Mercer County High School senior Lucas Shadden won first place honors in the photography contest at the QC Arts Festival of Trees High School Art Exhibition. His piece is displayed at the River Center in Davenport through Sunday.

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The second episode of The Crown season six, “Two Photographs,” begins with interviews with two photographers: Mario Brenna, a real Italian paparazzi, and Duncan Muir, a royal photographer. Both Brenna and Muir talk about their roles and their work, and the episode juxtaposes Brenna’s paparazzi shot of Princess Diana and Dodi Al Fayed kissing on the Jonikal, Mohamed Al Fayed’s yacht, with Muir’s photoshoot of Prince Charles and his sons, Prince William and Prince Harry, at Balmoral.

Muir, who is played by Scottish actor Forbes Masson, introduces himself as follows: “My name is Duncan Muir. I’m 57 years old. I’m a professional photographer working out of Ballater, near Aberdeen in Scotland. My bread-and-butter work is traditional portraiture: Weddings, graduations, that sort of thing. But my passion, and what I’m best known for, is photographs of the royal family. Where the Queen goes, I go.”

Only problem? No photographer named Duncan Muir really existed. So while Brenna definitely took the snap of Diana and Dodi, to our knowledge, Duncan Muir did not exist. Rather, it seems as if Muir is based on other photographers of the era.

The aforementioned Balmoral photoshoot that the fictional Muir takes in the show was, in reality, taken by Tim Graham, an established royal photographer. (There’s a C-SPAN interview with Graham from 1989 that is similar in tone to the faux interview in The Crown with Muir.) Other royal photographers of the era that Muir could be based on include Kent Gavin, Anwar Hussein, Tim Rooke, and Jayne Fincher.

Emily Burack (she/her) is the news writer for Town & Country, where she covers entertainment, culture, the royals, and a range of other subjects. Before joining T&C, she was the deputy managing editor at Hey Alma, a Jewish culture site. Follow her @emburack on Twitter and Instagram. 

Photography is an art form that combines technical skill with creative vision, and among the fundamental principles that every photographer should master is the art of straightening horizons. Yet, it’s a common oversight, often dismissed as a minor detail. It’s a pet peeve of mine and is something that is easily avoided.  Let’s delve into the significance of level horizons in photography, explore the reasons why they often go unnoticed, and provide practical tips on how to break the habit of being a lazy photographer by ensuring your horizons are straight.

The Importance of Straight Horizons

A level horizon is more than just a technical detail; it is the foundation of a well-composed photograph. A crooked horizon can distract the viewer, disrupt the balance of the image, and undermine the overall impact of the composition. Whether it’s a serene landscape, a bustling cityscape, or a candid portrait, a straight horizon is essential for conveying a sense of stability and harmony.

Beyond aesthetics, a straight horizon can also impact the narrative of the photograph. For example, a tilted horizon might inadvertently convey a sense of imbalance or unease, while a level horizon is more likely to evoke a feeling of calm and control. Controlling this basic aspect of composition lays the groundwork for creating compelling and visually engaging photographs.

Why Horizons Go Unnoticed

Despite the importance of straight horizons, many photographers often neglect this fundamental aspect of composition. Several factors contribute to this oversight:

1. Overemphasis on Subject

When photographers become engrossed in capturing the main subject of their photo, the horizon can become a secondary consideration. The excitement of the moment or the focus on a captivating subject may divert attention away from ensuring a level horizon.

2. Haste and Impatience

In fast-paced shooting scenarios or situations where quick reactions are required, the meticulous framing of the shot may take a back seat. Haste and impatience can lead to a disregard for ensuring that the horizon is straight.

3. Reliance on Post-Processing

The ease of digital post-processing tools has led some photographers to rely on software to correct crooked horizons after the fact. While this is a viable solution, it often results in a loss of image quality and can be time-consuming. If you didn’t have this tool, then you would be more considered in the field while shooting, and this is something I would recommend. Besides this, the likes of Lightroom or Photoshop don’t always get it right. 

4. Lack of Awareness

For some photographers, especially beginners, the awareness of the impact of a crooked horizon on the overall composition may be lacking. Developing an eye for level horizons is a skill that comes with practice and conscious effort. Plus, most cameras have a horizon setting built in, so turn it on while shooting.

