Photography

The uncensored history of underground zines

By in Photography

The uncensored history of underground zines

Here, a curator of Copy Machine Manifestos: Artists Who Make Zines tells the story of zine-making through punk, riot grrrls, and post-internet appropriation art

21November 2023

“The typical definition is [a] self produced, cheaply-made publication, usually photocopied, and usually stapled down.” That is, historically, what’s made a zine a zine, says Drew Sawyer, a curator of the new exhibition Copy Machine Manifestos: Artists Who Make Zines at the Brooklyn Museum. For the show itself, though, he and his co-curator Branden Joseph blew the definition wide open. “We really included anything that people called a zine, or that contemporary readers called a zine, when it was made.” 

The result is that Copy Machine Manifestos – a first-of-its-kind survey of zines in North America – traces the evolution of the medium over the course of five decades. What emerges is a process of broadening outward, with zine makers reacting to (and at times influencing) the technologies and politics of their age, from the punk scene of the mid-1970s, to the underground feminist and queer movements of the 1980s and their rise to the surface with the riot grrrls of the 90s. Today, Drew notes, “what a zine is is much more expansive and capacious than it was in the 1970s.”

To use an obvious metaphor, the definition of zines itself has been xeroxed over and over again throughout the years, losing a little bit of clarity with each scan and copy. If we really want to get to the pristine, pen-and-ink source, we have to go even further back than punk’s heyday, to the Brooklyn of the late 1960s. There, mail artists like John Dowd and Ray Johnson were tapping into the scrapbooked aesthetics of old sci-fi fanzines (hence the word “zine”) to produce subversive work for a localised network of art lovers. Their post-pop art correspondence featured appropriated imagery ranging from Disney characters to NSFW Tom of Finland illustrations, and was closely tied to the gay liberation movement that flourished in the wake of the Stonewall Riots. It also allowed these conversations to go on under the radar, in printed pamphlets that contained images and ideas deemed too explicit for established publications or gallery spaces.

Many of the key figures in these networks also became active in the punk scene of NYC, San Francisco, and LA, says Drew. “One of the arguments of Copy Machine Manifestos is that correspondence artists created the aesthetic first, and then punk adopted it.” The appeal, of course, is obvious, in a music world that trafficked in controversial language and symbolism, much of it sexually explicit.

In fact, zines have remained a conduit for bold and bleeding-edge ideas – from the punk feminism of Bikini Kill, to conversations about race, queer culture, and radical politics – to this day, even after the internet opened up new, “democratised” channels of communication. “It continues to be a way that one can control the production and distribution of their own work without the pressures of the market and other commercial forces,” Drew explains. “Even social media and online spaces are subject to censorship and surveillance. Meta regularly takes down posts.” (As creators know all too well.) “Zines continue to be a way to bypass the corporate systems that control so much [of our] media.”

On top of that, there’s the ongoing aesthetic influence of zines, which has spread throughout all of our media, from the intensely personal politics of posting online, to the lo-fi, DIY grittiness of post-punk art and photography. In the Brooklyn Museum show, this is brought into focus via painting, photography, film, and video art, which accompanies the staple-bound publications themselves. Below, Drew Sawyer tells us more.

What was your first encounter with a zine – any formative memories?

Drew Sawyer: I grew up in the 90s, in a small town in Iowa, so I was primarily drawn to the internet by the time I was a teenager. The Internet was really my connection with culture at large. But moving to New York in the early 2000s, there was this kind of resurgence of zines by artists, especially around [bookstore and arts space] Printed Matter. There’s even a section of the show that’s like my memories of New York circa 2005, which includes zines by LTTR, Terence Koh, Brontez Purnell.

Then, I ended up doing an exhibition called Art after Stonewall 1969 to 1989, which looked at the first 20 years of art after the Stonewall Rebellion, and ended up including quite a number of zines from both the 70s and 80s, including Joey Terrill’s Homeboy Beautiful, zines by Vaginal Davis, a zine called Thing, which was based out of Chicago…

What was the appeal of these zines as a medium, after the internet?

Drew Sawyer: Why zines, right? Especially in the age of the internet. It’s something Branden and I thought about a lot. It’s also a question we’ve gotten asked a lot. 

I think people who don’t know a lot about zines are surprised when they hear that there’s been a major resurgence in the last decade, in spite of the fact that one could produce these things digitally, and distribute them much more cheaply and easily. I think it’s the tactile nature. So many people love collecting printed matter books, artist books, zines. That’s definitely a part of it, that direct, almost unmediated connection with an artist. 

It’s also something that almost anyone can do in the confines of their own home. Whether that’s starting on a desktop format, or the old-school way: just sheets of paper, scissors, some glue, some white-out, some ink, and a copy machine or a scanner. It doesn’t require an artist to have a gallery, to have a lot of money for production, all the things that – especially in the last 20 years, with the financialization of the art world – has made artworks far beyond the reach of even the average upper class individual. Our world is really the plaything of billionaires. I think zines, especially for artists, continue to provide a way for them to make work and connect with people.

The title, Copy Machine Manifestos: Artists Who Make Zines, hones in on zines as an artists’ medium. How is that represented in the show?

Drew Sawyer: The show has over 1000 zines and artworks, not only mailers and correspondence, but also paintings, documents of performances, film, and photographs… works that individuals produce with the idea of it being quote unquote ‘fine art’. So Bruce LaBruce and GB Jones [the founders of queer punk zine J.D.s] were filmmakers, and they would do film screenings at issue launches. We actually remade one of those screenings, which includes several films by GB Jones and Bruce, along with other collaborators. The exhibition is really multimedia, especially when it tells the story [of] the intersection of zines with the adoption of video.

Do you think zine culture influenced traditional artforms in a notable way, as well as the other way around?

Drew Sawyer: The copy machine was not only the perfect tool for dissemination, but was also the perfect aesthetic to challenge dominant modes of artistic production. If you think about photography in the 1970s, you think of black and white gelatin silver prints, something finely produced that signals to people: ‘This is an art object.’ Photocopying something did the opposite. Not only is it a little bit gritty, a faded, degraded image, but also something that is quickly produced [and] easily disseminated. I think there’s so much in that connection between zines and contemporary art practices. 

I would even argue that, if we think about certain modes of artistic practice, especially since the 1990s, such as self-portraiture, or artists who perform various identities and think about how media shapes our perceptions of ourselves, this is something you see in zines, from John Dowd. Hopefully, the show demonstrates that to tell a history of art in North America [over] the past 50 years, and to not incorporate zines, is not the full story.

Do you think the same can be said for politics, and specifically the radical, underground politics that zines often deal with?

Drew Sawyer: Zines are definitely a good tool for disseminating information, and also creating a sense of community. It’s hard to say what influences politics. There’s so many things happening simultaneously, different forms of organising, different strategies, and [they] might be loud forms, but they might also be quieter forms that are not documented. Certainly zines are good documentation of these different forms of activism. 

