The judges in the Ocean Photographer of the Year 2023 competition have spoken.

This year’s title goes to marine biologist and amateur photographer Jialing Cai.

Her stunning image of a paper nautilus — a type of octopus — floating on a piece of ocean debris came up top among the 8,000 entries submitted. 

The competition called on drone, underwater and coastal photographers “to showcase the beauty of our planet” and “dazzle the world”, a spokesperson from Oceanographic Magazine said.

The fourth of its kind since 2020, the competition saw photographers compete across nine categories: 

• Ocean Photographer of the Year
• Wildlife Photographer of the Year
• Fine Art Photographer of the Year
• Adventure Photographer of the Year
• Conservation (Hope) Photographer of the Year
• Human Connection Award: People & Planet Ocean
• Young Photographer of the Year
• Ocean Portfolio Award
• Female Fifty Fathoms Award

Here are the stand-outs — and your nature fix — in pictures. 

The Ocean Photographer of the Year

The judges were on the hunt for pictures that evoked an emotional connection and embodied a deep sense of storytelling. 

Cai’s photograph was taken during a blackwater dive following a volcanic eruption in the Philippines, and she clearly delivered.

The 25-year-old said her professor was her inspiration, telling her: “The deep sea was within my reach, that it would come to me”.

“That realisation was mind-blowing,” Cai said. “It’s why [I’ve become] so obsessed with blackwater photography.”

Providing the backstory for the winning image, Cai said:

“As underwater photographers, we aim to shoot in clear water but this image reminds us that grains of sand, organic matter, or tiny organisms are integral parts of the underwater environment.

“I aim to accept their presence and seek non-disruptive ways to incorporate them into my images.”

A sea anemone, a crab and plankton came together for this work of art to take second place, also shot in the Philippines.

Photographer Andrei Savin said: “It’s insanely interesting to watch the same creatures day after day, and I love to study them as they evolve.”

Coming in third place, was this emotional image of a dying humpback whale.

Photographer Alvaro Herrero Lopez-Beltran captured this image after the whale became entangled in ropes and buoys.

It was a conflicting moment for Lopez-Beltran as he felt “great sadness and hopeless” but he was also “glad … to show the world what we’re doing”.

“The image is a sad metaphor for the slow and painful death that we are causing to our planet and the oceans,” he says.

Wildlife Photographer of the Year

Fine Art Photographer of the Year

Adventure Photographer of the Year

Conservation (Hope) Photographer of the Year

Human Connection Award: People & Planet Ocean

Young Photographer of the Year

Ocean Portfolio Award

Thai photographer Sirachai Arunrugstichai snagged the award with a confronting portfolio that showcases the treatment of deep-sea species.

Here are a few haunting images from the gallery of 10 images.

Female Fifty Fathoms Award

All photography will be showcased at the Australian National Maritime Museum in Sydney.

The exhibition will be open to the public for five months from November 17.

With their ability to capture imaginations and evoke emotions, photos can tell us stories about nature that words alone can’t convey. The winning entries in the Nature TTL Photographer of the Year 2023 competition prove that, as far as nature is concerned, a picture is worth a thousand words.

Celebrating the beauty of the world around us, over 8,000 images were entered into this year’s competition, with nature photographers from all around the world vying for the £1,500 (US$1,840) prize money. In addition to naming the Overall Winner and Young Nature TTL Photographer of the Year, winners were chosen in each of the eight categories: Animal Behavior, Camera Traps, Landscapes, Small World, The Night Sky, Underwater, Urban Wildlife, and Wild Portraits.

Thomas Vijayan/Nature TTL

Thomas Vijayan from Canada won the competition’s Overall Prize for their hauntingly beautiful image, Austfonna Ice Cap, which captures the impact of global warming on the world’s third-largest ice cap. The composition, which is made up of 36 stitched-together images, also took out first prize in the Landscape category.

