Photography

Groundbreaking Native photographers at Mia

By in Photography

Groundbreaking Native photographers at Mia

It’s a good sign when an art exhibition is still buzzing with people — on a weekday — months after it opened and the PR blitz has died down.

That means it’s hit on something: a nerve, a heartstring, a void. That’s the case for “In Our Hands: Native Photography, 1890 to Now,” a sweeping and emotional exhibition at the Minneapolis Institute of Art. The show opened in October and will close Sunday, Jan. 14. Even if you’ve seen it, it requires repeat viewing, and unfortunately, the show will not tour, so this is your chance.

Art on wall04

“Abnormally Original,” 2014, by Shelley Niro, Bay of Quinte Mohawk, Six Nations Turtle clan.

Alex V. Cipolle | MPR News

“In Our Hands” features more than 150 images by 70 Native photographers of First Nations, Métis, Inuit and Native American backgrounds.

Over several years, the show was guest-curated by local documentary photographer Jaida Grey Eagle (Oglala Lakota), who until recently was a photojournalist for Sahan Journal.

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In planning the show, Grey Eagle was joined by a council of primarily Native artists, scholars and knowledge-sharers. Grey Eagle has often said she has been discouraged from pursuing photography, with many telling her, “That’s a job for white dudes.”

Art on wall02

“Nettie Odlety and Frances Rose,” circa 1915, by Parker McKenzie, Kiowa.

Alex V. Cipolle | MPR News

Knowing that she had a guiding hand in this exhibition, then, makes it all the more powerful. What Grey Eagle and company have created is an unprecedented and astounding array of images that are full of love, history, play, community, resilience, protest and aching. 

The show includes the work of heavy hitters — Frank Big Bear (White Earth Nation), Wendy Red Star (Crow), James Luna (Luiseño, Payómkawichum, Ipi and Mexican American) — as well as relatively unknown photographers, or those overlooked by history. Don’t miss Big Bear’s humongous 2014 photo collage “We Are Still Here”; Red Star’s 2021 pedestal cutout series “Amnía (Echo)”; and Luna’s 1991 “Take A Picture with a Real Indian” series.

Art in gallery03

Part of the “Amnia (Echo)” series, 2021, by Wendy Red Star.

Alex V. Cipolle | MPR News

In a show that feels like it captures 10,000 moments, my favorites are the intimate ones.

Look for the small informal snapshots taken in 1915 by Lucy Sumpty (Kiowa) and Parker McKenzie (Kiowa) of Nettie Odlety (Kiowa), their friend and future wife, respectively. They show happy, carefree moments, an eternal valentine to friendship. Who can photograph us like our friends?

Art on wall03

“We Are Still Here,’ 2014, by Frank Big Bear, White Earth Nation.

Alex V. Cipolle | MPR News

More than a hundred years later, contemporary photographer Kali Spitzer (Kaska Dena, Jewish) created an image with a mother breastfeeding a baby. Spitzer presents them in soft tintype glory; the mother’s hair is frizzy, tousled, her flannel shirt unbuttoned, her blissful baby plays with her necklace. It’s sweet and real. Spitzer said of her work: “Part of my hope is that by making beautiful, intense, loving images that are so large … I’m hoping to make a deep, human connection.”

Edward Curtis couldn’t capture these moments in a million years, because they require a reciprocity between photographer and subject that the white early 20th-century photographer couldn’t, or wouldn’t, fathom.

Art on wall01

“Erena Arapere and Daughter Parekohatu Arapere,” 2018, by Kali Spitzer, Kaska Dena/Jewish.

Alex V. Cipolle | MPR News

Curtis is famous for his imagery of Native American life, often inaccurately portraying Native people as a vanishing one. Unfortunately, his imagery and ideas continue to shape mainstream conceptions of Native American life. 

Although it’s not the burden of this show to right the wrongs of Curtis, it is certainly an antidote. It’s a privilege to share in the intimacy that “In Our Hands” offers. Go see this gift to the community while you can.

