Photography

‘Full Light and Perfect Shadow: The Photography of Chao-Chen Yang’ First Solo Exhibition Comes to Cascadia Art Museum

Oct 18, 2023 By Admin in Photography

EDMONDS, Wash. – October 18, 2023 – ( Newswire.com )

Full Light and Perfect Shadow: The Photography of Chao-Chen Yang is the first solo exhibition and study of the art and life of Chao Chen Yang (1909–1969), an important Seattle photographer who gained national prominence in the mid-20th century. The exhibition runs Nov. 8, 2023, through Feb. 11, 2024, at Cascadia Art Museum.

Born in Hangzhou, China, Yang received his art training at the University of Hsin-Hwa in Shanghai. After graduating, he became the Art Director for the Government Institute of Nanking. In 1933, he moved to Chicago as Chancellor of the Chinese Consulate and attended the Art Institute of Chicago. Initially trained as a painter, he later used photography as his main medium for artistic expression. In 1938, Yang was transferred to Seattle as Chancellor of the Chinese Consulate and became actively involved with the Seattle Photographic Society. Besides his own career, he was an influential art and photography instructor and worked tirelessly to advance Chinese culture in the United States.

Yang won numerous awards in important photography salons and became a Fellow of The Photographic Society of America, the Professional Photographers Association of America, and the Royal Photographic Society of Great Britain. He was a pioneer in color photography in the Northwest in both advertising and the fine arts.

The exhibition will be accompanied by a book written by our curator David F. Martin: 159 pages and profusely illustrated. Published by Cascadia Art Museum and distributed by the University of Washington Press.

David F. Martin is Curator for Cascadia Art Museum and is the leading authority on early Washington State art and artists. He has pioneered the study of Northwest women, Japanese and Chinese Americans, LGBTQ+, and other minorities who had established national and international artistic reputations during the period 1890–1960. His numerous publications have focused on regional painting, printmaking, sculpture, and photography.

Cascadia Art Museum

190 Sunset Ave. S., Edmonds, WA 98020

(425) 336-4809

www.cascadiaartmuseum.org

Wednesday–Sunday: 11 a.m.-5 p.m.

Art Walk Edmonds: Third Thursdays, 5-8 p.m. – FREE

Current Exhibitions: https://www.cascadiaartmuseum.org/current-exhibitions/

Contact Information:

Carol Gordon

Marketing/Development Manager

carol@cascadiaartmuseum.org

4256786530

Press Release Service by Newswire.com

Original Source: ‘Full Light and Perfect Shadow: The Photography of Chao-Chen Yang’ First Solo Exhibition Comes to Cascadia Art Museum

A Photographer Captures Grief, Death and Destruction in Gaza

Oct 18, 2023 By Admin in Photography

Saher Alghorra has long loved to document both the beauty and challenges of life in Gaza. That’s what first drove the 27-year-old Gaza native to become a photojournalist. But even Alghorra—who has already lived through the devastating 2008 and 2014 Gaza-Israel conflicts—was not prepared for what has transpired this month. “The humanitarian situation here is extremely catastrophic,” Alghorra tells TIME.

Hamas launched a surprise, unprecedented attack on Oct. 7 that killed at least 1,400 people in Israel. Gazans have been subject to thousands of airstrikes since then and Israel has enacted a total siege covering electricity, water, food, and medicine, which comes on top of a 16-year blockade that already left most Gazans reliant on aid. More than 3,300 people have died in Gaza in this latest escalation, and more than 13,000 wounded, the Palestinian Health Minister said on Wednesday.

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

Plumes of smoke fill the sky as a result of Israeli airstrikes in Gaza City, Oct. 7.

People carry a deceased body outside of Al-Shifa Hospital in Gaza City who was killed in an Israeli airstrike, Oct. 9.

A Palestinian woman mourns her daughter, Mira, who was killed on Oct. 9 following an airstrike.

Child casualties make up a quarter of the total, Gaza authorities told Reuters, and Alghorra’s photos put those numbers in stark relief. In one, Omar Lafi mourns the loss of his nephew, with whom he was inside a market buying food when the nearby Al-Sousi Mosque in Gaza’s Al-Shati refugee camp, set up in 1948, was hit by an airstrike. On a separate occasion, Alghorra recalls, he saw a father holding his daughter near Al-Shifa hospital, exclaiming that he was planning to throw her a birthday party, before she was killed by an airstrike.

