Copyright lawsuits are expensive federal court litigations. Now, the Copyright Claims Board — CCB — is an alternative for disputes up to $30,000.

What is the CCB?

Basically, the Copyright Claims Board is small claims court for intellectual property issues under $30,000. It is a much easier and cost-effective way to resolve copyright disputes. Historically, copyright disputes are federal court actions. This is a time and dollar intensive process. Until the creation of the CCB, there was no alternative for relief in copyright violations. An infringement case usually starts at $250,000.

Who can use CCB?

CCB is for creators. Photography, music, writing, graphic design and other intellectual property owners can benefit when a controversy about copyright happens. The CCB is the place for you when your work is used without permission.

CCB is not a court

The Copyright Claims Board is voluntary. You can’t force someone to participate nor can anyone force you to. CCB participants are claimants or respondents.

Claimants file with the CCB. Respondents answer the filing. Claimants can use CCB or a file in a federal court. Respondents can choose to either participate in the CCB or opt-out.

CCB is lots cheaper

Using the Copyright Claims Board costs a whole lot less money and is much simpler than a federal copyright action. You do not need a lawyer in a CCB proceeding. The entire process happens online.

CCB claim requirements

You must have a valid copyright registration or have filed for one for the works involved in your claim. If you need to file a Copyright Claims Board claim, you can pay a fee to speed up your copyright registration.

More about CCB

Information about filing or responding to a CCB claim, the fees and more are in the CCB Handbook.

A second edition of More Than the Eye Can See – artist and event organizer Greg Smith’s exploration of the potential of the photographic medium – is the current attraction at White Rock’s Landmark Pop-Uptown Gallery at Central Plaza (15140 North Bluff Rd.).

Work of a large contingent of Semiahmoo Peninsula photographers is gaining exposure through the show, co-sponsored by Landmark and the City of White Rock, in which the cast will change mid-month (after Sunday, Jan. 14) to display works by a new collection of contributors.

Judging by a viewing of the first half of the show, it is well meeting Smith’s criteria of showing the many artistic possibilities of the photographic medium, providing arresting images of many kinds just as deserving of space on local walls as painted or drawn media.

Participants in the first segment include such well-known photographers as Don Hudson, Lynn Kelman (former president of the Crescent Beach Photography Club), her husband Ron, and Tharaka Mapalagawa, a member of both the Surrey and Crescent Beach photography clubs.

Also very much in evidence are members of the White Rock-based Praxis Photo Collective – Jan Lyle, Gary Kennedy, Linda Bickerton-Ross, Barbara Cooper and George Omorean.

The show is a demonstration of how a photographer’s eye can find pictorial opportunities in virtually every setting, whether across the globe or close to home, and with virtually any level of equipment.

As a displayed quotation from David Alan Harvey exhorts: “Don’t shoot what it looks like. Shoot what it feels like.”

Ron Kelman’s and Barbara Cooper’s images, for example, show how travel photos can far transcend the usual holiday snapshots, while Lyle points out that most of her intriguing pattern-heavy imagery in the show was captured on a cellphone, either in her garden or within a block of her home.

Kennedy’s and Bickerton-Ross’ work again shows the aspect of opportunity in capturing widely diverse images. Kennedy finds fascinating textures in Fraser River scenes, while Bickerton-Ross utilizes slow exposures and other manipulation to create dreamlike, semi-abstract scenes offering a new perspective on familiar landscapes.

Omorean’s experimental approach almost puts him in a class by himself in the show – with such images as Infra Island Road – an infra-red photo of a palm tree-lined road in the Cook Islands, enhanced by silver-gelatin printing, while the abstract Violin Strings and Scroll is a camera-less photogram of violin parts along with electric sparks on a sheet of photographic film.

But the show also demonstrates the enduring viability of gallery-style work, as embodied by photographs by Hudson, Mapalagawa and Lynn Kelman.

Hudson’s Peppers! is an old-school, monochrome homage to Edward Weston, utilizing a 1940s Graflex 4×5 camera and painstaking focusing, developing and printing techniques to make the most of form composition and texture.

