The last time PetaPixel spoke with talented macro photographer David Joseph, he was using his smartphone to incredible effect. Joseph has now upgraded to a dedicated camera system and pointed his new macro lens at spiders, an oft-misunderstood and rarely appreciated arthropod that plays a vital role in ecosystems across every continent, save for Antarctica.

“I see spiders have a bad public reputation, which should not be so,” Joseph tells PetaPixel over email. “Being ‘eye to eye’ with spiders for a long time now, especially the past three months, has given me some eight-legged friends I long to see every night when I go out.”

When Joseph says “every night,” he means every night. No matter the weather or how he feels, he grabs his camera gear and heads outside each evening to seek out spiders to photograph.

Many of Joseph’s new arachnid pals are wolf spiders, perhaps the most wide-ranging of all spiders due to their incredible adaptability, and huntsman spiders. These common — and mostly harmless — spiders do not benefit from their intimidating appearance and unfriendly names. However, they are beautiful in their own way, as Joseph’s excellent macro photos demonstrate.

Not all his photos show spiders being docile, though. He also wants to capture their “beastly” side, which, as he explains, is just “spiders being spiders.”

Some photos show the motherly side of wolf spiders, too. Wolf spiders are unique in the way that they carry their egg sac. The spider keeps its silken sac attached to the spinnerets at the end of its abdomen, meaning that the expectant mother must change how she moves to avoid harming her eggs.

Once the spiderlings hatch, the mother spider carries her children onto the dorsal side of her abdomen for several weeks. That is one committed mother, especially relative to many other spider species.

The Spiders Help Joseph Feel Connected to the World in New Ways

“A lot of times, I’ve found myself struggling to love or be attached to something for long. These spiders changed that,” Joseph tells PetaPixel. He explains that alongside his photos of the spiders and his new understanding of them, he has felt a closeness that has otherwise been challenging to experience.

“I hope my photos draw people close enough to see spiders from a point of view they’ve never seen them from. To show their strength, motherly side, as well as vulnerability,” Joseph continues.

By looking at spiders eye to many eyes, Joseph hopes that people who see his photos will feel less aggressive toward spiders and, ideally, encourage people to pause and take a closer look at them. A spider is just an eight-legged friend you haven’t made yet.

Joseph hopes that considering spiders differently will enable people to change their preconceived notion that “spiders are bad.” At the very least, someone doesn’t have to enjoy spiders as much as Joseph does to feel respect toward them.

The Move from Smartphone to OM System

As PetaPixel showcased last year, Joseph achieved great macro photos using his smartphone. However, the shift toward OM System, formerly known as Olympus, has enabled him to capture even better images.

“Switching from a mobile phone to a dedicated camera system has been a game changer. I have been able to do a lot of things easily and faster, as well as some I couldn’t even do then,” Joseph tells PetaPixel.

While Joseph could do manual focus stacking using his smartphone, it was extremely challenging and tedious. With his OM System EM-5 Mark II and M.Zuiko 60mm f/2.8 macro lens, he can use automatic focus bracketing.

“My favorite thing about shooting macro with an actual camera is the autofocus bracketing capability, which helps me get more of my subject in focus and achieve a sharper result with just one click,” he says.

While only some camera brands and models include automatic focus bracketing features, Joseph notes that OM System includes this feature on many of its cameras, even its less expensive ones. He also notes that he believes that OM has macro photographers at heart when they design their products. It is easy to agree with this sentiment, as OM routinely offers intelligent and robust features in its cameras and builds its gear to survive challenging outdoor shooting scenarios.

As for lighting, Joseph primarily uses artificial light. “I attach a Godox V350o flash to my camera and a flash diffuser. I use the Cygnustech Diffuser, which is the best and most popular diffuser in the macro photography community. It’s made by my good friend and pro macro photographer, Brendan. Shout out to him for all his brilliant work and support; he’s an amazing person,” Joseph says.

The diffuser helps soften and spread the light from the Godox flash, ensuring that Joseph’s macro shots look natural. “I never use my flash for macro without attaching the Cygnustech Diffuser,” he adds.

Respecting the Subject

Although many people have a misguided — albeit understandable and relatable — fear of spiders, they are very sensitive animals.

When spiders do not feel threatened, they are generally very calm and docile and do not pay much attention to people. However, it is critical to approach them very slowly and quietly.

