ZANESVILLE, OH – The Muskingum County Library System is inviting the community to come on adventure to see some of Ohio’s scenic wonders.

This Thursday, June 20th, at 5PM, the John McIntire Library will host their program, “Photographer’s Guide to Ohio”, with photographer Ian Adams.

Scott Horst, the Adult Services Librarian, says Adams is an environmental and outdoor photographer who will showcase some of his best work to the community.

“The natural splendor of Ohio is obviously going to be covered, since he is a renowned outdoor photographer and Southeastern Ohio certainly has a lot of those.” Horst said. “I would expect the Hocking Hills, Salt fork, things like that to be covered in that.”

Horst says that it’s wonderful to have people, like Adams, come into the library and share their experiences and adventures.

“I think that it’s just something that fulfills our mission.” Horst said. “Our mission here at the Library is to connect people to ideas, information, and each other and it fulfills that obligation we have to the community.”

If you are interested in registering for the “Photographer’s Guide to Ohio”, you can head to the library’s website.

Frighteningly realistic AI-generated images are winning photo contests and generative AI tools are powering our favorite photo editors. A tidal wave of AI-generated images has made it practically impossible to know what is and isn’t real. 

However, there’s finally a story for photographers to smile about – a win for humans, if you will.

A surreal but entirely real photograph called ‘Flamingone’ by Miles Astray (real name, I kid you not) impressed judges of the prestigious 1839 photo contest to be awarded bronze and claim the people’s vote award, which comes with a cash prize. Trouble for the contest organizers is that Astray’s winning image was entered into a newly formed AI category. 

The surreal image above was deemed so unreal that the astute panel of judges, which includes people from The New York Times and Getty Images, among others, were duped and voted for it, as did the public; awards that were consequently stripped from Astray after the real nature of the image became clear.

The image turns out to be a simple holiday snap of a headless flamingo taken on a white sand beach in Aruba. It captures the moment the flamingo is preening, and therefore, its head and neck are hidden. This is a real subject, place, and moment in time, beating entirely algorithm-based AI-generated entries. 

Astray said, “It occurred to me that I could twist this story inside down and upside out the way only a human could and would, by submitting a real photo into an AI competition. Of course, I deliberately chose a picture that is so surreal, to the point of unbelievable, that it could easily be attributed to AI being at play.”

It flips 2024’s photo contest narrative on its head, and the competition organizers released this statement:

“Our contest categories are specifically defined to ensure fairness and clarity for all participants. Each category has distinct criteria that entrants’ images must meet. His submission did not meet the requirements for the AI-generated image category. We understand that was the point, but we don’t want to prevent other artists from their shot at winning in the AI category.”

“We hope this will bring awareness and a message of hope to other photographers worried about AI.” On Astray’s blog, he said the contest organizers “had a surprising reaction that really made my day,” and “I entered this actual photo into the AI category of 1839 Awards to prove that human-made content has not lost its relevance, that Mother Nature and her human interpreters can still beat the machine, and that creativity and emotion are more than just a string of digits.”

Astray’s sentiment reminds me of Nikon Peru’s playful campaign toting ‘natural intelligence’ with a series of otherworldly landscapes you can find for real in Peru, together with the sort of word prompts that you’d use in an AI generator to create such striking images.

We can enjoy this story simply for what it is – a win for humans – but there’s also a wider narrative at play: the industry is kicking back against AI and putting mechanisms in place to point out AI content, but real photos can also fall victim.

Instagram is tagging real photos as ‘Made with AI’ (but at the same time admitting that its system is easy to circumvent with fake images), while an iPhone shot was disqualified from a contest for looking too fake, and now this: another in a catalog of stories proving how hard it is to tell what’s real and what’s fake – though once Content Credentials is effectively rolled out it’ll help photographers prove authenticity.

Photo contests are adapting to a future with AI in an attempt to distinguish the fake from the real – the fact there’s an AI category in 1839’s photo contest is one example – and there’s still hope for real photography. This time, it’s a victory for humans versus machines in what has felt at times like an otherwise one-sided battle since generative AI hit the mainstream.

I’m wondering what could be next in the photo contest tale: a contest using AI to judge entries and select the winners? God, I hope not – that would be the darkest twist of all.

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Experience a New Era of Photography
Honor’s latest smartphone release is set to revolutionize mobile photography as we know it. Gone are the days of traditional photography methods, as artificial intelligence (AI) takes center stage in enhancing the capabilities of mobile phone cameras.

A New Perspective on AI in Photography
By incorporating AI into their smartphone’s camera features, Honor aims to cater to a diverse audience, from budding photographers to social media enthusiasts. The preloaded photo filters will ensure that each picture tells a unique story, appealing to the Gen Z demographic and beyond.

Redefined User Experience
Contrary to popular belief, AI is not meant to replace the art of photography but rather elevate it to new heights. Honor emphasizes that their smartphone camera technology complements traditional DSLRs, catering to users who seek convenience and top-notch photo quality.

Introducing the Honor 200 Lite 5G
In addition to their flagship model, Honor is set to launch the Honor 200 Lite 5G in South Africa. Boasting AI-driven features like the Magic Portal, this smartphone offers a seamless and intuitive user experience. The integration of advanced AI algorithms ensures that users can effortlessly navigate through various apps with ease.

Embrace the Future of Mobile Photography
Prepare to embrace a new era of mobile photography with Honor’s latest offerings. Stay tuned for the official launch of the Honor 200 Lite in South Africa, promising cutting-edge features that cater to the evolving needs of smartphone users everywhere.