At least 700 children have died in Gaza since the Israel-Hamas war broke out. To grasp how deadly the conflict has been so far for Gaza’s children, more died there in the first nine days of conflict than in 20 months of Russia’s war in Ukraine.

And those who live have not escaped the trauma. Alghorra recalls meeting two children at the emergency room at Al-Quds hospital who had lost their father while escaping airstrikes. “They sat there crying. We tried to help find [him],” he says. Alghorra followed them until they finally found him injured in a different part of the hospital. “They hugged each other and collapsed in tears.”

A Palestinian man carrying his daughter's body near Al-Shifa hospital, Oct. 9. She was killed by an airstrike.

Alghorra’s photographs show how Israeli airstrikes continue to overwhelm the 2.2 million Palestinians living in what is one of the world’s most densely populated places. Families grieve next to lifeless bodies. Plumes of smoke fill the sky. Rubble fills the streets. Patients inundate Al-Shifa, the city’s largest medical complex, as thousands more seek shelter there. Homes are destroyed every day. “They are reduced to dismembered bodies inside,” he says.

Read More: For Gazans, There Are No Safe Havens

Amid the scale of death and destruction, health officials have resorted to storing bodies in ice cream freezer trucks, as cemeteries fill up and moving them to hospital becomes too risky.

In another photograph, a mother, already injured after her house in Gaza was hit by an airstrike the morning of Oct. 9, cries as she learns that her daughter Mira Abu Ghneima has died. “We see sadness and frustrations in the eyes of the citizens who lose their loved ones during the war,” Alghorra says. “There are families that have perished entirely.”

On October 9, in Gaza City, a Palestinian man grieves as he clings to the lifeless body of his nephew, who fell victim to an Israeli airstrike. The deep sorrow in his eyes is a reflection of the loss experienced by countless families caught in the tragic consequences of the ongoing conflict.

Two Palestinian teenagers look sadly at their relative while he is inside mortuary refrigerators, Oct. 9.

Relatives of two girls who were killed by Israeli missiles during funeral prayers in Gaza City, Oct. 9.

“The health situation is at risk of collapse,” Alghorra says. His photographs from Al-Shifa hospital illustrate the urgency on the ground. “There were emotionally difficult scenes that took a toll on us,” he says. “It’s a difficult feeling, and the smell isn’t good. I went to the Shifa Hospital to capture images of suffering and sadness there, and all the sounds were chants and ululations…There were many sounds of crying and screaming.”

A paramedic catches an injured man at Al-Shifa hospital after retrieving him from the scene of the bombing, Oct. 9.

The carnage in Gaza even pushed BBC Arabic reporter Adnan El-Bursh to tears on Thursday as he and cameraman Mahmoud al-Ajrami discovered friends, relatives, and neighbors were among those killed or injured at Al-Shifa. The hospital has warned that there is nowhere else to go for patients to go. “It’s absolutely impossible to evacuate the hospital,” Dr. Muhammad Abu Salima, the director of the hospital, told the New York Times. “If someone doesn’t die from the bombardment, then he’ll die from the lack of medical service.”

Read More: How to Help Victims of Israel-Hamas War

Israel on Oct. 13 ordered the evacuation of more than 1 million Palestinians from northern to southern Gaza, ahead of an expected ground offensive. Israel says the measure—which the U.N. has said is “impossible”—is meant to protect civilian lives. But the U.N. and others have warned it would cause a “humanitarian disaster.”

A man walks amidst the ruins of a building in Gaza City that was hit by an Israeli airstrike, Oct. 7.

The war has also been deadly for Alghorra’s peers. At least 17 journalists have been killed since the conflict broke out. Even so, he remains determined to continue his work. “We are all at risk here, but we follow safety guidelines regardless. This includes wearing press vests and moving cautiously based on our assessment of dangerous areas,” he says, showing TIME his press attire.

“Photography is very important for documenting crucial moments,” he says. “In this war, our role as photojournalists is to show the world what the Palestinian people are going through.”

Photography: The Wonder Years, Anxious, Sweet Pill & Action / Adventure

Oct 18, 2023 By Admin in Photography

Home > Photography: The Wonder Years, Anxious, Sweet Pill & Action / Adventure

Posted: 18th October, 2023 by The Editor

The Wonder Years brought their 10 year anniversary tour for Greatest Generation to Nashville and Lindsy was there to capture the show. Check out the photos.