Kelman, too, produces amazing textural results, in colour prints using groupings of fruit and other objects against black velvet.

Mapalagawa’s painterly figurative work, shot against a plain grey wall in his home, juxtaposes human subjects with carefully chosen props, sometimes producing surreal effects reminiscent of Man Ray, but also employs mixed media by applying paint and brush to photographic prints.

More Than the Eye Can See continues at the Landmark Pop-uptown Gallery until Jan. 28; hours are 10 a.m. to 6 p.m. daily from Wednesday to Saturday.

The winners of the latest Close Up Photographer of the Year competition have been announced. This year’s winner was an amazingly-timed image of a Eurasian nuthatch flying overhead through a forest – an image taken by Hungarian photographer Csaba Daróczi while hidden inside a hollowed-out tree stump.

“The photographer clearly had an image in his mind’s eye and went that extra mile to make sure anyone looking at the picture would share the wonder he felt when he encountered the scene” Tracy Calder, co-founder of of the competition, told BBC Science Focus. “Placing the camera inside the tree trunk really makes us feel as though we are immersed in nature”. 

This is the fifth year of the competition, and it attracted 12,000 entries from all around the world. Categories include Fungi & Slime Moulds, Micro (for images created using a microscope) and Young Close-up Photographer of the Year (for entrants aged 17 or under).

Here are all of the winners and some of our other favourites from this year’s competition.

Winner – Underwater category – Dreamtime

Winner – Fungi category – The ice crown

Winner – Butterfly category – The wedding guest

Micro category finalist – Butterfly Eggs

Winner – Young photographer category – Small Wanders

Animals category finalist – Kiss of death

Winner – Intimate landscape category – Undertow

Winner – Insects category – Wood Ants Firing Acid Secretion

Winner – Human-made category – Asymmetrical Threads

Winner – Invertebrate portrait category – Jumping Stick

Winner – Plants category – Reflexion

Winner – Micro category – Beach Grass

Underwater category runner-up – Heart of the Sea

Overall Winner – The bird of the forest

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Nestled in the heart of a youthful neighborhood arts district, just opposite the bustling Port of Los Angeles, lies a relatively unassuming gallery, much like any of those that surround it.

On its walls and tables sit dozens of framed photographs of stunning landscapes, majestic wild animals, magnificent architecture, and intriguing people. Placed in any other gallery, they would easily be mistaken for the work of a seasoned veteran photographer whose work might grace the pages of any number of prestigious publications. And yet, every single one of these pieces was created by a student no older than 18.

The Port of Los Angeles High School (POLAHS), located smack in the middle of San Pedro, is unique among schools in the Los Angeles area. Established as a tuition-free charter school in 2000, it’s now home to approximately 1,000 students and has a very low student-to-staff ratio for the area of about 15:1.

Among its myriad advanced courses and ample scholarship opportunities, the school also offers a variety of Career Technical Education (CTE) pathways, including everything from construction to boat operation-hey, it’s right next to the port, what did you expect? Of particular interest to this journalist though, and probably you as well, is its groundbreaking approach to digital photography education.

The Digital Photography program at POLAHS is split into 3 classes of almost 90 students. Over 2 years of study, students are taught the history of the medium, how to work efficiently, and, of course, a wide variety of photographic techniques. They’re even tasked with completing the Adobe Certified Associate course, which involves intensive study and mastery of Photoshop and Lightroom, and gives each student an official endorsement for their resume.

Aside from their classroom education, students are supplied with everything they need to create amazing art pieces thanks to the school’s partnership with Nikon Education. Currently, the cabinets in the photography room are brimming with many copies of just about every Nikon lens you can imagine, from kit standbys like the 24-70mm f/4 S to professional-grade equipment like the 70-200mm f/2.8 VR S – I even saw a flight case for an F-mount 500mm f/4 prime. These are mated to a fleet of Z6IIs, and a recent addition of a handful of Z8s for special projects.