Additional Relevant Facts:
1. Honor’s latest smartphone likely includes advanced low-light photography capabilities, enabling users to capture stunning images in dimly lit environments.
2. The incorporation of AI into the camera system may offer real-time scene recognition, allowing users to automatically optimize settings for different scenarios.
3. Honor’s smartphone could feature enhanced image stabilization technology, resulting in sharper and clearer photos and videos.
4. The device may leverage AI for post-processing functions, enabling users to quickly edit and enhance their photos directly on the phone.

Key Questions:
1. How does Honor’s use of AI in photography differ from other smartphone manufacturers?
– Honor emphasizes AI as a tool to elevate traditional photography, not replace it entirely.
2. What specific AI-driven features does Honor’s latest smartphone offer to enhance the user experience?
– Features like Magic Portal and advanced algorithms for seamless app navigation.
3. How does Honor ensure that users of varying photography skill levels can benefit from the AI enhancements?
– Preloaded photo filters and user-friendly interfaces cater to a diverse audience.

Key Challenges and Controversies:
1. Privacy concerns may arise regarding the use of AI in photography, particularly in terms of data collection and processing.
2. Some users may prefer manual control over their camera settings, raising questions about the extent to which AI automation is beneficial.
3. Compatibility issues with existing photography apps or software could be a challenge for users transitioning to Honor’s new technology.

Advantages:
1. Enhanced photography capabilities through AI-driven features.
2. Simplified user experience for capturing and editing photos on the go.
3. Potential for improved image quality and creativity with built-in filters and scene recognition.
4. Accessibility to advanced photography tools for users of all skill levels.

Disadvantages:
1. Dependency on AI for photography functions may limit user control and customization.
2. Concerns about privacy and data security related to AI usage.
3. Potential learning curve for users unfamiliar with AI-enhanced photography features.

Suggested related link: Honor Official Website

“Unsupervised” by Alexandrena Parker. Overall Professional Winner and Professional Winner, Conceptual, People, Storytelling.
“The sight of children engaged in unsupervised play, left to their own devices in the streets, has become increasingly rare. Set in outback Australia, the scenes weave together the past and present, symbolizing the relationship between the landscape and the timeless essence of childhood.”

Named for the year that photography was first made widely available to the public, the 1839 Awards holds a series of photo contests to highlight the medium. Photographers from 55 different countries entered the Color Photography Contest, which is open to both professional and non-professional photographers. The results, which were just announced, are extraordinary.

In the end, two different conceptual series won the overall prize. For the professionals, Alexandrena Parker was named the overall winner for her images of unsupervised children playing outside, a rare sight these days. Astrid Reischwitz‘s fascinating look at her heritage, which combines photography and embroidery, won her the top prize in the non-professional competition.

There are many hidden gems among the category winners. From a playful plate of pasta to a striking look at the war in Ukraine, the competition highlights the impact that color photography can have on our view of the world.

The winner’s announcement, however, was not without controversy. In an effort to keep up with technology and its impact on the medium, the contest has a category to award the best AI imagery. What the contest organizers didn’t expect, however, was a photographer to not only enter a regular photo into that category but to win the People’s Vote Award. Though the photographer was subsequently disqualified when he revealed that the image was not AI, the news brought a lot of eyes to the contest.

This event, together with the high quality of the winners, should assure any photographer that technology, while wonderful, is still no match for the creativity and artistry that comes with a human touch.

Scroll down to see some of our favorite winners and check out the full gallery on the 1839 Awards official website.

The 2024 Color Photography Contest celebrates the power of photography.

“How to train your dragon” by Leo Kwok. Winner, Professional, Event, People.
“Showered by molten, firework-like sparks, people in Meizhou, China perform a fire dragon dance to celebrate the Lantern Festival on the first full moon of the Lunar Calendar. This celebration was performed over 200 years ago and was listed as an Intangible Cultural Heritage in China in 2008.”

“Dark Beauty” by Robyn Finlayson. Winner, Professional, Landscapes.
“In late 2020, a wildfire broke out on World Heritage-listed K’gari, the world’s largest sand island. It swept through more than 87,000 hectares, or almost half the island. It burned for more than 2 months. During this time I discovered an unexpected and alluring beauty amongst the devastation.”

“Tiger” by Sofia Lopez Mañan. Professional Runner-up and Professional Winner, Animals, Conceptual, Storytelling.
“Tiger standing on a bed in Buenos Aires, Argentina. This image is part of the project ” The Book of Nature” that explores the concept of ‘Nature’ as a manmade construction.”

Run by the 1839 Awards, the photo contest is divided into professional and non-professional categories.

“Spaghetti Stylist” by Yuliy Vasilev. Winner, Professional, Still Life.

“Gitano” by Arianna Angelini. Winner, Professional, People.
“I met him once, trying to find my way. The solitude of the highlands was what I sought. Unbidden, he sat beside me on a log one day As I was caught up with some restless thought.”

“Nations of the Atlantic” by Kim Lang. Winner, Professional, Travel.
“Nations of the Atlantic explores the ocean as a vessel to connect cultures and focuses on the universal experience of places that rely on the sea for their everyday lives. It shifts the attention to small island nations, often overlooked in the greater discussion of climate change.”

“Spin Club Tapestry” by Astrid Reischwitz. Overall Non-Professional Winner and Winner, Non-Professional, Conceptual, Other.
“By following the stitches in fabric from my village in Germany, I follow a path through the lives of my ancestors – their layout of a perfect pattern and the mistakes they made. The patterns I have stitched myself into the paper represent fragments of memory.”