Action / Adventure

Sweet Pill

Anxious

The Wonder Years

Lindsy Carrasquillo | @lindsy_carr

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A Middlebury College Exhibition Overlays Histories of Photography and the Near East

Oct 18, 2023 By Admin in Photography

click to enlarge

Courtesy Of Middlebury College Museum Of Art
“Jerusalem Porte de Damas” by Auguste Salzmann

At the Middlebury College Museum of Art, “The Light of the Levant: Early Photography and the Late Ottoman Empire” depicts a game-changing convergence of time, place and technology.

A reverse deconstruction of the exhibition title points toward this cultural crossroads. The late period of the six-century-long Ottoman Empire was roughly 1789 to 1918. Photography began to emerge in the 1840s. The Levant is a geographical term that broadly encompassed the eastern Mediterranean region and its islands. As for the light — well, what is photography without light? Lands with abundant sunshine attracted pioneers of the craft.

Simultaneously, as the Ottoman Empire splintered into sovereign nations, colonial campaigns appeared from the West. So did their attendant exploratory and documentary missions and, later, tourists.

A microsite for the exhibition acknowledges this codependency from the first sentence: “Early photography developed during an era of colonization. Many of the earliest photographers traveled to the Levant region accompanying writers, scientists, and archaeologists on missions sponsored by European governments.”

click to enlarge

Courtesy Of Middlebury College Museum Of Art
Studio photograph of a veiled woman, from an album titled “Egypt, Turkey, Greece,” photographer unknown

For instance, in 1842, Joseph-Philibert Girault de Prangey (1804-1892) embarked on a three-year expedition to present-day Italy, Greece, Turkey, Syria, Palestine and Egypt in order to produce a comparative study of Western and Eastern architecture. He returned to France with more than a thousand daguerreotypes.

For ordinary citizens who could not readily journey to see Egyptian pyramids, Greek temples or the ancient walls of Jerusalem, photographs supplanted personal experience. The exhibition includes images of “biblical archaeology” taken by French photographer Auguste Salzmann (1824-1872) and explains the commercial aspect of his venture. He sold copies of his pictures individually and compiled into albums — precursors of coffee-table books. Salzmann’s 1856 Jerusalem: A Study and Photographic Reproduction of the Monuments of the Holy City was published in two volumes and included citations from scholars.

Meantime, Greek photographer Petros Moraites (1825-1905) pursued picture making with nationalistic pride. He opened, in 1859, one of the earliest photography studios in Athens, producing portraits of the royal family and monuments alike. “After gaining independence from Ottoman rule in 1830,” reads exhibition text, “the young kingdom of Greece relied on photography to burnish its new image in the context of a classical past.”

click to enlarge

Courtesy Of Middlebury College Museum Of Art
“Parthenon, Southwest” by Petros Moraites

Along with a history of the photographic medium, the exhibit observes how the art form served various purposes. The subject matter of the yellowed but exquisite photos informs viewers about the architecture, monuments, landscapes and people of the region. In 1888, the invention of the Brownie camera began to democratize image making. By the beginning of the 20th century, the creation and sales of postcards further entrenched the photograph as a testament to travel.

These narratives are expertly articulated by the exhibit’s cocurators: Sarah Rogers, assistant professor in the history of art and architecture and specialist in the history of photography, and Pieter Broucke, professor and architectural historian in the same department, as well as associate curator at the museum.

To their credit, the curators veer from Eurocentrism to highlight photographers in the Levant. “That sets it apart from other exhibits,” Broucke said in a phone call. The exhibition concludes with “Lady-Photographer” Karimeh Abbud, who opened her own commercial studio in Nazareth in 1930. As Rogers put it, “We start with the French parachuting in and end with the [Palestinian] woman.”

Broucke marveled that his small Vermont college owns a modest cache of Levant images. “Some of those photos are the very first taken ever,” he said. “We put up the online exhibit so they can live forever and reach a wider audience.”

A Photographer’s House of Shadows

Oct 18, 2023 By Admin in Photography

In his home and studio, as in his art, Bill Henson plays with the balance of light and dark.

In the Northcote suburb of Melbourne, Australia, an enclave known for its coffeehouses and music clubs, the residential streets are mostly lined with century-old wood houses. But one building stands out: the home and studios of the photographer Bill Henson and his partner, the painter Louise Hearman. A discreet black steel gate leads to a short cobblestone lane and then a towering wooden door, beyond which stands a two-story brick monolith covered in ivy.