In the show, one great example would be Infected Faggot Perspectives, which was a zine from the late 80s and early 90s published out of Los Angeles. In really angry language and imagery [it] talked about the experience of individuals living with HIV/AIDS. Zines have always been a really good medium for conveying information that is not subject to censorship, and bringing people together who might not have positions of power or the means of organising otherwise.

Why do you think the medium has gone overlooked for decades, by museums and curators?

Drew Sawyer: Doing a show on zines is not easy, as Brandon and I learned while working on this show for over four years. There [are] so many challenges with organising exhibitions on this material, one just being: how do you display zines? It’s kind of ironic, because zines are this really cheap, accessible medium, but zines that we found from the 1970s and 1980s and even the 1990s are now super rare, and they’re in libraries and archives, so we have to borrow them from other institutions that have certain lending requirements, light level requirements. They also have to be protected behind Plexi [glass]. 

Also, the subject matter… most museums will be afraid, I think, of a lot of the material, especially right now. A lot of it is explicitly queer, it’s unfiltered, there’s a lot of language that would be deemed inappropriate for some institutions.

Obviously the Brooklyn Museum is a major institution. Was there any tension between the anti-establishment, underground nature of zines, and the place you’re presenting them?

Drew Sawyer: These objects that are inherently anti-institutional, anti-establishment. What does it mean to institutionalise them? We were very careful. Anyone that’s in the show, we talked with [them] and made sure they wanted to participate, we didn’t want to borrow [a zine] from an institution, or a collector, and include it without permission. That was really important to us. And every single artist we talked to was so excited about the show. Many of them see their zines as works of art, and even if they had an anti-institutional stance, or even continue to be critical of institutions, they still believe that the things they were producing are of cultural value, and should be valorized.

Looping back to the internet, how do you think zine making was changed by, and can continue to thrive, alongside technologies like social media?

Drew Sawyer: Zines essentially paved the way for the internet, and social media in particular. It’s not a surprise that some of the zine makers we have in the show from the 80s and 90s were pioneers on the internet. Tom Jennings, who did Homocore, created a network, FidoNet, in the 1980s, which was adopted by governments and others for communication, especially during the worst part of the AIDS crisis in the US, to spread information about when the government wasn’t doing it. Then, of course, so many zine makers in the 1990s also migrated into GeoCities and early websites. There was always a real connection between zine makers and early adopters of the internet and digital technologies. 

Also, the recirculation of appropriated material is an inherent part of social media. Whether that’s memes, images of celebrities, or infographics. [They’re] all things that were inherent to zines, and we continue to see them being used on social media platforms in really similar ways.

What advice would you give to young artists who want to get into zine-making today?

Drew Sawyer: Making a zine is pretty easy for anyone. The Brooklyn Museum commissioned one of the artists in the show, Neta Bomani, to make a zine about how to make a zine. That’s available at the museum, but it’s also online [here].

I definitely encourage people to consider, when making a zine, the politics of appropriating images or texts from other people. What are the politics of appropriating material? Who do you give credit to? Do you pay somebody? If it’s an individual versus a corporation? [Bomani’s zine] really goes through some of the things that are important to consider nowadays, and things that people weren’t necessarily considering in the 1970s and 80s.

Copy Machine Manifestos: Artists Who Make Zines runs at Brooklyn Museum until March 31, 2024.

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What Is Photography? (No Need to Answer That.)

By in Photography

What Is Photography? (No Need to Answer That.)
image

Two exhibitions by Japanese artists raise deep questions about the medium, and — refreshingly — leave them hanging.

There’s more than one answer to the question “What is photography?,” and this fall in London, there are a dazzling array of possibilities on show in retrospectives of the Japanese artists Hiroshi Sugimoto and Daido Moriyama.

Born 10 years apart (Moriyama in 1938, in Osaka, and Sugimoto in 1948, in Tokyo), both photographers came of age in Japan’s postwar photography boom. During this time of political change and technological innovation, practitioners explored, and frequently critiqued, the photograph as journalistic document, art object and mass media advertisement. Photo books and photography magazines proliferated, as did connections with American art scenes including Minimalism, Pop and the grainy realism of street photography.

“Diana, Princess of Wales,” from Sugimoto’s 1999 series “Portraits,” in which the artist photographed waxworks of famous people.Hiroshi Sugimoto
“Oscar Wilde,” from Sugimoto’s “Portraits” series.Hiroshi Sugimoto

Both photographers are also invested in the more ephemeral, even metaphysical, qualities of the medium: How it freezes or reconstitutes time, brings the dead or the inanimate to life, unsettles concepts of memory, reality and vision itself. If these questions unite Moriyama (whose London show runs at the Hayward Gallery, through Jan. 7, 2024) and Sugimoto (at the Photographers’ Gallery, through Feb. 27) their many-decade oeuvres could scarcely be more different.

“All my life I have made a habit of never believing my eyes,” Sugimoto has said. Across four floors of the Hayward’s stark, Brutalist galleries, nine black-and-white series spanning 1976-2022 are staged in austere displays. Each body of work addresses the seen and the unseen, exterior and interior life, with deceptive simplicity.

“Polar Bear” (1976) from Sugimoto’s “Diorama” series, photographed in the American Museum of Natural History, in New York.Hiroshi Sugimoto

A sequence of “Diorama” photographs, begun shortly after Sugimoto arrived in New York in 1974, capture scenes from the American Museum of Natural History with otherworldly precision. Using an old, large-format camera, long exposure times and elaborately tuned lighting, Sugimoto enhanced both the artifice and the verisimilitude of the institution’s taxidermy wildlife tableaus behind glass.

“Polar Bear” (1976) shows the majestic white animal roaring over a fresh kill: the bloodied body of a seal whose inert form is bulky and dark against an Arctic white background that stretches into the distance. Look closely and behind the bear — with its luscious coat of fur, its big paws so heavy in the snow you can almost hear it crunch — the line between two and three dimensions is just visible: a jagged crevasse in the ice floe beneath the two animals merges almost seamlessly with a painted backdrop of receding icy peaks.

The eye judders between these realities. The dead bear, momentarily brought to life by the vividness of the photograph, dies again, and is preserved again, a copy of a copy, frozen between past and present. Similar fates await a pair of ostriches defending their new hatchlings against a family of wart hogs (“Ostrich-Wart Hog,” 1980) and a placidly floating mother manatee and her calf (“Manatee,” 1994).

“Union City Drive-in, Union City, 1993” from Sugimoto’s “Theaters” series.Hiroshi Sugimoto

Sugimoto’s play with photographic abstraction is evident in a series of “Seascapes,” dominated by long horizons and blank skies, “Lighting Fields” produced with bolts of electricity sent across sheets of unexposed film and rich chromatic studies (“Opticks”) made by shining light through a prism demonstrate Sugimoto’s play with abstraction. But it’s the “Theaters” series, arguably his most famous, that maintains the most beguiling promise of photography to capture a flickering in-between state.