Art in gallery02

Photo series, 2008, by Dana Claxton, Húŋkpapȟa Lakȟóta/Wood Mountain Lakota First Nation.

Alex V. Cipolle | MPR News

A Common Financial Pitfall for New Professional Photographers |

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A Common Financial Pitfall for New Professional Photographers |

In the competitive and often unpredictable world of professional photography, managing finances can be as crucial as mastering the lens. The journey from a budding photographer to a seasoned pro is fraught with challenges, not least among them is financial management. This important video from a seasoned professional discusses a crucial mistake less seasoned photographers often make. 

Coming to you from Scott Choucino of Tin House Studio, this insightful video takes a look at a common yet critical mistake many photographers make: the temptation to splurge following the receipt of a big paycheck. This instinct, as described, is often fueled by the initial euphoria of success – the desire to upgrade equipment, buy new accessories, or simply reward oneself. However, this practice is cautioned against, emphasizing the importance of financial prudence in a field where income can be sporadic and unpredictable. Choucino shares personal experiences, highlighting how premature spending on non-essential items can lead to financial stress, especially when subsequent jobs are delayed or payments are slow to arrive.

What stands out is the emphasis on a disciplined approach to financial management. The advice to wait for multiple jobs to come in before considering any major purchases is practical and grounded. It reflects a deep understanding of the industry’s uncertainties and the need for photographers to be financially prepared for dry spells. The focus shifts from immediate gratification to long-term stability, urging photographers to view their earnings through a lens of sustainability rather than momentary excitement. It’s important advice for anyone who wants to make an income from their work. Be sure to check out the video above for the full rundown from Choucino.

Don’t miss the monumental photography exhibit at the CAC, celebrating Black culture

By in Photography

Don’t miss the monumental photography exhibit at the CAC, celebrating Black culture

GESTURES OF REFUSAL

Black New Orleans photographers have long used their cameras as a tool of resistance to racism, exclusion, invisibility, displacement, and even the wrath of the flood that followed Hurricane Katrina. That’s the point of the “Gestures of Refusal” exhibition that currently covers two whole floors of the Contemporary Arts Center.

With roughly 250 photographs by 105 photographers, there’s a lot to take in. Luckily, it’s not one of those shows where the photos are lined up on blank walls, one after another, like boxcars.

Curator Shana M. griffin (whose name is spelled lower case) has divided the feast of photographs up by theme and has even produced five separate installations to better engage audiences in the experience.

It all starts in the so-called “Living Room,” where a selection of snapshots and commercial photos capture ordinary Black family life. As griffin explained, the home has always been where Black people were able to curate intimate images — “loved ones, couples, weddings, and children” — without the sort of stereotyping and marginalization they often encountered in the world at large. Living rooms are private art galleries.

The “Living Room” display is decorated with homey furniture and nostalgia-inducing wallpaper. Elsewhere in the sprawling exhibit is a sophisticated apartment interior, appointed with sansevieria, modern sculpture by Martin Payton and an array of artistic nude photos. The setting is decidedly different than the “Living Room,” but the intended theme of photographic expression pushing back against the influence of racial oppression is the same.



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Some photos in the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center are displayed in the environment of a sophisticated apartment.


(Photo by Doug MacCash NOLA.com | The Times-Picayune)


In a small back room found at the end of a dark corridor, visitors to the CAC will encounter “Honey Bear’s Hot Spot,” an old-school Black neighborhood bar. The joint is lined with lush photos by L. Kasimu Harris of folks taking it easy, as a huge video screen boils with a kinetic second-line parade. Cocktail glasses stand on a bar near the video screen, glinting in the scarlet glow of neon beer signs.

As griffin lamented, gentrification is making such saloons and lounges scarcer and scarcer. The curator believes Harris’s work holds back the tide, artistically anyway, by capturing such scenes for posterity. “It’s like a protest against forgetting,” she said.