“This is nature in its most urgent state of decay,” said Audrey Granger, manager of Nature TTL. “The vibrant colors of the towering waterfall are juxtaposed with the reality of its creation. The stark reality is that this image shows global warming’s impact on sea ice, where it is melting at alarming rates.”

Lucy Monckton/Nature TTL

Taking out the Young Nature TTL Photographer of the Year 2023 was the UK’s Lucy Monckton, who braved having hundreds of bees crawling over her to snap her winning entry, House Hunting, showing the process of bee relocation.

“Relocation is a natural process that occurs when a colony becomes too big for its home; the queen leaves with a few of the bees to find another home,” Monckton said.

Simone Baumeister/Nature TTL

Other standouts include the runner-up in the Urban Wildlife category, the surreal-looking Traffic Intersection by Simone Baumeister of Germany.

“I really wanted to do some photography one evening, but without light, this is always difficult,” said Baumeister. “So, I went to a pedestrian bridge that offered a direct view of one of the main traffic intersections in our city. There were many spiders on the railing of this bridge. Using an old analogue lens, I photographed a spire in front of the colorful lights of the city intersection with the many cars.”

Robert Gloeckner/Nature TTL

And another image that made use of the light from traffic signals was Fading Away by Robert Gloeckner of the US, which was the Wild Portraits runner-up. In it, Gloeckner captures the reflection of a great blue heron in water lit by the green of a traffic light. He used intentional camera movement to create a fading perspective.

Florian Ledoux/Nature TTL

Florian Ledoux’s starkly white Seal Hunting captures a polar bear patiently waiting by a seal’s breathing hole for its next meal. Ledoux was the winner of the Animal Behavior category with the image.

“This male polar bear stalked seals at their breathing holes,” Ledoux said. “After they evaded him, he opted to rest, vigilant and patient.”

Bence Mate/Nature TTL

Bence Mate took a unique approach to capturing a wild boar against the immense splendor of the Milky Way in their image Milky Way, winner of The Night Sky category: they used a remote-controlled camera placed inside a fish tank.

“It was lucky that the wild boar stayed unmoved for the moment the picture was taken,” Mate said. “In Hungary, where this composition was captured, the Milky Way is very rarely low enough in the sky to touch the horizon, and this phenomenon occurs only for a few days in the month of August.”

Next year’s Nature TTL Photographer of the Year competition will be open for entries in January 2024. In the meantime, have a browse through our gallery for all of this year’s winning entries.

Source: Nature TTL

Archives of October 23, 2014

Erwin Olaf’s works depict the unspoken. His stylized and skilfully quoted visual worlds address taboos, social conflicts, and middle-class narrow-mindedness – themes that he disguises aesthetically in order to unsettle the viewer. Bar Barbette showcases the series Fall (2008), which presents adolescent portraits separated by austerely composed still lifes set in pale gold-coloured interiors of the late 1950s.

Posed before curtains and wallpaper reminiscent of the living rooms of the post-war generation, the adolescents seem out of place. They confront the viewer with contradictory emotions and their as yet undefined corporality, as though they felt entirely unobserved. Coolness and physical strength are just as much on display as vulnerability and apathy; subtle and unbridled eroticism radiates from their flawless young bodies. With a similar atmosphere, the film Le Dernier Cri (2006) slowly progresses towards a discomforting climax that reveals the terror concealed beneath the veil of the bourgeoisie.

_{EXHIBITION
Ewin Olaf, Fall
Until October 30^th 2014
Bar Babette
Karl-Marx-Allee 36
10178 Berlin
Germany
Daily from 6:00pm}

_{An exhibition project by WAGNER + PARTNER with Month of Photography.}

_{http://galerie-wagner-partner.com
http://www.barbabette.com
http://www.erwinolaf.com}

Hunter Wade stands by his drone photographs, which are on display at Zero Degrees Gallery in Marquette. Wade is the gallery’s September/October Guest Artist. (Journal photo by Christie Mastric)

MARQUETTE — What better way to get a bird’s-eye view of an osprey nest than to use a drone — especially when it doesn’t bother the birds?

