The Columbia Pacific Heritage Museum in Ilwaco will extend its special exhibit “Chinuk Ntsayka! We are Chinook: Photographs by Amiran White.” The well-received exhibit was set to end on Nov. 11, but will continue until Dec. 16 due to its popularity.

The exhibit features photographs by Amiran White, who has documented the Chinook Indian Nation and their decades-long fight for federal recognition for the past eight years.

White, who grew up in United Kingdom, began her photojournalism career as a stringer for the Associated Press in Portland. She spent 10 years as a staff photographer on various daily newspapers in Oregon, Pennsylvania, and New Mexico before becoming a freelancer.

A recipient of a 2022 Oregon Arts Commission Individual Artists Fellowship, White has worked closely with tribal families. Her work portrays daily moments of tribal members’ lives, as well as tribal celebrations and customs, like the First Salmon Ceremony and Canoe Journey. With images of family life and community, White attempts to tell the story of today’s Chinook Indian Nation and their fight for justice.

“Chinuk Ntsayka! We are Chinook: Photographs by Amiran White” at the Columbia Pacific Heritage Museum. Wed-Sat, 10 a.m.-4 p.m. Admission is free.

Dolly Faibyshev

Self-taught artist Dolly Faibyshev works out of New York, a city as diverse as her subjects. Her work has been published in The New Yorker, TIME, Vanity Fair, Rolling Stone, and a litany of other publications.

What’s your earliest memory of Thanksgiving? 

I love Thanksgiving. It’s not only acceptable to be gluttonous and eat as much as possible, it’s encouraged and promoted. Oh yeah, and I love spending it with my family. My mom makes the best spread. She always overfeeds for every holiday—there are like three entrées served before the turkey even makes it to the table. This is how I always remember spending Thanksgiving, so I don’t have an earlier memory of it being any different.

My mom shared an early memory of her first Thanksgiving in the U.S. as a Russian immigrant in 1981 when I was a baby. She didn’t know what to do, so she ordered a pre-cooked turkey from John Wanamaker’s department store. She didn’t think it was very good and quickly figured out that she could make a better version herself, and she has ever since. I’m thankful for that.

How would you characterize your practice?

I started taking photos in desperation. I was working corporate 9-to-5 office jobs for maybe eight years after college, and I had this hazy, creative feeling inside of me dying to get out, but I kept searching for ways to express myself artistically, and failing. I was so hungry to make something happen, and photography clicked—after a lot of practice and trial and error, of course. I just wanted to make art and survive doing it, so whenever I take a photo that makes me smile, I know I did something right.

Where and how did you take these photos?

I took this in 2013, exactly 10 Thanksgivings ago. I was with my husband’s family that year, and circumstances forced us to have the dinner in a bare-bones restaurant in the middle of nowhere. I loathed the idea of spending Thanksgiving at a public buffet, so I brought my little point-and-shoot and took some photos of the desserts on the table out of boredom.

I quickly realized that sharing this space with families that also weren’t able to have dinner in their homes, but still managed to make something happen, had its own warm, communal feeling. I started to feel the love spending this Thanksgiving tradition in a nontraditional way, seeing families expressing love alongside other families. All those feelings inspired me to create this photo collage.

Pete Lee

Filmmaker and photographer Pete Lee began his career in San Francisco, premiering the short film Don’t Be a Hero in 2018 at Sundance. The following year, the Rainin Foundation sponsored his screenplay High Priestess of Souls, and in 2022, his cookbook, Mister Jiu’s in Chinatown, won the James Beard Book Award.

What’s your earliest memory of Thanksgiving?

I grew up in Taiwan, where the only turkey I’d tasted growing up was the Chiayi turkey rice—where they’d fry shredded turkey meat in shallot oil and drizzle it over a bowl of steamy white rice. I didn’t get to experience the American Thanksgiving until middle school, in Boston, where I got in a fist fight with another kid in my apartment building. Come to think of it, it was probably the last time I won a fight.

What feelings does the holiday evoke for you?

As an immigrant kid, Thanksgiving never made a lot of sense to me. It always felt like a practice run for Christmas, where the movies just weren’t half as good, the snow hadn’t found its footing, and the vacation was half as long. But as I got older, the health and mortality of my folks started to feel less and less abstract. They’re both now in their 70s, and it gets quite heavy once I realized that at some point, we’ll need to start counting down how many of these meaningless holidays we actually get to spend with one another. I don’t know, but they’re only getting more finite with each passing November.

How would you characterize your practice?

I am a fight choreographer turned social worker turned photographer. I don’t know how to properly convey the throughline between these seemingly disparate practices, but it’s there. My goal, I guess, is for you to understand this throughline when you glance at my work.

Where and how did you take these photos?

These were candids taken on Thanksgiving 2017. My relatives in SoCal held a big gathering where family members flew in from all over. I was there as the lone representative of my East Coast clan. I never much loved these gatherings because they always ended up asking me for a bunch of free photos. One of my cousins was selling diet supplements so she always asked for shots where she looked hot standing next to high-calorie dishes, and in general everyone would have notes about how they looked.

I thought about leaving my camera at home, but brought it with me anyway. I had to improvise my lighting setup, and managed to stick my remote flash above the cabinets, using the ceiling as a giant, soft diffusion. After surprisingly few rounds of notes, the family approved. In hindsight, I was glad to have brought my camera because, as it turned out, it would’ve been the last Thanksgiving for two of my favorite aunts. Both of them passed away from cruel and sudden illnesses and, as you could see, both of them still had so, so, so much life to live and to give. I miss them.

