From the series Mondo Psycho. ‘Too loud, too soft, too high, too low, too thin, too fat, too tall, too short, too quick, too long, too little, too much, too hard … mondo psycho!’
Photograph: Daniel Noone
Landscape photography can be a real trudge sometimes, both literally and metaphorically, with tremendous amounts of effort exerted for just the chance at the photo you are looking for. And with that can often come frustration and a lack of motivation. Nonetheless, the best landscape photographers often have a few traits in common: they repeat shots and they persevere through challenges. This excellent video essay discusses how those qualities can serve you.
Coming to you from Mads Peter Iversen, this awesome video essay discusses the importance of repetition and perseverance in landscape photography. While these traits are important in just about any genre, they are particularly important in a specialty in which you do not have full control of all the elements of the process. Planning ahead can do a lot to increase your chances of getting the right conditions and light, but at the end of the day, it is just that, a chance. Being willing to accept that you might not get what you had hoped for and more importantly, being willing to try again are crucial. Check out the video above for the full rundown from Iversen.
And if you really want to dive into landscape photography, check out our latest tutorial, “Photographing the World: Japan With Elia Locardi!”
A wedding photographer from Sydney, Australia has disappeared with his clients’ money, despite previously running a seemingly successful photo business.
One couple says that Sam Ansari of Phao Photography took their deposit of $3,850 (6,000 Australian dollars) and stopped responding to them.
“He was not responsive by email, I couldn’t get in touch with him through phone calls, he was just you know, off the grid,” bride-to-be Monika tells Nine.com.au.
Monika and her beau John did eventually get a response from Ansari who told them he had sold off Phao Photography to another photographer based in Sydney called Ellie Kalajian who runs a business called NYC Films.
In the email, Ansari claims that the sale of Phao Photography included all previous and current bookings. He also claims that his image assets also went through with the sale.
A panicked Monika and John contacted NYC Films but were told that the new owner of Phao Photography wouldn’t be shooting the wedding and Kalajian says that he only bought the name and not the assets or the bookings.
When Nine.com.au contacted Kalajian he maintained the story that he only bought the name of the business but told the television station to speak with his lawyer.
“I don’t have a comment you can deal with our lawyer,” Kalajaian says “We’re taking it to court and things like that.”
Meanwhile, a local photographer says he’s been contacted by 10 couples who have been left disappointed by Phao Photography and have had a large deposit taken from them.
“It’s extremely stressful, extremely stressful. I mean, if people [booked] a year ahead and they lost some money, maybe there’s plenty of time to reorganize things, but two to three weeks, four weeks. It’s very hard,” Laith Jabro from A2Z Weddings tells Nine.com.au.
Ansari is believed to be living in Dubai and has been unresponsive to media requests. But couples are now attempting to mobilize in a bid to get their money back as they connect with each other on Ansari’s Facebook page.
“We deserve an answer, we don’t deserve to be left in the dark. I want my money back,” adds Monika.
Image credits: Header photo licensed via Depositphotos.
Tom Till first visited the Southwest during a college break in the 1970s. He and a few friends were hiking in the Grand Canyon when something magical happened: sunlight caught the rim of the canyon, just as a storm was rolling in. The opposing light—the sun and the storm—made the rim glow, something that Till had never seen before.
“I thought, this is really unbelievable,” Till said. His college was in the Midwest, where he grew up; as his friends drove back to school through Moab, Till thought, what if I could live where the light is this beautiful all the time?
Back then, Till played in a rock and roll band every weekend. He spent his savings from playing music—he played in high school, too—on moving to Moab. In 1977, he bought a camera: a large format 4×5 film camera capable of capturing wide landscapes.
That was also the year he founded Tom Till Photography, though the Tom Till Gallery on Main Street wouldn’t open until 1998. Now, after a nearly 50-year photography career, Till is retiring. The gallery will permanently close at the end of November.
His career spans multitudes. He’s published books, worked for magazines and newspapers, sold thousands of prints, traveled across the world, helped support environmental causes (like in 1985, when his images helped to halt the consideration of a nuclear waste dump near Canyonlands National Park). His retirement, he said, will finally give him time to be at home: he’s spent so much of his life traveling that he’s looking forward to going on simple hikes around Moab. Maybe even without his camera.
“I made all kinds of mistakes at the beginning,” Till said. “I wanted to make a living out of it: I tried a lot of times to make work that seemed to please people, so I noticed the pieces that people liked and I kind of copied myself over and over, thousands of times.”
But he was always trying to do something new, he said. He found inspiration everywhere—at the height of his career, he said, he was constantly thinking about, slightly obsessively, new shots. Sometimes a frame he envisioned in his head would take years to actually capture in the field, he said.