Henson, 68, and Hearman, 60, bought the building in 1990, seduced by the way the late afternoon light flooded the 4,200-square-foot structure. Originally constructed as commercial stables in 1880, it was turned into a garage and scrap metal business after World War II. Now it’s reconfigured as a work and living space: The ground floor holds the couple’s studios, including Henson’s archives and collections of books, photographs, paintings and other mementos. A mezzanine upstairs — once a storage place for engines and gearboxes — runs along the western edge of the building. It was refloored with salvaged jarrah, a Western Australian timber, and now serves as the pair’s living area.

In a corner of Henson’s studio, an 18th-century French chair and tables piled with books, as well as his photographs.Anu Kumar

Artworks by Henson and a Neapolitan chair from the 1740s, as seen from the mezzanine.Anu Kumar

Henson grew up in what was then a semirural suburb outside of the city. When he was 19, after he’d dropped out of art school, his work was shown at the National Gallery of Victoria. In the decades since, he’s become one of the country’s most prominent photographers, known for his Caravaggio-like command of light and shadow in landscapes and portraits. (In 2008, his images of naked adolescents prompted a police raid on an exhibition in Sydney. But many in Australia’s creative community came to his defense, and authorities declined to press charges.)

The photographer’s studio is itself a study of light and shadow. Occupying most of the ground floor, the 1,800-square-foot, 30-foot-high-ceilinged space is contained within weathered brick walls and topped with a distant skylight covered, like the windows, with shutters Henson manipulates to create an optimal mix of natural and artificial light. He uses dozens of heavy brass or generic metal desk lamps to “help shape a room,” he says, as a set designer might. “You can kill a room or make it beautiful just with light.” In the makeshift foyer, on a row of mismatched side tables, are a few treasured books, including Vladimir Nabokov’s multivolume translation of Alexander Pushkin’s “Eugene Onegin,” and a black-and-white photo of a serene Thomas Mann, one of Henson’s favorite authors, spotlit by lamps. Across the room in front of a bare brick wall sits a high-backed chair, upholstered in a red-and-black Turkish kilim; propped on it is a small oil-on-Masonite painting by Hearman of a young girl floating in water.

Henson turned the former parking lot next door into a botanical garden.Anu Kumar

The expansive living area above the studio, entered via a steep set of wooden steps, is decorated in tones of brown and gray. Here there’s a dormer roof lined with dark wood, anchored by steel beams, from which hangs a heavy cast-bronze chandelier. The open kitchen reflects the same color scheme — gray pans hang from a gray wall next to a dark gray refrigerator — while more desk lamps cast parabolas of light on the walls. At one end of the living space is Henson’s study. Thousands of books fill the 10-foot-high shelves or are piled on tables: novels, criticism, art, history and rare and first editions, including Petronius’s “Satyricon” and Joris-Karl Huysmans’s “Against the Grain.” There’s no cataloging system, just “clumps and thickets of associations,” says Henson.

Henson’s desk is topped with books and ephemera, including postcards and prints of paintings by the likes of Rosso Fiorentino and Giusto Fiammingo.Anu Kumar

The compound’s outdoor areas are equally idiosyncratic. In 2004, Henson and Hearman bought the lot next door, part of the same postwar garage complex as their home. Henson uses the main building — whose 15-foot-high doors slide open like an aircraft hangar’s — to shoot some of his work, and he has transformed its old parking lot into a botanical garden dense with arching peppercorn trees, cypresses and towering palms. Spread across the ground are family heirlooms of a sort: dozens of clivias, the bush lily native to South Africa, and arrays of shiny black basalt stones, along with other elements from his mother’s garden that he moved here after she died in 2016.

Back inside the house, Henson heads into one of the dark recesses of his studio to point out a large, scuffed wooden chest with three-foot-long flat-file drawers. It was his mother’s, he says, and inside is her collection of her son’s earliest artworks — landscapes and seascapes; sketches of school friends in dark charcoal or filigreed lines; meticulous recreations of complex pieces of architecture and renderings of Egyptian tombs and hieroglyphics. It’s the kind of eclecticism you might expect of a young artist, easily enchanted by the world around him and eager to make sense of it. All around the chest are shelves, racks and tables piled high with books, prints and other miscellany, more evidence that he never outgrew his curiosity. “It’s clutter, yes, but it’s my clutter,” says Henson. “One creates an environment, to the best of one’s ability, that gives you pleasure.”