Hunter Wade of Negaunee, who is the September/October Guest Artist at Zero Degrees Gallery in Marquette and recently winner of the “Best New Artist” title at Art on the Rocks,, specializes in drone photography, particularly ospreys nesting at Lake LeVasseur in Chocolay Township.

Wade spoke about his work during a Saturday reception for him at the gallery, located at 525 N. Third St.

He said is involved in videography with his Yooper Soul Productions, but his interest expanded.

“I had a drone in the sky that had a camera, so I started taking pictures, and then I found that I enjoyed it,” Wade said. “I stuck with it. It just surprised me. It wasn’t the plan.”

A person looking at some of his drone photography work on display at Zero Degrees might notice some of it looks stylized.

“I made a decision to lean into the fact that images are representative,” Wade said. “They’re a concept.”

He said images are never going to look like their subject.

“They’re never going to look like the thing itself,” Wade said. “So I was like, why am I toiling, attempting to make it look exactly like the thing itself, especially because nobody sees the thing itself the same way?”

It’s a matter of perspective.

“I would think I”m making it the way other people see it, but I would still would be making it the way I see it,” Wade said.

However, he wouldn’t get what he called “the goods.”

For instance, one of his osprey photographs at the gallery was printed on brushed metal. Another one was layered over with acrylic.

Those techniques give the works a unique look.

“The pictures that I get already have a lot of clarity and texture,” Wade said. “I have a really cool tool that works well in the drone that I use.”

Wade has a plan with his drone photos.

“What I’m aiming for is to leverage what’s unreal in the look to create a more real experience,” Wade said.

Why ospeys?

“I didn’t necessarily love ospreys before, but I’ve fallen in love with ospreys through the process,” he said. “It was just novel that I happened upon these raptors.”

Wade wanted to start out with taking pictures of swans, but he discovered their behavior was too aggressive for his presence.

However, he acknowledged having a a bit of trepidation with following the raptors.

“I thought, ‘I am going to get footage? No, they’re going to eat my drone,’” Wade said.

That didn’t happen, he noted, with the ospreys getting used to the drone sound and realizing it wasn’t going to attack them.

Wade did, though, put some thought into the process.

“I very much took the perspective of the bird from the get-go,” Wade said.

As with many photographers, he had to search his inventory to find the right photos.

“They rarely look at the drone,” Wade said of the ospreys. “I have to go through tons of photos to find a picture where they’re facing the camera.”

Over time, Wade was able to get his drone within a few feet of an osprey nest.

“At the end of this year, the nestling knew the drone had been there from the time it was an egg, whereas last year, I didn’t start showing up until the nestlings were, I don’t know, halfway through their cycle,” Wade said. “So, this nestling knew nothing outside of the drone as part of the world. Oh — and news flash — it doesn’t know it’s a drone.”

Thus, spying into their window wasn’t a big concern for the nestlings.

The osprey as a species, according to the Michigan Natural Features Inventory, is a large hawk, measuring 22 to 25 inches, with long, narrow wings, dark brown upper parts and white under parts. Its head is white with a dark eye streak, and the dark “wrist” patches on the underside of its wings are visible in flight.

Female ospreys may have dark streaking around their necks and immature bards have pale buff edging on the dark feathers of their upper surface.

Wade, through his drone photography, also learned about osprey behavior.

“They communicate a lot with one another,” he said. “They’re super clean, just ridiculously clean. They’re bathing themselves all the time. They, from birth, know how to poop outside of the nest, and they do.”

Zero Degrees Gallery is open from 10 a.m. to 6 p.m. Monday through Saturday and from 11 a.m. to 3 p.m. Sunday.

Christie Mastric can be reached at 906-228-2500, ext. 550. Her email address is cbleck@miningjournal.net.