In cinemas, drive-ins and abandoned palace-style theaters across the United States (and sometimes Europe), Sugimoto set his camera’s exposure time to the length of a movie screening. His device sees what no naked human eye can apprehend: a bright white vortex of time elapsed, frame upon frame upon frame, at once stilled and in motion. In Massachusetts, Indiana, New York, Philadelphia, the shadowy rows of seats, crumpled velvet curtains and decorative wall moldings are irradiated by a central focus that is not an image but a light so bright and uncontainable that its edges are smudged like a ghost.

“Kanagawa” (1967) from Daido Moriyama’s photo book “A Hunter.”Daido Moriyama Photo Foundation

Across town at the Photographer’s Gallery, also unfolding across four floors, the Moriyama retrospective does away with any sense of the photograph as a rarefied art object. Where Sugimoto’s images are clear, large, refined, singular and precious, Moriyama’s are multiple, democratic, immersive, rapid and haphazard, and varied in size, material and presentation.

“Stray Dog, Misawa” (1971), from “A Hunter.”Daido Moriyama Photo Foundation

“When people realize that the time they supposedly live through actually has no substance,” Moriyama has said, “they tend to be seized with fear and an unspeakable apprehension about the excessive uncertainty of it all.” In the end, he added, “human existence has essentially nothing to rely on.” Displayed on wallpaper, in grids, projections, photocopies, conceptual assemblages, contact sheets and books, his work embraces the dark flux of life that cannot be contained, but must somehow be preserved.

Moriyama’s subjects are accidents, political conflict, urban ennui, loneliness, cheap commercial goods, all the details of the everyday — as many as possible — caught in passing and printed in high-contrast black-and-white. Rakish angles, extreme close-ups, blurred fragments and decentered, deliberately awkward cropping dominate the profusion of images arranged in nonlinear displays that leave interpretation to the viewer: an open mouth, a movie theater marquee, a boy playing with a ball, Lyndon B. Johnson on a television screen, a crowd of police in the night, a black cat in a hallway.

“Tokyo” (1969) from Moriyama’s series “Accident, Premeditated or Not.”Daido Moriyama Photo Foundation

In his 1969 “Accident” series, chaotic combinations scramble perspective while also taking aim at the omnipresence of mainstream media sensationalism. Later series are more intimate and melancholy. “Farewell Photography” (1972) brings together images that might usually be considered errors — grainy, blurry, out-of-focus (are, bure, boke in Japanese) — to dismantle photographic expectations of clarity and truth.

In “Memories of a Dog” (1982), made during a period of creative crisis, Moriyama revisits locations of his peripatetic childhood in search of scenes that reflected his current interior state: scrolls of film, a hand against the sky, a cherry tree in blossom — as if photography were a form of time-travel, bridging the rift between past and present.

What world does a photograph show? Is it a record or a work of art? As Moriyama wondered, “What is the work that unites light, time and the visible world?” In these two exhibitions, which encourage slow, careful, sometimes rapturous looking, there is — refreshingly — no need for an answer.

2023 in Photos: A Year of Exploring Texas

By in Photography

2023 in Photos: A Year of Exploring Texas

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Ask any longtime Texas Highways readerwhat they enjoy most about the magazine, and the photography will undoubtedly come up. Captivating images that showcase the state’s diversity have long been a hallmark of our publication. Whether capturing iconic landscapes, noteworthy Texans, or outdoor adventures, our photos reflect the bounty of Texas.

“Texas Highways photography is timeless, narrative, evocative, and grounded in authenticity,” photo editor Brandon Jakobeit says. “We are constantly seeking out the beauty, the people, and the faraway places.”

Jakobeit works with a stable of about a dozen photographers who are in continuous motion across the state. Their images favor the natural over the manufactured, artistic expressions over orchestrated scenes. They present Texas as you see it in real life.

“A good photograph is one that makes me stop and think about the larger world around me and my place in it,” Jakobeit says. “I look for images that elicit an emotional response, have a great sense of composition and light, and can tell a story.”

Here we present 15 photographs from 2023 that represent the best of another year of exploring Texas, from a Grammy-winning mariachi violinist whose music pays tribute to Uvalde, to a Panhandle junkyard that attracts worldwide collectors, to a classic West Texas sunrise over quintessentially rugged terrain. There’s always something new to discover.

A snake is seen slithering across a bright green lily pad. The photograph is backlit leaving a green leaf and silhouette of a snake.

“Lighting a subject from behind can add drama and poetry. This backlit silhouette highlights the curving shape of the glossy swampsnake I encountered late one night in Brazos Bend State Park. I put a small LED light under the leaf and took the image from above. The gentle little snake did the rest.”—Sean Fitzgerald


A person scales the side of a large rock face.

“I love images that show a metaphoric journey from the darkness into the light. As the climber made his way out of the shadows, I tried to get the exact moment when the sun rays lit his body. I kept as much of the southwestern face of Enchanted Rock in the frame as possible to show how far he still had to go.” —S.F.


Clear 'bubble' style lodging dots a desert hillside under blue sky

“Space Cowboys in Terlingua offers travelers a stay in tents or stargazing domes. The silver domes against the rugged West Texas landscape is a striking contrast. Some might appreciate the unique blend of human-made structures with the natural environment, while others could feel unsettled by the development, as it disturbs the pristine wilderness of the region.” —Jessica Lutz


A bartender stands back as a large column of fire and sparks shoots up from a cocktail

“For the final touch on a drink called ‘The Painkiller’, bartender Miguel Gaona of Elk Store Winery & Distillery in Fredericksburg lit a bit of liquor on top of the ice. He then peppered the small flame with cinnamon powder, which is highly flammable, triggering a short-lived but very dramatic 3-foot-high column of fire and sparks.” —Eric W. Pohl


A man in a white button-down shirt and cowboy hat leans against a brightly-colored mural

“Musician Hayden Pedigo’s failed bid for Amarillo City Council in 2018 started off tongue-in-cheek but gained momentum. Now, he is the face of a new movement of inclusivity in his hometown. In this image of the Two Coyotes mural at Palace Coffee, I visualize the new paradigm of public art and an infusion of a new generation of leadership.”
—Tiffany Hofeldt


A lone tree stands on a reddish-colored rock beneath the moonlight

“I found this beautifully shaped old oak tree on the Little Dome escarpment. It sat close enough to the edge to let me keep Enchanted Rock in the frame, while also highlighting the straw-colored grasses that give the scene a little warmth. Including the moon and the tiny silhouettes of people makes it a very different view of Enchanted Rock.”
—S.F.


Row upon row of classic cars in different stages of being dismantled in the effort to save other cars in their restoration process.

“Rows of classic American-made cars line Owens Salvage in the Panhandle town of Wellington. Owner Bob Owens has a Doberman pinscher named Roxie who chased after a rabbit in front of my camera as I was making this one-minute exposure and about took me out. I used a long exposure to blur the clouds and create an ethereal look.”
-Dave Shafer


Row upon row of classic cars in different stages of being dismantled in the effort to save other cars in their restoration process.