OnePlus Open Camera Capabilities Redefining Foldable Photography

Oct 18, 2023 By Admin in Photography

OnePlus Open Camera Capabilities

OnePlus is making waves in the smartphone industry once again, but this time it’s not just with their innovative foldable design. The OnePlus Open camera capabilities boast an all-rounder camera setup that’s set to turn heads and redefine mobile photography.

Main Camera for Unmatched Clarity: The OnePlus Open features a 48MP Sony LYTIA-T808 Pixel Stacked main camera with Optical Image Stabilization (OlS). This camera’s impressive 1/1.43″ CMOS sensor, 24mm focal length, and an aperture of f/1.7 ensure that your photos are sharp, vibrant, and detailed, even in challenging lighting conditions.

Telephoto Camera for Precision: The phone’s telephoto camera is equally impressive, equipped with a 64MP OV64B sensor, Optical Image Stabilization (OlS), and 3X optical zoom, and 6x in-sensor zoom. With up to 120X hybrid zoom, this camera allows you to capture faraway subjects with astounding clarity, while the f/2.6 aperture ensures beautiful background bokeh.

Ultra-Wide Perspective: OnePlus knows the value of versatility, and its 48MP Sony IMX581 ultra-wide camera delivers just that. With a 114° field of view and an aperture of f/2.2, it’s perfect for capturing sweeping landscapes, group photos, and unique angles.

Selfie Cameras that Impress: Whether you’re using an external or internal display, OnePlus Open has you covered. The external display features a 32MP selfie camera, while the internal display boasts a 20MP selfie camera. These cameras ensure that your selfies are as sharp and vibrant as your main camera shots, no matter which display you choose.

Exceptional Video Capabilities: For video enthusiasts, OnePlus Open doesn’t disappoint. It supports 4K video recording at 30/60 fps, ensuring your videos are incredibly detailed and smooth. Additionally, the phone supports Dolby Vision HDR for 4K video at 30 fps and 1080p at 30 fps, guaranteeing a cinematic experience.

All the Right Features: OnePlus Open’s camera capabilities also extend to its front cameras, offering 4K and 1080p video recording at 30 fps, making it perfect for vlogging, video calls, and more.

With this comprehensive camera setup, the OnePlus Open is not just about a foldable display; it’s also a powerful tool for capturing the world in incredible detail. Whether you’re an aspiring photographer, a videographer, or simply someone who loves taking photos on the go, OnePlus Open’s camera capabilities make it a top contender in the foldable phone arena. Get ready to explore the world of mobile photography with the OnePlus Open foldable phone.

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This photography project connects Bengaluru and Glasgow

Oct 18, 2023 By Admin in Photography

The cluster of six portraits which collectively make up Queer Samsara, one of the exhibits at the ongoing Inheritance exhibition at Kanike Studios in Bengaluru’s Cooke Town, has a retro, otherworldly feel to it, encapsulating ideas of transience and ephemerality. Aryan Gulati, the photographer, says that the artwork, described as bearing witness to the birth, death and rebirth of desi queerness, comes from a deeply personal space.

“I feel everyone performs different identities, and for me, it is performing my queerness,” says the Bengaluru-based Gulati (they/them), one of the 13 young South Asians– 6 from Bengaluru and 7 from Glasgow– exploring shared histories, memories and identities between South Asia and the UK, through photography. “I feel we do not have enough narratives about queer people, and there are different intersections we need to explore,” says Gulati, who deliberately chose to use salt prints, a fragile medium that quickly deteriorates if not stored and preserved right, for these portraits. “I was trying to draw a parallel between how it fades like identity,” they say.

Visitors engage with the display, opening night of Inheritance.
| Photo Credit:
Vivek Muthuramalingam

Identity and inheritance

Ideas around identity, both individual and collective, are reflected in nearly every photograph on display at this exhibition, the outcome of an international collaboration between The Museum of Art & Photography (MAP) Bengaluru, Kanike, Glasgow Life Museums, and Street Level Photoworks as part of the British Council’s Our Shared Cultural Heritage (OSCH) programme.

Interestingly, the same body of work is being showcased in different iterations across four spaces: Kanike and the Museum of Art & Photography (MAP) in Bengaluru and the Glasgow Life Museums and Street Level Photoworks in the UK. And while there are minor variations linked to the space chosen, the core of it remains the same.

