OCEAN SPRINGS, Miss. (WLOX) – If you’ve been inside the Mary C. O’Keefe Cultural Arts Center in Ocean Springs this summer, you may have seen a photography exhibit title “I’m Still Here” featuring photos of James Meredith.

The Mississippi Civil Rights activist joined with photographer Suzi Altman to exhibit 60 images honoring Meredith’s 60th Anniversary of desegregating the University of Mississippi, or Ole Miss.

The two reunited Saturday at the Mary C. for the exhibit’s closing reception.

Altman has documented Meredith’s life through photography for 20 years. This most recent exhibit is just a small portion of her archive.

After his time at Ole Miss, Meredith helped lead the 1966 “March Against Fear” from Memphis to Jackson in protest of the physical violence that African Americans faced while exercising their right to vote.

Bryan Smith brought his grandsons to the event to meet Meredith. He believes it’s important for them to learn about the civil rights movement. And who better to learn from than a man who helped write that chapter in American History?

Speaking about one grandson, Smith said, “He’s mixed and his father is not here anymore, so it’s my responsibility to have him keep in touch with both sides so he can learn. And that’s what I wanted him to do today.”

Charles Sims follows Altman’s work, and also has a deep respect for James Meredith.

“I love Suzi’s work, so it was important for me to come back here, show love,” Sims said. “And obviously Mr. Meredith is everything to me. He’s an Ole Miss alum, I’m an Ole Miss alum. So we definitely support him in everything that he’s done.”

Sims told WLOX his great, great, grandfather help create Jim Crow laws – a collection of state and local statutes that legalized racial segregation across the South in the late 19th and early 20th centuries. But he believes the individual histories we’re all tied to can’t impede progress when people come together in search of resolutions.

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If you’re looking to level up your street photography techniques, check out some of the essential tips that we learned from our Sony Kando interview with renowned street photographer Marion Mou.

Sony Kando 2023 

I recently had the honor and pleasure of attending Sony Kando in Snowbird, Utah. Kando is an incredible creative experience that Sony hosts every year, bringing together some of the most talented creatives in the industry.

While at Kando, I ran into some amazing creatives and was lucky enough to interview a few of them.

Marion Mou is a freelance photographer whose side hobby is street photography. I’ve been admiring his work for a while and was super excited to have an opportunity to interview him at Kando.

Marion’s cinematic street photography and unique style has garnered over 106K followers on Instagram. I really love his moody style, which he describes as “scenes from a movie, or comic book.”

Our Kando interview gives valuable insight into Marion’s creative workflow and how he pushes his creative skills to the limit. It’s filled with amazing advice that can be applied to other genres of photography, but is especially useful for those of us who are wanting to level up our street photography techniques.

Some of the street photography tips that Marion shares include:

• How to look for emotion in your images
• Why you shouldn’t overthink things 
• How to choose your gear for street photography
• What to expect when you’re out in the field

There are many more valuable tips that Marion shares in the interview, so check out the edited transcript and the full video interview below.

The Interview

Marion: My name is Marion Mou, and I’m a freelance photographer. I’ve shot a handful of weddings in the past couple of years and it’s been a good experience. I do a lot of family sessions, maternity, engagement shoots, and even album covers for certain artists. This has been my profession for the past three years since COVID started. On the side, my passion is shooting street photography. That’s what I love to do.

Reza: I think that’s how I got to know you. I saw one of your images, and I was like, “dang, that’s a banger.”

Marion: That’s too kind of you, man. 

Reza: And then we met in San Francisco, right, at the community event for the a6700? I’m a huge fan of your work. Your street photography is beautiful, and I was curious, you know, I wanted to know how you think through it. 

Marion: You know, to be honest, you just gotta go out there and shoot. I don’t think about compositions. I look for other things, like the way a person dresses, or how they walk. Something about a specific person on the street usually grabs my attention, and then I just go find my way over there and take a photo of them. It’s usually candid, so I try not to be seen, but sometimes when you get that good eye contact, it definitely brings out a different kind of feel for the photo.

​​​​Reza: Nice, so you have that connection, you know, with the image that you’re taking? 

Marion: Yes, it’s usually not a friendly one, but I’ll take it, because an emotion is an emotion.

Reza: That’s what you want to convey with your imagery, right? Like a feeling. 

