The President of the National Assembly, Yaël Braun-Pivet, and La Chaîne Parlementaire – National Assembly (LCP) are launching the National Assembly Political Photography Award – LCP. Bettina Rheims will be the honorary vice-president of this first edition.

A jury made up of twelve people, including 6 deputies and 6 personalities from the world of photography or the media, will reward, each fall, a remarkable photograph relating to political news and its actors, taken during the ordinary former session. Applications must be sent before October 5.

The photographs from the final round will be exhibited at the National Assembly during the month of November and the winner will receive a prize of 3,000 euros during the Prize award ceremony which will take place at the National Assembly.

Last saturday, the Nelson-Atkins Museum of Art unveiled the Evelyn Hofer (1922-2009) feature exhibit. Hofer, a photographer, was best known for her gritty, street level photography. Although relatively unknown in the states, her work is celebrated throughout Europe. Her career as a photographer spans several decades, and if a picture says a thousand words, Hofer’s work wrote novels.

During her career, Hofer worked all over the world. Most notably in Italy, France, Ireland, Spain and the United States. Mainly focusing on European and American cityscapes, she worked closely with journalists and published several books of photography from 1959 to 1967. Her style was different from most during the time. While many other street photographers were known for having a more “aggressive” style of photography, Hofer took extra care to ensure that those portrayed gave consent and were posed. She carried around a bigger camera, and took care to do her subjects justice.

Hofer was also among the trailblazers to shoot in color. As color film developed, Hofer kept her same style, portraying everyday people within their environment. While just as impactful as her black and white photography, the color photos Hofer captured only serve to tell a more detailed, honest story.

She had an absolute knack for creating stories within her photos. Hofer often portrayed her impromptu subjects in front of beautiful landmarks, such as a cyclist in front of the Golden Gate Bridge, or a blind shepard in a seemingly endless field. Her skill with balancing subjects and their environments is one of the most striking aspects of her work, especially in her wide shot photos.

While her work was consistent, mainly being shot with the same style and similar cameras, every city that Hofer portrayed had its own unique feel. Whether capturing military chaplains and secretaries in Washington D.C, or rebel youth in Ireland, Hofer had a unique talent for allowing each country and their cities to breathe on their own.

The Evelyn Hofer exhibit contains over 100 photographs, quotes, notes, and journal entries by the photographer. The exhibit will show until mid Feb. and tickets can be bought online on the Nelson-Atkins Museum of Art’s website.

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Dalton Junior High School ninth-grader Taylor Nietzsche did not realize how convenient today’s generation has it when it comes to capturing a moment in time with the quick snap of a camera button.

That was until she learned about creating cyanotypes in her Photography I class, a process that captures an object in time through unconventional ways by today’s standards of photography.

The class, taught by art teacher Kristi Harvey, recently had students create their own chemical cyanotype photographs, one of the oldest photographic printing processes in history dating back to 1842 when it was discovered by scientist Sir John Herschel.

“I didn’t know it was photography because you’re not actually taking pictures,” Nietzsche said.

Instead, cyanotype photography, known as a “sun-printing” process, involves using a specialized white paper coated with a solution of iron salts created by combining potassium ferricyanide and ferric ammonium citrate, which becomes sensitive to ultraviolet (UV) light.

An object is placed on the paper and then exposed to sunlight (or a UV lamp). When sunlight hits the paper, the area not covered by an object will react and turn blue, while the area underneath the object will remain white, effectively imprinting its “shadow” on the paper.

The paper is then processed and rinsed in water to stabilize the material and create a deeper shade of blue while the print of the object remains white.

Cyanotypes derive their name from the cyan shade of blue created. Originally popularized as a way to study botany by capturing plants, cyanotype photography was later used by engineers to produce copies of architectural drawings, coining the term “blueprint.”

For the class project, Harvey ordered cyanotype paper that had already had the solution added. Students used anything they had available in their backpacks to create their prints, ranging from hairbrushes and candy wrappers to earphones and charging cases.

Kaylen Chitwood, who used a pack of gum for her print, said the process was fascinating.

“I didn’t realize after the paper had dried, it would completely change colors again,” she said. “It turned a lot darker.”

Mary Sharp and Marley Barmore both said the results were unexpected after using a bracelet, hair bows and pencils for their prints.

“After we came back inside, we submerged them in water to stop the thermal process,” Barmore said. “It was cool to see how it worked.”