Shaun Pierson

Shaun Pierson, who received his MFA from the Yale School of Art, works across photography and video out of New York. The 2023-24 recipient of the Sharpe-Walentas Studio Program has shown work at François Ghebaly, Amanita, and Green Gallery, among other locations.  

What’s your earliest memory of Thanksgiving?

Watching my grandmother drop a frozen turkey on her foot. She broke two toes but never canceled dinner. I still think about that moment every time she goes to pull the turkey from the freezer. She’s a rock star.

What feelings does the holiday evoke for you?

The roots of Thanksgiving are quite sinister, so naturally I’m disturbed. America has always been so preoccupied with self-aggrandizing, and this holiday is a perfect example of that. For me, Thanksgiving is less about “giving thanks” (to whom?) and more so about connecting with family members I have not seen in a long time. I like getting together every year and seeing how people have changed.

How would you characterize your practice?

A man, a camera, and the tension that exists between a photographer and their subject. Photography is an excuse for me to exercise some sort of control over my life.

When and where did you take these photos?

I took these photos of my family a few years back in New Jersey. I always utilize the holidays as a time to take my camera out and photograph those close to me as much as possible, and I’m consistently drawn to the ways in which people immediately begin to perform when the camera is visible. That sense of play is so hard to come by in daily life, and I’m really moved when people will get together to help me make a photograph.

Jonathan Zizzo

Dallas-based Jonathan Zizzo has been working for over 20 years in commercial and editorial photography, shooting for the Dallas Mavs, The New York Times, Catbird, the Phoenix Suns, and more.

What’s your earliest memory of Thanksgiving?

Being a young lad sitting around the television watching football and playing with siblings in the yard till dinner was ready.

What feelings does the holiday evoke for you?

It’s kinda Americana in the South to just sit around and watch a game as you are having your Thanksgiving with family and friends, so I suppose it’s just a good time to halt everything and just get into a turkey coma after the big meal. Everything shuts down so you sort of just have to embrace the day and realize you’re in for a feast.

How would you characterize your practice?

I like to approach all jobs with a sense of spontaneity, leaving room for opportunities that sometimes were never a part of the original idea or concept. I traditionally stay curious about all things and the world around me, so that always keeps things fresh.

Where and how did you take these photos?

The photos were originally shot for a U.K. Newspaper through Getty images in ‘09. It was so exciting running around that day creating images of what happens with tailgaters and the NFL for Thanksgiving. 

Gillian Laub

New York-based Gillian Laub has released a number of monographs—including Testimony, Southern Rites, and Family Matters—dissecting issues of race, media, and family dynamics.

What’s your earliest memory of the holiday? 

Earliest memory of Thanksgiving is from Polaroids I took and still have from when I was 7 years old, with all my cousins and my father and grandfather carving the turkey together. 

What feelings does the holiday evoke for you? 

Bittersweetness. My grandparents were a huge part of my Thanksgiving memories. It always marked the time of our whole family being together. I miss my grandparents being there.

How would you characterize your practice?  

I am not a fly on the wall. It’s more like I am choreographing reality through the camera, if that makes sense?! Then, later, I weave the narrative through the editing process.

Where and how did you take these photos?

They are photos from Thanksgiving at my parents’ and sister’s in Westchester. Our Thanksgiving dinners migrated to my sister’s home in 2005.

Arielle Weenonia Gray

New Haven-based photographer Arielle Weenonia Gray is a recent graduate of the Yale School of Art’s Master’s program, and has been featured in a number of publications, including Vogue, Aperture, The New York Times, and right here at CULTURED.

What’s your earliest memory of Thanksgiving?

Going to Wendy’s with my mom and twin sister for a Christmas ornament toy from the 2000 film How the Grinch Stole Christmas. We got home that night to set up the tree, and I remember us making cookies (always burning the bottom) and putting the Grinch ornament on the tree.

What feelings does the holiday evoke for you?

Sadness from nostalgia, warmth from being able to be present with my family.

How would you characterize your practice?

I would characterize my practice as based in sentimentality, constantly shifting between autofiction and the uncanny. I am constantly crying (joy and sadness), writing, and taking photographs. Not necessarily in that order.

Where and how did you take these photos?

The black and white photo, After 26 years, she has sent us out into the world to love and love again, was taken in my home in Tuscaloosa, Alabama during my winter break from Yale. My mother was cradling my sister’s face one night, and I asked them to replicate that moment for me. My mother’s hands have always felt iconic to me.

The photo featuring the gloves, It’s Our Party, was taken in New Haven with my friends Alexandria Couch and Kayla Hawkins. I had ventured to the fashion district to borrow dresses from Batsheva Hay, and I decided we would play pretend. I love the process of getting ready, especially during the holidays—glitter, mesh, red, silver, and gold rule my world. We cleared out my bedroom, put on the gloves, and danced around my bedroom.

The once-famous fashion photographer, long accused of misconduct with models, faces legal action.

In the realm of photography, images possess a transcendent power. They freeze moments, tell stories, and most importantly, drive change. For environmental activism, this power is not just artistic; it’s transformative and essential. 

The Power of the Image

The essence of photography in environmental activism lies in its ability to make the intangible tangible. Consider the image of a lone polar bear on a shrinking ice floe — it transcends scientific data, striking a chord in the viewer’s heart. Such images act as visceral catalysts, translating complex environmental issues into a universally comprehensible language, thereby driving public awareness and action. Climate science and the subsequent impact on the environment and its inhabitants is a tremendously complex and data-laden thing, and it can be hard to make a powerful point with a graph. In this case, a picture is worth 1,000 data points.