As the MAP website puts it, the works in this exhibition include a diversity of approaches from portraiture and staged photography to documentary to interrogate how identities are constructed and reconstructed, perceived and imagined, contested and embraced. “They explore themes of family and cultural history, migration, place, class, gender identity, conventions of social life and notions of community – unpeeling the many layers of identity, customs, beliefs and values we inherit,” it states.

Installation view of the physical version on Inheritance in Bangalore.
| Photo Credit:
Vivek Muthuramalingam

For young people

According to Shilpa Vijayakrishnan, Head of Education & Outreach at MAP, this Indo-UK collaborative project’s main objective is to bring young people to the fold of museums, heritage, and art spaces. “A lot of young people feel alienated from these spaces,” she says.

The various institutions involved in this project were keen to do this via a skill-building component that would lead to an exploration of these themes. In January this year, there was a public call-out in Bengaluru and Glasgow, asking young people between the ages of 16 and 25 who wanted to hone their photography skills to apply. “We both took the same approach, looking for participants who had little or no exposure to photography,” says Vijayakrishnan, adding that the idea was to give someone an opportunity to upskill themselves, in particularly, those who may have not had such exposure or opportunities before.

This was followed by an active skill-building process where both sets of young people were taken through a series of skill-building workshops. “We started off by focusing on getting local partners and making a training schedule on what sort of training they would receive,” she says, with participants in both cities going through a series of training activities, including online lectures and in-person workshops.

Installation views of the physical version on Inheritance in Bangalore.
| Photo Credit:
Vivek Muthuramalingam

Diversity on display

After around three months of training, the young people were given around two-and-a-half months to develop their projects. While these projects took shape under the mentorship of artist collaborators in both cities, the final creative decisions lay with the participants, evident from the diversity of mediums and stories on display at Kanike.

Take, for instance, Malini Chakrabarty’s Diaspora Laal, a series of vibrant photographs that attempt to merge two worlds—India and Scotland— “a visual chronicle of the human journey across continents, echoing the universal desire for belonging, understanding and the shared colours of life,” as the exhibit’s label puts it. Or Amina Bashir’s haunting Teri Jaagah, a meditation on traditional gender roles told through a series of images representing the artist’s mother’s migration from her home in Pakistan to the alien country of Scotland.

Then there is Roshni Advani’s Ootak Baa, which documents the relationship between food and belonging; Chrislyn Naysha Pereira’s Beauty Queens Eat Red Onions, which brings together aspects of heritage, race and beauty; and Tanvi Mallapur’s Stitching Memories, a cyanotype on embroidered cloth, which serves as an ode to the inherited objects, memories and cultural traditions that shape one’s identity.

Installation views of the physical version on Inheritance in Bangalore.
| Photo Credit:
Vivek Muthuramalingam

Grandmom’s memories

Mallapur, who has chosen to use Kasuti embroidery in this installation, says that she was inspired by a 50-year-old piece of cloth belonging to her grandmother that she had worked on while trying to learn Kasuti. “It was a practice piece, but really beautiful,” says Mallapur, whose discovery led her to think about all the things inherited from her family, including her love for any form of art. “I get my creative genes from my mother and grandmother. Their incredible artistic talent has shaped me.”

Inheritance is being showcased at Kanike Studios, Bengaluru & Sasken Digital Gallery, MAP, Bengaluru till 22 October.

“Lost and Found: Juried Photography Exhibition” | 10/18/2023 | Event Calendar

Oct 17, 2023 By Admin in Photography

Living in Luxury in Leelanau: Million-dollar Homes, Waterfront, and Open Land Drive the Market

In June, Leelanau County was ranked as the wealthiest county in the state of Michigan by the financial technology firm Sma…
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Laredo Film Society hosting haunted downtown analog photography workshop

Oct 17, 2023 By Admin in Photography

LAREDO, Tex. (KGNS) – The Laredo Film Society is hosting an analog photography workshop with a Halloween-inspired session.

The film society’s Haunted Downtown: An Analog Photography workshop will take place on Saturday, October 21st.

Those participating will learn the basics in a classroom setting and then will make their way to San Agustin Plaza to photograph some downtown sites that may have a spooky past.

The event gets underway at 4:30 p.m. and runs through 9:00 p.m.

The Laredo Film Society is located at 510 San Agustin Ave., Suite B.

You can find a registration form at laredofilm.org.

For more headlines. click here.