Breaking the Habit: Practical Tips for Straightening Your Horizons

1. Use Your Camera’s Grid Lines

Many cameras have an option to display grid lines on the viewfinder or LCD screen. These lines serve as a visual guide to help you align the horizon. By making a habit of turning on the grid function, you can train your eye to compose shots with precision.

2. Take Your Time

Resist the urge to rush through your shots. Take a moment to assess the composition before pressing the shutter button. Pay attention to the horizon, and make necessary adjustments to ensure it is level.

3. Leveling Tools

Some advanced cameras come equipped with built-in leveling tools that provide real-time feedback on the camera’s orientation. If your camera has this feature, make use of it to achieve consistently straight horizons.

4. Invest in a Bubble Level

For photographers using tripods, a small bubble level that attaches to the camera’s hot shoe or the tripod itself can be a handy tool. This physical reference ensures that your camera is level before you start shooting. Lots of tripods have this, but it is still often ignored.

5. Practice Mindful Composition

Train yourself to be mindful of the entire frame, not just the main subject. Develop a habit of scanning the edges of your viewfinder for potential distractions or elements that might throw off the balance of the composition. If you don’t do this and have a horizon that’s not level, you run the risk of losing part of your image when you eventually straighten the shot in post.

6. Shoot in Raw

While shooting in raw format provides more flexibility in post-processing. It’s essential to remember that correcting a tilted horizon in post-production can have limitations. Strive to capture a level horizon in camera to maintain the highest image quality, as you will lose pixels when you have to crop the image to straighten that horizon.

7. Post-Processing as a Last Resort

While post-processing tools can correct crooked horizons, it’s best to view them as a backup rather than a primary solution. The goal should always be to capture a well-composed shot from the start, and if you follow the approach above, then you won’t be reliant on post-processing.

Laziness Versus Artistic Choice

It’s crucial to distinguish between instances where a tilted horizon is a result of laziness and situations where it serves as a deliberate artistic choice. Some photographers intentionally tilt the horizon to create a sense of dynamism or to convey a particular mood. While breaking compositional rules can be a valid artistic decision, it’s essential to understand the rules before consciously choosing to bend or break them. A large tilt known as a “Dutch Tilt” can work. However, a tilt that is just a few degrees is clearly a mistake, which shows in your image and can be easily avoided

Conclusion

In the pursuit of capturing compelling images, it’s easy to overlook the importance of seemingly minor details like straight horizons. However, it’s the attention to these details that sets great photographers apart from the rest. Mastering the basics, such as ensuring level horizons, not only enhances the visual appeal of your photographs but also demonstrates a commitment to craftsmanship and precision.

More and more often, I am seeing images being posted online in which I can immediately see that the horizon is off, and all it would have taken is a small bit of consideration when shooting or even when processing to fix the issue.

So, the next time you lift your camera to frame a shot, resist the temptation to be a lazy photographer. Take a moment to check your horizon, align it meticulously, and witness how this small but significant adjustment can elevate the overall quality of your images. Remember, the art of photography lies not just in capturing the moment, but in presenting it with a mindful and intentional eye.

She shot the Beatles in 1963 and found them “very bright and interesting”. Not long after, she captured Bob Dylan, still just in his 20s, and recalls: “I think I was the only photographer at the gig.” Then, in 1967, there was Jimi Hendrix, who got slightly more than an interview and a shoot. “He was a very nice, gentle man,” Wilmer remembers. “I even gave him a lift in my car!”

It is surprising, given that some would give their eye teeth to have been at these performances, to hear what Wilmer has to say about their music. “Jimi was playing the Royal Albert Hall but I didn’t stay for his performance,” she admits. “I recognised he was a great guitarist, but I just didn’t have much interest in rock music. I probably went off to Ronnie Scott’s instead.” Tellingly though, she adds: “When I interviewed Jimi, we spoke about blues. He appreciated my deep connection.”

Wilmer’s break into journalism, fuelled by an early and snowballing passion for African American music, had happened at the age of 17. “Woe betide any American musician whose address was printed in a magazine,” she says, “as I would write to them! I wrote to Jesse Fuller and he replied so I started up a correspondence and wrote my first piece from what he told me.”