Historical Context, Iconic Moments, and the Ethical Dimension

Tracing back to the conservation movements sparked by the likes of Ansel Adams, environmental photography has long been a cornerstone in raising awareness. Iconic images, such as those capturing the aftermath of the Deepwater Horizon oil spill, serve as stark reminders of humanity’s impact on nature. These photographs don’t just document events; they shape public opinion and influence policy.

The power wielded by environmental photographers is laden with responsibility. The ethical challenge is profound: How do you honestly depict environmental degradation without sensationalism? 

The Role of Technology

Technological advancements, from drones to high-resolution satellite imagery, have redefined environmental photography. They provide unprecedented perspectives, revealing the scale of environmental issues like never before and showing how truly global the effects of climate change are — not some far-off phenomenon, but an immediate and close threat. 

However, these technologies also pose a risk of disconnecting viewers from the natural essence of the subject, challenging photographers to maintain authenticity amidst technological allure. This is where the feet-on-the-ground photographer can never be beat, capturing individual moments that show the effect on lives and generate empathy. 

In the digital era, social media platforms are potent conduits for environmental imagery, offering unprecedented reach and immediacy. The virality of a photograph can catapult an environmental issue into the global consciousness. Yet, this virality is a double-edged sword. The pursuit of likes and shares can sometimes overshadow the underlying environmental message, posing challenges to the integrity of environmental narratives. Users see more images every day than ever before in history, and it is harder for any single photo to break through and capture attention. 

The proliferation of high-quality smartphone cameras has significantly democratized environmental photography. These accessible devices empower a broader swath of society to document environmental issues, transforming ordinary citizens into potential photojournalists and advocates. Smartphone cameras enable real-time, widespread documentation of environmental phenomena, from local pollution incidents to the effects of extreme weather events. This democratization, however, also introduces new challenges. The sheer volume of images can lead to desensitization, and the variable quality of these photographs may impact the perceived credibility of the issues they depict. Nonetheless, the ubiquity of smartphone cameras has undeniably broadened the scope and immediacy of environmental activism, making it possible for more voices and perspectives to contribute to the global environmental narrative. This aspect of environmental photography, ripe with both opportunities and challenges, represents a significant shift in how environmental issues are documented and shared in the digital age.

The Narrative of Hope Versus Despair 

Environmental photography often grapples with the dichotomy of hope and despair. While repeated images of devastation can induce apathy, an exclusive focus on positive narratives may breed complacency, a sort of bystander effect — “someone else is taking care of it.” Striking a balance where the grim realities are presented alongside stories of resilience and proactive efforts is crucial. Many environmental photographers embrace the role of an activist and put great care into presenting this dichotomy. 

Environmental issues are often complex and unfold over extended periods. Long-term photography projects that document these gradual changes can provide compelling narratives about environmental degradation and recovery. They offer a nuanced, in-depth look at issues like deforestation, urbanization, and the impacts of climate change. The challenge is getting impatient audiences to fully engage with them. Environmental photography is not just about capturing the visible; it’s also about shedding light on the unseen. This includes microscopic environmental processes, underwater ecosystems, and even the impacts of pollution at a molecular level. It takes photographers and techniques of all kinds to tell the complete story.

Global Perspectives and Cultural Sensitivity

As environmental issues are global, photography must transcend cultural and geographic boundaries. Photographers must approach their subjects with cultural sensitivity and awareness, avoiding the pitfalls of stereotyping or misrepresenting communities and their environmental challenges.

Beyond activism, environmental photography plays a pivotal role in education. It can be a powerful tool in classrooms and educational programs, fostering environmental consciousness among younger generations. By integrating photography into environmental education, a deeper understanding and connection to nature can be cultivated and more responsible citizens created. 

The future of environmental photography likely lies in collaborative, multidisciplinary approaches. Collaborations between photographers, scientists, environmentalists, and local communities can create a more holistic and impactful narrative and show that it is truly a global phenomenon.

Photography’s role in addressing climate change is particularly challenging. Capturing the slow, often invisible processes of climate change requires creativity and foresight. Photographers are tasked with finding compelling ways to visualize these gradual changes in a manner that resonates with the public, and it takes no less than an army of them to do so.

The Impact

Environmental photography doesn’t just inspire public opinion; it can directly influence environmental policy and legislation. Documenting the impacts of industrial activities, endangered species, or changes in landscapes has often swayed the decisions of policymakers. Photographers, therefore, bear a responsibility to ensure their work is grounded in factual accuracy, as these images can be instrumental in legal and political debates surrounding environmental protection.

Another critical aspect of environmental photography is holding corporations accountable for their environmental impact. Photographers have the unique ability to document environmental abuses and malpractices by industries, providing undeniable evidence that can lead to public outcry and force corporate change. Oil spills and deforestation are two of the most obvious places where photographic documentation has led to change, but photography’s impact has been felt in countless examples. 

Speaking of impact, photographers have a responsibility to nurture new talent — those who will carry the torch of environmental advocacy forward. This can be achieved through workshops, collaborative projects, and educational programs. By sharing their knowledge and experience, established photographers can help mold a new generation of environmentally conscious photographers, equipped not only with technical skills but also with a deep understanding of the ethical and social responsibilities of their craft.

Conclusion

Environmental photography is more than just a subset of the photographic arts; it’s a vital tool in the fight to preserve our planet. For photographers, the responsibility is profound. Photographers not only capture the beauty and tragedy of our world, but also contribute significantly to shaping its future.