Upstairs, there’s another darkroom lit only by a deep red glow. Most people, griffin said, have never seen the inside of a photo darkroom, and they are increasingly less likely to, as digital photography continues to dominate. But griffin’s darkroom — complete with the vinegary scent of developing solution — is a touchstone of the craft and labor that photographers bring to their work. It is lined with lustrous black and white prints, hung from clotheslines, as if drying. Look for a few shots by official Jazz Fest photographer Girard Mouton III.



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One exhibit space in the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center captures the appearance of an old-fashioned darkroom.


(Photo by Doug MacCash NOLA.com | The Times-Picayune)


Also upstairs is an altar dedicated to the legendary Mother Katharine Seals and traditional spirit churches that were once more common in New Orleans. Seals, who died in 1930, is seen in a historic photo or two loaned by Xavier University.

Large mud bricks, made by sculptor MaPo Kinnord seem to symbolize the spirit church’s anchor in both the ethereal and earthly worlds. The photos of the Black spirit churches, griffin explained, indicate how “traditional healing practices have been disregarded.”

Visitors mustn’t overlook the small round gallery on the CAC’s ground floor, devoted to photographer Polo Silk. Silk employed his trusty polaroid camera — which he dubbed Chelsea — to document the rise of hip-hop culture in the Crescent City in the 1980s and beyond.

The tiny, one-of-a-kind photos of young people swept up in new music and fashion are some of the most transporting images in the show. The gallery includes a wicker throne and airbrush-style backdrop for selfies.

As griffin explains, Polo Silk simply refused to allow that slice of Black culture to slip by without being captured — although the styles emerging from housing developments were generally swept away be what she called the “politics of disgust.”



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New Orleans master photographer Polo Silk, who documented the early rap scene, is given his own gallery in the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center captures the appearance of an old-fashioned darkroom.


(Photo courtesy the Contemporary Arts Center)


And that’s not everything. “Gestures of Refusal” includes passages of nature photography, queer fashion shots, musicians, Black Masking Indians, vintage photos from both the 1960s civil rights struggle and the Black Lives Matter protests, and cemetery scenes — including a poignant image by the late Times-Picayune photographer Bryan S. Berteaux. Plus a suite of the cracked and splintery photos by Chandra McCormick and Keith Calhoun, made from negatives that were submerged in the 2005 flood and later rescued, bearing the scars of their ordeal.

The sweep of the show is astounding. Congratulations to feminist/activist/artist griffin, who is currently resident curator at the CAC, and all of her consultants, collaborators, and, of course the 105 photographers.

“Gestures of Refusal: Black Photography and Visual Culture” is part of the ongoing “Seeing Black” series of exhibitions at various institutions. The show continues through April 29.

The CAC is at 900 Camp St. Hours are 11 a.m. to 5 p.m. daily, except Tuesdays. Admission is $10 or $8 for seniors and students. For more information, visit the CAC website.



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Visitors to the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center enter the atmosphere of a Black neighborhood barroom.


(Photo by Doug MacCash NOLA.com | The Times-Picayune)


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Photographic Society of Chattanooga Unveils 2024 Youth Photography Showcase for High School Talents – Hits 96

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Photographic Society of Chattanooga Unveils 2024 Youth Photography Showcase for High School Talents – Hits 96
Photo by Marco Xu on Unsplash

Let’s get “In The Know with Gino”…

The Photographic Society of Chattanooga is gearing up for its annual Youth Photography Showcase, a platform designed to engage young individuals aged 14 to 19 in the captivating world of photography. This showcase is specifically tailored for high school students or those attending an equivalent educational institution.

With the primary objective of highlighting exceptional photographic talent among high school-aged individuals, the competition welcomes submissions from students in public, private, and home schools, as well as youth groups. It provides a unique opportunity for budding photographers to transcend boundaries and gain recognition for their creative endeavors.