Till took inspiration from his landscape photography heroes, too, some of whom would also become his friends. Till was very close with John Fielder, an American landscape photographer, conservationist, nature writer, and book publisher; his recent death, Till said, has had a very strong effect on him. Nearly half of the books Till has published (30) were published by Fielder.
In 1980, Till’s career really took off. An image he captured of the Chocolate Drops in Canyonlands National Park appeared in the Utah Travel Council calendar: his images would appear in the calendar every subsequent year until 2015. He started traveling across the U.S. capturing images, then across the globe—by 2007, he had visited Australia 14 times.
The other big milestone in his career occurred in 2003, when Till was asked to capture aerial photographs of the Moab uranium tailings area to show to Congress: his photos, which showed how close the uranium tailings were to the Colorado River, helped gain funding for what would become the U.S. Department of Energy’s Uranium Mill Tailings Remedial Action Project (UMTRA).
“I always felt that you have to love your subject to capture it right,” Till said. “I love this subject that I’m shooting. And when you love your subject, you want to save it and preserve it.”
Opening the gallery, he said, was his way of making his work more personal: rather than publishing images only for publications, he could display the photos he enjoyed.
“I am just saying, ‘I love this thing, so I’m going to try to show it to you in the best way that I can, in the best light, at the best time of year, so that you love it too,’” Till said.
Photographers have been taking to social media to mourn the loss of the iconic Sycamore Gap tree on Hadrian’s Wall.
The 300-year-old tree was felled overnight in an act of vandalism. Known as Sycamore Gap, the tree’s home was right next to Hadrian’s Wall – a defensive structure built by the Roman’s in Northumberland some 2000 years ago. Easily accessed, and visible from the main road, this is one of the most visited spots on the Wall. The tree even featured in the film Robin Hood, Prince of Thieves that starred Kevin Costner in 1991.
All day photographers have been taking to Facebook, Twitter and elsewhere to mourn the loss of the tree, to express their anger, to share their images of the location – or to rue that they never got to visit this photogenic location
“As a photographer the loss of the Sycamore Gap tree, under such sad needless circumstances is awful….. but actually it’s even sadder for the loss of so many people’s memories of spending time hiking to the tree, walking up that final hill & spotting it!,” comments portrait photographer Sarah Atkinson on Facebook. “The picnics with children under the tree & playing in the surrounds, the pride of what a beautiful Northumbrian focal point it was… like the Tyne Bridge, it was an instantly identifiable landmark that meant our North East, that meant Home.”
Author and photographer Gary Richardson commented “Heard the news this morning that some £$%%^^^& had cut the iconic tree down at Sycamore Gap on Hadrian’s Wall, not sure how someone could even do such a thing, but they have It wasn’t a location I photographed much, but have great memories from the times that I did.”
We now know that a teenager has been arrested for the criminal damage inflicted by his chainsaw. But, whatever happens in terms of justice, the location will never be the same – and I am at least glad that I had an opportunity to photograph this legendary tree before it so needlessly destroyed.
BOONE — Following last year’s 20th anniversary celebration for the Appalachian Mountain Photography Competition, the Turchin Center for the Visual Arts is calling for entries to this year’s upcoming 21st Appalachian Mountain Photography Competition exhibition.
Inspired by the Banff Centre’s Mountain Photo Competition, the AMPC is updating its submission process to a single-image and series submission format. The single-image submission application will be the most familiar to previous AMPC artists. Instead of submitting images to themed categories, artists can submit 1-5 standalone photos aligned with the theme of “Roots, Ground, Water, Seeds” for $10. Building on last year’s exhibition featuring photographic series, AMPC is offering a series submission option where artists can share 6-12 images from a singular body of work for $15. Selected artists from this category will show six images from their submitted series, highlighting the AMPC’s vision to support the expansion of Appalachian narratives. The deadline for submissions is Nov. 18.
WHITEWATER — The images would appear to be abstract splashes of paint.
In reality, they are close-ups of the remnants of buildings ravaged by war in Ukraine.
And through Oct. 20th, the colorful photographs created by Iva Sidash are filling the spaces of a small gallery in the heart of this city’s college campus.
Sidash, 29, a native of Lviv, Ukraine, had no intention of becoming a war photographer. Her focus since 2019 had been on street photography, documentary work and more recently images for a Ukrainian news organization.
Ukranian photographer Iva Sadish speaks Tuesday at the opening reception for “The Wall: Witness to the War in Ukraine,” an exhibit that runs through Oct. 20 at Roberta’s Art Gallery at UW-Whitewater. Sadish, 29, had been a street, documentary and news photographer but in February 2022 began photographing the Russian invasion of Ukraine.