Lead image by Wikipedia user Eddiem360, used under Creative Commons.

The David and Nicole Tepper Foundation partnered with the Bradley and Nikki Bozeman Foundation for the Bozeman Thanksgiving Bash. The event hosted 1,300 children from the Second Harvest Food Bank Kids’ Café program for a special Thanksgiving dinner experience at Top Golf. Panthers players and 80 volunteers helped serve and entertain the kids during a special evening of fun and togetherness.

Thames & Hudson has teamed up with Magnum Photos once more to release an expanded edition of the best-selling photography book Magnum Magnum. 

Magnum is the world’s most famous photography cooperative, founded in 1947 by Robert Capa, Henri Cartier-Breeson, George Rodger, and David ‘Chim’ Seymour. Many of the world’s greatest photographers have at some point been part of Magnum, meaning that they have captured some incredible moments throughout recent human history. 

The original Magnum Magnum (published in 2007) was a roaring success, showcasing photographs taken from Magnum’s conception through to the book’s release. The book is segmented into the many world-famous photographers who were/ are a part of the cooperative, displaying a selection of images from each. These photographers include some of the medium’s biggest names, such as Henri Cartier-Breeson, Eve Arnold, Alex Webb, and Alec Soth, to name but a few.

The new updated edition follows the same layout, adding the work of 25 photographers who have joined Magnum in the last 15 years. With over 150 new photographs over 700 pages, Thames & Hudson has every right to call this book ‘the definition of an updated classic!’.

Magnum Photos was built upon the cooperative spirit, creating a collaborative environment where photographers shared ideas, and each of the four founding members picture-edited the other’s photographs. The new book follows this same core value, with each photographer selecting and critiquing six key works by another. 87 photographers works are represented in Magnum Magnum, with a short commentary of why the specific works were selected, by the photographer who selected them. This will give a fascinating insight into the mind of a photographer and picture editor, showing what they look for in an image, and what makes one photo stand out amongst others.

Magnum Magnum was edited by Brigette Lardinois, a reader in Understanding Public Photography at the London College of Communication, at the University of the Arts London. Having worked on many group and solo shows and exhibitions with photographers such as Cartier-Bresson and Eve Arnold, Lardinois has developed a close relationship with Magnum over many years.

Magnum Magnum published by Thames & Hudson and edited by Brigette Lardinois, is available January 2024 in the US but is available now in the UK. The price on release is $175 | £125 . This is certainly one for the photography purists and lovers of photography history, it will certainly be on my Christmas list!

Photography books are a fantastic gift for photographers, so for more information on photography books, see our guides on 48 best books on photography for beginners and pros, the best books on fashion photography, and the best coffee table books on photography.

After a year of attending anime-themed events, a convention day typically plays like this: I go to events, see friends, buy merchandise, and take as many photos as possible. There’s plenty to take from the special exhibits, but most of the time, it’s the awe-inspiring cosplayers I encounter that fill up my gallery. I’m all smiles until I get home when, in an unfortunate twist of fate, I find that many of my pictures are terrible. “How can it be this bad!?” – I say, deeply disappointed at my skill issue (my brother and I have the same phone, but his photos are always good.)  Thank goodness that I’ve made a habit of taking more shots so I can at least pick the best one. 

As I write this now, I think it’s okay to say that I’ve improved in my picture-taking since, or at least prepared in advance (like wiping my phone lens, rule of thirds, post-edits, etc.) for my own awkward blunders. One day, however, I came to an event to support my Chainsaw Man cosplayer friend and came across a free-roaming professional photographer. His presence was friendly and when I saw him working in action, snapping away and interacting with people, I thought, “Wow, he’s pretty cool.” 

After that, my admiration for pro shutterbugs just kept growing. Compared to my own (obviously), the power they have is pure talent and skill. It’s hard to ignore their existence, not only at conventions but on social media where cosplayers post their incredible cosplay photoshoots. I was suddenly thrown into this exciting perspective that there are expert camera enthusiasts who are passionate about creatively bringing these anime characters to life. 

As my circle of friends grew larger, I met more personalities in the community. If you’ve followed my coverages with Anime Corner for a while, you’ll probably find how I’ve featured some cosplayers and crafters from the Philippine convention scene. Now, I thought, “Why not give the spotlight to the people behind the camera?“.

What Is Cosplay Photography?

“Cosplay,” from the term costume play, is an activity where people dress up as their favorite characters while “cosplay photography” is the act of taking photos of the cosplay. One time, I asked a hobby cosplayer friend of mine why she was always so fond of having photoshoots at our local events. She smiled and simply said, “Cosplaying is fun, and I want something to remember them by. Also, I wanna look cool!” 

That said, a good photographer knows how to bring out the best of their model. What makes cosplay photography different from other kinds of photography is that creativity is highly encouraged – from highlighting the bright-colored costumes to out-of-this-world poses, all the way to post-editing to achieve an imaginative or fantasy mood. 

Selfies are good, but professional cosplay photography? Even better.

Cosplay Photography is All About Creativity

“As we delved deeper into cosplay photography, we discovered a whole new world of creativity and imagination. The intricate costumes and makeup, combined with the passion and dedication of the cosplayers, made for stunning and unique portraits.” Cinestill Studio, composed of photographers Moodz Amil and Jerome Paras, told me in an interview when I asked about what inspired them as photographers. I’ve come across their work online, especially their posh photoshoots outside the event venue. It’s all quite interesting to think about, and then I wondered, “How exactly do they do it?” 