If that weren’t enough, thanks to the generosity of donors, industry partners, and investment from the school itself, students are afforded the opportunity to participate in photo field trips to places like the sidelines of Dignity Health Sports Park, home of the LA Galaxy, and even adventures abroad to a choice of destinations like Japan, the Galapagos Islands, and Namibia, with who else but National Geographic.

All of this culminates with the students finalizing their work and putting it up for display in the Pixels Gallery, where it can be purchased, with all funds going directly to the photographer who created it.

Occupying the former site of famed seascape oil painter Violet Parkhurst’s main West Coast gallery, and situated just 2 blocks from the school itself, the Pixels gallery serves not only as a place to display students’ work for sale but also as a popular hangout spot during the First Thursday Art Walk, a San Pedro institution. Visitors are welcome to browse the gallery, listen to frequent live music, have souvenir portraits taken, and chow down on some complimentary bites to eat.

Photography teacher Erick Miseroy explains that the program is designed not only to provide a creative outlet for students but also to set them up for success in other areas of their lives. “Students need a spark- something to keep them motivated for school and success. Kids want to feel special, and creating images and having the ability to defend their work creates a level of self-confidence that otherwise wouldn’t happen.”

And it seems to be working. During my visit, I was fortunate enough to speak with Elizabeth Ozaeta, a senior at POLAHS who had been selected for a trip to Thailand and whose work was on display at Pixels.

After going through the selection process, which involves writing a short personal statement, assembling a small selection of photos to highlight their photographic style and personality, and an in-person interview, she chose to visit Thailand because it was the destination she was most unfamiliar with. “One of the things I mentioned [in the selection process] was how I wanted to introduce my community to Thai culture. I wasn’t really familiar with Thai culture myself, and so I thought that bringing [back] these smaller stories can have a huge impact on a community like this”, she says. Recounting her trip to Thailand, Elizabeth tells me that she was actually embedded with a group of anthropology students, giving her an excellent opportunity to document and bring back pieces of Thai culture to her community in San Pedro.

Among the dozens of photos of Buddhist temples, roads lined with Tuk-Tuks, and lush greenery, she points out two in particular that stood out to her as favorites. One, a portrait of a woman from a community of Karen tribespeople in the north of Thailand, and another, a photo of a family of elephants living in a sanctuary.

I could tell that hearing the story behind the former meant a great deal to Elizabeth, who explains that the groups of Karen peoples are often displaced as a result of armed conflict in the region, and those that migrated from Myanmar to Thailand derive much of their livelihood from tourism and the sale of handmade goods like traditional clothing and household products. As you can imagine, they were profoundly affected by the COVID-19 pandemic, and Elizabeth’s excursion group was among the first foreign visitors after the worst of the outbreak had passed. She was struck by how integral family and community were to everyone she met, and vividly remembers that though their knowledge of English was limited and much of their interaction was aided by an interpreter, the elderly woman depicted in the portrait repeatedly pointed at a young child nearby and referred to them as “baby”.

As for the latter, the group visited the Kindred Spirit Elephant Sanctuary to live and learn among a herd of Asian elephants. Unfortunately, many of these animals had been exploited in the logging and tourism industries, with several being subjects of abusive confinement at the hands of their previous owners. Thankfully, they were given a new lease on life, and Elizabeth was lucky enough to encounter Junior, the first elephant born in the sanctuary itself, along with his family. She was particularly inspired by the mahouts, or caretakers, who dedicate their entire lives to the care and keeping of their elephants, saying “I’ve never really been that close to an elephant…but being able to have that deeper story, and connecting with these elephants by knowing their name, their history, and about all of these people that care for them…it’s really eye-opening.”

Hearing her tell it, having access to such a program is an invaluable resource not only for herself but for other students. “One of the awesome things about Pixels is that it allows students to display their artwork in a space where it’s comfortable. It’s a way for them to express themselves and show their community what they see, through their eyes. Not all students are able to express themselves in more exterior spaces – having a place like this is really important for them to be able to progress and succeed.”