From Rookie to MVP: Olson Photography

Oct 17, 2023 By Admin in Photography

Jim Olson was at a crossroads. It was 1987, and he and wife Susan’s first son was due in June. The future Nokesville residents had been transferred to Dulles from Memphis. “I had the airline job I always wanted, but it had been seven tough years working the ticket counter and gates,” Jim, a Minnesota native, said. “I wanted to be around for my kids, and I knew the airline hours would make that hard.” He considered starting different businesses, anything that would replace his airline salary and afford them flexibility. “I saw a magazine ad offering youth sports photography in another city, and that seemed interesting.” Jim liked photography but had no experience outside one semester of photography class in school. Nonetheless, he founded Olson Photography in March 1987, months before the couple’s first son was born. “The driving force was not missing our kids growing up – it could have been a car wash or really any type of business!” he laughed.

Jim stayed with his airline position until July of that year while Susan kept her job. “Here we were, having our first baby, and I announced to my father-in-law, a successful football coach and businessman, that I was quitting my job to start a business. Initially, it didn’t go over so well!” Jim said. “The pressure of a new baby and a new business was a lot to take on. But sometimes when your back is against the wall, that is when you do your best,” he said.

“When you start a business, you wonder – will the phone ever ring?” Jim said. “The first call I got was from a travel soccer team in Sterling with 15 players. I was so excited, I put a suit on to hand deliver the order envelopes. I took those team pictures, and that is how it all began!”

Launching a business comes with challenges, and Jim recalls one that still makes him smile. “Early on, I head out to Chantilly Youth Association (CYA) softball, where there are 15-20 teams,” Jim recalls. “At this point, I have one set of equipment. Everything is going well, until part way through the shoot when my camera stopped working. I told them I needed to get my other camera – but I didn’t have another camera! I drove to Fair Oaks Mall to buy a new camera that I couldn’t afford. Thankfully, they were able to adjust my battery and my camera worked! I still do CYA’s pictures today, so they cut me some slack.”

For the first five years, Olson Photography used an outside photo processing lab in Pennsylvania to fulfill orders. “Honesty and integrity are very important to me,” Jim said. “I promised a three-week delivery to my leagues. Sometimes our order wouldn’t be ready, and that wasn’t good enough for me.” The lab was over three hours away, and Jim would drive to pick up the pictures on Friday so he could deliver by Saturday’s deadline. So, in 1992, he took a chance and invested $100,000 to open his own lab. “It turned out to be the best thing – but at the time it was a scary step,” he said. “I didn’t have a background in photo finishing or running a lab. I was renting office space and had one full-time employee, and we had to learn how to work the machine and manage a fair amount of volume during the season.”

Jim states the biggest challenge is replenishing the photography staff due to the part-time, seasonal nature of the jobs. “Employees are definitely the most important part of any business; we could not have grown without the many exceptional people working with us over the years,” Jim said. “They are the backbone and we have been blessed to work with many quality individuals.”

Reflecting, Jim adds, “I see us providing memories and products for families to cherish for a lifetime. It’s very humbling and rewarding. They will have our photos for the rest of their lives – what an honor to be part of that. We are grateful for the continued support from so many youth sports organizations in our community and from the parents that make our success possible.”

Thirty-nine years, three adult children and two grandkids, three full-time employees (one of which is their eldest son, John), and a lifetime of family and photographic memories later, and Jim is humbled and thankful. “I love every minute of it – I never missed a practice or game with my own kids, and during our season I now write over sixty paychecks! It’s amazing what has happened since 1987.”

And his father-in-law? “He was not good at handing out compliments, but he eventually came around, and said I was the most successful person he knew!”

# # #

This feature appears in the October 2023 issue of Haymarket-Gainesville Lifestyle Magazine. You can read the entire issue here https://issuu.com/pamkamphuis/docs/hglm_oct_2023_weband pick up copies at these locations.

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Photography

‘Full Light and Perfect Shadow: The Photography of Chao-Chen Yang’ First Solo Exhibition Comes to Cascadia Art Museum

A Photographer Captures Grief, Death and Destruction in Gaza

Photography: The Wonder Years, Anxious, Sweet Pill & Action / Adventure

A Middlebury College Exhibition Overlays Histories of Photography and the Near East

A Photographer’s House of Shadows

OnePlus Open Camera Capabilities Redefining Foldable Photography

OnePlus Open Camera Capabilities