Like all other hobbies, cosplay photography has a creative process to follow. I discovered 3 important steps from Cinestill Studio, which they have unselfishly imparted to me and I am more than delighted to share them with you. First, the careful planning from both the cosplayer and photographer (this includes research on the character’s personality, costume, props, and mood boards to help with poses.) Second, capturing the perfect shot during the photoshoot. Third and lastly, the post-editing magic – tinkering and adjusting exposure and temperature, shadows and highlights, color grade, and other interesting whatnots. And just like that, the photo is refined and can be delivered to the happy client. 

It’s quite fun to listen to someone geek out about their favorite things, even when those “things” are the most stressful ones for them. (I suppose this is relatable, I love talking about Bungo Stray Dogs.)  In truth, the entire photoshoot process is much more meticulous than you can imagine. Things like creating or manipulating the perfect lighting, ambiance, venue – outdoor, studio, or conventions – framing, directing, depth, leading lines, color grading, and so on and so forth. Other than camera technicality, they also have to capture and deliver justice to the costume and cosplayer.

With all these factors and principles in play, it all really comes down to the photographer’s technique and imagination. Now, don’t you think that’s an exciting thrill? 

Invest in Valuable Skills and Gear

Photography is often called personal, and like how cosplay photographer Efraim Delacruz from Eprim Digital said, “ It [the environment] constantly changes, so if I take a picture of something or someone, that moment becomes frozen in time, and it will never be the same.” It makes one wonder…ephemeral thoughts like these are what make photos all the more precious and meaningful. But then again, is that all there is to it? 

Photography is also a form of art. And to answer the million-dollar question, a good camera definitely makes a difference in the quality of the photo, but it’s also the creative and good eye of the photographer that makes it unique. 

“It’s a healthy balance,” Eprim Digital continued to tell me when I asked about the importance of both skills and gear. “People back then didn’t have great technology, but they still created wonderful works that shaped lives. Having expensive equipment with the best specs is great but if you don’t know the fundamentals, then it’s practically useless. [As a  cosplay photographer,] having advanced tools speeds up the work process but at the end of the day, they’re just tools. So, you need a healthy balance [of both] for a great output.” 

Of course, anyone can create an artistic photograph whether it be via smartphone, an entry-level camera, or a more expensive one. Being a good photographer is more than just mastering your camera – it’s about the quality of output one can produce. So what exactly is a “good photo?” Especially one in the area of cosplay photography? 

The Cosplay Photoshoot Process and Experience

Allow me to share another personal story. One time, my younger cousin asked for help with a school cosplay contest, and I, as a supportive Ate, excitedly took on the job. We researched low-cost costumes and props, and the final work turned out to be – and I say this with much love and amusement – a cringey success. (I’ll leave the details to your imagination!) It was a fun experience but I admittedly didn’t know what I was doing. I had the chance to regain my honor during my cousin’s debut and since she didn’t have anything fancy, we took matters into our own hands and had a home photoshoot. With the help of her older sister’s make-up and light support skills, my mom’s fashion and directing skills, my brother’s trusty Nikon D40, and my very own beginner photography skills – we managed to make something nice together.

That’s probably the closest I’ve gotten to a photoshoot. And again, I was thrown into this humbling situation that the photoshoot process is a lot of work. Even now as media for Cosplay Mania, my introverted energies struggle to keep up, but because I want nice photos, I have to step up and do what must be done. As Eprim Digital said, and I quote, it is “hella exhausting.” Really, much kudos to all the photographers out there who can do it so naturally. Thank goodness they exist.  

I’m sure a lot of cosplayers share my appreciation as well. Whether it’s for hobbies or work, their collaborative photoshoots are usually fun and rewarding because everyone involved is passionate about what they do. It’s all the more amazing when it’s more than that – the photoshoot becomes an experience. 

That said, every photoshoot experience is unique. “The exciting part is that each cosplay shoot is a creative adventure in itself,” Eprim shared. “The most enjoyable part is when I get to see their reactions from every step of the way.  From the meeting, directing, and showing their photos after shooting to having little chats, to them having a hard time choosing [their favorite shot], to seeing their final comments, and reacting to the final output. It’s a journey filled with joy and anticipation.”

Another photographer,  Ender Cruz of Pitikulotchi, told me that every photoshoot provides a new learning experience. Although convention or event photoshoots can be challenging (I learned that there are some not-friendly venues, some requiring permits, for example), it’s a skill worth learning to become a better photographer. Pitikulotchi added, “The actual photoshoot is the most difficult part but I enjoy it a lot because I can get to interact with different cosplayers.” 

Even Cinestill Studio goes all the way out to explain his excitement for the creative process. “The interplay of composition, lighting, pose, and emotion culminating in a photograph is a gratifying experience that rejuvenates us during the shoot. It is a source of pride for us to present the cosplayer with our coveted money shot.” 

As cosplay photographers, they also emphasized to me how important it is that they can connect with their subjects, communicate, and understand everything in between. Creating a comfortable and cheerful energy not only establishes a good professional relationship but also an authentic photograph. Simply put, no matter how awkward you may be, they’ll know how to make you look good. 

So going back to my earlier question, what makes a good photo? I asked them again, and these are the boxes to check:  

• First, Pitikulotchi said that you’ll know it’s a good photo when there’s a good composition, balanced lights, shadows, and moody tones. 
• Second, Cinestill Studio said that a well-captured photograph is one that can evoke emotions with its quality; it perfectly conveys to the viewers the message and passion of the cosplayer inframe. 
• Third, Eprim Digital said that it’s a good photo when the clients are happy; when they smile, and feel that their own cosplay has been elevated. 