Joseph spends a lot of effort showing his eight-legged subjects that he is not there to hurt or disturb them. While getting up close and personal to capture enough images for a focus stack may seem scary, Joseph says that spiders “don’t attack.” That is not to say that someone should not be careful and know if a spider’s bite is medically significant before crawling around in plants, especially at night. However, very few spiders pose a genuine threat to healthy adult humans, and even fewer will ever bite someone who is not actively harassing them.

“Any time of the day or weather works. I prefer photographing them at night or early mornings when I know they’ll still be out and probably going on with their spider business undisturbed by humans. Most of the spiders come out at night too, and they’re easy to spot with bright lights. Their bright, reflective eyes give them away,” Joseph says.

One of his favorite species, wolf spiders, has famously reflective eyes. “It’s hard to pick just one favorite,” he says. “I really like how wolf spiders look up close, their speed and strength, their fierceness and care.”

However, huntsman spiders are up there. Joseph’s favorite individual spider is a huntsman he spotted one night eating a caterpillar. “I almost cried the night I spotted her. Weird, but I mean it.”

The lengthy caption in Joseph’s Instagram post below helps illustrate just how much photographing spiders means to him.

More from David Joseph

Hopefully, arachnophobes have been able to appreciate David Joseph’s photographs. He demonstrates admirable passion, respect, and photographic talent. While spiders can be scary, macro photographers like David Joseph help show that spiders are worthy of respect.

While loving spiders as much as Joseph does may be a tall bar to clear, learning to show their beauty through macro photography is achievable for all photographers.

More of David Joseph’s work is available on his Instagram.

Image credits: All photos by David Joseph (@abcdee_david)

By Hayden Sumlin, contributor 

Atlanta, GA — Community partners, photographers, and Emory staff on Sept. 7 held a reception for the upcoming exhibition, “You Belong Here: Place, People and Purpose in Latinx Photography.”

The event in Ackerman Hall at the Michael C. Carlos Museum celebrated Emory’s first exhibit highlighting the Latino community.

“Young Belong Here” is organized by Aperture and curated by Pilar Tompkins Rivas, chief curator and deputy director of curatorial and collections at the Lucas Museum of Narrative Art in Los Angeles.

“It’s the first exhibition of its kind at Emory,” said Andi McKenzie, site curator at the Carlos Museum. “But, it is a part of a larger push to expand the collections at the Carlos, so we hope this will be the first of many exhibitions like this.”

As curator of works on paper at the Carlos Museum, McKenzie helped bring Tompkins Rivas’s collection to Emory.

Thanks to Tompkins Rivas and “Aperture” magazine, a nonprofit publisher that supports photography worldwide, the diverse and unique experiences of Latino photographers have been showcased across the United States, before making their way to Emory’s Michael C. Carlos Museum. The exhibit began Sept. 9 and runs through Dec. 3, 2023. The exhibit was on display at Princeton University Art Museum earlier this year.

Yami Rodriguez, an assistant professor of history, worked with Emory student interns over the summer to craft the interactive component of the “You Belong Here” exhibit at the Carlos Museum.

“The idea was, since none of these photographers are actually local, we wanted to find a way to bring in local voices,” Rodriguez said.

This Fall, students in Rodriguez’s history class will produce an essay analyzing one of the pieces in the exhibit.

The student-led, interactive portion of the exhibit allows museum goers the opportunity to respond to four personal questions about their sense of belonging, their identity, and their broader relationship to the world.

Cassandra Olive and Daisy Macias, Emory’s Andrew W. Mellon intern and Daniel Shultz intern respectively, crafted an activity that allows exhibit attendees to respond to the questions by hand or with a Polaroid photograph.

Some of the responses already posted on the wall at the interactive portion of the exhibit highlight the importance of family, home, and time spent in nature. “You Belong Here” chronicles the unique social and intimate experiences of the Latino community from the 1960s to now.

On Sep. 17, Georgia Public Broadcasting and the Carlos Museum will celebrate Hispanic Heritage Month with a family day, hosted by author Raúl the Third.

For more information about the exhibit, click here.

Editor’s note: The Associated Press Style Guide recommends using the word Latino, which is why this word is used throughout this story. The style guide recommends that Latinx — a gender-neutral term preferred by some people — should only be used in quotes.

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Framing is everything in photography. But one creative shooter takes framing to a whole other level by looking for everyday objects to shoot through.

Gebe Alpar has to use his imagination every time he goes out to shoot pictures as he frames his subjects through a gate, a window, or even a combine harvester.

“I am attracted to this style,” Alpar tells PetaPixel. “Maybe because research studies have confirmed that our brain shows higher activity when we see rounded objects.”