As if to put an exclamation point on her words, a gallery visitor purchased one of her pieces just moments after they left her mouth.

With every new thing I learned about the photography program at POLAHS, I was, of course, thrilled. At the same time though, I couldn’t help but feel that it was, unfortunately, a perfect juxtaposition of the experiences and resources many students have (or rather, don’t have) access to. Whether this is an issue of a systemic lack of funding for STEAM education in many schools around the US or simply that there aren’t enough people sufficiently invested to make it work, I am nevertheless grateful for those who do get to have these once-in-a-lifetime chances to teach us as much as we try to teach them.

Thankfully, the school administration at POLAHS seems to be fully invested in the future of the photography program and the Pixels gallery. Interim Principal Tim Dikdan tells me that the gallery holds profound importance, not only for the students participating in the photography program but for the school and the greater San Pedro area as well. ”Serving as a showcase for the artistic endeavors of the school’s budding photographers, the gallery not only amplifies the talents and achievements of the students but also cultivates a sense of pride and accomplishment within the entire school community…Through the lens of the photography gallery, the school community witnesses the transformative power of artistic expression, serving as a source of inspiration and a testament to the boundless potential residing within each student.”

Sounds like quite a ringing endorsement to me.

Image credits: Photographs by John Bilbao

French photographer Emilie Talpin did not pick up her first camera until 2018 but within just a few years, she became both an OM SYSTEM Ambassador and a highly respected photo educator best known for her favorite photography genres: macro and nature.

Full disclosure: This article was brought to you by OM SYSTEM Cameras

At a Glance

As an OM SYSTEM Ambassador, photographer Emilie Talpin owns the brand’s flagship camera, the OM-1. However, once the photographer purchased the smaller and more compact OM-5, she immediately knew it would be her go-to camera for macro photography.

“I am obsessed with photographing the macro world, so I bring my camera everywhere,” Talpin says. “The lightweight combination between the OM-5 and the M.Zuiko Digital ED 60mm F2.8 Macro or the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO makes it easy to store in a small pack while I walk to work or go on a nature hike. And thanks to the incredible weatherproofing that the OM SYSTEM cameras and lenses have, I never need to worry about missing a shot, even in stormy weather.”

Often, Talpin will use an Olympus FL-700 flash for her macro photography. Like the OM SYSTEM line of cameras and lenses, the FL-700 flash is compact, lightweight, and weatherproof as well.

“Carrying these three pieces of equipment has become second nature for me. They make up my ‘macro triangle’ of equipment and help me take incredible photos of the smaller things in life.”

Talpin stresses, however, that capturing compelling macro photographs isn’t just about the equipment that you own. She shares, exclusively with PetaPixel, her seven must-know tips to take better macro photographs.

Use All the Tools Available In Your Camera

As with most genres of photography, getting to know your camera and setting up custom buttons can lead to quicker, more efficient shooting while in the field.

“Focus is incredibly important in all forms of photography, but perhaps it is most important in macro photography,” says Talpin. While the autofocusing on the OM-5 and the M.Zuiko Macro lenses is incredibly accurate, Talpin still prefers to manually focus her tiny subjects.

“I rely on the accurate focus peaking that is built into the OM-5 to manually focus on my subject,” Talpin describes. “Since dynamic bokeh is incredibly important to creating compelling macro images, it is vital to lead your viewers’ eyes to the exact spot that you want them to focus on when seeing the image. If I am photographing a spider or a fly, I need the eyes to be sharp, otherwise, the image won’t have the same eye-catching drama that I am looking for. This is where focus peaking becomes critical. I have my focus peaking to show red on the exact location in my frame that is in focus.”

“In addition, I have set a custom button on my OM-5 that allows for quick magnification on my subject, so I can get the focus nailed before I take the photo. Using the magnification combined with focus peaking allows me to quickly focus, assuring that I do not miss the shot.”

Since Talpin uses a flash, she often lowers the exposure compensation drastically, which can make focusing a challenge. However, thanks to the OM-5’s Live View Boost, she can brighten the image displayed on her LCD screen to establish focus and composition, without changing the exposure on the photo itself.