Marion: Yes, a certain type of mood per se.

Reza: So, when you’re out, what’s your process like, your workflow? Do you just decide you want to shoot a certain subject or a certain camera, or how do you work through that? 

Marion: Yeah, so usually, the night before I go out to shoot, I’ll line up two lenses. The next day, when I wake up, whichever lens that I feel like shooting, I’ll just grab that one and shoot the entire session with that one lens. It’s usually a prime lens, and I shoot the whole entire session with that one prime lens. It forces me to find different angles and push my skills to the limit. 

Reza: Nice, so it’s a good way to self-motivate, right? 

Marion: Absolutely, it forces you to be more creative when taking photos of the subject. You gotta find more sneaky ways to get closer to strangers without freaking them out, because you never know how they’ll react if they feel like you’re stalking them.

Reza: Yeah, so there’s an element of being discrete, and there’s also an element of staying inspired, right?

Marion: Yes, you’re absolutely correct. 

Reza: It goes both ways. You have the right tool for the job, but then you’re also helping yourself by not becoming bored of seeing the same thing.

Marion: Yes, it definitely keeps it super, super interesting, because you challenge yourself. You’re usually shooting from the hip, or you’re putting the camera down at a certain angle, just hoping that you get a good frame, and then after a while you get used to it, and then it becomes like a new achievement unlocked, that you don’t even really have to look at the viewfinder to shoot anymore.

Reza: So, you kind of get a feel for the types of images you’re going to be able to expect if you’re shooting on a certain lens, right?

Marion: Exactly. 

Reza: What kind of advice would you give someone that’s just starting out in street photography?

Marion: Most of the questions that I get are about how to go out and just take photos of strangers. A lot of people tell me that they’re super nervous. They don’t want to get caught. They don’t know what to do when someone approaches them and says, oh, why did you take my photo? They don’t wanna be confronted by a stranger, you know? I think for most people, taking photos of a stranger is not really a natural feeling, because they feel like they’re invading someone’s sense of privacy, but just so you know, it is legal to take photos of people on public property.

When it comes down to it, there’s no other way but to just go out and do it. I went out there and did it. I felt uncomfortable for a long time. I even still feel uncomfortable when I go out and shoot right now, but that all goes away after 10 minutes. Once you get the warm-up, you’re good to go, and you’re on a roll. 

Reza: So basically, don’t overthink it, right? 

Marion: Don’t overthink, just do it. If you see something, just take a photo. Gradually, you’ll develop the courage to get closer and closer to your subject. If you’re feeling uncomfortable, you can always shoot with a longer lens, such as an 85mm or 135mm prime. They’re usually really fast, and you get really good depth of field, and they’re super crispy. 

Reza: Nice, we have some amazing advice there. Don’t overthink, go out and just actually shoot until you’re in the zone and feeling comfortable.

Marion: If you’re a little timid, a little shy, it’s okay. Get the big lens. 

Reza: There’s also an element of respect and discreetness, right? You’re not out there sticking your lens in someone’s face.

Marion: Oh, absolutely not. Most of the time, you don’t really want to be noticed, but you can’t expect to never not be noticed. Just try your best. Get the candid shots.  What you see from me are like scenes from a comic book or a scene from an immersive movie, like a candid moment of life. 

Reza: So like each image is a story in and of itself?

Marion: Well, hopefully that’s what you guys feel when you see my photos. I would say that’s the goal.

The Video 

Check out my full video interview at Sony Kando with Marion Mou below:

Images used with permission of Marion Mou.

What do I win?: Our first place winner will have their photo included in an upcoming issue of the Conservationist, along with a free year subscription to the Conservationist, and copy of our New York State Wildlife Guide. Our four runners-up will also receive a free year subscription to the Conservationist, along with a copy of the wildlife guide.

Disclaimer: No small print. The NYS DEC is in no way taking ownership of your photos. Submitted images may be used for social media outreach and DEC agency materials, with credit attributed to the photographer.

Photo at top by Steve Spudie, provided by the NYS DEC.

ROCKPORT — Pen Bay Medical Center (PBMC) is currently displaying its third temporary art exhibit along the walls of the main hospital hallway near Patient Registration.