Mercury Works has launched a campaign for Kodak Vision 3 65mm motion picture film (IMAX) and specially modified film backs to accept the large-format film. Further, Mercury Works can develop the film via its specialized lab, M-Alchemy.

Zach Horton from Mercury Works tells PetaPixel that Kodak is providing Mercury Works with the 65mm film, which is often not available to the public without substantial minimum orders, often in the realm of $15,000 orders for most of Kodak’s 65mm film stocks.

Earlier this year, Mercury Works launched the Mercury Stereo 12, a medium-format stereoscopic camera that allows photographers to shoot high-quality 3D photos.

This fascinating camera system is very much related to the new campaign for 65mm film. “My background in the film industry and our long-term project to make the IMAX system (including both 65mm camera film and its coupled print film) work for still photographers has yielded a full ecosystem to make this easy for still photographers to obtain, shoot, develop, and scan. We feel that this is the ultimate film format for medium format stereo photography, but also possesses huge advantages for many other medium format and large format shooters,” Horton explains to PetaPixel.

65mm IMAX film has never been available directly to photographers before. Given that it is a format designed for motion pictures, still photography cameras are not typically designed to accept the film. Mercury Works has produced a range of modified and enhanced film backs for the IMAX film and accessories to make shooting the film easier.

“You will never want to go back to 120 again!” says Mercury Works.

Cameras compatible with the Kodak 65mm film include 4×5 large format cameras with Graflok/International mounts, Hasselblad V series, Mercury Universal Large Format and Medium Format, Mercury Stereo 12, Mamiya RB67, Horseman VR series, Graflex 2×3, Bronica ETRS, Pentax 645, and Graflok 23 back mount cameras.

65mm film has numerous advantages, including being less than half the price of 120 film. 65mm film also features highly advanced film technology, promising amazing color and low grain. Further, a roll of 65mm film can hold over five and a half times as many frames as a roll of 120 film.

Photographers can choose how big each roll of 65mm film is using Mercury Works’ variable load cassettes. The film supports mid-roll cutting, so users can cut the roll of film at any time to begin developing the frames they have shot.

Mercury Works adds that 65mm film offers better protection against light leaks, scratches, halation, and X-rays, and stays flatter than 120. 65mm film can also be printed to medium format slides.

Returning to the color performance of the film, Kodak Vision 3 motion picture stock is “the most advanced color film ever made,” per Mercury Works. The film is already known to analog photographers thanks to 35mm versions. However, the huge 65mm version has previously only been available to high-end cinematic productions.

During the 10-day campaign, Mercury Works will offer all four Vision 3 film stocks made by Kodak, plus a limited supply of expired EXR 100T, a special film stock that filmmaker Terrence Malick used on the 1998 film The Thin Red Line.

The other stocks include 50D, the finest grain camera film ever made; 250D, the favorite film stock of Horton of Mercury Works; the high-speed 500T; and 200T, a fine-grained tungsten-balanced film stock.

The Mercury Works IMAX Film Campaign began on September 20 and runs until September 30. There are 13 products available as part of the campaign, including rolls of film and everything photographers need to use the film in their compatible cameras. A single roll of Kodak Vision 3 film starts at $159, and a full collection (plus the expired Malick film) is $690.

Image credits: Mercury Works

When you think of landscape photography, does a wide angle lens come to mind as the go-to choice for capturing the vast beauty of nature?  While wide angle lenses undoubtedly excel at framing expansive vistas and foreground elements, the importance of having a telephoto lens in your bag for landscape photography should not be underestimated. Let’s explore the often-overlooked role of telephoto lenses in landscape photography. You will discover how telephoto lenses can enhance your creative possibilities, capture stunning details, and unlock new perspectives in your landscape images.