“Baseball in Bhutan” by Matthew Desantis. Non-Professional Runner-up.
“With Buddha (symbol of inspiration) in the backdrop, Bhutanese teenagers engage in a spirited game of baseball in the capital of Thimphu. Clad in the nation’s traditional noble attire, they embody the harmonious blend of tradition and modernity that defines Bhutan.”

“The Price of Freedom” by Lenka Klicperová. Winner, Professional, Photojournalism.
“Ukraine has been defending itself against Russian aggression for two years. Thousands of soldiers and civilians are paying a terrible price for their freedom. But they are still fighting.”

“The Circle” by Mauro Caviezel. Winner, Non-Professional, Architecture, Minimalism.
“Early morning long exposure shot of the ‘The Circle,’ a public swimming pool at Lake Zürich.”

“Total Solar Eclipse” by Edward Panjaitan. Winner, Non-Professional, Nature.
“The sequence of a total solar eclipse from the 2nd contact (diamond ring just before totality), totality, and just after totality (diamond ring just after totality).”

“Passion” by Sandra Paul. Winner, Professional, Animals.

Photographers from 55 countries entered the contest, which also included a category for AI photography.

“Untitled” by Robyn Finlayson. Winner, Professional, AI.

“Lipton Hill” by Anton Mischenko. Winner, Non-Professional, Photojournalism.
“Sri Lanka”

“Playfield” by Bragi Thor Josefsson. Winner, Professional, Architecture.

“M” by Scarlett Coten. Winner, Professional, Storytelling.
“M brings together three series that explore from the Mediterranean basin to Trump’s America and France, contemporary masculinities, and the determination to express who one really is. The challenge is of introducing into the collective imagination these singular yet shared experiences.”

“Sky Blue” by Robyn Finlayson. Winner, Professional, Nature.

“Morning on the River” by Proshin Vladimir. Winner, Non-Professional, Travel.

“Arctic Expedition” by Kari Peltola. Winner, Non-Professional, Minimalism.
“Arctic expedition in Svalbard.”

1839 Awards: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by 1839 Awards.

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“I just want people to have a new dialogue – the fact you’re asking me about it means you’ve noticed!” says a smiling Zanele Muholi of the four magnificent sculptures currently on display at their self-titled Tate Modern show in London.

The South African visual activist is of course best known for their photographs exploring Black queer identity, and over 260 are on display at Zanele Muholi: from soul-stirring, conversation-generating self-portraits to arrestingly honest and often painfully intimate shots of other people. But the unexpected stars of the show are decidedly 3D.

A monumental depiction of the artist’s genitalia (Ncinda, 2023.), for example, and another showing the artist tied up and sitting in a seemingly impossible position (Muholi IV, 2023.), creating a sense of physical discomfort in the viewer.

There’s work here about “undoing racism, speaking on crossing borders, on personal experience on being racially profiled, amongst many other things. A person could read that off the props used, if there’s a piece that speaks on being confined and arrested.”

“The sculpture piece where I’m sitting speaks also on the struggles we may face when we have voices we cannot express, and find themselves stuck in one position, unable to be let loose,” they add. “Whether abstract or not, there is something that draws us closer into sculptural pieces.”

“I want to expand my practise – there’s still a lot I wish to do” – Zanele Muholi

Excitingly, more mediums are to come, such as “quilting. Because quilting was a way in which our great, great ancestors told their stories. … I want to expand my practise. There’s still a lot I wish to do.”

But oh, those self-portraits, and the way they sear their way into your mind forever. One Muholi likes is “the picture where I’m wearing clothes pins, or pegs, to dry clothes and so on.” The picture (Bester I, Mayotte, 2015.) is “aimed at giving thanks to my mother … for all the struggles she’s been through to raise us. It speaks of women and work.”

Here, Muholi reflects on why self-care is “political” – for example, of the South Africans they’ve photographed who are victims of violent sexual assault, or “corrective rape,” as male perpetrators call it, how many had tools of self-care available? – plus the international political pressure on gender expression and their hopes for the future of their country. Below is a transcript of our conversation, condensed for clarity.

I was curious to read about your beginnings as a reporter for Behind the Mask. Do you have any tips for me on how to conduct an interview?

Do you consider yourself, as well as a visual activist and artist, a photojournalist?

It depends on the stories that we are documenting or capturing, and for which audience as well. To avoid … censorship that comes with the negatives in those stories. [It] speaks through the visuals. Activism speaks to the politic of how these visuals inform the public, or tells these stories. I’m an activist, right? So, my focus will be using the visuals as a political approach to it. It’s like that. Photography becomes another element in which we speak on what happened, in what corner. If you’ve seen the show, at the back, you have the activist room. That speaks perfectly to visual activism, where you leave alone the fine arts, but deal with topical issues, or things that are not often captured by a maybe person who is doing it through writing, or creative writing.

It struck me that you didn’t begin taking photographs until you were 32, is that correct?

My first exhibition was when I was 29. Besides that – I don’t come from a household that’s full of cameras and recording devices. I come from a poor background. My mum worked as a domestic worker. I’m raised by a single parent who had to raise children on their own. I don’t come from a space of abundance where you have all recordings and devices that make life easier.

Did you have any creative pursuits growing up that informed the work you would go on to do?