“I wanted to take an image that reduced the Canadian River to its bare elements—the water and sky. I kept studying my topographic maps and exploring up and down the river in my 4×4 truck for days. I found this high bluff at the Lake Meredith National Recreation Area, where I could see the river wind its way through my frame. This image in the last light of dusk is the one I dreamed about.”
-S.F.


Bags of bright orange-red fruit sit in a mesh bag


A man in a traditional Mariachi uniform stands in front of a bright pink wall

“Juan Ortiz of Mariachi Campanas de America helped compose the music for ‘El corrido de los ángeles de Uvalde’ in honor of the Uvalde tragedy. I had to convince Ortiz to let me take a quick photo outside of Taco Cabana in San Antonio because it was 99 degrees that evening. His warm smile, camera presence, and classic mariachi outfit make the portrait timeless.”
-C.C.


A bright red rock formation

“The Lighthouse is an iconic rock formation at Palo Duro Canyon State Park in Canyon. I was on assignment for our ‘Parks After Dark’ story and wanted to capture the lighthouse under a full moon. The experience of hiking back to my car in the middle of the night was amazing, with coyotes howling, rattlesnakes rattling, and owls swooping over my head.”
-Kenny Braun


A person walks in front of a grey concrete building with a brightly-colored mural reading 'Waxahachie Gingerbread City' on the front

“I asked my model to walk through the scene, right off the town square in Waxahachie, but it was very windy and she lost her hat on the first couple of tries. I liked the way the mural has those flowing ribbons that echo the model’s windblown sweater. Murals can be very boring and clichéd in photographs, but sometimes with the right elements they work.”
-K.B.


Bright pink flowers adorn a green plant in front of a bright blue background

“I was super excited to round a curve on the outskirts of Fort Davis and witness four or five large desert willow trees in full bloom. I love the graceful arc of the delicate flowers and branches. I’ve been photographing spring in Texas since 2009, most of the time focusing on wildflowers. This assignment on blooming trees was expansive and uplifting.”
-Theresa DiMenno


A firey-orange sunrise illuminates greyish-blue mountains in the distance of a desert scene

“I’d probably rank this as the most beautiful sunrise I’ve had the privilege of shooting. I remember standing in Fresno Canyon Overlook in Big Bend Ranch State Park and at one point putting down my camera just to take in the scene. The colors glowed like burning coals in a furnace above El Solitario, and the sky’s brilliance still lingers in my memory.”
-Rob Greebon


A group of RVs line up along still flat clear water in an RV park

“Camp Margaritaville in Crystal Beach is one of a couple RV resorts and parks thriving along the Texas coast, but it’s the only one that’s affiliated with Jimmy Buffet. I was drawn to the repeating shapes of the campers and palm trees creating a mirror image in the lake. It’s hard to tell in the photo but the mosquitos were absolutely vicious.”
-K.B.

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2023 ocean photographer of the year

By in Photography

2023 ocean photographer of the year
image

Finalist, wildlife: Henley Spiers

In early autumn, vast sardine shoals surround the rocks at Los Islotes. This bounty attracts seabird predators. As we dived amid the shoal, the peace was occasionally shattered by the loud crashes of pelicans, cormorants and boobies hurtling under water in pursuit of a meal. Most of the time, the action is so swift that by the time you turn to see it, the bird is already back at the surface. I finally captured the elusive shot of a blue-footed booby rising up with a sardine in its beak. Los Islotes, Baja California Sur, Mexico.

Photograph: Henley Spiers

Photographer Tim Soter Chronicles DFA’s Heyday In New Book

By in Photography

Photographer Tim Soter Chronicles DFA’s Heyday In New Book

Tim Soter had a bird’s eye view of the rise of beloved New York dance/rock label DFA in the early 2000s, and his photographs from the era have now been compiled in the aptly titled book DFA Records: The Early Years, which is available for pre-order ahead of a Dec. 8 ship date.

Packed with 111 color and 35 black-and-white photos, the 160-page volume chronicles the influential DFA, which was founded in 2001 by LCD Soundsystem’s James Murphy, Mo’ Wax co-founder Tim Goldsworthy, and Jonathan Galkin. Among the acts associated with the label were the Rapture, whose members sat for a new interview for The Early Years, Black Dice, the Juan Maclean, and, of course, LCD Soundsystem, which dominated the New York music scene for the better part of the 2000s.

Currently a photography professor at Fashion Institute of Technology, Soter was the house photographer for New York nightlife spot Twilo, and in 2003 reached out to Galkin via Hotmail to ask about shooting the DFA roster. For the next several years, he was omnipresent at DFA shows in venues such as Bowery Ballroom, Roseland, Tonic, and Volume Club, as well as private lofts across the five boroughs.

“It was a different era back then,” Soter tells SPIN. “People were approachable, New York felt intimate, and everyone had a unique role to play. Many times I found myself as the sole photographer in the room. Looking back, it was a luxury to stop by the DFA office/studio, drop off some film, stay for an espresso, and listen to tracks. Now that I make books, I was excited to pull together all of those photos I shot and recount the vibe of that turn of the century downtown NYC music scene, either for the newer fans, those who were there, or even the most devoted LCD or Rapture fans and enthusiasts of the label.”


IDLES

The Rapture at New York’s Roseland Ballroom on Oct. 24, 2003 (photo: Tim Soter).

All book orders placed before Jan. 1 will include a free 4×6” print of Murphy and Goldsworthy. And although The Early Years is a look back in time, there’s new DFA-related music on the horizon. SPIN can confirm that LCD Soundsystem is hard at work on its first studio album since its 2017 comeback project American Dream, which itself was the band’s first release in seven years.

Murphy and company are in the midst of their annual New York residency, which this year expanded from its regular home at Brooklyn Steel to include shows at Terminal 5 in Manhattan and Knockdown Center in Queens. LCD has been featuring a cover of Harry Nilsson’s “Jump Into the Fire” at the gigs after initially reviving it for the first time in 11 years at DFA’s 20th anniversary party on March 26, 2022.

The World Press Photo Contest updates rules to exclude AI images

By in Photography

The World Press Photo Contest updates rules to exclude AI images

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Defining what constitutes a photograph these days is no easy matter, even for a leading photojournalism organization.

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By Jess Weatherbed, a news writer focused on creative industries, computing, and internet culture. Jess started her career at TechRadar, covering news and hardware reviews.