The Versatility of Telephoto Lenses

Telephoto lenses, characterized by their longer focal lengths (typically 85mm or greater on a full frame camera), offer us landscape photographers a range of creative benefits and applications. Contrary to the misconception that they are solely for close-up or wildlife photography, telephoto lenses can be indispensable tools for capturing breathtaking landscapes. Here are some of the reasons why telephoto lenses deserve a place in your camera bag.

Compressing and Isolating Elements

One of the key advantages of telephoto lenses is their ability to compress the elements within a landscape scene. This compression effect occurs when distant objects appear closer together, creating a sense of intimacy and harmony. By isolating specific elements, such as a distant mountain range or a solitary tree, telephoto lenses can emphasize their significance and aesthetic appeal and produce a totally different result to your shot than a wide angle can.

Capturing Distant Details

Telephoto lenses excel at capturing intricate details in the landscape that may be missed by wider focal lengths. Whether it’s the texture of rock formations, the intricacies of foliage, or the subtle variations in light and shadow, telephoto lenses bring distant details into sharp focus, enriching the storytelling potential of your images. This can be very handy when you cannot get close to your intended subject or in fact can also prompt you to retreat back away from your current subject and use your telephoto to bring the subject to life in different ways.

Embracing Minimalism

Incorporating minimalism into landscape photography can yield powerful and evocative results. Telephoto lenses allow you to isolate and emphasize minimalistic elements within the landscape, creating compositions that are both serene and impactful. A lone tree sitting on the side of a hill in the distance is one example of where this lens can remove the clutter that may be before you and only focus on the tree instead. 

Framing Distant Landmarks

When photographing iconic landmarks or distant natural features, telephoto lenses enable you to fill the frame and create visually compelling compositions. This is particularly advantageous when capturing scenes from elevated viewpoints or distant vantage points. Cityscapes can be a perfect time to do this as you can remove many of the distractions that often occur in such an environment and catch your intended subject as it fills your frame. There is also the chance to capture some birds in your frame when you try this.

Exploring Abstract Landscapes

Telephoto lenses can uncover the abstract beauty hidden within landscapes. Isolating patterns, textures, and abstract forms within a larger scene can result in images that challenge the viewer’s perception and evoke a sense of wonder. Waterfalls can be superb.

Enhancing Sunrise and Sunset Shots

During the golden hours of sunrise and sunset, telephoto lenses can bring distant subjects, such as the sun or colorful clouds, closer to the viewer. This magnification enhances the visual impact of these magical moments. 

Creating Mystery From the Location

You could be in a very popular location with many other people around you all taking photos of the same stunning scene, however when you break out your telephoto and pick little vignettes from the overall view, it isn’t immediately apparent where the photo was taken from. This can be particularly useful when you want to grab a shot thats different to the norm, and even those stood beside you wont know where it was taken from  in some circumstances. 

Choosing the Right Telephoto Lens

Selecting the appropriate telephoto lens for landscape photography requires careful consideration of your specific needs and preferences. There are many fantastic lenses on the market and all can offer you different abilities and functions. Here are some factors to keep in mind when choosing the right telephoto lens:

Focal Length

Telephoto lenses come in various focal lengths. Consider the scale of your landscape subjects and your intended compositions when choosing a focal length. I have a 70-200mm, plus I also have a Sigma 150-600mm. Both have their uses, and both offer me different types of shots depending on the scenario. For wildlife, having the longer reach will yield best results .

Aperture

The maximum aperture of the lens is crucial, particularly for low-light conditions and creative depth of field control. Telephoto lenses with wider apertures (e.g., f/2.8) offer better low-light performance and background blur (bokeh) capabilities. From a landscape point of view, f/4 lenses will more than suffice. Also worth considering is the difference between aperture as the lens zooms. For example, my Sigma 150-600mm will offer me f/5 at 150mm, but will close to f/6.3 at 600mm. This can potentially restrict usages in low-light scenarios. For wildlife, you will need to have a fast shutter, so a wider aperture will be key.