Now in its 18th year, the 2024 Youth Photography Showcase is set to kick off on January 14th and will continue accepting submissions until February 17, 2024. Importantly, there is no entry fee, making it accessible to all interested participants.

The competition features six distinct categories for submissions, allowing young photographers to explore their creativity across various themes:

  1. Architecture
  2. People/Animals
  3. Scapes
  4. Photojournalism
  5. Color Photographer’s Choice 
  6. Monochrome Photographer’s Choice

Detailed information about the submission process, including required sizing information and the submission form, can be found on the Photographic Society of Chattanooga’s website at chattanoogaphoto.org/contests/youth-photography/.

In addition to the opportunity for recognition, the competition offers enticing incentives, including a cash prize for the Best of Show and ribbons for Honorable Mention, 3rd, 2nd, and 1st Places in each category. Certificates will also be awarded for images selected to be sent to the Photographic Society of America (PSA) for further competition.

For those seeking more information or clarification, interested parties are encouraged to reach out to the Youth Photography Showcase Chairperson, Gary Conner, at youthcontest@chattanoogaphoto.org.

This annual event serves as a celebration of youthful creativity in the world of photography, fostering a sense of community and recognition for the next generation of visual storytellers.

SOURCE: Chattanooga Pulse

“Probably two percent of all photographers in those days were black”, Normski recalls how he became the man with the golden shutter in the age of hip-hop

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“Probably two percent of all photographers in those days were black”, Normski recalls how he became the man with the golden shutter in the age of hip-hop

2023 marked the 50th anniversary of hip-hop, the music and social movement born in The Bronx district of New York and comprising the ‘Four Pillars’ of DJing (or turntabling), rapping (MCing), graffiti (writing) and breakdancing (B-boying). From its early days, hip-hop became a social movement for disaffected urban youth across the USA, before hitting the UK and Europe in the mid-1980s.

Man with the golden shutter

Interview

(Image credit: Normski)

Normski’s Man With The Golden Shutter features 139 B&W and over 100 colour images, providing exclusive insight into the hip-hop movement in the 80s and 90s. Published by ACC Art Books, priced £45/$60.

Norman Anderson, aka Normski, was one of the pioneers of the UK hip-hop scene. As a youngster growing up in a Jamaican family in north-west London, he was fascinated by hip-hop. After trying breakdancing, he spent his time documenting the movement with a Kodak 126 Instamatic camera his mother had bought to cheer him up when he was ill.

From traveling around the US and the UK taking pictures of a genre on the brink of world domination, Normski then presented BBC ‘youth TV’ shows Dance Energy and Def2, and turned his hand to DJing, but it is his talent for interacting with people, his eye for detail and empathetic approach that make Normski’s photographs a unique record of the hip-hop genre. Now he has compiled a book, showcasing over 200 images from the scene, with artists such as Run DMC, Public Enemy, NWA and others.

Interview

Interview

Norman Anderson, otherwise known as Normski, is a British photographer, DJ and TV presenter. Growing up in London, he began documenting the early days of hip-hop culture in the UK and USA. His work has been exhibited in Tate Britain and is part of the permanent collections at the Victoria & Albert Museum and the Smithsonian National Museum of African-American History and Culture.

You have captured some of the most famous hip-hop artists with your lens. How did you first get into this genre? 

Around the late 1970s, there was this new thing called hip-hop, a thing for young people that ultimately came from America to Britain. There were other movements, of course, but the hip-hop movement had all the cool clothes and the music was a combination of everything you thought you knew, but it was presented differently. So you stopped playing your parent’s records and you were able to get your own. Suddenly it wasn’t a record anymore, it was an object that was representative of our generation. That’s
when hip-hop caught me.

There was this mythical place called Covent Garden, where all the breakdancers were and lots of kids of all colors and cultures – you didn’t see that often at the time. For me, being a young black guy from London, I felt comfortable. I quickly realised that if I wanted to be part of the scene, I needed to do something to support it. 