“Here, The Doors Don’t Know Me” by Mohamed Mahdy, the 2023 winner of the World Press Photo Contest’s Open Format category.

a:hover]:text-black [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-e9 dark:[&>a:hover]:shadow-underline-gray-63 [&>a]:shadow-underline-gray-13 dark:[&>a]:shadow-underline-gray-63″>“Here, The Doors Don’t Know Me” by Mohamed Mahdy (pictured) was the winning Open Format entry in 2023.
a:hover]:text-gray-63 [&>a:hover]:shadow-underline-black dark:[&>a:hover]:text-gray-bd dark:[&>a:hover]:shadow-underline-gray [&>a]:shadow-underline-gray-63 dark:[&>a]:text-gray-bd dark:[&>a]:shadow-underline-gray”>Image: Mohamed Mahdy / Magnum Foundation / World Press Photo Foundation

The World Press Photo Contest has updated its entry rules to exclude submissions for AI-generated imagery, just days after announcing that such images could be entered into its Open Format competition category. The World Press Photo Foundation initially said it would welcome AI-generated submissions — a decision met with immediate backlash from photojournalists who said allowing artificially created images into a contest for photojournalists responsible for documenting real-world events was “anathema to everything our industry does.”

The foundation has since rolled back its new AI submission guidance and updated contest rules to bar AI-generated images from its Open Format category. “Thanks to the honest and thoughtful feedback over the past days, we have decided to change the rules for the Open Format category in our contest to exclude AI generated images,” said the World Press Photo Foundation in a statement published on its website on Monday. “Both generative fill and fully generated images will be prohibited in the Open Format category (as was already the case in the other categories: Singles, Stories and Long-Term Projects).”

AI-generated images have never been eligible for submission to the prestigious World Press Photo of the Year contest.

The rules for image manipulation of photos “made by a lens-based camera” have also been updated to provide greater clarity on what constitutes an AI-generated image. Light changes like denoising, automatic adjustments (for example, on levels, colors, contrast), and object selection are listed as acceptable examples of AI editing tools, the extent of which will be decided by the contest organization and a global jury. Tools based on generative AI models that introduce new information to enlarge and sharpen images, such as Adobe Super Resolution and Topaz Photo AI, are not permitted.

To help clarify what a photograph is in the age of AI, the World Press Photo Foundation has also helped develop a “set of clear ethical standards” alongside photojournalism institutions, visual journalists, and “editors with interest and expertise in the topic.” They’re meant to ensure that photographs are “fair and accurate representations of what the photographer witnessed” and not produced in a way that misleads the public.

AI technology is being increasingly featured in cameras and editing software, so it’s easy to understand why the World Press Photo Foundation is trying to firm up its submission guidelines. Plenty of apps like Adobe Photoshop and Lightroom feature AI-assisted editing tools designed to make life easier for photographers by automating boring, labor-intensive tasks like masking objects or refining hair details. And increasingly, AI powers the imaging systems on modern smartphones, with Google’s new Magic Editor and Best Take features used to differentiate the Pixel 8. 

With AI so thoroughly embedded in the photography pipeline, the World Press Photo Foundation’s guidelines for defining what level of AI manipulation is permissible for a real photograph is a welcome attempt to place a greater divide between AI “art” and photojournalism.

Insta360’s New Ace Pro Combines Leica Engineering with Computational Photography

By in Photography

Insta360’s New Ace Pro Combines Leica Engineering with Computational Photography

Insta360 Ace and Ace Pro

Insta360 announced the Ace and Ace Pro, two new action cameras that were co-engineered with Leica and promise to bring incredible image quality powered by blending hardware with computational photography driven by artificial intelligence.

The flagship Ace Pro houses what Insta360 calls an industry-first Type 1/1.3 image sensor capable of shooting video at up to 8K at 24 frames per second (fps), 4K at 120 fps, and can capture 48-megapixel photos. It also brings a “vlogging-friendly” 2.4-inch flip touchscreen to provide live preview and camera control. The whole unit is housed in a rugged body that is waterproof down to 33 feet (up to 196 feet with the dedicated Dive Case). It can also be PD fast charged to 80% in 22 minutes and fully in 46 minutes.

Insta360 Ace Pro

The Ace is what Insta360 calls the “budget-friendly” option, with the key differences being a smaller Type 1/2, 48-megapixel sensor, a standard non-Leica lens, and standard charging.

Insta360 Ace Pro

Insta360 says its packed with AI-powered features, too, like the ability to control it with voice or gestures as well as a new AI Highlights Assistant and custom-keyword based AI Warp feature that it says will transform the shooting and editing experience.

Insta360 Ace Pro
The base of the Ace Pro appears to use a proprietary mount, rather than a 1/4″-20.

The Promise of Excellent Image Quality

Insta360 says that the size of the sensor in the Ace Pro sets it apart from the competition as it captures more light and has more dynamic range than is typical of a camera of this style and size. That, mixed with the lens that was co-engineered with Leica, gives it an edge — especially in low light conditions.

Insta360 also has a dedicated shooting mode for low light called PureVideo. Using an onboard 5nm AI chip, the Ace and Ace Pro cameras use a custom-trained AI neural network to denoise the footage for a clearer image in real time, Insta360 claims. Combined with the large sensor and stabilization, which also works even at night, the company says that filmmakers can expect performance that is good enough to handle everything from a twilight stroll to late-night urban shooting.

Insta360 Ace Pro

When lighting conditions are more ideal, the two cameras have Insta360’s Active HDR that brings more details in the highlights and shadows. Colors are also more vibrant, but the company says it put a lot of emphasis on accuracy so that they don’t appear over-tuned. The promise of accuracy even extends to the use of the cameras under water.

Insta360 Ace Pro

AI is also at the core of overall image quality on the Ace and Ace Pro. Insta360 says its team trained the onboard computational photography models that underpin the 48MP Photo Mode and 4K 30fps PureVideo based on the cameras’ unique lens and sensor data. The company is so confident that it enhanced the signal-to-noise ratio and dynamic range in low light that the results surpass all other action cameras on the market.

Software Smarts

Insta360 added a set of features that it says directly address complaints it and other users have with the other action cameras on the market.

It has Clarity Zoom, which allows the Ace Pro the ability to get 2x zoom in and out without any loss in quality of footage. It also has gesture control use hand signals to start/stop recording or take a photo — it also supports voice control. If a recording isn’t right, users can instantly cancel it and retake the shot, saving space on an SD card and preventing need to dig through unneeded files later. Related, the cameras have a pause/resume feature that lets users stop a recording in one place and restart it in another but keeps the take as a single clip to make file management easier. Finally, the Ace and Ace Pro support photo grab, which allows users to film a video but also capture a photo at the same time. While not at the full 48-megapixel resolution, it is captured at a higher resolution than a simple screen grab from the video clip would be.

Insta360 Ace Pro

Another major new addition is what Insta360 calls AI Highlights Assistant.

“We like to make shooting as easy as possible, but every creator knows that feeling of looking at an intimidating number of files and not knowing where to start. Enter the revolutionary new tool, AI Highlights Assistant,” Insta360 says.

“First, it automatically detects the peak moments in a video, and delivers ‘clip highlights’ for in-camera review. Creators can merge every thrilling moment into one incredible recap, or choose the ones they like, and quickly delete any unwanted clips to save storage.”

The Assitant is also able to edit a video automatically and send it directly to a phone or other mobile device through the Insta360 app. If an editor wants a more hands-on edit, that same app is loaded with a ton of AI editing tools. One of these is AI Warp, a new tool that, through preset or custom keywords, editors can add dynamic effects to their videos.