How to Bring Fictional Characters to Life with Cosplay Photography 

The fun in cosplay photography, or photos in general, is its gift of creating memories for everyone. It’s about capturing the moment when people dress up as their favorite characters. So, here are some tips on how to bring your favorite anime or game characters to life with cosplay photography :

1. Be creative and artistic; doing research on the character can help you with ideas on what to highlight in the costumes, poses, and overall composition. One of the nice things about cosplay is that there’s a ton of references you can study and recreate. 
2. Choose a fitting and interesting background or location. 
3. Pay attention to the details of a good pose (hand placement, facial expressions), make-up, and costume.
4. Props and their positions are also key elements of any great cosplay. 
5. Communicate! Both the photographer and cosplayer should have a clear idea of what to expect before, during, and after the shoot. 
6. Even with a phone or an ordinary camera, pictures will turn out good if you keep in mind some photography techniques. (Rule of thirds, depth of field, lighting set-ups/equipment, camera settings, perspectives, etc.)
7. Create a compelling story; there needs to be enough emotion and information for the viewers to feel. It’s best to keep taking different kinds of shots too. 
8. Of course, there’s also the magic of post-editing. For example, color adjustments and other cleaning edits. 

In addition, the experienced cosplay photographers were kind enough to share their personal advice with aspiring cosplayers and photographers. Here are some more photography tips:

Pitikulotchi: [To aspiring cosplayers and photographers,] don’t give up. Pursue your passion. All of us will get better at what we do [with experience and practice.]

Pitikulotchi’s favorite gears are his Sony A6000 and Nikon D7000. For the light set-up, a Godox flash, ml60, and TL60.

Eprim Digital:  For future cosplayers [hesitant for a photo shoot, just] have fun but have a line of professionalism and respect for everyone. Make sure you’re on time, have references, and practice. For photographers, if you are a hobbyist, it’s completely fine. Observe basic human decency at all times, respect others and yourself, and don’t sell yourself short.  Have the right amount of professionalism and personality so the cosplayer will have a great experience. 

For both coser and photogs, don’t compare yourselves to anyone because we all have our beginnings and struggles. You just need to remember that you can grow by being consistent and balancing work and fun. Enjoy the process and don’t let flops get you down; it is a part of the process and that’s where we learn.  

Eprim Digital doesn’t have favorite equipment and likes anything as long as it works. However, his bread and butter is his 18 to 135mm lens which works anywhere, anytime, all because of its range in focal length. Eprim Digital also strongly believes in flashes because they “are the MVPs in my photography.”

Cinestill Studio: For individuals aspiring to become cosplayers, it is important to cultivate self-confidence. While it may be challenging at the outset, the more one engages in the practice, the more comfortable it becomes. For official photoshoots, it is crucial to research the right photographer who can deliver the desired outcome. Exercise caution as there are individuals who may use photography as a means to target cosplayers.

Similarly, for photographers, the initial approach can be daunting, particularly when seeking to capture images of exceptional cosplayers. Building a portfolio may take several months, and it is important to avoid underselling one’s services. As a photographer, one is investing in the industry, and it is essential to value one’s equipment, skills, and time spent capturing and editing images. Undervaluing one’s services can have a significant impact on impact on the photography industry, potentially altering pricing structures over time…

…Furthermore, it is important for photographers to establish a good rapport with cosplayers– be respectful, professional, and communicative. It is also important to understand the cosplayer’s vision and work collaboratively to achieve the desired outcome. Building a positive relationship with cosplayers can lead to repeat business and referrals, which can be beneficial for photographers in the long run.

In addition, photographers should also be aware of the legal implications– obtain consent from the cosplayer before taking any photographs and ensure that any images taken are not used for commercial purposes without the cosplayer’s permission. Photographers should also be aware of copyright laws and ensure that they have the necessary permissions to use any images taken for their portfolio or for promotional purposes.

Cinestill Studio’s top favorite gears are the Fujifilm X-T4 and X-T5, which deliver high-quality film-ish vibe photos with the aid of Fujifilm System’s Film Recipes. An “indispensable tool in our photography arsenal,” they said. Next up is the AD200 Pro flash and although expensive, they describe it as their most versatile and efficient gear.

And that marks the end of my article! I am grateful for having had the honor of being surrounded by so many kind and friendly creatives. For more cosplay shots, you can check out Pitikulotchi, Eprim Digital, and Cinestill Studio’s Cosplay Mania 2023 gallery feature. You can also check out my own cosplay gallery article of CosMania 2023 and CONQuest 2023 (which I worked really hard on with my new camera, hehe).

I hope you also take the time to check out more of Anime Corner’s content – from the relatable posts on the main Facebook page, voice actors news on Seiyuu Corner, and our anime reviews and features on the website. Thank you for reading, and stay creative! 

Special thanks to KrayZeke TV for making this article possible. Most of all, my heartfelt thank you to cosplay photographers Moodz Amil and Jerome Paras (Cinestill Studios), Ender Cruz (Pitikulotchi), and Efraim Delacruz (Eprim Digital) for allowing me this interview, as well as letting me feature their amazing photos.

Cover Photo: Eprim Digital featuring Rissa Rossa
Photo Credits: Pitikulotchi, Eprim Digital, and Cinestill Studio. All photo credits belong to the rightful photographers and cosplayers.
Please do not repost or use their photos without permission.

A longtime local photographer who is known nationally for his portrait work has unearthed a lost selection of candid street photography from the 1970s around Fayetteville.