Current featured artists and their mediums include Nicholas Beverage (oil); Alison McKellar (photography); Nina Jerome (paintings); and Eric Darling (photography/oil). The art pieces are part of 12-week exhibits scheduled to run into April 2024, with each artist required to have a connection to Maine or New England.

Other confirmed artists and their mediums for future exhibits include Anne Brown (photography); Tina Ellis (watercolor); Bjorn Runquist (oil); Amanda Lorentzen (watercolor); Anne Brown (photography); Kathleen Fox (paintings); Michael Hagenbuch (photography); and Parrish Dobson (photography). QR codes are available to be scanned on the hospital walls by a smartphone or tablet camera to access the displayed artists’ information.

The current exhibit is on display until Dec. 8, with the fourth scheduled to begin Dec. 18 and run to Feb. 9, 2024.

About Pen Bay Medical Center

Pen Bay Medical Center is part of MaineHealth, a not-for-profit integrated health system consisting of eight local hospital systems, a comprehensive behavioral healthcare network, diagnostic services, home health agencies, and more than 1,600 employed and independent physicians working together through an Accountable Care Organization. With more than 19,000 employees, MaineHealth is the largest health system in northern New England and provides preventive care, diagnosis and treatment to 1.1 million residents in Maine and New Hampshire. For more information, please visit pbmc.org.

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Wikipedia, the on-line encyclopedia says, “Fine art photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography. Photojournalism provides visual support for stories, mainly in the print media. Commercial photography’s main focus is to sell a product or service.”

Photography as art has changed over the years since it’s beginnings and, in my opinion, with the increased interest in photography and the making of photographs since digital technology became the mainstay, photography as art interests more and more people.

That art may be nothing more than a screensaver on one’s computer display or shared to an online quorum. And it is not unusual to see a personal photograph framed and hanging on the walls of one’s home.

I have always been interested in art photography and over the years studied the history of photography as well as what is currently being accepted as art in the medium of photography. I find the previous definition interesting because it separates fine art photography from photojournalism and commercial photography.

By the middle of the nineteenth century photographers felt their art should be held in the same exalted status that painters claimed for theirs. Their contention was that it was the photographer, not the camera that made the picture. The goal was, and still may be, to convince not only the art community, but also the community-at-large that photography is art. Then, as now, the discussion may be about whether the different aspects of photography; commercial, photojournalistic, or those created only as personal creative vision should be considered art.

The question we can ask is whether photographs we see only work as “visual support,” or are produced to “sell a product” or as a creative vision?

I have come to think that definitions like those of Wikipedia’s might have changed. Maybe it is the way modern viewers see and use photography. That quickly-snapped portrait of a favorite pet displayed in the owner’s home probably needs an explanation to go along with it, but is cherished enough to be included with the rest of the owner’s art even though some scholar of the arts may disagree.

Remember, photographers are still contending with those critics that hold that only painting and sculpture are art. For me the lines have become blurred, and I see photography as an artistic medium equal to others and I am not altogether sure in categorizing any photographer’s work.

The camera is just a tool that helps photographers be creative and a photographer only needs to decide on their own particular style and what is “created to fulfill the creative vision of the artist.” What that vision is up to the photographer and the audience for whom the image is produced.

Stay safe and be creative. These are my thoughts for this week. Contact me at www.enmanscamera.com or emcam@telus.net.

While there are differences between micro four thirds, APS-C, full frame, and medium format, the general shooting experience of all those various sensor sizes is mostly the same. On the other hand, large format photography is an entirely different process and approach, but if you are willing to put in the time and effort to tackle the beast, you will be rewarded with incredible images unlike anything you have even seen before. This awesome video takes a look at the experience and its impact on how you shoot. 

Coming to you from Steve O’Nions, this great video takes a look at large format photography and its impact on how you approach the image-making process. If you thought medium format was big, large format is an entirely different beast, with 4×5 film offering negatives that are almost 15 times larger than full frame and 8×10 pushing that factor to almost 60, offering unparalleled levels of detail. The downsides of large format are the cost and specialized techniques it requires. Each 4×5 negative costs about $5 (which does not include the cost of development), so every single frame needs to be thought through very carefully. Check out the video above for the full rundown from O’Nions. 