Insta360 Ace Pro

“This premium AI feature is highly customizable, giving your footage an incredibly unique twist based off of any prompt you can think of,” the company says. It also, of course, supports timelapses, hyperlapses, and a selfie-stick eraser — all features that have come to previous Insta360 cameras.

Insta360 Ace Pro

It doesn’t end there. Both cameras integrate with a Garmin or Apple Watch and allow users to overlay their videos with GPS, speed, and other data.

Pricing and Availability

The Insta360 Ace and Ace Pro are available starting today for $380 and $450, respectively.

Finalists announced for 2023 World Athletics Photograph of the Year

By in Photography

Finalists announced for 2023 World Athletics Photograph of the Year

The three finalists for the Photograph of the Year award have been selected, with less than a month to go until the World Athletics Awards 2023.

From the 134 images that were submitted, a panel of judges – comprising Valerie Adams, Raquel Cavaco Nunes, Joel Marklund, Pascal Rondeau and Blanka Vlasic – narrowed the entries to 10 shortlisted images before deciding on the three finalists.

Photographers from 47 countries across all six continental areas submitted entries.

The shortlisted images will form part of a digital exhibition on the World Athletics website that will go live later this month.

The winning photograph will be announced on World Athletics’ platforms in early December, as part of the World Athletics Awards 2023.

The finalists

Photograph of the Year finalist - Alexis Holmes and Femke Bol in the mixed 4x400m in Budapest

Alexis Holmes of USA, left, on her way to winning the mixed 4x400m as Femke Bol of Netherlands falls at the World Athletics Championships Budapest 23 (© Sam Barnes / Sportsfile)

Photograph of the Year finalist - Gianmarco Tamberi celebrates his high jump victory in Budapest

Gianmarco Tamberi of Italy winning gold in the high jump at the World Athletics Championships Budapest 23 (© Anton Geyser, South African Sports Images)

Photograph of the Year finalist - Leo Neugebauer in the decathlon pole vault in Budapest

Leo Neugebauer of Germany in the decathlon pole vault at the World Athletics Championships Budapest 23 (© Mattia Ozbot, World Athletics Photography Workshop)

About the photographers

Sam Barnes
An award-winning sports photographer currently based in Dublin, Ireland, working as full-time staff for Irish agency Sportsfile. Originally from Reading, UK, Barnes has been based in Dublin for almost 10 years and has covered a broad range of sporting events including multiple World and European Athletics Championships, and the Tokyo Paralympic Games. His work was also shortlisted for the Photograph of the Year award in 2022.

Anton Geyser
A passionate and dedicated sports photographer, Geyser has covered a wide range of events, from grassroots competitions to international championships, and has contributed work to renowned sports publications and websites. Committed to mentoring aspiring sports photographers, he also often uses his photography to support charitable causes related to sports and youth development.

Mattia Ozbot
A freelance photographer based in Milan, Ozbot specialises in sports photography and has a passion for capturing all the emotions sports can bring. In 2023 he was selected for the inaugural World Athletics Photography Workshop, held during the World Athletics Championships Budapest 23.

World Athletics

TIME’s Top 100 Photos of 2023

By in Photography

TIME’s Top 100 Photos of 2023

Did you see this photo??
*link*
Wow.
Omg!!

Follow this exchange with a dynamic discussion, hit repeat, and you have a pretty accurate snapshot of the TIME photo department’s typical Slack conversations. Even though we collectively scroll through thousands of photographs each day, there are still those that stop us in our tracks on a regular basis.

As we draw close to the end of another year punctuated by grief and conflict, but also records broken and breathtaking moments of human achievement, photographers continue to astound us by offering new ways of seeing the world. How incredible it is to think you’ve seen every photo of a president, a protest, a sporting event, only to see it anew through the lens of a storyteller who showed up with the intent to inform and to illuminate the connectedness of humankind.

What has become clear in 2023—a year dominated by the rapid rise of AI imagery—is that photojournalism has become more important than ever. The storytellers who are dedicated to bearing witness to events across the globe in real time are critical in providing lucidity to an otherwise muddled world. As such, the weight of responsibility on them to act ethically, and with the highest level of journalistic integrity, is greater now than perhaps ever in history.

Below is the 2023 Greatest Hits version of “Did you see this photo??”: an unranked collection of 100 of the images that moved us the most. We hope that you’ll take some time to reflect on the year that was, with thoughtfulness, clarity, and wonder.

— Katherine Pomerantz, Director of Photography

Warning: Some of the following images are graphic in nature and might be disturbing to some viewers.