But in February 2022, when Vladimir Putin’s Russian army invaded her country, Sidash (who initially thought she might volunteer as a driver or aide worker) began using her Fujifilm digital camera to help tell the world about her country’s plight.
Her work has been part of international exhibits in France, Spain, Singapore, Germany and in her home country’s capitol of Kyiv. But “The Wall: Witness to the War in Ukraine,” which opened Monday at Roberta’s Art Gallery at UW-Whitewater, is Sidash’s first solo exhibit. The display of her 19 photographs and a television screen scrolling through dozens of more broader images of the war’s victims became even more pronounced on Tuesday when Sidash appeared in person at a reception to further explain her work and add more context to her work.
“For me, each and every detail matters,” Sidash said, during a question and answer period before a crowd of more than 60 people. “I just felt a great need to do something more.”
This image taken by Iva Sadish is a close-up of a wall of a building damaged by Russian missiles and is one 19 images in “The Wall: Witness to the War in Ukraine,” at Roberta’s Art Gallery at UW-Whitewater.
Sidash was a finalist of the International Fujifilm Moment Street Photo awards in 2021 and her work has been recognized by the International Center for Photography in New York, where she is spending the next eight months in a fellowship designed to better hone her photography skills.
Her exhibit in Whitewater and her week-long visit to southern Wisconsin came about after Craig Schriener, who spent 16 years as a photojournalist for the Wisconsin State Journal and is now a photographer at UW-Whitewater, began following Sidash’s work on Facebook prior to the war.
This image by Iva Sadish documents one of the many funerals that have been held in Ukraine since the Russian invasion. For Sidash, her photographs are designed to tell the history of her country.
Schreiner has spent more than 30 years documenting life in the Midwest and in 2013 wrote and took the photos for a book documenting a small family farm near Pine Bluff west of Madison. But when the war in Ukraine began, Schreiner’s keen eye was drawn first to a selfie Sidash had taken with her cell phone in which she was sheltering in a cellar with her cat, Tommy. A day later, she posted another photo, this one of two soldiers carrying a disabled person across train tracks at a train station where Ukrainian refugees had gathered to escape the war’s danger.
Other images would follow. They would include funerals, hollowed out buildings, destroyed cars and tanks rumbling down a road littered with debris. Others would show the innocence of children and the elderly, destroyed barns in the countryside and of cemeteries filled with Ukrainian flags, flowers and photos of those who have perished in the war.
“I think she’s a high-level combination of photojournalist and an artist,” Schreiner said. “I wasn’t expecting that Iva would be here but she wanted to come because this was important for her. I think when you are trying to understand or trying to begin to understand something hard, like war or cancer or racism, it really helps to have direct contact with someone who has experienced that. I think that is going to be a great value, this experience, for a lot of people.”
Craig Schreiner, a former Wisconsin State Journal photographer and now a photographer at UW-Whitewater, listens closely as Ukranian photographer Iva Sadish speaks Tuesday at her photo exhibit about the war in her country. Schreiner began following Sadish’s photography work prior to the war and after seeing her war images, helped organize her first solo exhibit that opened Monday.
Sidash arrived in Wisconsin on Sept. 22 and is staying with Schreiner and his wife, Lisa, at their home in Middleton. Besides the opening reception, Sidash was the focus of a talk on Monday at UW-Whitewater by Abigail Lewis, a University of Notre Dame historian who researches art and visual culture during times of war. Sidash was also scheduled to speak Thursday afternoon at UW-Madison’s Center for Russia, East Europe and Central Asia and spent Wednesday giving presentations to art and social studies students at Janesville Craig and Parker high schools.
The principal donor for Sidash’s exhibit and travel expenses to Wisconsin is Susan Van Galder, whose husband’s family founded a Janesville bus company in 1947. Susan is a retired art teacher and a UW-Whitewater graduate and her son is an art teacher at Parker High School.
“I was so impressed with her knowledge of photography, and not just her working the camera, but what she sees with her camera,” Van Galder said Tuesday as she surveyed the colorful images in the gallery. “These almost look like paintings but they’re actually parts of beat up, bombed out walls. It’s spectacular the way she gets perspective with the color juxtaposition. Through art and photography you can create a story of your history and that’s what she’s doing.”
The innocence of a child is shown in this photograph taken by Ukrainian war photographer Iva Sadish.