Lastly, Talpin suggests that learning how to focus stack is maybe one of the most beneficial tools a macro photographer can have. On her OM-5, Talpin can initiate either focus bracketing or focus stacking through the camera’s menu. With focus stacking, the OM-5 will shoot a set number of photos at the selected focus differential and then merge them into one jpeg file at full resolution. Focus bracketing, on the other hand, will capture the photos, however, the photographer will need to merge the photos in an external computer program such as Luminar Neo.

“I highly recommend photographers research and use all the technology available to them through their camera systems, because that’s going to help them to create the shot that they want,” Talpin concludes.

Don’t Use a Tripod

While most macro photographers do own tripods, Talpin suggests that they can often be more trouble than they are worth.

“Years ago, tripods made sense for macro photography,” she says. “A lot of macro photography can take place in low light settings, such as a dense forest. Additionally, I find the most active time for insects is in the early morning and late afternoon, so the sunlight is often hidden. All of these factors would suggest that I should be using a tripod for most of my macro photography. However, I rarely do.”

Talpin says that, due to the incredible advancements in image stabilization, using a tripod in most of her macro photography situations is no longer needed.

“I will still use a tripod when I am inside in a controlled environment,” Talpin explains. “When I’m outdoors, however, there are so many things that could move, such as leaves, or even the insect I am photographing. This doesn’t even take into account the soft ground and high winds that I often find myself photographing in. There are just so many parameters that I cannot control.”

“I want to be efficient when I am in the field,” she continues. “So I need a camera that also has accurate, trustworthy image stabilization.”

The OM-5 has up to 7.5EV steps of image stabilization via an in-body 5-axis image stabilizer. This stabilization is so powerful, that it even works with the in-camera conceptual photography features, such as focus stacking.

“When I teach workshops, people are blown away when I show them that I can not only shoot sharp handheld images in lower light situations, but thanks to the OM-5’s image stabilization, I can also easily capture a focus-stacked image handheld,” Talpin describes.

Perhaps the biggest advantage of leaving the tripod at home is that it can open the photographer’s mind up to be more creative.

“I have seen so many macro photographers set up a tripod and just take the same photo after the same photo. When I am shooting handheld, I find myself easily finding new angles of my subjects, and most times, I prefer the newer angles. I can’t even imagine how many of my favorite images I would have missed if I had chosen to set up on a tripod instead. Not feeling locked into those compositions allows my creativity to flow, and I see angles and details that I never would have seen if I was focused on a tripod instead.”

Find Ways to Have Fun

Talpin does carry her camera almost everywhere, so it’s not surprising to know that she has days where she may not find interesting subjects, or her creativity just isn’t there.

“I struggled with this for quite some time,” Talpin describes. “Sometimes, there was just nothing to photograph. Other times, even though I had a subject, I just didn’t find myself having fun. One day, when I wasn’t finding any macro subjects to photograph, I decided to try something different.”

The OM-5 has a Multiple Exposure feature that allows photographers to create a photo out of elements that did not naturally occur together. Essentially, it is blending two raw files, in camera, to create a new image.

“I love that I can do multiple exposures right within the OM-5,” Talpin exclaims. “For instance, I found this cool mushroom on a recent walk, but the background wasn’t very photogenic. Later on during that same walk, I found this beautiful moss, but there was no subject in the moss. Knowing that mushroom might look great against this background, I simply combined the exposures using the easy-to-understand tool in the OM-5.”

Talpin says that one of the most interesting aspects of the multiple exposure feature is that the combined photos can be taken using other computational features on the OM-5, such as Live ND.

“I love that I can take a smooth image of a waterfall using my OM-5’s Live ND feature, and then use the camera’s multiple exposure feature to add a mushroom into the foreground,” Talpin explains. “It is such a cool feature, as you don’t need to mess around with Photoshop. You don’t even need to wait until you get home and get your photos onto a computer. You can just create the multiple exposure photo right there in the field, which I find inspires my creativity for the rest of the day.”