Rescuers carry out a girl from a collapsed building following an earthquake in Diyarbakir, Turkey on Feb. 6.
A man waits for clients while selling mangos in his street stall in the late afternoon in Kandahar City, Afghanistan, on June 12.
A police officer sprays an irritant smoke at demonstrators during a protest to mark International Women's Day in front of Mexico's National Palace in Mexico City, Mexico, on March 8.
Asylum-seeking migrants mostly from Venezuela cross the Rio Grande river into the U.S., in Ciudad Juarez, Mexico, on March 29, 2023.
The Avenue of the Giants in Humboldt county is closed due to flooding, in Redcrest, Calif. on Friday, Jan. 13, 2023. (Alexandra Hootnick/The New York Times)
Israelis donate blood at Magen David Adom emergency service in Jerusalem, following an unprecedented attack by Hamas militants on Israel, on Oct. 7.
Shepherd Józef Klimowski, left, and others lead a flock of sheep in Nowy Targ, Poland, in the country's southern highlands, Oct. 8, 2023. (Maciek Nabrdalik/The New York Times)
A Ukrainian soldier of the 28th Brigade, call sign Snowball, is digging a trench under fire at the outermost positions a few hundred meters from the enemy trenches, in Bakhmut on March 26. Due to the fact that they are far away from the place of supply and the constant digging of trenches, his hands and the hands of many other infantrymen are cracked and black like the ground. The cold, the earth, and no way to wash them, only wet wipes do that to almost every infantry soldier's hands. Bakhmut area, March 2023.
Migrant families from Venezuela disembark from the train known as ‘La Bestia,’ finally arriving at the U.S. Mexico border in Ciudad Juarez after months of travel, on May 16.
A woman holding a girl reacts after Israeli airstrikes hit Ridwan neighborhood of Gaza City, on Oct. 23.
PTI supporters clash with police to avoid arrest of former PM Khan, Lahore, Pakistan - 14 Mar 2023
Ukrainian military medics treat their wounded comrade at the field hospital near Bakhmut, Ukraine, on Feb. 26.
Police officers at the Porokhovskoye cemetery, where the press service owned by Yevgeny Prigozhin said he was buried Tuesday, in St. Petersburg, Russia, Aug. 29, 2023
Tyre Nichols' mother RowVaughn Wells looks on after the funeral service for her son at Mississippi Boulevard Christian Church in Memphis, Tenn., on Feb. 1
Hatay, Turkey, a city known for its citrus industry, in the aftermath of the 7.8- and 7.5-magnitude earthquakes that claimed 55,000 lives in southern Turkey and northern Syria in February.
Palestinian woman Inas Abu Maamar, 36, embraces the body of her 5-year-old niece Saly, who was killed in an Israeli strike, at Nasser hospital in Khan Younis in the southern Gaza Strip, on Oct. 17.
Aftermath of a deadly earthquake in Morocco
Villarrica volcano as seen from Villarrica, some 800 kilometres south of Santiago, Chile, on Sept. 27. Villarrica is among the most active volcanoes in South America.
Britain's Prince William, Prince of Wales, Princess Charlotte, Prince Louis, and Britain's Catherine, Princess of Wales, attend the Coronation of King Charles III and Queen Camilla at Westminster Abbey in London on May 6. Charles acceded to the throne on Sept. 8, 2022, upon the death of his mother, Elizabeth II.
Rep. Gloria Johnson, Rep. Justin Jones, Rep. Justin Pearson leave the Tennessee State Capitol after a vote at the Tennessee House of Representatives to expel two Democratic members for their roles in a gun control demonstration at the statehouse last week, in Nashville, Tenn., on April 6.
The body of a Russian soldier outside Makarivka, in the Zaporizhzhia region of southern Ukraine, on July 26, 2023. (Tyler Hicks/The New York Times)
An aerial view of Bakhmut, the site of the heaviest battles with Russian troops in the Donetsk region, Ukraine, on June 22.
Spain's Ona Batlle and teammates celebrate after winning the FIFA Women's World Cup in Sydney, on Aug. 20.
Taken with a long exposure, girls dance during the afternoon rituals of the second day of the Wyra'whaw coming-of-age festival in the Ramada ritual center, in Tenetehar Wa Tembe village, located in the Alto Rio Guama Indigenous territory in Para state, Brazil, on June 10.
Police officers check documents of a man in central Moscow, Russia, on June 25.
Former President Donald Trump stands next to a pallet of water before delivering remarks at the East Palestine Fire Department station in East Palestine, Ohio on Feb. 22. On Feb. 3 a Norfolk Southern Railways train carrying toxic chemicals derailed causing an environmental disaster.
Coco Gauff holds the winner trophy after defeating Aryna Sabalenka of Belarus in their Women's Singles Final match on Day Thirteen of the 2023 US Open in Queens, NY on Sept. 9.
Ma’kayla Jackson uses a laptop in grandmother’s dining room in Jackson, Miss. on Jan. 5.
Devastation in Kibbutz Be'eri after the Israeli army regained control, on Oct. 11.
Pictures of the Week-Global-Photo-Gallery
Accumulation of rubbish in the streets of Paris on the ninth day of the garbage collectors strike against the pension reform on March 14.
Eviction of Lützerath
A program for adolescent mothers run by the Center for Girls Education in Zaria, Nigeria, which is expected by 2050 to overtake the United States as the world's third most populous country, on April 27. Educating girls has an unusually large impact on family size in Africa, because it delays the age of marriage and helps young women to space out their children, researchers have found.
Aretha Franklin's granddaughter Grace Franklin, 17, smiles while embracing her family members after the jury decided in favor of a 2014 document during a trial over her grandmother's wills at Oakland County Probate Court in Pontiac, Mich., on July 11.
A woman enters the sea from a beach where wildfires destroyed the woods, at Glystra near the village of Gennadi in the southern part of the Greek island of Rhodes, on July 27.
Young patients of Okhmatdyt Children's Hospital, their faces painted, gather in the hospital's shelter, in Kyiv, Ukraine, on June 1.
A vehicles carries refugees from Nagorno-Karabakhb as they arrive in Kornidzor, Armenia, on Sept. 25.
Curtains blowing in the wind after an earthquake demolished the building in the center of Antakya, Turkey, on April 11.
A young girl stuck under her house rubble after it was bombed by Israeli airstrikes, Al Nusairat refugee camp, Oct. 31.
A group of girls embrace in front of a makeshift memorial for victims by the Covenant School building at the Covenant Presbyterian Church following a shooting, in Nashville, Tenn., on March 28.
Orange skies seen in New York City from the smog caused by Canada’s wildfires, on June 7.
Strikers on the United Auto Workers picket line in September.
Protesters block traffic along the Arkansas-Memphis bridge in Memphis, Tenn. on Jan. 27, after the city of Memphis released video that shows several police officers beating Tyre Nichols, a 29-year-old Black man who later died.
Visitors to Mount Carmel near Waco, Texas, the site of the former compound of the Branch Davidian sect, on March 24.
Sarah Salmonese sits where her apartment once stood in Lahaina, Maui, Hawaii, two days after it was devastated by wildfire, on Friday, Aug. 11, 2023. (Go Nakamura/The New York Times)
Immigrants struggle through the current of the Rio Grande while crossing from Mexico into the United States in Eagle Pass, Texas, on Sept. 27.
House Hearing Examines The National Security Implications Of Unidentified Anomalous Phenomena
Protesters hold train traffic at Lexington and 63rd to protest the death of Jordan Neely, a popular subway performer who was killed in an incident involving a chokehold performed by a former marine, in New York, on May 6, 2023.
San Diego Padres center fielder Trent Grisham collides with the wall as the RBI triple from Seattle Mariners' Dylan Moore rolls along the top of the wall during the sixth inning of a baseball game in Seattle, on Aug. 8.
Republican presidential candidates, former Vice President Mike Pence, Florida Gov. Ron DeSantis and Vivek Ramaswamy participate in the first debate of the GOP primary season in Milwaukee, Wis. on Aug. 23.
Afghan children attend a class at an open air school on the outskirts of Fayzabad district, Badakhshan province on March 27.