B-boys, London
“Covent Garden in London was a mythical place for me, with so many breakdancers and kids of all colors and cultures” (Image credit: Normski)

So that was about the same time as your photographic journey started?

Yes, in a way. Even before that, I used a basic camera to take pictures at gigs. I realised that having a camera gave me a unique perspective, almost like a passport to be with real photographers – I found that very exciting. I was becoming a photographer by learning from watching all these pros. But I was never really comfortable with that kind of fighting to get good shots at a gig. I kind of got bullied out of it – you didn’t have lots of black photographers in the 80s. I had good shots and created a portfolio, so in the late 1980s, I got my first job at a magazine and focused on portraits instead of live shots. I always enjoyed taking portraits and, with this, I became a part of the hip-hop crew for a night.

What would you say has changed for black photographers starting out now, compared with your day?

Probably two percent of all photographers in those days were black, so not very much. But there were some photographers of African and Caribbean heritage who paved the way. These people had already established as black photographers doing work to represent the black community. That was fortunate for me. I got a lot of support and I was comfortable because I saw guys that looked like they could have been my big brother or uncle. Something happened. Nowadays, a lot of young black people are leaders in a range of creative fields.

De La Soul
“Here’s De La Soul in one of those five-minute sessions, outside Brixton Academy in London in 1989”  (Image credit: Normski)

Ice Cube
A contact strip of Ice Cube, taken outside his mother’s home in LA after he left N.W.A (Image credit: Normski)

In those past 40 years, photography has changed significantly. What are your thoughts on this technical revolution and do you still work with analogue?

Back in the 1980s, photography wasn’t something that was encouraged in a state school or normal comprehensive school. If you were going to a private school and your family had money, then you probably could have immediately gone into the arts. 

In the beginning, I was never able to afford to go out and get films processed. I never had a dad’s camera to borrow. So, I went out and did some odd jobs to try and get a bit of extra money. Now, you can do photos a lot quicker with a lot less. You can buy a good camera for not much money, shoot non-stop for free, use a laptop instead of a darkroom and send pictures all over the world. Back in those days, you had to buy a camera, you had to buy film, and you had to ‘become’ a photographer. Now, you can even use your smartphone and act like a photographer…

DJ and music producer ‘Goldie’ said the difference between your photographs of him and anyone else’s was that it captures his soul… how did you gain this skill?

I take that as a really beautiful compliment but I’ve never thought of it as a skill. It’s quite rewarding because he works and has worked with the best. I’d think that is because, at that moment of photographing, I’m all in with the person, kind of on a soul level. I’m not just there to photograph because a magazine told me to. I don’t treat them like they’re big superstars. I am like a friend and I think that that might be the thing. 

Some photographers are quite rough and direct people to create powerful images. I’m not good at being hard on people. If someone doesn’t seem comfortable, I want to know why. I often ask them ‘What would you like to do? Should we go outside? Where’s your favorite place to hang out?’. Then they’re leading the session and I can capture much more as they are offering much more about themselves.

Chuck D & Flava Flav
Hip-hop legends Public Enemy playing at the Hammersmith Odeon in London as part of the 1987 Def Jam tour (Image credit: Normski)

Interview

Youth Against Apartheid, London
This anti-apartheid event at Camden Town Hall in 1986 brought Normski back to his north-west London roots (Image credit: Normski)

What do you do if you can’t leave the building or are restricted in time?

That’s a big thing and that’s what I hate about press photography. Often the manager says something like, ‘You can’t go outside, we’re in a hotel, five floors up. You only have 20 minutes to photograph because we have another photographer lined up…’

That was the case when I was photographing Salt-N-Pepa. Instead of staying in the same room where every press photographer captured them, I wanted to do something different. I asked if I could take a photo of them doing their makeup in the mirror, as they just started getting ready. So, I squeezed into this tiny bathroom with the three rappers and to get the right angle to capture their reflection in the mirror, I had to squeeze right in a corner. It was kind of funny to get this shot and we had a great time. I took them out of being big superstars, I go and meet the people and that makes a big difference.