It was published in Jazz Journal and soon Wilmerwas working for other titles and meeting leading African American musicians regularly. “For the most part,” she says, “everyone I met was lovely and encouraging. Sister Rosetta Tharpe gave me a pair of her earrings – no, two pairs! She was just the warmest, nicest person.”

Others were less charming. Fela Kuti, whom Wilmer got to know while living in Nigeria for six weeks, was particularly bad-tempered. “And always walking around in his underpants,” she says. “Who wears underpants among other people? He was somewhat autocratic. Not very likable.”

Miles Davis, too, wasn’t exactly endearing. She remembers approaching the jazz great for an interview after photographing a gig, only for him to decline in a gruff voice. “His female partner said, ‘Go on, talk to the girl.’ And he replied, ‘I might have if she’d lifted up her skirt.’ Very Miles.”

Blues, jazz and gospel inspired Wilmer throughout her life. At 81, she continues to cut a formidable figure and this has been a busy year. She has a new photobook out, Deep Blues: a striking collection showing African American blues musicians and their communities. It accompanies the exhibition Blue Moments, Black Sounds, which recently opened at the Worldly Wicked & Wise gallery in London. “Just in time to earn me some money to pay my winter fuel bills!” she says.

Wilmer has long been a leading voice – and lens – on the subjects of music, race, women’s rights, minority communities and cultural ferment. Today, though, she no longer takes photographs – “I got tired of lugging all that gear around” – but still regularly contributes to Jazzwise magazine. Born in Yorkshire in 1941, she was raised in London by her mother after her father died when she was six. Wilmer was barely a teenager when she took her first portrait of a performer, on her mother’s Box Brownie in 1956.

“We’d been to see Louis Armstrong at Earls Court,” recalls Wilmer, who still lives in London. “I’d connected with jazz strongly and my mother graciously encouraged my enthusiasms. So when I learned what airport he was flying out of, I requested we be there. And there he was! I asked Louis if I could take his photo – and that was me started.”

In 1964, the London-based magazine Flamingo sent her to the Gambia, Nigeria, Liberia and Sierra Leone for six weeks where she covered all manner of subjects. “It later turned out that Flamingo – which was widely distributed in the US, the Caribbean and west Africa – was funded by MI6,” says Wilmer, before hastily adding: “Not that the work I did for them had any kind of agenda.”

If Wilmer ever had an agenda it was that of documenting Black musicians at work and play. Whether showing them as they performed, or relaxed backstage playing poker as she captured Muddy Waters doing, her photographs are beautifully composed yet very naturalistic. She avoids posing her subjects, preferring to let their personalities shine through.

“Of all the musicians I photographed,” she says, “the nicest was BB King. “Once, in New York, he invited me and a friend to jump on his bus as he was off to play out of town. When we got back late that night, BB insisted on us joining him at home for dinner – he woke one of his daughters and asked her to fry some chicken! Then he offered us the cab fare. I said, ‘B, you’ve done so much for us – no more!’ He was kind, intelligent, generous – an exemplary musician and human being.”

Jazz People, Wilmer’s first book, was published in 1970 and, a year later, she was approached by the V&A about an exhibition. Deciding she needed stronger images, Wilmer took off for the deep south, then stayed in New York with Ornette Coleman for five weeks. The result was the 1973 show Jazz Seen: The Face of Black Music. Earlier this year, the museum marked the show’s 50th anniversary by including a Wilmer image – of American gospel singers Inez Andrews and Elaine Davis – in its exhibition Energy: Sparks from the Collection.

Back then, the music Wilmer championed was often seen as niche. In 1977, her book As Serious As Your Life was the first to document America’s burgeoning free jazz scene and, in particular, the efforts of Afrofuturist and cosmic adventurer Sun Ra, whom Wilmer knew well.

“Sun Ra had this almost cultlike thing going on,” she says. “He had all these young male musicians living with him and obeying what he said. It was an odd situation but he himself was quite warm and approachable. He certainly had a sense of showmanship – if he ever saw me holding a camera, he’d put on one of his sparkly hats. He always wanted to look the part.”

Nowadays, the late maverick is a hipster icon, whose band the Arkestra draws large, youthful audiences. “I’m surprised by the enthusiasm now surrounding his music but jazz is so different these days – at least in the way people appreciate it.”

