)

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Visitors look at ‘People Who Do Not Exist’ by Madhuban Mitra & Manas Bhattacharya at the PHOTOINK booth. Part of a new cycle of works made using AI, the typology comprises 1000 frontal headshots of all races and ethnicities, that both resemble and subvert generic ID photos used in official documents. ( Paroma Mukherjee/ Hindustan Times)
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Published on Feb 05, 2024 05:05 PM IST

Visitors look at ‘People Who Do Not Exist’ by Madhuban Mitra & Manas Bhattacharya at the PHOTOINK booth. Part of a new cycle of works made using AI, the typology comprises 1000 frontal headshots of all races and ethnicities, that both resemble and subvert generic ID photos used in official documents. ( Paroma Mukherjee/ Hindustan Times)

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A visitor looks at a curation of images from Madan Mahatta’s archives of industry and labour in India in the 1970s.( Paroma Mukherjee/ Hindustan Times)
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Published on Feb 05, 2024 05:05 PM IST

A visitor looks at a curation of images from Madan Mahatta’s archives of industry and labour in India in the 1970s.( Paroma Mukherjee/ Hindustan Times)

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An overview of the India Art Fair 2024 in New Delhi. “For the past 15 years, the fair has been a celebration of the very best of South Asian creativity, and in 2024 we are taking this even further with our biggest edition yet and the inauguration of our very first Design section,” said Jaya Asokan, Fair Director.( Paroma Mukherjee/ Hindustan Times)
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Published on Feb 05, 2024 05:05 PM IST

An overview of the India Art Fair 2024 in New Delhi. “For the past 15 years, the fair has been a celebration of the very best of South Asian creativity, and in 2024 we are taking this even further with our biggest edition yet and the inauguration of our very first Design section,” said Jaya Asokan, Fair Director.( Paroma Mukherjee/ Hindustan Times)

Following in the footsteps of Shackleton: Monrovia photographer Kathleen Ricker seeks out the majestic Emperor penguins of Antarctica

Following in the footsteps of Shackleton: Monrovia photographer Kathleen Ricker seeks out the majestic Emperor penguins of Antarctica
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“It’s like being in the ‘Happy Feet’ movie,” said wildlife and wedding photographer Kathleen Ricker of Monrovia, who returned from her fifth trip to Antarctica in December. Ricker has journeyed across all seven continents, with Antarctica being one of her favorite adventures.

On her recent chilly expedition, she was intent on seeing the Emperor penguins, while also capturing photographs of environmental changes that have impacted the Antarctic peninsula since her first trip there in 2015.

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