Photographer Andrew Kilgore shared a handful of his favorite images from the rediscovered set with the Flyer recently, and they are embedded above and below.

Kilgore, who celebrated his 83rd birthday earlier this month, has been documenting the people of Arkansas for most of his adult life.

Born in Virginia, he moved to Fayetteville in 1971 after serving in the Peace Corps in India. He purchased his first camera in Hong Kong while on holiday during the trip, he said, and began developing his signature style shortly after that.

He began photographing students while he worked at a school for the developmentally disabled in Austin, Texas, and after that, was headed to San Francisco before a stop-off in Fayetteville to visit friends turned into a much longer stay than he anticipated.

He set up a studio in Fayetteville during the 1970s, and also worked as a professor of photography at the University of Arkansas, and as a freelancer for The Grapevine, a small weekly newspaper.

After being let go from his job at the UA, he said, due to his lack of formal education in photography, Kilgore began making portraits as a way to support his family. He started an art project called Fayetteville Townfolk Portfolio Project where he began photographing the people of his new hometown in his arresting, signature style of portraiture.

Kilgore has always been interested in all different types of people, and the idea behind the Fayetteville Townfolk project was to capture a cross section of the entire community at that time.

“I photographed people from the most affluent people in the community to the poorest,” he said.

Typically shot in black-and-white, with a neutral backdrop usually provided by a simple piece of cloth, Kilgore’s portraits are instantly recognizable. The plain background combined with Andrew’s good nature that puts his subjects at east allow the portraits a unique kind of life that is difficult to quantify.

Eye contact with the camera is another characteristic of his portraits that – for lack of a better explanation – drip with the humanity and and sparkle with the personality of the subjects.

In addition to his Fayetteville Townsfolk project, Kilgore is known for his collection of photographs of people with developmental disabilities titled We Drew A Circle, a collection commissioned by the Youth at Risk project in Little Rock which was funded by the Annie Casey Foundation, an exhibit created as part of the state of Arkansas’s sesquicentennial celebration called Arkansas People, and others.

The rediscovered images shared with the Flyer this week were mostly taken during Kilgore’s time with The Grapevine. The images were unearthed at the request of a client, he said, and he realized there are likely others who might be interested in them.

Some familiar locations are featured in the photos, including Collier Drug and United Methodist Church on Dickson Street in the background of one shot. A look at the rail yard near the corner of Dickson Street and West Avenue is visible in another, and there are also shots of the iconic D-Lux, Restaurant on the Corner and Minute Man Hamburgers restaurants in the set of photos. The UARK Bowl, Dickson Street Liquor, Ozark Theatre, and the old Washington County Courthouse are also represented.

Old Main on the UA campus also looms in some of the images, and the restoration of the south tower is clearly ongoing as they were captured.

Kilgore, who said he has a file cabinet full of negatives featuring thousands more photos from the same period, said he is interested in finding an underwriter to sponsor a project to sort through and archive the historic images.

Even at 83, Kilgore has continued to work, still taking portraits on a commission basis at his home studio in South Fayetteville. Those who are interested can contact him to arrange for a sitting via his website.

Recently, he has also made available some of his favorite photographs from his career to purchase as prints via the site.

The new photos Kilgore shared with the Flyer this week seem at first to be a departure from the work he is best known for, but the magic of his work – especially when there are people involved in the subject matter – remains.

Kilgore told us the secret to capturing the essence of a person in his portraits boils down to having an eye for composition, abstract shapes, and design, but more so, comes from of his love of his subject matter.

“I love these people,” he said. “I really do love people. I fall in love with everyone I photograph. I fall in love with people at the next table at a restaurant. I just can’t take my eyes off of people.”

More photos

This article is sponsored by First Security Bank. For more great stories of Arkansas food, travel, sports, music and more, visit onlyinark.com.

When the photographer Dan Grec was 27 years old, he decided to make a radical change. “I wanted to put myself out there and attempt something enormous,” he remembers now. After leaving his software engineering job, he hit the road. During that first off-grid photography trip, his Jeep Wrangler covered more than 54,000 kilometers, spanning the Pan-American Highway. 

Now an experienced overlander and adventurer, Grec has traveled to some of the most inaccessible corners of the globe. The photographer has been an ambassador for Renogy, a brand offering leading solutions in sustainable solar energy, for eight years now. During that time, he’s driven a Renogy-equipped vehicle across the coastline of Africa (35 counties in all) and, more recently, embarked on a once-in-a-lifetime expedition through the Australian continent. 

“With the near endless sun in Australia, the no-hassle system performed flawlessly in the most wild and remote destinations, including a ten-day crossing of the world’s most remote 4×4 track, over 1,000 miles without seeing another person or vehicle,” the adventurer remembers. These days, he’s working on a brand-new vehicle build using REGO, Renogy’s flagship off-grid solar power system. Once it’s ready, he’ll travel through the remote corners of Iceland and the Faroe Islands before exploring other parts of Europe. 

We asked him to tell us more about his off-grid photography, the nights he’s spent in the wilderness, the routes that put his gear (and willpower) to the test, and the sunrises that took his breath away.

What inspired you to embark on your epic trip around Africa, starting in 2016? Did you know where the journey would take you when it started? 

“After the Pan-American Highway adventure, I ran out of money, and I had to get another desk job to rebuild my savings account. I had been working at my new software job for less than a week when I realized that sitting at a desk for the rest of my life was not going to make me happy, and it was not something I could do forever.