Whatever I went on to do had to do with my queer self. Also, to speak on the lack of visual histories verses oral stories that we had access to as kids. Speaking on the visual history of South Africa, that lack – this does not mean it didn’t exist. But to say it lacked a visual that spoke to The Constitution of South Africa as it was changed in 1996. We had this very important document that speaks to protect the people – you need a visual that corresponds with it. Which should be presented in the most secure and mindful and meaningful way.

So, I just wanted to produce those images that spoke about the pride we have in this constitution. Also, to speak of the presence, the existence of the people as well. When you go to Pride, most of us go for a meaning. To push a political agenda that is not often asserted bluntly in public: to speak of any violations that are taking place that might displace so many people.

You’ve been documenting very devastating themes since the beginning of your career. Self-care as a buzzword is quite a recent term, but have you been practicing it from the beginning? Can you give us any insights into how you practise it?

I’m depleted as we speak! I try to exercise and do other activities. Self-care is political. Also it depends if you’re able to, if you have all the tools of support that you need in order for one to self-care. It’s complicated, at this minute in my life. I’m processing a lot of pain. Other people’s pain that I’ve been carrying as I journey through spaces photographing others. The stories that I’ve heard, the spaces I’ve been to. It’s left a mark that I cannot delete.

How do you relax during your downtime? Do you ever have downtime?

I try. Nature a lot with my partner. We play boardgames – Scrabble! And we try to walk as much as we can.

What is your message to any survivors of trauma interested in seeing your work as a means of potentially healing but who are afraid of being triggered?

To avoid the triggers, give yourself time. If there’s situation that might cause that [reflex], try by all means to distance yourself from it in order to avoid further hurt. Because you don’t want to be faced by a situation that puts you off. You have to protect your thoughts, and try to keep a distance, for personal sake.

What do you hope people struggling with their sexuality, and/or gender identity, and/or living in a heterosexist society take from the show. Do you hope they’re inspired?

I hope people try to find communities where they find solace. Where there won’t be negative energies shared with them. To avoid being alone. Because loneliness sometimes is dangerous. That’s when you think a lot about what’s happening in your life and what’s not. If you could try to form alliances and safer spaces in which we could express ourselves without fear of further prejudice – form communities for safety’s sake. Where you’re able to laugh again, and love without fear.

You’ve visited many countries around the world with your work. What is the most remote place you’ve exhibited? How was the work received differently there as opposed to, say, a city?

My work was part of an exhibition in Dakar [the capital city of Senegal]. They had to shut down. My work, and the work of another artist who was part of the show – obviously it was a place where same-sex [relations] isn’t allowed. I can’t even say remote, because remote, really is something else.

There’s a General Election in the UK on the 7 July. This week the ruling Conservative government announced plans to change the legal definition of sex to biological sex and restrict trans people’s access to public spaces. It is painful that this is happening the week your show is beginning. What is your response to the news?

It’s painful, because that backlash is harmful to many. I think there are a lot of politics that our governments should be focusing on than this topic. Care and healthy comments are supposed to be shared with our public. If people who are in positions of power care less, and share information that dents or diminishes another person’s life, it means that we’re losing battles and milestones won for us to get to where we are. I could say that respectful human rights is very, very important. Because then, all these new laws that are put in place, they violate people. And it means that whatever gains won seem futile.

I so wish we don’t have to fight anymore. I so wish, when we speak of freedoms, we speak it with our own minds. Where we don’t have to be challenged by haters. Because these are people born by parents who love them. Parents who try to care for their own. I’m not talking of situations where people are evicted from homes. I’m talking from the point of view where parents, and parents [including and] not limited to guardians, who are failing to support their own simply because of the high powers in place.

The public figures who have more voice than others. There shouldn’t be any trans child leaving school just because of the laws that are put in place that exclude the child. Because it means the future of the child is already affected, simply because of being excluded. That’s why we need further education. To ensure everyone gets sense. That they’re made aware that discrimination and violation of others who are different is not needed. It shouldn’t be tolerated.

I hope those culture war-stoking politicians come and see the show. Is that an invitation you’d like to extend to them?

Everybody’s welcome. If, maybe, their way of looking at things changes, people’s perceptions, then I’m happy. But if people come here to further project hate, they’re not welcome. Their actions displaces many people, their violations hurt so many people. We want peace. We don’t exist to be hurt 24/7. Just like any other person who’s got rights, who’s able to love and capable of receiving love, let’s preach peace. Use love and freedom.

Could you speak to the importance for young people, all people, to vote?

Your political vote is very important. If you don’t vote, it means you’ll be defeated. It means decision-makers might decide on whatever they like, because of losing that particular vote. They say your vote is your voice. For a better change, or a better future. It’s important we preach and exercise that right, because it’s concerning when there’s corruption in spaces. When there’s exclusion and violence in spaces. But with that particular voice, change will come.

Out of curiosity, when you discuss your work, do you always use the proper titles, or do use descriptors, or nicknames?

Most of the series is titled in Zulu, which is my mother tongue. I’m deliberate, you know? The titles as they are, are very important. They describe the scene, or the sub-theme, or something in addition. Each name has its own meaning.

Do you ever take pictures that are for your eyes only? Or as gifts for others?

There are many images that are not known, that have not been seen. But most of what I’ve captured, I was intentional. The images were aimed at being seen widely. For people to remember themselves, for photographers to remember it’s OK to be in front of the camera, [not] always behind the camera! But for your eyes only? I’m [not sure] about that. The images need to be shown. They need to be aimed at educating different publics about what is going on in other parts of the world. But most importantly, to help us learn how to love ourselves again. Because we don’t [need] any external validation from other people. For once, take a look at yourself, and give thanks for living. For the fact we’re here now.