Giant panda mother Ai Bao and her newly born female twin pandas, the first to be born in the country, at Everland Amusement and Animal Park in Yongin, South Korea, on July 7.
A child cries while on the bus leaving The Covenant School following a mass shooting at the school in Nashville, Tenn., on March 27.
A wounded Ukrainian soldier on a medical stretcher smokes a last cigarette before being loaded onto a mobile hospital bus by medics from the Hospitallers, a Ukrainian volunteer medical battalion providing first aid and evacuation assistance for wounded Ukrainian soldiers, in the Donetsk region of Ukraine on Sept. 12.
Israel Declares War Following Large-Scale Hamas Attacks
The Star Dance Studio is pictured after a mass shooting in Monterey Park, Calif. on Jan. 23, 2023. The shooter who killed 11 people on Jan. 21 before shooting himself as police moved in on him was once a regular at the California dance club.
A group of spectators watch the Pride celebrations from their stoop across the street from Washington Square Park in New York City on June 25.
An excavator removes protesters' barricades as part of the clearing of L¸tzerath, Germany, on Jan. 11. For years, activists have tried to save tiny L¸tzerath from being razed to make way for the expansion of an open-pit coal mine.
Drag Queen Brigitte Bandit gives testimony in the Senate Chamber at the Texas State Capitol in Austin, on March 23. People across the state of Texas showed up to give testimony as proposed Senate bills SB12 and SB1601, which would regulate drag performances, were discussed before the Chamber.
Mesut Hancer holds the hand of his 15-year-old daughter Irmak, who died in the earthquake in Kahramanmaras, Turkey, close to the quake's epicenter, the day after a 7.8-magnitude earthquake struck the country's southeast, on Feb. 7.
Hawaii Wildfires
Relatives and friends during the burial of Marcos Abdón Tziquin Cuc, 21, in the village of Paquilá, Guatemala, on April 13, 2023.
Protestors shout slogans as they cross the Brooklyn Bridge in New York during a Pro-Palestine demonstration demanding a ceasefire, on Oct. 28.
Security guard Michael Bock performs CPR on a man who overdosed, and regained conscious soon after, downtown Portland, Ore., Aug. 2, 2023. (Erin Schaff/The New York Times)
A family runs from an explosion after a Russian rocket attack on a residential neighborhood in Pervomaiskyi, Kharkiv region, Ukraine, on July 4.
People carry injured and dead Palestinians from the rubbles of buildings as civil defense teams and civilians conduct search and rescue operations after Israeli attacks on Al-Shati refugee camp in Gaza City, on Oct. 27.
An Independent National Electoral Commission official speaks on the phone at the INEC offices in Awka, Nigeria, on Feb. 26 following the Nigeria presidential and general election.
Supporters of former US President Donald Trump cheer as his plane flies over the 2024 election campaign rally in Waco, Texas, on March 25.
Taylor Swift
image
Rep. George Santos
Bucha relatives gather to mourn Oleksiy Zavadskyi, a Ukrainian serviceman who died in combat on Jan. 15 in Bakhmut, during his funeral in Bucha, Ukraine, on Jan. 19.
An Afghan boy mourns next to the grave of his little brother who died due to an earthquake, in Zenda Jan district in Herat province, western of Afghanistan, on Oct. 9.
Pastors and community members pray ahead of a vigil the day after a shooting during a teenager's birthday party at Mahogany Masterpiece Dance Studio in Dadeville, Ala., on April 16.
An injured Ukrainian serviceman lies inside a frontline medical stabilization point, amid Russia's attack on Ukraine, in Donetsk region, Ukraine on April 23.
Lauren Rowley and her daughter Ursula, 2, look at the surging Otter Creek River in downtown Middlebury, Vt., on July 14, 2023. Vermont began new flood protection efforts after being battered by Tropical Storm Irene in 2011. Many appeared to be effective, but experts say more will be needed as storms become more extreme.
Omar Lafi grieves as he clings to the lifeless body of his nephew, who fell victim to an Israeli airstrike in Gaza City, on Oct. 9.
Rescuers work at the site of a passenger train accident in Balasore district, in the eastern Indian state of Orissa, on June 3, 2023. Two passenger trains derailed in India, killing more than 280 people. Hundreds of others were trapped inside more than a dozen mangled rail cars, in one of the country's deadliest train crashes in decades.
Former President Donald Trump taking the stage at a rally in Erie, Pa. on July 29, 2023. (Maddie McGarvey/The New York Times)
Students from the New International School of Thailand assist with the release of young leatherback turtles on Bang Khwan beach in the coastal Thai province of Phang Nga on Feb. 20.
Caitlyne Gonzales, who lost many of her friends in the shooting, sang and danced to Taylor Swift songs at Jacklyn Cazares' grave in Uvalde, Texas, on April 19. One year after 19 children and two teachers were killed at Robb Elementary, the cemetery where most of the victims are buried has become an anchor in their families' lives.
Indian wrestlers Sangeeta Phogat (L), and Vinesh Phogat (C) are detained by the police while attempting to march to India's new parliament, just as it was being inaugurated by Prime Minister Narendra Modi, during a protest against Brij Bhushan Singh, the wrestling federation chief, over allegations of sexual harassment and intimidation, in New Delhi on May 28.
Airstrike on Al Ahli hospital in Gaza - 17 Oct 2023
47 Hall Steet Shelter
Former President Donald Trump sits in the courtroom during his civil fraud trial at New York State Supreme Court in New York City on Oct. 18.
Migrants prepare to cross the Panama border in the Darién Gap in Colombia, on Aug. 3.
Israelis opposed to Prime Minister Benjamin Netanyahu's judicial overhaul plan set up bonfires, firecrackers and block a busy highway during a protest in Tel Aviv, moments after the Israeli leader fired his defense minister, on March 26.
The aftermath of an attack by Hamas on the Israeli Kibbutz Be’eri, on Oct. 22.
Police officers clash with pro-Palestinian demonstrators as they try to enter a train station in Barcelona, Spain, on Nov. 11. The protesters were part of a group of many thousands more who had earlier took part in an authorized march against Israel's response in Gaza to a deadly attack by Hamas on Oct. 7.
Charlottesville's Statue Of Confederate General Robert E. Lee Melted Down
The remains of a beach home months after it was destroyed by Hurricane Ian on Captiva Road in Sanibel, Fla. on Feb. 9.
Richard Wilcox, left, weeps as community members gather after the tragic Lewiston mass shooting for a vigil to heal at Worumbo Riverfront Park in Lisbon Falls, Maine, on oct. 28. 18 people were killed in the assault.
Relatives of the Palestinians, who lost their lives after Israeli attacks, mourn as the bodies are carried for burial outside Al Aqsa Martyrs Hospital in Deir al-Balah in the central Gaza Strip, on Oct. 31.
short-tailed bat inside a wind tunnel. They are testing how tiny sensory hairs on bats’ wings affect their flight responses to turbulence.” data-credit=”Nichole Sobecki for National Geographic” data-copyright=”© NicholeSobecki/VII” data-sizes=”(max-width: 768px) 90vw, (max-width: 1024px) 75vw, (max-width: 1280px) 55vw, 800px”>Seba’s short-tailed bat inside a wind tunnel
Lightning strikes as smoke billows following an Israeli airstrike in Gaza City on Oct. 9.

Photo Editing by Kaya Berne, Kim Bubello, Eli Cohen, Sangsuk Sylvia Kang, Kara Milstein, Dilys Ng, and Katherine Pomerantz

Library Showcasing Local Photographer’s Art – ButlerRadio.com

By in Photography

Library Showcasing Local Photographer’s Art – ButlerRadio.com

The Butler Area Public Library will be showcasing a local photographer’s art for the rest of November and all of December.

The exhibit is called The Beauty of Nature featuring the work of Sherrie Dunlap Gallagher. Gallagher is a native of Valencia who explores thematic scenes with photography.

This exhibit includes landscapes, flora, fauna, and insects from locations in Pennsylvania as well as places abroad such as the Dominican Republic. Gallagher has been recognized with various awards in local, regional, and national shows.

The exhibit is free to the public and can be found on the second floor showcases and gallery of Butler Area Public Library.

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