“Having a camera that is fun and has all those computational technologies that I can use, it just helps me be a happy photographer and ultimately, be a more creative photographer. There is no limit to my imagination, and my OM-5 is just a tool that helps me create the images that I have in my imagination.”

Learn How to Control The Light

While the OM-5 and the M.Zuiko Digital ED 60mm F2.8 Macro or the M.Zuiko Digital ED 90mm F3.5 Macro IS PRO are the base layer of Talpin’s macro photography kit, she stresses that maybe the most important tool in her backpack would be her Olympus FL-700 flash and a diffuser.

“It is vital for almost all macro photographers to be comfortable using a flash,” Talpin explains. “You don’t want to have the eyes of your subject have a bright, overpowering flare because the sun is too harsh. Learning how to control the light is critical to capturing dynamic macro images.”

Talpin says that when she teaches other photographers how to improve their macro photography, the first thing they always say is that the flash is intimidating. “I tell them to just put their macro lens aperture to f/16 and their flash to TTL mode and see what happens. They are always blown away by the results. Of course, the more you learn about your flash, the more power you will have to control the light, but most flashes have a pretty good ‘auto’ mode that can get you shooting insects right away.”

Additionally, Talpin says capturing the right light using a flash can save a photographer hours of valuable time. “I have gotten very accustomed to my macro setup, and I feel that I know how to control the light in my scenes, so I find myself doing very little editing. Some of my favorite images were edited on my phone in Snapseed. While editing software is incredibly powerful, there is no substitute for getting the shot right in camera. And the less time I spend in front of my computer, the more time I can spend out in the field taking photos.”

Pay Attention to the Background

In her years of teaching, Talpin has seen the same issue over and over again with new macro photographers. “They are so hyper-focused on the subject, they neglect to explore its relationship with the background,” she states.

Talpin says it is a very common mistake to make as macro subjects can often be incredibly enthralling. However, she explains that the background is just as important as the subject.

“For me, the most beautiful aspect of macro photography is the relationship between my subject and its environment. Whether it is a bee collecting pollen, a frog resting on a leaf, or morning dew reflecting the sunrise light, there is always a relationship to explore with my camera and lens. The subject and the background, and that relationship between the two, is what makes macro photography a fantastic medium for visual storytelling.”

Talpin recommends moving your body and your camera constantly, which is why she rarely uses a tripod on her macro photography shoots.

“I want a background that isn’t going to distract from my subject, but rather compliment my subject and show the relationship between the two. Oftentimes, I might find a background that I love, and I think that it can’t possibly get any better. However, after I take my shots from that angle, I will force myself to explore further, and I can’t tell you how many times I found an even better background than the one that I thought was perfect.”

Shoot Early And Late

As with most genres of outdoor photography, Talpin says to photograph the early worm, you need to be the early worm. “Most wildlife, insects included, are most active and easily found in the early mornings and the late afternoon,” she says.

Not only are the insects easier to spot in the early morning hours, but it is also the best time to photograph dewy grass and leaves.

“I love finding and photography dew up close. And by far, the best time to capture this is in the early morning. The low light of the rising sun helps create incredible reflections in the small water droplets, so it’s crucial to be there at the right time.”

Explore the Macro World

Nature photographers often look for the big landscapes from the grand vistas, however, most often overlook the lively and colorful world sitting right at their feet.

“As I mentioned, I bring my camera everywhere,” Talpin describes. “One day, my wife had a chiropractor appointment. During her session, I decided to look in this small garden that they have next to the parking lot. To my surprise, I found two tiny tree frogs staring back at me! I often get asked if I took that photo in Costa Rica, and it always invokes a laugh when I tell them ‘No, I took it in a chiropractor’s parking lot in New Hampshire.’”

“That is what I love about macro photography. It’s just opening up a word that is right there right in front of you, but you would have no idea unless you look.”

“You don’t have to travel or hike anywhere to do macro photography. It’s right there, right in your backyard and it’s fascinating to take a photo and just look at your screen and inspect what you just took.”