“You could see the shadows of the objects (on the paper), which I didn’t expect,” said Sharp. “You could see the reflection of the pencil on the paper in a lighter color. It’s cool because you could see different results with each try if you wanted.”

Harvey, who began her second year as a visual arts teacher for Dalton Public Schools this year, has taught photography classes for seven of her 20 years as a teacher. Harvey also teaches drawing and painting, pottery and ceramics and eighth-grade general visual arts classes. Ninth-grade students are able to receive a high school fine arts credit by taking art classes at the junior high.

Harvey said educating students on different forms of art is essential.

“The purpose of (Photography I) is to educate these students about careers as they start high school,” she said. “Right now, things like technology, cellphones, photographs, social media, kids are exposed to all of these things. What I hope to do is show them that they can look deeper into what they see. Like how to tell a story with the photos (they) take or how to capture a moment in a more aesthetic way.

“I think it engages and creates more visual literacy and allows students to think a little tighter, so to speak. Instead of just that click (of a camera), they’re really analyzing what they’re seeing and doing, so I want them to know about careers that they may not have realized could involve the art of photography specifically.”

Principal Matt Phillips said Harvey and her students are a “great example of what can happen when you combine talented students with amazing teachers.”

“Allowing students to engage in multiple forms of visual art is vital to a well-rounded educational experience,” Phillips said. “Having a quality, engaging art teacher such as Ms. Harvey is a valuable asset to any school staff, and we are thankful for the way she connects with our students and their interests. She makes relationships with her students and uses those relationships to connect them to art that interests them.”

Harvey said her goal is to have students leave the classroom with a new perspective.

“What’s interesting is there are things like this that they never knew about that came before the cellphone in their hand or a DSLR (digital single-lens reflex) camera,” she said. “They have really taken to it well.”

Chitwood said she has a different outlook after the project.

“I didn’t realize there were ways to take pictures other than using a camera,” she said. “It made me respect the people who used this back then.”

Sharp shared similar sentiments.

“It made me realize that I’ve grown up very limited, just taking pictures on my phone and that was all I knew,” she said. “It was so cool to experience this.”

Harvey said the class will revisit cyanotypes later in the semester.

“That way they can apply what they learned the first time around and maybe do things differently.”

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A Northeast Ohio photographer is creating a home base in Oberlin.

Aileen Smith, 32, a Lorain native who currently lives in Amherst, specializes in couple photography, boudoir, engagement, wedding and maternity.

“When I first started, I wanted to accept any and all projects, but now that I’ve been doing this for a while, I have found what I’m really passionate about,” Smith said. “I’ve been working really hard and it’s nice that it’s paid off in a way that now I can enjoy this studio space and move into the next chapter of my business.”

Smith’ photography business, Aileen Elizabeth Photography, has been shared across streaming platforms and acknowledged by companies such as Walgreens.

Smith said she credits her success and growing clientele to maintaining good energy and building relationships with clients.

“Majority of my clients are referrals,” she said. “When you put your heart into your work, clients will tell their family and friends because they want them to have that same experience.

“I think of them as friends and people who I create good relationships with, so by sticking with that and being consistent, speaks volumes about how I like to run my business.”

As her business reaches its seventh year, Smith is opening a new studio inside the Huntington Bank building, 5 S. Main St. in downtown Oberlin

“I would’ve never thought I would be at this point in my business,” she said. “I’m so grateful for where my business is because there was a time I hoped people would book me for their weddings and events, and now I’m almost completely booked for the next year. It’s very cool.”

“I always wanted a studio space, but never felt it was a good time for it; I found this space and just fell in love with everything about it.”

Smith said she plans to open up the space overlooking Oberlin College for other creatives to utilize.

“There aren’t a lot of studios available on the west side, so I know a lot of my photographer friends are looking forward to it,” she said. “I want to do events like photo content days and networking opportunities eventually.”

Smith said she looks forward to creating a presence within Lorain County.

“I’m so excited to be here in Oberlin,” she said. “I’ve shot down here a lot, and I’m looking forward to being here in this close knit, artistic community.”

War photography is a genre that transcends mere visual documentation. It is a testament to the human spirit, a mirror to society, and a call for change. The photographs created are ones that must be shown to the public. We tend to hear sound bites from politicians talking about going to war and the devastation it will bring. We see headlines from media outlets mixed in with news stories of the day. Some important, others about something a celebrity is wearing at an event. But to view the destruction that world leaders bring upon civilization and environments is perhaps the only true version the viewing public outside of the horrors of war will get to witness.