Sadish is a graduate of Lviv Polytechnic National University and thought she would have a career in project management. But photography became her calling. Her work has been published in the Financial Times of London; Fisheye Magazine in France and Der Spiegel in Germany. Her photographs are among those that also help illustrate a book of Ukrainian poetry that tells the story of the war’s devastating affect on the country.
And now the international audience of Sidash’s work can include students at UW-Whitewater, some who helped develop the exhibit. They were the ones who downloaded, edited and mounted Sidash’s photos onto rectangular pieces of foam core for display in the 1,000-square-foot gallery that was founded in 2008. The poster to promote the exhibit was designed by a student and students worked with gallery staff to set up the exhibit.
Visitors to the opening reception of “The Wall: Witness to the War in Ukraine” listen to Ukranian photographer Iva Sadish speak Tuesday about her work. The xhibit is on display at UW-Whitewater through Oct. 20.
On Tuesday, it was Angela Malo, a student director of the gallery, who interviewed Sidash during the reception and led a question and answer period with the audience where Sidash explained how in spring 2022 she began focusing on walls of residential buildings in North Saltivka, an area located in the northeastern region of Kharkiv in eastern Ukraine. The project would then expand to the regions of Mykolaiv, Dnipropetrovsk, Kyiv and Donetsk.
“Everybody who touched those photos cared about them,” Schreiner said. “When you have an experience like that it’s something you remember for a long time.”
Sidash’s first image of a wall came from a driveway of a high rise building heavily damaged by Russian shelling. Moments later she went inside to explore what remained of apartments. There was no one around and she felt conflicted about being inside homes where beds remained unmade, dishes were left on tables and there were family photographs of people she didn’t know. She wondered about their well-being and continues to struggle with her own emotions as she tries to document a conflict that has upended the lives of so many in her country.
But she knows creating and sharing her work is a way to tell a story that others may not otherwise realize, despite a world in which images can be shared internationally seconds after they have been produced.
“I hope my pictures are powerful but it’s not necessarily only about my pictures but the power of photography,” said Sidash, who wears a silver necklace with a pendant in the shape of Ukraine. “It’s the best of what I can do in this life. I want to be useful and do something for my country. I couldn’t stay aside. Photography is this tool that helps me do something.”
Photos: Iva Sadish and her images from Ukraine
Ukranian photographer Iva Sadish greets attendees at the opening “The Wall: Witness to the War in Ukraine,” an exhibit which features images she captured following the onset of Russia’s invasion of the country.
One of the 19 images created by Iva Sadish since spring 2022 in Ukraine.
This image taken by Iva Sadish is a close-up of a wall of a building damaged by Russian missiles and is one 19 images in “The Wall: Witness to the War in Ukraine,” at Roberta’s Art Gallery at UW-Whitewater.
Craig Schreiner, a former Wisconsin State Journal photographer and now a photographer at UW-Whitewater, listens closely as Ukranian photographer Iva Sadish speaks Tuesday at her photo exhibit about the war in her country. Schreiner began following Sadish’s photography work prior to the war and after seeing her war images, helped organize her first solo exhibit that opened Monday.
What appears t be an abstract painting is actually remnants of a wall in Ukraine damaged during the Russian invasion.
A man looks through a damaged building in war-torn Ukraine.
Ukranian photographer Iva Sadish speaks Tuesday at the opening reception for “The Wall: Witness to the War in Ukraine,” an exhibit that runs through Oct. 20 at Roberta’s Art Gallery at UW-Whitewater. Sadish, 29, had been a street, documentary and news photographer but in February 2022 began photographing the Russian invasion of Ukraine.
The innocence of a child is shown in this photograph taken by Ukrainian war photographer Iva Sadish.
Visitors to the opening reception of “The Wall: Witness to the War in Ukraine” listen to Ukranian photographer Iva Sadish speak Tuesday about her work. The xhibit is on display at UW-Whitewater through Oct. 20.
This image by Iva Sadish documents one of the many funerals that have been held in Ukraine since the Russian invasion. For Sidash, her photographs are designed to tell the history of her country.
Ukranian photographer Iva Sadish captures a photograph of attendees to her opening exhibit of images – “The Wall: Witness to the War in Ukraine,” on the campus of UW-Whitewater.
Barry Adams covers regional news for the Wisconsin State Journal. Send him ideas for On Wisconsin at 608-252-6148 or by email at badams@madison.com.
“It’s been an interesting journey, getting to know him. Really, I think he was just a sweet young man.”
Ann Reinke Strong, a niece to George Fenn
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What does life look like in northeast Libya after catastrophic flooding killed thousands of people?
Find out for yourself with this weekly view from a photographer on the ground in Derna, a city that lost entire families and neighbourhoods when two dams burst after a storm tore through the northeast mid-September.