“I love opening people’s eyes to a world that they have never seen before. And I hope it inspires them to look deeper into the macro world that is all around them.”

More from Emilie Talpin can be found on his website, YouTube, and Instagram.

Full disclosure: This article was brought to you by OM SYSTEM

Image credits: All photos by Emilie Talpin

The incredible entries for Close-Up Photographer Of The Year (CUPOTY) have been judged and the winners are just as incredible as you’d expect them to be. While Hungarian photographer Csaba Daróczi scooped the £2,500 ($3,000) cash prize and the CUPOTY 05 title, the runners-up are equally impressive. We take a close-up look (see what we did there) at some of this year’s top 100 images.

The title of Young Close-Up Photographer Of The Year was won by 17-year-old Spanish photographer Carlos Pérez Naval for his photograph of a Moorish gecko climbing a wall. His impressive image features both the gecko and some mineral “trees”.

“One day, I was lucky enough to find a Moorish gecko very close to the pyrolusite’s wall, so I tried to make the most of the encounter. I wanted to capture a gecko in the ‘petrified forest’ for a long time, but they only recently appeared in my village (probably carried in fruit baskets from hotter areas). Due to climate change they can now survive here,” said Naval in a statement seen by IFLScience. 

British photographer Barry Webb won the Fungi & Slime Moulds category, making it the third year in a row he has achieved a category win. His extraordinary image of a slime mold topped with a crown of ice was enough to secure him the win, though taking the image proved somewhat of a challenge. 

“This 1mm [0.04 inch] tall slime mold (Didymium squamulosum) was found in leaf litter on a Buckinghamshire woodland floor in January. Attracted by the way the frost had formed a crown shape on top of the fruiting body, I had to be very careful not to breathe on it. During a previous attempt with another slime mould, my breath had melted the ice when I inadvertently got too close,” Webb said. 

In the Insects category, René Krekels’ winning image, taken in the Netherlands, shows a group of wood ants defending their nest by spraying acid. 

Meanwhile, the Invertebrate Portrait category was won by Tibor Molnar, with his close-up of the face of a jumping stick (Stiphra) taken in Yasuni National Park, Ecuador.

“The best way to describe these invertebrates is part walking stick, part grasshopper! When they jump, they are not particularly graceful, and they tend to tumble around completely off-balance,” Molnar said.

Overall, 11 categories showcased the best close-up photography has to offer, attracting almost 12,000 entries from 67 countries across the world. Twenty-three judges from scientific, media, and natural history backgrounds came together for over 20 hours of collective judging to pick the winners.

“Personally, I think this is our best collection of winning images yet, and I’m so grateful to those who entered as it allows us to see and learn from their work and to recognise how incredible and surprising the world is,” said CUPOTY co-founder Tracy Calder.

Take a look at the full top 100 images here. 

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Seattle’s Museum of Pop Culture (MoPop) celebrated the 50th anniversary of Hip Hop by featuring the “Contact High” photographic history of Hip Hop exhibit.

As the exhibit came to a close last weekend, MoPop held a farewell party featuring special guest exhibit curator and author of the book “Contact High,” which features a collection of Hip Hop images from Hip Hop’s inception to the present, Vikki Tobak. Hip Hop pioneer and exhibit Creative Director Fab 5 Freddy, the original VJ of Yo! MTV Raps, was also in attendance with photographers Janette Beckman and Joe Conzo and Def Jam Records Director of Publicity Bill Adler.

“We are here for the closing of this particular exhibition,” says Freddy. “It is the first show of its kind to look at the history of hip hop photography, the most iconic images in hip hop, from magazine covers to album covers, to the most iconic images of the most impactful artists, and so the show is closing, and we are here to celebrate.”

The event was moderated by MoPop Associate Curator Adeerya Johnson. As the panel spoke about the history and importance of the imagery of Hip Hop and how just as the influence of the music has transcended American culture, so too, has the imagery of those involved in Hip Hop influenced pop culture.