What role does self-editing take? Do you ever take a bad photo?

A lot of ‘bad’ photos are taken. But you have to love them. What might come across as good to me is bad to you. It depends how we trust ourselves to read the images.

You’ve documented a lot of changes in South Africa over the last 20 years. What are your hopes for it in the next two decades?

A peaceful space where there’s no need to fight anymore. Where there’s no need for people to protest for better lives. I wish that we have as many books as possible to further this knowledge. I don’t know how much of a Black, queer and trans presence there is here in the UK that’s accessible to all publics, or people who just leave because of the assumption that you are free.

How much information like this could fill up a space like that in this very place? I long for a better South Africa where we don’t have to struggle for basic things. The hierarchy of life, of needs. Good housing. Good food system. Better health structures in place. Good education for all. Basic things. If people have no homes, focusing becomes a challenge. If there’s no better education system in place, then the future of employment is made impossible. Creating balance where we are free to be who we are without fear of any possible attacks.

Are there any talking points I’ve missed you’d like to cover?

There’s an ongoing project where there’s a need for photography and interviews. There’s a room with some people who are sharing their stories. How they became. Why they agreed to participate. What they do. Sharing their professions. I suggest that you give yourself some time and listen to what people are saying.

Zanele Muholi runs at Tate Britain until 26 January 2025. Tickets available at tate.org.uk 

Photography services Market

Photography Services Market was valued at $32.6 billion in 2022, and is estimated to reach $56 billion by 2032, growing at a CAGR of 5.7% from 2023 to 2032.

DELAWARE, WILMINGTON, UNITED STATES, June 18, 2024 /EINPresswire.com/ — According to a new report published by Allied Market Research, titled, “Photography Services Market,” The photography services market was valued at $32.6 billion in 2022, and is estimated to reach $56 billion by 2032, growing at a CAGR of 5.7% from 2023 to 2032.

The photographic service market shows high growth potential in Europe and Asia-Pacific regions. The photographic service market in Europe is a dynamic and diverse industry, encompassing a wide range of products and services catering to various customer segments. Europe is home to many of the world’s leading camera and photographic service equipment manufacturers, as well as numerous photographic service-related businesses and service providers. One of the key sub-segments of the European photographic service market is the consumer market, which includes individual customers who purchase photographic service-related products and services for personal use.

➡️𝐃𝐨𝐰𝐧𝐥𝐨𝐚𝐝 𝐑𝐞𝐬𝐞𝐚𝐫𝐜𝐡 𝐑𝐞𝐩𝐨𝐫𝐭 𝐒𝐚𝐦𝐩𝐥𝐞 & 𝐓𝐎𝐂 : https://www.alliedmarketresearch.com/request-sample/74909

The photography services industry is mostly driven by the increasing demand for high-quality visual content across various industries, the rise of social media and online marketing, advances in technology, and the availability of photographic service education and training results in photography services market trends. As businesses and individuals continue to prioritize visual content, the photographic service market is expected to continue to grow in the coming years which surges the photography services market share.

However, one of the major problems hindering the expansion of the photographic service market is the increase in competition. Market competition can also lead to prioritizing quantity over quality. As companies compete to offer the lowest prices, they may need to make adjustments in quality and customer service for the photography services market growth. This can lead to dissatisfied customers who may turn to other vendors for their photography needs. Additionally, increased competition could lead to the commoditization of photography services, with companies offering similar services and packages. This can make it harder for businesses to stand out in the photography services market size.

The photography services market analysis on the basis of type, end-user, and region. By type, the market is divided into commercial photographic service and consumer photographic service. Further, the consumer photographic service segment is classified into wedding photographic service, portrait photographic service, wildlife photographic service, and others. As per end user, the market is divided into individual and commercial. Region wise, the market is divided into North America (U.S., Canada, and Mexico), Europe (UK, Germany, France, Italy, Spain, Russia, and the Rest of Europe), Asia-Pacific (China, Japan, India, Australia, South Korea, and Rest of Asia-Pacific), and LAMEA (Brazil, Argentina, UAE, South Africa, Saudi Arabia, and Rest of LAMEA).

By type, the market is divided into commercial photographic service and consumer photographic service. The consumer photographic service segment held the major share of the market in 2022 and is expected to grow at a significant CAGR during the forecast period. Commercial photographic service is the practice of creating photographs for use in commercial contexts, such as advertising, marketing, or sales. Commercial photographers may work on a variety of projects, including product photographic service, fashion photographic service, architectural photographic service, and editorial photographic service which increases the photography services market demand.

➡️𝐑𝐞𝐪𝐮𝐞𝐬𝐭 𝐂𝐮𝐬𝐭𝐨𝐦𝐢𝐳𝐚𝐭𝐢𝐨𝐧 𝐖𝐞 𝐨𝐟𝐟𝐞𝐫 𝐜𝐮𝐬𝐭𝐨𝐦𝐢𝐳𝐞𝐝 𝐫𝐞𝐩𝐨𝐫𝐭 𝐚𝐬 𝐩𝐞𝐫 𝐲𝐨𝐮𝐫 𝐫𝐞𝐪𝐮𝐢𝐫𝐦𝐞𝐧𝐭: https://www.alliedmarketresearch.com/request-for-customization/74909

By end user, the market is divided into individual and commercial. The individual segment held the major share in the market in 2022 and is expected to grow at a significant CAGR during the forecast period. Individuals are a significant market segment in the photographic service industry, encompassing a wide range of consumers who purchase photographic service-related products and services for personal or professional use. Individuals in the photographic service market are often characterized by their desire for high-quality, personalized products and services that reflect their individual tastes and interests. Individual trends in the photographic service market are constantly evolving and changing, driven by advances in technology, changing consumer preferences, and emerging cultural trends. One of the key trends in recent years has been the rise of mobile photographic service, with many individuals using their smartphones as their primary photographic service tool. This has led to an increased demand for mobile photographic service accessories and apps that can enhance the quality of images captured on mobile devices.