Image Stabilization

Image stabilization can be advantageous, especially when shooting handheld with longer focal lengths. It helps reduce the effects of camera shake and ensures sharper images. Lots of telephoto lenses now come with built-in image stabilization, which can be a necessity when shooting landscapes. As you zoom in, remember that you are effectively looking at a smaller frame of the scene, so any slight movements will be exaggerated as far as the sensor is concerned. 

Weight and Portability

Consider the weight and portability of the lens, especially if you plan to hike or travel with it. Lighter lenses are more convenient for outdoor adventures. f/2.8 lenses are typically heavier, as you have more glass. There are some lenses that offer all of the above and still come in rather light in comparison. Best to look at the weight of the lens when doing your pre-buying research. 

Compatibility

Ensure that the telephoto lens is compatible with your camera body. Some lenses are designed for specific camera brands, so verify compatibility before making a purchase. it is possible to use different lenses from different manufacturers by using an adapter ring. For example, Canon EF lenses can be used on Sony mirrorless cameras and are the choice for many due to the quality of the glass. You can also use Canon EF lenses on the new RF mirrorless system by again using another adapter. Just ensure that when purchasing you get the right types of lens for your camera or adapter, whichever is applicable to you.

Quality and Budget

Invest in a high-quality telephoto lens from a reputable manufacturer. The optical quality of the lens, including sharpness, distortion control, and color rendition, greatly impacts the overall quality of your landscape images. Set a budget that aligns with your needs and expectations. Often, your glass will outlast your camera, so when you purchase your lenses, bear this in mind, as they can be expensive, but can also last you into many generations of your camera body. There are some lenses that were made in the 80s that still work for photographers to this day, so as a cost versus years of use proposition, it can work out well. The key is to invest wisely. There are many articles on Fstoppers that can assist you in deciding which lens fits your needs and your budget.

Telephoto Techniques for Landscape Photography

Once you’ve selected the right telephoto lens, it’s time to explore techniques and tips that can help you maximize its potential in landscape photography.

Layered Composition

Leverage the compression effect of telephoto lenses to create layered compositions within the landscape. Hazy skies are fantastic to add depth and layering to your shots.

Use a Tripod

While telephoto lenses can be used handheld, using a tripod is advisable for longer focal lengths to ensure stability and sharpness. A stable tripod allows you to fine-tune your compositions and capture intricate details with precision. It also helps with fatigue, as you can leave it on the tripod and save those muscles form freezing up while waiting for the light or scene to change. 

Utilize Filters

Just like you may normally do with your wide angle lens, experiment with filters such as circular polarizers and neutral density (ND) filters to enhance your telephoto landscape shots. Polarizers reduce reflections and improve color saturation, while ND filters allow for longer exposures, enabling creative effects like smooth water or cloud movement.

Focus Stacking

Telephoto lenses are well-suited for focus stacking, a technique that combines multiple images with different focus points to achieve maximum depth of field. This is particularly useful when you want to capture both foreground and background elements in sharp focus. Should you have a secondary element in the scene, then it’s good to remember to do this. 

Pay Attention to Light

As with any form of photography, lighting plays a crucial role in landscape photography with telephoto lenses. Observe how light interacts with distant subjects, and be prepared to adapt your compositions to changing lighting conditions. Always look around and be ready to fire off a shot of a far-off subject that may catch the light before you even feel its presence in your immediate area. 

Experiment With Different Perspectives

Explore various angles and perspectives to discover the most compelling compositions. This may involve moving closer to or farther away from your subject, changing your elevation, or adjusting the angle of view. The key for me with this is to have fun. Don’t get bogged down on one composition. Look for something in the distance that may not have immediately caught your eye.

Mindful Composition

Practice mindful composition by paying attention to the placement of elements within the frame. Consider the rule of thirds, leading lines, and other compositional techniques that you would normally apply to your landscape shots to create visually pleasing and balanced compositions. Use clouds, mist, and atmosphere as key elements in your shots.