While official estimates of the dead sit at more than 4,200, other numbers are much higher, and thousands remain missing.
Check back to see weekly photos, and to listen to photographer Mohamed Nabil explain why they matter to him, as – long after other cameras have moved on – The New Humanitarian looks to keep the spotlight on northeast Libya.
Photographer Mohamed Nabil explores the aftermath of the floods in his home city of Derna, capturing rescue workers, ambulances, protests, and messages of unity that have emerged in the wake of the disaster.
Edited by Ciara Lee and Annie Slemrod.
A workshop is like a revelation. The participant can confront himself with the gaze of others, and in so doing, feel that he exists as a photographer or artist.
Photography renders the world framed, flat and static. Photography reconfigures the reality. We’ll be working on an approach to representation and observation of the world.
The relationship with the city will be the theme of the workshop. Participants will choose an approach to working in the city, during the day, at night or at sunrise.
All forms and experiences are welcome (film, photography, diary).
Each participant will find his or her own emotional terrain in the city of Paris or its suburbs, to project himself or herself and create a fictional, documentary, conceptual, archaeological or topographical series.
A visit to the Centre Georges Pompidou to see the exhibition “Corps à Corps” with commentary by Lise Sarfati, will be organised on Friday 17th November. Participants will be able to discover the exhibition, which brings together the museum’s public photographic collection and the private collection of Marin Karmitz.
Lise Sarfati is a French photographer and artist who lives and works between Paris and Los Angeles. Her work has been the subject of numerous solo exhibitions with the Yossi Milo Gallery, New York, the Rose Gallery, Los Angeles, Brancolini Grimaldi, London & Rome, and institutions such as LACMA, among others. Her photographs can be found in private and public collections such as SFMOMA, LACMA, Pier 24, De Young Museum, Brooklyn Museum, Centre Georges Pompidou, MEP among others. Lise Sarfati has won the prestigious Prix Niépce in Paris, and the Infinity Award from the International Center of Photography in New York.
More information
www.lisesarfati.com
Instagram – Lise Sarfati
Instagram – ArtFotoMode
Workshop is organised by ArtFotoMode with Lise Sarfati
More information : www.artfotomode.com/workshop/lise-sarfati
Send your application to: [email protected]
All welcome but limited places available
Early bird deadline: 13 October 2023
Deadline for workshop: 3 November 2023
The photographer who sued Hilary Duff for calling him a “creep” for shooting a kid’s football game has reportedly died.
According to MyNewsLA.com, the attorney for photographer Darryl Wilkins confirmed that his client had died.
MyNewsLA.com reports that Wilkins’ attorney Fred Hanassab told Judge Upinder S. Kalra in the Los Angeles Superior Court that he had lost contact with his client.
Hanassab then discovered a media report stating that the 67-year-old photographer had died “in a vehicle” on May 19 and that the official cause of death was atherosclerotic cardiovascular disease.
In February 2020, Duff called Wilkins a “creep” and accused him of “stalking minors” on social media after the actress noticed him taking pictures of her seven-year-old son’s football match.
Duff started recording Wilkins with her smartphone camera and confronted the photographer — who said he was taking pictures of children playing football at a public park to test out his new camera gear.
“Can you stop taking pictures of the kids please?” Duff is heard on camera asking Wilkins.
“It’s legal. I’m taking pictures. I’m practicing photography. I’m not here to scare you or anything like that. Your paranoia is unwarranted,” Wilkins replies in the video.
Duff then posted a clip of the confrontation to her millions of followers on Instagram with the caption: “Paparazzi shooting kids. Go ‘practice’ your photography on adults! Creep! Laws need to change! This is stalking minors! Disgusting!”
After Duff’s video went viral, host Wendy Williams discussed Wilkins on her talk show The Wendy Williams Show and described the incident as “creepy to me.”
Wilkins then filed a defamation lawsuit against Duff and Williams, claiming that they both used innuendo and their celebrity platforms in a way that damaged his reputation.
However, in May 2022, the judge disagreed and tentatively dismissed the defamation portion of the case, citing free speech and California’s Strategic Lawsuit Against Public Participation law (SLAPP) which is designed to prevent lawsuits or the threat of lawsuits to intimidate those who are exercising their First Amendment rights.
MyNewsLA.com reports that Duff has filed an anti-SLAPP motion that was scheduled for hearing on October 12. Judge Kalra reportedly did not dismiss the complaint and left the upcoming hearing on the calendar to address other ideas.
Image credits: Header photo partly licensed via Depositphotos.