By region, the market is divided into North America, Europe, Asia-Pacific, and LAMEA. The North America region held the major share in the market in 2022 and is expected to grow at a significant CAGR during the forecast period. The photographic service market in North America is a diverse and thriving industry, encompassing a wide range of products and services catering to a variety of clients and customers. North America is home to many of the world’s leading photographic service companies and businesses, including major camera manufacturers, photographic service equipment retailers, and large-scale photographic service providers. With a large and diverse customer base and a wide range of products and services on offer, the North American photographic service market is likely to continue to be a significant player in the global photographic service industry for years to come.

The major players operating in the market focus on key market strategies, such as mergers, product launches, acquisitions, collaborations, and partnerships. They also have been focusing on strengthening their market reach to maintain their goodwill in the ever-competitive market. Some of the key players in the photographic service market include Fisher Studios Ltd., Carma Media Productions, Bella Baby Photographic Service, Angle Platform, Shutterfly, LLC, Studio Alice Co. Ltd., Getty Images Holdings, Inc., Lifetouch Inc., Portrait Innovations Inc., and Cherry Hill Programs, Inc.

➡️𝐋𝐈𝐌𝐈𝐓𝐄𝐃-𝐓𝐈𝐌𝐄 𝐎𝐅𝐅𝐄𝐑 – 𝐁𝐮𝐲 𝐍𝐨𝐰 & 𝐆𝐞𝐭 𝐄𝐱𝐜𝐥𝐮𝐬𝐢𝐯𝐞 𝟏𝟓 % 𝐃𝐢𝐬𝐜𝐨𝐮𝐧𝐭 𝐎𝐧 𝐓𝐡𝐢𝐬 𝐑𝐞𝐩𝐨𝐫𝐭 @ https://www.alliedmarketresearch.com/checkout-final/e3180cd68a72e66e16355ac357ac34c8

𝐊𝐞𝐲 𝐟𝐢𝐧𝐝𝐢𝐧𝐠𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐬𝐭𝐮𝐝𝐲 :
• This report provides a quantitative analysis of the market segments, current trends, estimations, and dynamics of the photography services market analysis from 2022 to 2032 to identify the prevailing photography services market opportunities.
• The market research is offered along with information related to key drivers, restraints, and opportunities.
• Porter’s five forces analysis highlights the potency of buyers and suppliers to enable stakeholders make profit-oriented business decisions and strengthen their supplier-buyer network.
• In-depth analysis of the photography services market segmentation assists to determine the prevailing market opportunities.
• Major countries in each region are mapped according to their revenue contribution to the global market.
• Market player positioning facilitates benchmarking and provides a clear understanding of the present position of the market players.
• The report includes the analysis of the regional as well as global photography services market trends, key players, market segments, application areas, and market growth strategies.

➡️𝐓𝐨𝐩 𝐓𝐫𝐞𝐧𝐝𝐢𝐧𝐠 𝐑𝐞𝐩𝐨𝐫𝐭𝐬:
• Baby Walker Market
https://www.alliedmarketresearch.com/baby-walker-market-A15090

• Badminton Apparel Market
https://www.alliedmarketresearch.com/badminton-apparel-market-A15091

• Bagster Bags Market
https://www.alliedmarketresearch.com/bagster-bag-market-A15094

• Bicycle Horn Market
https://www.alliedmarketresearch.com/bicycle-horn-market-A15093

David Correa
Allied Market Research
+1 800-792-5285
email us here
Visit us on social media:
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Michael Anthony Photography is opening a studio in McKinney.

The business, established in 2011, offers portrait photography for families and pets. Other services offered include:

• Wedding photography and videography
• Maternity sessions
• High school senior photography
• Corporate headshots

The photography studio will include two camera stations, on-site production facilities, and a projector viewing and reveal room, the business’s website states. The studio will also offer a variety of backdrop options, sets, props and accessories.

The business will be located in the Urban Garages development, a flexible workspace project that will span nearly 90,000 square feet across eight buildings. The first phase of the development was completed in May and the second phase is set to be completed in mid-2025, Urban Garages Vice President Haley Fleming said.

As the 2024 UEFA European Football Championship kicks off in Germany, renowned photographer Michael von Hassel is tackling a new project exploring the unknown aspects of the beloved sport. Von Hassel’s stomping grounds are usually on the fringes of society, trekking to war-torn countries, or exploring nature in its most remote and untouched state. From North Korea to Iraq, he’s documented areas of the world that remain both unreachable and unimaginable to most.

Now, he’s debuting a very different kind of exhibition: images of Germany’s most important football stadiums, as they’re empty and await the adoring throngs of fans. Amid the excitement of the Euros this month, von Hassell trains his lens on a global phenomenon. 

“Your work must be allowed to be controversial and we all need to meet before this work and engage in discussion” von Hassel says. “Art must also be allowed to be wrong, and through conversation we can create a better tomorrow.”

Michael von Hassel, Olympiastadion E Berlin, (2018). Courtesy of the artist and Anna Laudel Düsseldorf.