Wilmer, a lesbian feminist, embraced activism throughout the 1970s and 80s. In 1983, she co-founded Format, an all-female photographic agency, with Maggie Murray. Its campaigning photography is currently being honoured in London at the Barbican’s Re/Sisters exhibition and Tate Britain’s Women in Revolt! show. But protest eventually wore Wilmer down. “I got tired of being pushed around by the police – and other people,” she says.

The Blue Moments, Black Sounds show includes more than 50 photos of musicians and their communities. They arguably rank among the finest photos of musicians ever taken, and Wilmer is rightly proud of both them and the connections she built. “John Coltrane was such a gentle, humble man,” she says of the saxophonist.

Sadly, though, Miles Davis was not the only musician whose dark side Wilmer saw. Her 1989 autobiography Mama Said There’d Be Days Like This describes her many struggles, including an attempted sexual assault by a famous jazz trumpeter backstage. That incident ended with Wilmer knocking him out, but today she declines to discuss the incident and his photo doesn’t appear in any of her current exhibitions.

“I encountered so many wonderful people,” she says, “that I can happily ignore those who tested me.”

• Deep Blues is published by Café Royal Books. Blue Moments, Black Sounds is at Worldly Wicked & Wise, London, until 30 November.

During the late 1990s and early 2000s, an unexpected hideaway for big-name celebrities existed beneath the Marc Jacobs store in New York City. Inside the original flagship on Mercer Street, past the dressing rooms and racks of clothing, into the back of the shop and down the stairs to the basement, the vice president of public relations for Marc Jacobs’ store at the time, Robert Rich, had a windowless office that doubled as a safe space for his famous friends—Winona Ryder, Sofia Coppola, Kate Moss, and Grace Jones among them.

“It was kind of like my clubhouse,” Rich tells me on a recent afternoon from his home in Manhattan. “Nobody could see us. It might be pandemonium outside with paparazzi in the street, but we would all be alright downstairs in the office.” In that basement, Rich spent countless hours photographing the stars that would come in and out of his workspace for fittings (or simply to hang out) with a Polaroid camera. And there, he cultivated what he describes as an “instant trust” and decades-long friendship with Ryder specifically, with whom he became quite close over the years. Standing in front of the infamous “mood board” wall of Rich’s office—where he would tape up pictures he’d ripped out of magazines for inspiration—Ryder felt free to pose with silly abandon, wearing wacky get-ups or making funny faces for the camera.

Now, a collection of those intimate photographs of Ryder will be published in a hardcover book, titled Winona, from the publisher IDEA. The book contains over 100 images of Ryder in Rich’s basement office—but also includes paparazzi photographs of the duo shopping in SoHo or grabbing lunch, straight from the pages of Star magazine and The New York Post. (Rich is described in these articles as a “mystery man.”) There are images from their more glam nights out, like when Rich and Ryder attended the 2009 Met Gala together. “Marc was hosting with Kate Moss, Selma Blair was there, Anne Hathaway was there, Madonna was with Marc because she’d just done the LV ads,” Rich recalls. “And Marc’s table was full of Brazilians.”

And of course, there are a multitude of images from their time spent together as BFFs. “We went to the movies together, we had sleepovers,” Rich says, pointing to photos of Ryder he shot on his bathroom floor. “I was in L.A. a lot and she was in New York a lot, so when I was out there I would see her, and vice versa. And it was so funny, because every time I’d see her, she’d be doing a different movie and I never could recognize her immediately. She was always completely different—with blonde hair, long hair, short hair. It would take me five seconds to realize—oh my god, it’s Winona.”

The two worked hand-in-hand on the book. “I let her take out whatever she wanted or whatever she didn’t like,” Rich says. But when he came to the decision that he’d publish the 20-or-so-years’ worth of photographs in a tome, there were a few pictures he knew he had to include. “The day that we hung out with Kate Moss in my office with Patricia Taylor, Keanu Reeves’s mother—she’s a good friend of mine,” he says. “It was just a fun day. Even Marc stopped by to say hi. Kate was cutting dresses up on Winona’s body; we had long dresses, she’d make ‘em into mini dresses.” Rich believes that was the first time Ryder and Moss met: “I think they saw each other once at a party or something, but it was the first time they talked and hung out,” he recalls. “I always thought they could be friends. It was a great place for them to meet with no one around. And they hit it off.”