Breakdancer
Born in the mid-70s, breakdancing is an expressive art form that is tied to the rhythms of rap music (Image credit: Normski)

So in situations like that, would you say ‘less is more’ when it comes to camera equipment?

When I arrived for this shoot, another photographer just left with a big bag, lighting stands and more equipment. The press manager was asking me where all my stuff was, but I only had an Olympus 35mm, a couple of lenses and a flash. I never worked with a lot of equipment. There were times when I saw photographers with two camera bodies… two! I had my camera and lens, two or three films, that was it. And that’s enough, as long as you know how to deal with it.

And also the fewer people on set, the better. I don’t like having too many people behind or around me because then everyone tries to direct and half the people in front of the camera are looking at them instead of me. It’s essential to connect with the subject’s eyes and have their full attention.

MC Duke
The British rapper from the East End of London exudes a powerful energy as he interacts with Normski’s lens (Image credit: Normski)

You said you take them out of being superstars and that comes across when flipping through your new book, especially those images of sleeping rap stars. Can you tell us the story behind those frames?

It all started when I was noticed by a manager at one of their gigs. He was like, ‘What are you doing? Are you taking photographs?’. They came from America and didn’t have a photographer, so he asked if I would like to do that. I said ‘yes’ straight away. I ended up with a tour jacket on their tour bus. The rappers were all tired and jet-lagged. Then there was the moment when everyone was asleep. I sat there with some of the biggest rappers of the day and realised how weird and cool this was – Big Daddy Kane and others, all fast asleep. So after I photographed them at their gig, I took the chance to capture them asleep. The first lady and biggest mouth in hip-hop, Roxanne Shanté, was still in her outfit, wearing her jewellery. She sucked her thumb like a lot of humans do when they sleep – no matter what age, it’s a comfort thing. She still looks like a hip-hop queen, just showing her human side. 

Queen Latifah
Normski captured the American rapper and actress Queen Latifah at the Empire State Building in New York (Image credit: Normski)

Talking about your new book, Man With The Golden Shutter, what does this publication mean to you?

As a photographer, the idea of creating something that will outlive us still makes me pinch myself. I had my work exhibited in established houses and museums to celebrate black British and hip-hop culture, but this book is probably better than anything. I’ve had my work featured in a few books before, but they were other people’s books, not mine.

I wanted to represent all of my work in a classy way, showcasing both the hip-hop culture and the crazy street stars. To be honest, some of my best pictures don’t even feature famous people. I wanted the book to treat each contact like a print so it’s visually clear for the viewer. I did this all before the era of Photoshop, creating photograms, multi-printing and montages, all in the darkroom by hand. These images deserve quality – and the publisher, ACC Art Books, has smashed it out of the ballpark. The entire team was amazing and supported me throughout the process, otherwise, I would have missed out on quite a bit by trying to do it all myself.

Interview

Demon Boyz
“Taken in 1989, these guys were the epitome of raggamuffin style” (Image credit: Normski)

2 new exhibitions of Florida photographers at Appleton Museum

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2 new exhibitions of Florida photographers at Appleton Museum


2401XX-CC-photographers exhibition: Within the swamp

This piece by Karen Glaser is titled “Within the Swamp, Robert’s Lake Strand” (circa 2009). It is a pigment print on Hahnemuhle photo rag and is 37×25 inches.


Photo courtesy the Appleton Museum


The Appleton Museum of Art, College of Central Florida, presents new exhibitions that showcase the diverse talents of two acclaimed Florida photographers. On view from Feb. 10-July 7 will be “Karen Glaser: Swamps and Springs,” and “Across the Threshold of India: Photographs by Martha Strawn.” This is part of Appleton’s season-long celebration of Florida’s beautiful natural springs.