As the UEFA European Football Championship is about to start, you’re publishing a series of photographs around the subject. What does the sport mean to you? 

Football is a world of its own and affects a large part of our society. It’s the favorite sport of many nations and a quasi-religion of millions of fans. I like to focus on the “other side” photographically. I try to show places that we all know, that we may have grown up in, that we visit weekend after weekend but in a completely different way; just like you’ve never seen your own football stadium before.

Michael von Hassel,
BORUSSIA-PARK D Mönchengladbach, (2018). Courtesy of the artist and Anna Laudel Düsseldorf.

After many photo series of this kind (e.g. the Munich Oktoberfest beer halls inside, at night, empty, fully illuminated), I wanted to get to know football entirely for myself. I wanted to take a look at our football country late at night when everyone is asleep. I’m not technically a football fan, I always keep a respectful distance and try to photographically portray our everyday lives. But I admire the gigantic achievements of the thousands of full-time and volunteer football employees and I wanted to create a photographic monument to this.

The images are centered around empty stadiums, which is unique. What are you trying to express with these empty vantage points? 

I show the place as you can never normally experience it. This begins with the challenge that no one can simply call up FC Bayern Munich and get access to the unlocked, brightly lit stadium. So it’s extremely complicated to create this moment in my photo—if no one is in the stadium, the lights will of course not be turned on. There are also typically large lawn solariums on the playing fields, which provide the lawn with the light it needs to grow. In the end, the moment doesn’t actually exist in my photos and that’s what makes this series of pictures so special.

Now producing one of these pictures is difficult. But photographing all the country’s 37 most important stadiums like this is virtually impossible. But I did it. I also want to show these places in absolute perfection: the way they were designed and built. A full stadium with 80,000 visitors is visually pure— wonderful—chaos. But you can’t understand it anymore. It starts with the color of the seats. A collector of mine has season tickets for FC Bayern Munich. He saw my picture of the Allianz Arena in the gallery and actually asked me if the seats are really red. He has been sitting there for years and has no idea what color the seats are. I find that amazing.

Michael von Hassel, Allianz Arena B1 München, (2022). Courtesy of the artist and Anna Laudel Düsseldorf.

Finally and most importantly, I deal with mass phenomena and psychology of the masses. I want the viewers of the pictures to ask themselves to what extent they are immersed in a movement when they enter such arenas and whether they are simply adopting traditions, rituals, songs, behavior from the crowd or whether they are influencing this crowd themselves.

What does a place like this do to me and what do I do with it? The emptiness is intended to explain and show us how these monumental buildings function when they are full of people on many different aspects and levels.

Artists have, throughout history, depicted the zeitgeist. How do you feel soccer and the European Cup reflect todays society or humanity? 

Football is a blessing and a bane at the same time. The ancient Romans called it Panem et Circenses (bread and circuses) and today it’s not much different. Football creates community, a herd, a gang, a sense of belonging. I can put on a team jersey and be part of a really big, loud, and supposedly strong family. However, I also adopt their traditions, rituals, customs or improprieties and— perhaps—deal with the most insignificant thing in the world.

Netherland fans are pictured during their Fan Walk at the official UEFA Fan Zone before the UEFA EURO 2024 Group D match between Poland and Netherlands in Hamburg, Germany. Photo by Selim Sudheimer – UEFA/UEFA via Getty Images.

Football is entertainment, nothing more and nothing less. But for so many people it is the absolute meaning of life. I’m happy for these people and I also think it’s terrible at the same time. Is it more important that a club just paid a hundred million Euros for a player, or that the war between Russia and Ukraine finally ends or doesn’t explode into a global conflagration? We distract ourselves from the things that really matter. But that helps many people to endure everyday life. I used to be a big critic of taxpayers sharing in the costs of football (infrastructure, the subway to the stadium, police operations, etc.). Today I believe that creates so much identity for many people who might otherwise be lost. It is therefore absolutely right that the general public contributes to the costs.

You’re renowned for traveling to areas of conflict and social-economic upheaval. What have these trips taught you about humanity and photographing in dangerous conditions? 

If you go into the world with an open heart, are polite, respect local laws and customs, and politely say hello, thank you, and please, you will inevitably find that the world is a safe place almost everywhere. If you need help, you will be helped. People are friendly and good almost everywhere in the world, no matter who you are. Everyone wants peace, security, health, good food and that their children will one day be better off than they are. So you don’t need to be afraid, almost everywhere.

Artist Michael von Hassel stands in front of his studio. Photo: Felix Hörhager/dpa via Getty Images.

The picture that we get from history books and the media about an unknown country usually does not correspond to the truth that we find when we go there ourselves. It’s always worth taking your own picture on site. I literally create this: my own image. And even in countries like North Korea or Iraq, we will notice differences in many details from what we would have expected from that country or its people. The harder a journey is and the more dangerous it seems, the more you will grow in experience. Unfortunately, sometimes you have to go to the front of an active war.

The stories that I was able to experience on the Russian side of the front in Donbas show me a completely different “truth” of this conflict. Of course, I don’t adopt this view of things 100 percent. But I still have a lot to think about. Resolving any conflict involves listening to both sides. Ultimately there has to be a compromise. We seem to have forgotten that today. This actually applies to all conflicts of our time: Covid, Ukraine, climate change, inflation, medicine… Sometimes I fear that we are losing all of our civilizational achievements and are reverting to survival of the fittest.

Unfortunately, there are currently several war-torn regions worldwide, some closer to home. Will you be showing these through your lens as well? 