Photographer, Giles Duley, was born in London in 1971, his journey into the world of photography started out with music photography. He was capturing images of famous rock stars for major publications, and then in 2004, he shifted his focus to documentary photography. With this new path, Duley traveled to conflict zones and began to tell stories for the viewing public. His career took a turn, when on assignment in Afghanistan, he himself became a casualty of war, resulting in the loss of both legs and an arm. This devastating incident might have ended many photographers’ careers, but for Duley, it only fueled his determination to continue his mission.

Duley’s work is distinguished by a focus on the human aspect of conflict. He doesn’t just capture scenes of warfare or the destruction it causes, however, he delves deeper, giving a voice to the often-forgotten victims, the displaced, and the wounded. His lens becomes a bridge between the world’s safe havens and the harrowing realities of war zones. While doing this, he connects with his subjects on a deeply personal level. He doesn’t photograph them from a distance. He becomes a part of their lives, sharing their stories and their pain. This emotional connection is evident in the powerful portraits he captures, where the subjects’ eyes often speak about their experiences and the trauma they’ve endured.

We live in a world where conflict and displacement continue to affect millions of lives worldwide. Giles Duley’s work reminds us that war photography is not just about the aesthetics of an image; it’s about bearing witness to the human condition during its most trying times and seeing humanity in the horror. 

Thu Sept. 21 at 9:30PM on WKAR WORLD & STREAMING | A bilingual documentary film that explores a town in rural California working to integrate two distinct ethnic and linguistic groups through photography.

The film looks at how a creative practice like photography can succeed at cultivating leaders who are grounded in community cohesion. With photography as their medium, the participants in this project carve a path in a community that years ago was foreign to most immigrant farmworkers.

Michael Leis photographs landscapes “that tell a story.” That means when he’s flying his EVO II Pro drone, trying to find the right shot, he’s looking for two or three striking points of interest. Leis captured this study of light and shadow over Timber Coulee in Vernon County during the late evening – “the golden five minutes,” he calls it. The scene has at least three of those points of interest: the red farm buildings, the meander of Coon Creek (renowned for fly fishing) and the five “rolling contours” in the fields above the barn that “give that hillside character,” Leis says.

When did you shoot this photograph, and do you remember that day? What do you think ‘makes’ this photograph?

The photo was taken during the evening. When I left our home, I told my wife, ‘I don’t know where I’m going and I won’t be home till after dark.’ I drove to Timber Coulee in Vernon County and kept driving until the shadows were just right. I pulled off on a side road and launched the Evo. From there I could see three points of interest. First, the farm. Each farm has its own farming practices. Note the hay in the lower right, corn in the center and strip cropping to the top near the tree line. Second, Coon Creek. Fly fishermen love this picture, because they can see the beauty of the area that they might fish one day. Third, God the artist. Above the red barn, in the sun, are five rolling contours which give that hillside character. Then, add the 400+ foot hills with shadows in each coulee. Most coulees have a creek or stream that feeds into Coon Creek, which is the creek in the photo.

When do you like to shoot, and why?

I have always loved aerial photography. I wanted to be more than a guy with a drone. I practiced on the farm for one year but quickly realized that you need to know four things; topography, FAA laws, photography, and the tech part of droning. Early morning or late evening are when most of my photos are taken. In most landscapes, I try to have two to three points of interest in the photo with none of them in the middle of the picture.

Where are you based? Where can people find your photography?

My wife and I live on our farm on St. Mary’s Ridge near Cashton. Next year we hope to roll out “Leisurefarm Images.” We will provide drone services and sell various landscape prints. My wife takes rural landscape and wildlife pics as well. As for now, we sell prints through Instagram by direct message. I do drone projects for real estate, insurance inspections, and gifts for private individuals, videography and photography. My wife rides shotgun with me once in a while but she says she needs a cup of ‘good coffee’ in order to come with.

Submit your photos to cmamerow@milwaukeemag.com

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We are thrilled to announce that the Smithville-DeKalb County Chamber was recently awarded a Rural Video and Photography Grant from The Tennessee Department of Tourism Development (TDTD). This significant grant, amounting to $16,500, is set to elevate our tourism outreach efforts.

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