“Karen Glaser: Swamps and Springs” highlights the wonders discovered through the artist’s lens. From the magnificent Everglades to the pristine rivers and springs of north central Florida, Glaser’s series focuses on what lies above and below the glassy surfaces.

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2401XX-CC-photographer's exhibition: Happy Pongol

{p class=”xmsonormal”}{span}Martha Strawn’s “Mickey Mouse” is a representational diagram made for the Pongal festival in a village near Madurai, Tamil Nadu (circa 1998). It measures 38×28 inches.{/p}{/span}


Photo courtesy the Appleton Museum


Photographer fined after drone “narrowly missed” Fatboy Slim at show

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Photographer fined after drone “narrowly missed” Fatboy Slim at show

A photographer was ordered to pay over $1,100 (£860) in fines after losing control of a drone at a Fatboy Slim show, narrowly missing the DJ.

The incident took place back in 2022 during Fatboy Slim’s – real name Norman Cook – Big Beach Boutique 20th anniversary show on Brighton Beach, which saw over 8,500 fans in attendance.

About 15 minutes prior to the end of Slim’s performance, Giles Dalby, the amateur photographer and owner of the drone reportedly flew his DJI Mavic Mini onto the stage and narrowly missed both the DJ and members of the crowd. The aerial device was switched on to sport mode which increased the risk of danger to Slim and the audience.

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Speaking to Brighton Magistrates Court on January 4, Dalby claimed that there was no malicious intent, and that he only wanted to capture some cinematic shots of the set.

“I crashed trying to leave the area, looking to back out for an overview of the scene and finish with a wide view. It was an honest mistake that I will ensure will never repeat itself,” he said (per Music Tech).

He continued: “There was no malicious intent. I switched it into sport mode which deactivates the downward sensor so I could come quickly up and out, but I accidentally went forward and down.”

Prosecutor Megan Attree said, “At quarter to ten, the security were alerted that a drone had crashed into the stage, narrowly missing the crowd and the headline act.”

Attree also revealed revealed flight recording data, which showed Dalby ignoring “multiple warnings” as the drone flew out of control — concluding that, “despite the lack of damage or injury the risk posed was very real.”

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Dalby was found to be in breach of the Air Navigation Order 2016 and was subsequently charged with “recklessly or negligently allowing an aircraft to put a person or property at risk”.

In other Fatboy Slim news, the DJ is set to headline this year’s edition of Victorious Festival.

He and Snow Patrol will be co-headlining the Friday night of the festival, with Jamie T and Biffy Clyro topping the bill on the Saturday and Sunday, respectively.

The festival will return to the Southsea seafront in Portsmouth on the August Bank Holiday weekend (August 23-25).

Slim has also donated auction items to raise money for multiple sclerosis sufferer Vikki Drama.

Top 25 male poses (and how to pose them)

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Top 25 male poses (and how to pose them)

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C+ C Photography Gallery Debuts New Location

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C+ C Photography Gallery Debuts New Location
An image from photographer Nathan Coe's newest collection, Art Within Art, shot at the Norton Museum of Art in West Palm Beach. Photo by Nathan Coe
An image from photographer Nathan Coe’s newest collection, Art Within Art, shot at the Norton Museum of Art in West Palm Beach. Photo by Nathan Coe

C+ C Photography Gallery will host a grand opening reception for its new Worth Avenue space on January 11, from 5 to 7 p.m.

In conjunction with the celebration, artistic photographer and gallery co-owner Nathan Coe will release and exhibit new images from his just-shot collection, “Art Within Art.” In this collection, Coe brings a model-observer into the iconic Norton Museum of Art in West Palm Beach, leading the viewer to ponder: “What is the most beautiful and perfected form of art? Are we works of art and does the human form serve as the artist’s greatest inspiration?”

Coe will be at the gallery during the reception to answer questions and to discuss what inspires him about light, shadow, and Palm Beach.

C+ C Photography Gallery is located at Via Bice 313 1/2 Worth Avenue. For more information, visit candcgallery.com.
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