I already do that again and again. Unfortunately, in the end, pictures of the battlefield near Donetsk or of destroyed Mosul in Iraq don’t sell as well as my pictures of the Oktoberfest tents. But I find another aspect astonishing. If I invite to a vernissage of a North Korea exhibition, almost 1,000 guests come. But when I show the photos of the demonstrations against the Covid policy, only 30 people come.

Photographer Michael von Hassel on site.

It seems to me that the further away a conflict or more of a mass psychosis is, the more the people around me are open to diverse perspectives. But if they are part of this mass hysteria (e.g. Covid), then our society loses all openness to a different opinion or even an image of it. An art gallery must always be a place where artists face the challenges of our time through their work. Your work must be allowed to be controversial and we all need to meet before this work and engage in discussion. Art must also be allowed to be wrong and through conversation we can create a better tomorrow.

If you could have dinner with any three photographers, living or dead, who would you chose? 

Ansel Adams: I often stand on the roof of my car taking photos and think of him and his work. I would just love to wander through nature with him and absorb the beauty of our time. 

Philippe Halsmann: I would love to know how he took the photo with Salvador Dalí, the cat and the curved waterfall. 

James Nachtwey: I would like to know how one can endure so much pain after seeing so much truth of the world. 

Sebastião Salgado: I admire the work of his wife and him. First the war photography, then Genesis and the big reforestation project. One of the really, really great ones! I’m just grateful that people like him exist.

Installation view, “Michael von Hassel: Cathedrals” at Anna Laudel Gallery.

Can you tell us about your upcoming exhibition? 

I have just published the book “Bundesliga Cathedrals” at Callwey Publishing. The great Prof. Alexander Gutzmer is responsible for the text and many interviews with greats from German society: the artist Professor Markus Lüpertz, the world footballer Lothar Matthäus, the entertainer Joko Winterscheidt, and many more. Accompanying the book, I show the large-format images of all German football stadiums at the wonderful international Gallery Anna Laudel in Düsseldorf. Finally I’m excited to see how our very own football festival develops and which picture wins in the end. 

“Michael von Hassel: Cathedrals” is on view through July 20, 2024 at Anna Laudel Gallery, Düsseldorf; Tuesday–Friday 12–6 p.m.; Saturday 11 a.m.–3 p.m. at Mühlenstraße 1, 40213 Düsseldorf.

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CANMORE – Standing in front of his photograph of Mount Athabasca, Robert Lemermeyer describes turning a rock bottom low point into a new lease on life.

Inching up to about 11,000 feet above sea level, the photographer snapped a shot of the iconic mountain and then broke down.

“I just wept at the fact that I was so dark and so down and ready to give up,” he said. “This was the greatest triumph of my life, other than the birth of my children.”

Before his journey into the high alpine, Lemermeyer spent years travelling around the world with photography, but he slowly lost touch with what’s around him after falling into bouts of alcoholism and mental health struggles.

“The bottle took me,” he said. “All those years I was travelling, I don’t think I was ever really happy.”

Though at the peak that day, in a moment he’ll never forget, he knew this was a new beginning for him.

“I’m just more excited about my art and my life than I’ve ever been. I’m actually happy,” he said.

A selection of Lemermeyer’s photographs are on display at his exhibit, UP HIGH: The Healing Adventures of Photographer Robert Lemermeyer, at the Canmore Museum until Dec. 22.

“People tend to associate museums with very old-fashioned things and history and stuff like that, but Robert’s show really brings very contemporary images that we would have never seen even 50 years ago,” said Mary-Beth Laviolette, Canmore Museum curator.

The exhibit also showcases a short documentary by Ryan Armstrong, which tells Lemermeyer’s story in a visual way.

Through Lemermeyer’s lens, he takes the viewer into the high alpine to share sights not easily seen in the Canadian Rockies

“There are no trees, there’s nothing standing in the way, it’s just you, the big sky and the big rocks,” said Lemermeyer. “That’s pretty inspiring to me, personally.”

Since he and his son, Yuri, began hiking together in 2017, they have checked off 130 mountains.

“When we are on a ridge, tears are going down my cheeks … I never loved photography this much,” said Lemermeyer.

“I’m not coming to Canmore pretending to be a hotshot Jimmy Chin or anything. This is just my story.”

He not only changed his perspective, but he’s also adjusted how he shoots images by taking the camera off the tripod and switching to a lighter camera and lens combination.

“Originally when I got into it, I wanted to do the tripod long exposure thing, but we’re always moving. It’s all handheld with a [Canon] 5D,” he said.

Lemermeyer prints all his photographs for the exhibit in small sections, piecing them together like a puzzle.

Rather than sending it to a lab with a large format printer, he uses the gear he already has at his home.

The alpine photographer plans on continuing his endeavours in the Rockies to experience more of what Canada has to offer.

“I’d love to go to Kazakhstan. I’d love to go to the Himalayas, but there’s so much to do in Canada that for the rest of my life, I’m going to focus on the Rockies,” he said. “(…) And not that I’m checking off all the mountains. It’s just the experiences.”

One way he plans on exploring local mountains is by doing Peak Week, which is an expedition to complete seven summits in seven days.

“It’s a nice way to raise money, do something for someone else and try to push the world forward in some way,” he said.

Last year, Lemermeyer, Yuri and Armstrong raised more than $17,000 for the Impact Society – a foundation for youth mental health. This summer he’s looking to raise $50,000.

“It’s the best week of the year. You’re really tired at the end, and you lose a bunch of weight, but, oh, God, it’s fun,” said Lemermeyer.