“I like the framing style because I can focus all the attention on a specific subject. Even if it’s an animal, a person, a building, or simply a great view, but in a pleasant placement,” he continues.

“Everywhere I go, I become a curious wanderer, searching for hidden gems in the form of new angles, round shapes in fences, and captivating compositions in the most unexpected places.”

Alpar says he looks for “framed moments” everywhere he goes but most of his captures are done in his hometown of Cluj-Napoca in Romania.

“Most of the time I try to capture a subject perfectly framed on the specific frame I just found. I am focused mostly on buildings, but in the future, I want to include human subjects too,” he explains.

“Sometimes it is hard to get the result I want. I have so many unposted photos because when I saw it twice, it didn’t convey the feeling I was expecting.”

Alpar says that while he uses a Sony A6000 camera and a Sony 18-105mm lens, the best camera for the project is his iPhone 13 Pro Max.

“All the time I have it in my pocket, it offers me a wide range of lenses at an acceptable RAW quality,” he says.

Alpar says it is difficult to pick one out as his favorite but the photo an iconic building in his hometown of Cluj-Napoca is special because it has so much history.

More of Alpar’s framed moments can be found on his Instagram.

Image credits: All photos by Gebe Alpar.

In a world where digital reigns supreme, Polaroid continues to take steps to bridge the gap between the analog past and the digital present. The all-new Polaroid I-2 instant camera just launched, and it’s redefining the boundaries of instant photography. This high-end camera marries the timeless charm of analog photography with cutting-edge technology, giving photographers a new experience.

It took four years to bring the I-2 to life and here’s a video sharing the story behind the new instant camera:



Polaroid Chairman, Oskar Smolokowski, expressed the company’s vision saying, “For a long time, it was our dream to make a high-end Polaroid camera and give people more choice in the world of analog photography – a choice that many passionate photographers told us they were craving.” And with the I-2, that dream has become a reality.

The heart of the Polaroid I-2 is its continuous autofocus three-lens system, which boasts the sharpest lens ever featured in a Polaroid instant camera. This lens, developed in collaboration with Japanese optical engineers, delivers unrivaled image quality and depth of field thanks to its wide aperture. But what sets the I-2 apart is its LiDAR (light detection and ranging) sensor, which accurately detects the distance to the subject and auto-adjusts the lens for pinpoint focus, even in challenging lighting conditions.

In addition, the I-2 is the first Polaroid instant camera for integral film that grants you full manual control. With a large, bright viewfinder and an integrated display, you can select shutter speed, aperture size, and one of six shooting modes directly on the camera. The result? More creative freedom in your instant photography endeavors.

Photographers love options, and the Polaroid I-2 delivers just that. It’s the first instant camera compatible with i-Type, 600, and SX-70 films, ensuring you can find a favorite that works best for your vision. Plus, the built-in lens thread mount supports 49mm filters, allowing you to experiment with different effects and styles.

The I-2’s design is a celebration of both form and function. It’s crafted from high-quality materials and maintains the distinctive Polaroid look while adding modern elements. The camera’s exterior is built around the lens and manual controls, elevating the ease of use in order to maximize one’s experience.

To bring the I-2 into the digital age, Polaroid has equipped it with Bluetooth connectivity. This means you can easily upgrade your camera’s firmware and have complete remote control via the accompanying app. It’s a nod to the future while preserving the analog magic of instant photography.

The Polaroid I-2 instant camera is available for purchase at polaroid.com and additional retailers starting at $599.99 for the camera itself, with the option to upgrade to the Polaroid I-2 Travel Set for $669.98, which includes the camera, premium case, and two packs of film.

This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!

Caroline Williamson is Editor-in-Chief of Design Milk. She has a BFA in photography from SCAD and can usually be found searching for vintage wares, doing New York Times crossword puzzles in pen, or reworking playlists on Spotify.

Acclaimed nature photographer Patricia Caulfield, who successfully sued Andy Warhol over his use of her photo of flowers, has died at the age of 91.

Caulfield, who also served as executive editor of Modern Photography magazine in the 1960s, died on July 16 at an assisted living facility in Manhattan, New York.

The photographer’s death was confirmed by her sister and only immediate survivor Kathleen Hall.

Caulfield won a legal battle against Warhol after the pop artist misappropriated her photo of hibiscus blossoms for his renowned Flowers series.

Caulfield’s case bears some similarities to photographer Lynn Goldsmith’s lawsuit against The Andy Warhol Foundation over the artist’s use of her photo of Prince.