But the pictures of Ryder at her most vulnerable do not feature her face at all. There are a group of images that feature her bare midsection, her breasts covered by her hands. They look like they were shot on a flip phone camera, exuding a level of intimacy you just won’t see in professional or editorial shots. Here, though, Rich’s memory gets a bit foggy: “I don’t think there’s a story behind those pictures,” he says. “Maybe we were getting ready because she did the ‘Protect the Skin You’re In’ t-shirt? Maybe we were prepping for that… Because she never took her clothes off before for a photographer. But she did it for Marc—and Robert Rich!”

As we gear up for the biggest shopping season of the year, we’re presenting our favorite gifts for photographers this holiday season. Thanks to B & H Photo, Mylio Photos, Radiant Photo, MPB, Lumecube, Platypod and Tamron, the sponsors of this year’s Holiday Gift Guide.

Need more gift ideas, and want to see all the latest holiday deals? Check out our Holiday Shopping Guide!

Below are a few of our favorites that are valued under $100. These are great gifts for the photographer in your life!

The Lume Cube 2.0 Waterproof Photo & Video Light

Recommended by Pam DeCamp | Read Review | $69.99; available via B&H

The Lume Cube 2.0 Waterproof Photo & Video Light is a nice addition to any camera bag or studio setup. Small and portable, but a powerful light. Pair with the Lume-X app for remote control capabilities. 

The Lume Cube 2.0 is a nice light to use for fill when out in the field or for tabletop setups in the home or studio. It can also be used as an off camera flash with its optic sensor. 

With the Lume Cube 2.0’s waterproof capabilities, you can feel comfortable using it around areas like lakes, beaches, or in the rain.

Accessories included with the Lume Cube 2.0 are a magnetic diffusion filter, a warming filter, and a magnetic frame.

Eyelead Sensor Cleaning Kit

Recommended by Bob Coates | $56.00; available via Amazon

This has been the cleanest, neatest, simple solution to getting dust boogers off your camera sensor. It has a simple tip that you can recharge with the enclosed sticky sheets. No chance of leaving a liquid mess behind when cleaning your sensor.

AeroPress Coffee Maker

Recommended by Bob Coates | $49.95; available via Amazon

I’m sorry I waited so long … I’ve been reading about the AeroPress coffee maker for quite a while. I grind my coffee beans from my local roaster Ren Tao here in the Village of Oak Creek in Sedona, AZ. Pour over has been my go-to for a while. The AeroPress makes a wonderful cup with easy clean up. I originally ordered it so I would have a coffee maker for travel. Turns out I’m using for my everyday coffee infusion.

Peak Design Camera Straps

Recommended by Bob Coates | from $69.95; available via B&H

These camera straps always make a good gift. Being able to remove or change out to a different kind of strap with a couple clicks is sweet! Peak Design makes a number of different types of straps and different configurations which can be changed out in a jif. I especially like when I go out to do landscape or nightscape/Milky Way images and I mount the camera on a tripod. I don’t have to try to wrap the strap. Disconnect with a couple clicks and put it in my pocket or camera bag. Viola! NO windage or flapping in the breeze. 

Peak Design Travel Tech 2L Pouch

Recommended by Julie Powell | Read Review | $59.95; available via B&H

Great pouch for carrying chargers, cables, power blocks, hard drives, and other tech-related items. Fits great in carry-on bags. You can add a strap and just use it to carry extra pieces like SD Cards, spare batteries and filters for a quick trip out. Stores all your bits and pieces safely.

Peak Design camera straps

Recommended by Bob Coates | from $34.95; available via B&H

Always had a problem when mounting my camera on a tripod. What do you do with the camera strap? Wrapping helped but was a pain. The quick release of the Peak Design connections makes that hassle a thing of the past. It also allows you to quickly change from a wide strap to a thin strap or a wrap strap with a couple quick clicks.