Conclusion

In the world of landscape photography, telephoto lenses often take a backseat to their wide angle counterparts. However, their unique capabilities should not be underestimated. Telephoto lenses allow you to compress, isolate, and capture distant details, unlocking a world of creative possibilities in landscape photography.

By choosing the right telephoto lens and mastering the techniques specific to these lenses, you can capture breathtaking landscapes that showcase the beauty and intricacies of nature. Whether you’re framing distant mountains, exploring minimalistic compositions, or embracing the power of layered landscapes, telephoto lenses can elevate your landscape photography to new heights.

So, next time you venture into the great outdoors with your camera, don’t forget to pack a telephoto lens in your bag. It might just be the key to capturing landscapes that leave a lasting impression and evoke a deep appreciation for the wonders of the natural world.

He captured people in shadow on Chicago sidewalks and under storefronts in wintry Coney Island. He also shot athletes like Muhammad Ali and Mickey Mantle.

(From the Hancock Park District)

If you have a passion for photography or if you want to learn, come along on a hike with fellow photographers to capture the beauty of our parks through the lens of the camera. We will hike the trails taking photos of scenery, wildlife, plants, and anything else that would make an interesting subject. All skill levels and camera types are welcome.

Riverbend Recreation Area, Big Oaks Activity Area, Shelter 3. Saturday, October 14^th 9-11 AM. Ages 16 and up. Free; registration is not required.

Riverbend Recreation Area is located at 16618 Township Road 208, Findlay. For complete information about upcoming programs and events, view the Programs & Activities Calendar at www.HancockParks.com or call the park office at 419-425-7275.

Photographers focus a lot on the technical aspects surrounding their work, whether it’s the gear they are using, finding the perfect settings for their images, or trying to capture every pixel. While those can be important in some situations, it leads to many of us neglecting this very simple practice that will have a larger impact on your final image.

Many people start practicing photography by taking photos and learning techniques yet neglect reviewing their work. One thing I continually notice is that many people don’t want to spend a lot of time editing their images, which results in them not reviewing their work enough. While it is a privilege to be able to return to a location to photograph it again, there is no better way to improve your own work than to get your images back to a computer and figure out what worked and what didn’t. Asking why a certain composition worked better than the rest or which moment of light induced the emotions you’re hoping to express is always beneficial.

In this video, I detail multiple returns to the famous spot of Watkins Glenn, New York. I break down my entire thought process behind my compositional choices and specifically, how reviewing my images from previous days directly impact on the improvement of my final image. Something very interesting about this journey was that I started off thinking the shot simply made itself without a second thought. Yet, when I got my images back to my computer and spent time thinking about every little detail, I recognized my image could be improved.

Sometimes, things are not as simple as they appear, and you’ll find that a single image I took within in journey can be told in multiple ways. I’d love to know what crop you’d choose for the final image and which one you think is strongest. It’s these types of discussions and thought exercises that can improve our work no matter where we are on our photography journey. 

An opening reception of Thru the Lens, The Joe Center for the Arts’ newest photography exhibition, will be held Friday, Sept. 22 from 6 to 8 p.m. EDT.  

This juried photography exhibition runs through Oct. 20 and presents amazing images of human interest, landscapes, seascapes, sunsets and the natural world. All pieces will be available for purchase.

Awards will be presented by juror Kathryn Stivers of Tallahassee at the Sept. 22 event. An award winning architect, fine art photographer and fused glass artist, Stivers captures the beauty of the Florida Panhandle. While she has trained at university in the fields of fine art photography, printmaking, and architecture, photography remains her first love and passion. 

The Joe is located at 201 Reid Ave in downtown Port St Joe.  Admission is free.  Hours of operation are Wednesday through Friday from 11 a.m. to 6 p.m. EDT and Saturday 11 a.m. to 3 p.m. EDT. The Joe Center for the Arts is a 501(c)(3) organization whose mission is to exhibit, educate, partner and inspire through the arts.