According to an obituary to the photographer shared on Echovita, Caulfield moved to New York City in the late 1950s and worked in a camera store.

Her perseverance and dedication to photography led Caulfield to get an entry-level position as a secretary at Modern Photography magazine. She worked at the magazine for over a decade before she advanced to the position of the magazine’s executive editor in 1964.

The Photographer’s Lawsuit Against Andy Warhol

During her time at Modern Photography, Caulfield had many photographs published in the magazine. One of her most famous photos was of a hibiscus blossoms in an arrangement that she took at a restaurant in Barbados.

Caulfield’s photos of the hibiscus blossoms were printed in the June 1964 issue of Modern Photography to illustrate an article on a new Kodak home color processing system.

The New York Times reports that Warhol contacted Modern Photography magazine to buy Caulfield’s photo — but felt the price was too high.

According to Caulfield’s lawsuit, Warhol instead clipped her photo straight from the pages of the magazine, cropped it, and used it as the basis for his iconic silkscreen paintings which became known as his Flowers series.

Warhol’s Flowers series was first shown at the Leo Castelli Gallery in Manhattan in November 1964 and went on to become some of his most renowned and commercially successful works of art.

When Caulfield discovered that Warhol had used her photograph without her consent in his Flowers series, she sued him. In 1966, the lawsuit was settled out of court in Caulfield’s favor.

As part of a settlement that Caulfield and Warhol eventually reached, he created two new Flowers paintings for her and agreed to pay her a 25% share of the royalties derived from a portfolio of the prints.

A Life Dedicated to Photography

According to The New York Times, Caulfield later left Modern Photography in 1967 to pursue a career as a photojournalist. Her photographs during this time reflected her growing passion for environment and wildlife.

Caulfield published several books including Complete Guide to Kodachrome II, Beginner’s Guide to Better Pictures, Photographing Wildlife, and The Everglades which presented 66 of her photographs.

“I guess there’s the hope somebody may see my photographs and think, ‘that’s a wonderful animal, maybe it’s worth making an effort to save,’” Caulfield reportedly told the Knight-Ridder News Wire in 1977.

“But at least I’m effective in making a record of something before it all gets ruined.”

Image credits: Header photo via Echovita.

A photojournalist operating in a small town sustained a serious injury after he was run over by the mayor’s truck during a dispute over parking.

Fox 2 cameraman Wade Smith was with reporter Mitch McCoy in the village of Hillsdale, Missouri to investigate why the local authority there had been threatening to tow multiple cars for not displaying village permit stickers.

After speaking with Police Chief John Bernsen, the journalists wanted to speak with Dorothy Moore who is the “chair of the board of trustees”, a position that is also known as the mayor.

Moore, who presides over Hillsdale — a municiplatiy in St. Louis County that has a population of around 8,100 — has a history of not talking to reporters; going so far as to have a sign erected in the village barring members of the media.

Things Get Strange

The police chief denied that the mayor was at the Village Hall, but the journalists could hear her talking inside. After waiting for around an hour, with McCoy shouting outside to request an interview, the mayor makes a hasty exit out of the back door and dashes toward the truck.

The photographer alerts the journalist to the escaping mayor and Smith runs over to ask her questions. “Why are you avoiding us?” Asks Smith. “Mayor, people want to know, what’s going on with these tickets?”

The mayor climbs into the passenger seat as a municipality worker starts the engine from the driver’s seat. As Smith shouts questions at the mayor, the driver gets ready to pull off which is when the footage cuts because it’s the last image that Smith captured before getting run over by the trailer attached to the truck.

After Smith was run over, an ambulance arrived to take the stricken photographer to the hospital where he underwent emergency surgery on his leg.

To make matters worse, the Hillsdale worker, who was told to drive away by the mayor, saw the lensman on the ground in his rearview mirror but tells police he was unaware Smith had been hit.

Arrest

Fox 2 has taken the decision not to air the footage of the photographer being run over because there is now an active police investigation. The unnamed Hillsdale employee driving the truck has been arrested and released pending a prosecutor’s review to decide if charges will be filed.

The photographer is now at home recovering from his injuries.