PGYTECH OneMo Sling 7L Shoulder Bag

Recommended by Ken Lee | Read review | $89.95; available via PGYTech

The more I used the PGYTECH OneMo Sling 7L Shoulder Bag, the more I liked it. Initially, I thought it was sleek, modern and attractive but a little small. However, its ability to easily expand if needed is a welcome feature that is well-implemented. The bag offers plenty of organization and pockets, but not so much that it’s overwhelming or difficult to remember which pocket you placed items. It has the ability to hold a large DSLR camera with attached lens and another reasonably large lens or a drone. With this, it can also hold four batteries and many more accessories. The relatively small size is a bit deceptive since it holds more than you think it might. It’s a smartly designed and attractive bag.

Huion Inspiroy 2L Pen Tablet

Recommended by Julie Powell | Read review | $99.99; available via Amazon

The Inspiroy 2L is quite good for only US $99.99. Once installed and set up, it is super easy to use. Has nice solid fluid movement and details. The buttons and scrolls are comfortable and the scroll works really well for zoom in and out, I wish it had two (brush bigger and smaller). I was very happy with the build quality and the performance.

Adapalux Pod Mini

Recommended by Julie Powell | Read review | $68.00; available via Adaptlux

If you’re looking for beautiful, diffused light for indoor or outdoor macro photography, it shouldn’t be just small, lightweight and can fit in your pocket. It must be easy to use and JUST WORKS. The Adaptalux Pod Mini fits all these. If you already have the Lighting Arms, the Pod Mini are less than $100 each and you can snap lock two or three together too. Perfect for mounting on the camera and adding beautiful diffused light.

Apexel APL-HB100MM Macro Lens

Recommended by Jemma Pollari | Read review | $39.95; available via B&H

You can’t go wrong with this brilliant little smartphone lens for the mobile photographer in your life. The Apexel APL-HB100MM Macro Lens has impressive image quality for such an affordable lens. It captures colors accurately, with clear and crisp detail. It delivers beautiful macro photos, attaching to the front of your phone camera with a universal clip system. If your photographer friend is keen on macro photos on the go, or photographs jewelry, crafts, or anything with lots of tiny detail to show off, then this is a super affordable, beautiful quality choice that delivers results. Check out my example photos here, captured with the Apexel APL-HB100MM Macro Lens.

About Us:

UOSSM USA (Union of Medical Care and Relief Organizations-USA), is a nonprofit, 501(c)(3) charitable, independent, medical, humanitarian organization, incorporated in the state of Texas, founded by healthcare professionals. We provide life-saving aid, medical care, mental health, nutrition, and protection services, to crisis-affected individuals, irrespective of nationality, ethnicity, gender, religion, or political affiliation, and strengthen education, healthcare systems, and community programs, fostering wellbeing and resilience for sustainable recovery. We work globally in collaboration with local communities and organizations to fulfill our mission, remaining resolutely non-political and non-sectarian. We adhere to global humanitarian principles and comply with OFAC regulations.

Job Description:

As a part time Team Lead Photographer, you will play a crucial role in documenting and capturing the stories of resilience, hope, and challenges faced by the communities we serve in Northwest Syria. Your work will contribute to raising awareness, advocating for change, and showcasing the impact of our programs.

Key Responsibilities:

1. Photography and Storytelling:

– Capture high-quality photographs and videos that tell compelling stories about the people, communities, and projects we are involved with.

– Conduct interviews and gather information to create narratives that accompany the visuals.

2. Team Leadership:

– Lead and manage a team of photographers, enhancing their professional development and the quality of their work.

– Coordinate with other departments to align photography efforts with organizational goals.

3. Fieldwork:

– Travel to project sites within Northwest Syria to document activities, events, and the impact of our programs.

– Work closely with the field teams to understand community dynamics and ensure accurate representation.

4. Content Management:

– Organize and maintain a comprehensive database of photographs and stories for future reference and reporting purposes.

– Collaborate with the communications team to contribute to media, newsletters, reports, and social media content.

Qualifications:

– Proven experience as a professional photographer 7 years, with a strong portfolio showcasing both portrait and documentary work.

– Previous leadership or management experience, preferably in a photography or media-related role.

– Familiarity with the humanitarian and NGO sectors.

– Excellent interpersonal and communication skills.

– Ability to work in challenging and dynamic environments.

Gross SALARY: $325 USD / Month