Other winners were Nejib Ahmed, whose riveting image featured a distressed tiger among anxious people on the fringes of Assam’s Orang National Park; Vinod Venugopal’s shot which showcased the Neoscona spider; and Raj Mohan’s photograph of the Pallikaranai marshes, a Ramsar site, enveloped in flames from burning rubbish. For more, check their Insta page.

NORTH KINGSTOWN, R.I. — Photos are famously known for being able to tell a thousand words. In the current Wickford Art Association exhibition “From Ordinary to Extraordinary,” the unique featured photographs tell a variety of thought-provoking stories in the photography exclusive show.

Maria Masse, Wickford Art Association executive director, said the organization typically has one show annually that only has photography as an acceptable medium, as it gives the medium its own time to shine. The exhibition opened on October 6 and will run through November 5.

This year’s theme of “From Ordinary to Extraordinary” was chosen to give the nation’s photographers extreme creative freedom to produce one-of-a-kind pieces.

“Photography has a lot of flexibility and we thought that this theme of ‘From Ordinary to Extraordinary’ would encourage the photographers to push the envelope,” Masse said.

With their photography, Masse noted that many of the artists selected for the exhibition took an ordinary subject and made it into something unusual in the final product.

“This could be done through the use of color, composition or even the use of specific camera lenses, or even using digital enhancement,” she said.  

For “From Ordinary to Extraordinary,” the Wickford Art Association received 189 entries and accepted 60 pieces into the final exhibition. The exhibition was open to non-member and members of the organization.

The juror for “From Ordinary to Extraordinary” was Rhode Island-based professional photographer, David DeMelim. As jurist, he served to both curate the exhibit and determine awards. According to DeMelim’s website, he is a commercial and fine arts photographer based in South County, Rhode Island with more than 20 years of digital photography, retouching and printmaking experience.

Following delivery of accepted works, Denim conducted a live judging for prizes awarding first, second and third place, along with two honorable mentions. The awards were given out during the exhibition’s opening reception on October 6.

“This is a national show and highlights the work from around the country,” Masse said. “Drawing in new artists alongside artists that regularly exhibit at the gallery in Rhode Island broadens the scope of the show.”

Masse encourages interested attendees to come to Wickford Art Association to see the unique exhibition for themselves. All of the works will be available for purchase through the run of the exhibition.  

“We invite you to stop by the gallery to view the artwork and catch a glimpse of all the talent on display,” Masse said.

Wickford Art Association is located at 36 Beach Street, North Kingston, Rhode Island. Regular gallery hours are from 12-4 p.m. Wednesday through Saturday and from 12-3 p.m. on Sunday. For more information about this and upcoming exhibitions, visit their website https://wickfordart.org/

PALMYRA, N.J. (CBS) — As CBS News Philadelphia continues to recognize Hispanic Heritage Month, a South Jersey photographer says her attention to detail in her work is influenced by her Latina heritage.

Jazmin Ortiz runs “Jazzy Rose Photography,” which focuses on newborn photo shoots.

“It’s storytelling for me,” Ortiz said. “To be able to create these memories for these families that can be shared for generations.”

Ortiz’s story began seven years ago when she went to a department store to have photos taken of her newborn daughter, Rose.

“There were no props involved,” Ortiz recalled. “It was kind of, like, ‘This is what we have. This is what you’re going to take.'”

She felt she could offer a better service to her fellow parents, which is why she started her business.

“Just making sure everything is perfect,” Ortiz said. “From their fingers to their tiny toes to the placement of their heads to just capturing all the detail that I can.”

She said her attention to detail is self-taught and informed by her Latina heritage.

“My culture is rich, whether it’s the food, the colors, the people, the dance, just the traditions,” Ortiz said. “I’m able to take all of that and pour it into my work.”

Her work is part-time, but with the guidance of the Latin American Economic Development Association (LAEDA), Ortiz is hoping to eventually go full-time after she graduated from LAEDA.

“She has had tremendous success,” Jamila Powell, the program manager at LAEDA’s Women’s Business Center, said. “Honestly, I admire her because she started all of this at the height of the pandemic.”

Ortiz said she loves all her baby clients the same, even the ones who may be uncooperative.

“Parents, they’re always apologizing when their babies are fussy,” Ortiz said. “I’m like, ‘No, this is music to my ears, whether they’re crying or they’re silent, I am in awe.'”