“Early on, while working and saving money, I didn’t have a specific destination in mind. I just knew I needed to build a savings account so I could once again buy freedom from going to work every day. The parts of South America that stand out in my memories are when I was far from civilization and pushing my abilities to their limit, and so the more I thought about a future adventure, the more Africa fascinated me. I knew if I was going to ship my house-on-wheels vehicle all the way there, I should attempt to see as much of Africa as I possibly could.” 

Can you walk us through a “day in your life” on the road? What does a typical day look like, if there is such a thing? 

“I try as hard as I can to camp ‘wild’—just out in the wilderness away from people and infrastructure. Most mornings I wake with the sun, and I enjoy making coffee and breakfast in the early morning before the heat kicks in. 

“Depending on where I am, I will drive for an hour or two and find myself in some kind of small town or village where I will wander a local street market, buy street food for lunch. If needed, I re-supply on food, gas and water. I love asking locals where I should explore or go next, and so with any luck, I will wind up at a waterfall, or lake, or mountain, or some other beautiful place I can hike and explore and hopefully camp for the night.”

In your years practicing off-grid photography, what was the most remote area you’ve ever visited so far?

“In Australia, together with my Dad, we drove the length of the Canning Stock Route, commonly called the world’s most remote 4×4 route. The track is 1,050 miles through the emptiness of the Western Australian deserts, and for ten days and nights, we did not see a single other person or vehicle. We were extremely far out, and very much on our own.

“The feeling of isolation was intense, and I was hyper aware that we would have to solve any problems on our own. Nobody was coming to save us. The Renogy system we had to power the fridge and run our water pump was absolutely flawless not only for this extremely remote section, but all around Australia in the intense heat and horrid corrugations.”

What are some misconceptions people have about your life on the road—or a life “off-grid” in general? 

“I think many people assume living on the road means eating poorly, something like tinned food or ramen noodles for every meal. While this may have been the case twenty years ago, the advent of quality 12v fridges, solar and lithium batteries means this is no longer the case. My partner Katie and I cook and eat fresh meals with plenty of vegetables every day, and we always have plenty of fruit and healthy snacks in the fridge.

“I think people also assume life on the road must be very lonely and isolating, while the opposite is often true. Everywhere on the planet, there are people exploring, and they’re always looking to make connections with others on the road. Furthermore, locals are proud of their country and town, and they always jump at the chance to meet a foreigner and show them around their small part of the world. While on the road, I’ve had a more vibrant social life than when living in a city and going to work every day.”

What is the most powerful memory you have from all your years of traveling and shooting off-grid photography? 

“On many occasions around Africa, I would arrive in a small mud hut village right around sunset. I was often exhausted, and felt very vulnerable. In all honesty, I even felt a little scared, and was worried how local people would react to a strange person showing up in their village in a big four wheel drive.

“On every single occasion, I was welcomed warmly by the village, and often locals tried to give me food and water, and were very happy to show me a place I could camp safely for the night. These people were not doing this because they wanted money, or anything like that, they were doing it because they’re friendly people, and welcoming strangers is part of the culture in Africa. I will remember the friendliness of the people all across Africa that I will remember as long as I live.”

What have been the most challenging aspects of life on the road? Have there been any moments where you considered giving up, and if so, what motivated you to continue?

“There are many challenging aspects of life on the road, and depending on how exhausted I am on any given day, a different one will rise up to be the most irritating. Heat, humidity, and dust are extremely tiring after years on the road, as are bureaucracy, corruption and trying to achieve things like applying for visas or crossing an international border in a completely different culture.

“No matter what the frustration of the day is, I have to remind myself that I’ve chosen to be there, and that life on the road is much more interesting and exciting than life sitting at a desk, which is exactly what I wanted. Often, I just need to drink a huge bottle of cold water from the fridge, eat a snack, and take a huge deep breath to consider what is actually bugging me.

“I’ve never seriously thought about giving up, though when I feel burnt out, I try very hard to slow way down, maybe even setup on a beach somewhere and to not move for a week. I will swim, surf, cook and eat good meals and make sure I get plenty of sleep to recharge my batteries and make sure I’m ready to take on new challenges.”

How have your travels influenced how you feel about the future and about sustainability? Have they given you hope that we can live more sustainably? 

“Without a doubt, my travels have taught me that people around the world are generally good, and we all want the same things—to be happy and to be safe. While the media shows us a lot of doom and gloom, there is an enormous amount of good in the world. 

“In terms of sustainability, I’ve seen solar and wind farms in every country on the planet, and it always brought a smile to my face to see locals crowded around a mud hut covered in solar panels they’re all using to charge cell phones and flashlights. As the price of solar and quality batteries continues to fall, more and more people will adopt them, and we will have a much better chance at a sustainable future.” 

What’s next for your off-grid photography adventures?

“I’m currently building and outfitting a new overland vehicle with the goal of increased interior living space to travel to much colder climates. I have integrated an insulated living habitat onto a Jeep Wrangler, so I can go anywhere on the planet while being warm and dry. This vehicle has much higher energy needs than my previous ones, including an induction cooktop, large fridge/freezer, and diesel heater, so I require a much more comprehensive electrical system.

“I am outfitting the vehicle with a Renogy REGO system including self-heating smart Lithium batteries, flexible solar panels, charge controllers, and system monitoring. This system will ensure I can power all my vehicle systems, cameras, and laptop no matter how remote I explore.”

Further reading in off-grid photography:

• Portraits of a Community Living Off the Grid in a Remote Spanish Ecovillage

• A Powerful Portrait of Living Off the Grid in Northern Canada

• A Look Inside a Protest Camp on the Fringes of London

Discover More