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Ever wonder what it is like to be a National Geographic photographer or filmmaker, traveling the world, experiencing exceptional adventures and witnessing spectacular, even rare, sights? I interviewed the intrepid Bertie Gregory, whose new show, Animals Up Close With Bertie Gregory, premieres September 13th on Disney+. This six-episode series — which swoops and soars in Antarctica, Botswana, Central African Republic, the Galápagos, Indonesia and Patagonia — weaves stunning footage and compelling narratives about elusive pumas, imaginative B1 killer whales, distinctive forest elephants, endangered wild dogs, intriguing seals and sea lions, Godzilla-like marine iguanas, iconic gorillas, awesome devil rays, fierce guanacos and handfuls of other creatures that are often not entirely what you might expect them to be. For insightful specifics about each episode, read Forbes’ Love To Travel? Wild About Nature? ‘Animals Up Close With Bertie Gregory’ Will Astonish You. Gregory and I continue our conversation, below, about the power of passion to fuel your dreams.

Laura Manske: As a child, your avid interest in nature directed your life’s compass.

Bertie Gregory: My family — mom, dad and three brothers — loved the ocean and water sports. From an early age, I was getting thrown into the sea! I did a lot of surfing, sailing and swimming when young. I grew up in a place called Redding, which is west of London. A couple times every year we would road-trip down to Cornwall [on England’s rugged southwestern tip, famed for its moorland and sandy beaches]. My passion started there. When you spend a lot of time outdoors in the natural world, you gain an appreciation for it. Because I was comfortable being in water — the cold and waves and rain — it made me comfortable [for my work now] in sometimes challenging conditions.

Manske: You earned a university degree in zoology. How did your obsession for animals transform into a photography career?

Gregory: When I was a teenager, I realized that if I took pictures of wild animals, it was a great way to get other people excited about the animals that I was excited about. I entered wildlife photography competitions and was lucky enough to win a couple. At the awards ceremony for one of them, I met Steve Winter, who is a legendary National Geographic magazine wildlife photographer. It was right place right time. A Willy Wonka Golden Ticket moment! Steve was looking for a new assistant at the event. I said the right things. He offered me a job. I worked for him for two years. We went all over the world for his assignments. That was my gateway into the National Geographic family, for which I have been working ten years.

Manske: As a travel journalist, savoring new places is like oxygen for me, a life force. I know you understand that. Travel is an intrinsic part of your life.

Gregory: People’s definitions of travel vary, right? A lot of my friends who aren’t in the wildlife film community, they travel with a backpack and hop between different places quickly. I don’t enjoy that at all. I like going to one place and getting to know every corner of it. That is the best way to prepare to film wildlife. That is what makes me tick. I love new experiences and really like challenges.

Manske: I’ve often said that new destinations excite me, yet it is the people whom I meet that make the journeys extra special.

Gregory: Totally. One of the best parts of filming wildlife? Not only do you get to hang out with animals, but also with very interesting people, crew, guides, scientists, naturalists. Everywhere we go, we meet fascinating local people. Always a pleasure.

Manske: In your work, there are often local unsung heroes — conservationists, environmental advocates, anti-poaching rangers.

Gregory: For the Elephant Quest episode, we traveled to the Central African Republic, part of the Congo Basin, which is a country that I never thought I’d get a chance to go to. It is full of extraordinary jungle. When most people think of elephants, they think of savannah elephants, the species that live in the big open plains. Forest elephants live in thick jungle. They are challenging to film because they sort of bump into each other, often reacting aggressively. On top of that, elephant ivory tusks are highly prized on the black market. Forest elephants have dense tusks, so they have been heavily poached. These are normally long-lived animals with strong family connections. Many have seen their family members shot by poachers. So they dislike people. We worked with an amazing tracker, whose family has lived in the forest for generations. His knowledge — helping us to navigate the jungle and advising how to stay safe around the forest elephants — was critical to our success. What I love about the format of this series is not only do we get to shine light on animals, but also get to shine light on people.

Manske: What is the most dangerous animal you’ve ever encountered?

Gregory: Humans are far more dangerous than wild animals.

Manske: How many countries have you been to?

Gregory: I don’t count. Travel is a key part of my job, yet for me it is all about the animals. I’m more focused on keeping count of which animals and animal behaviors that I’ve seen.

Manske: What destination do you most want to visit for the first time?

Gregory: It’s funny. For example, some people say things like: ‘I’ve been to India, but I haven’t been to France.’ They talk in terms of whole countries. That is interesting to me, because countries are enormous. Just because you’ve been to one part of a country doesn’t mean that you’ve completed it. It feels very strange to me. One of my most favorite places is Antarctica. Although I have been fortunate to travel there several times, I haven’t scratched the surface of the endless number of places that are there. That is why it keeps drawing me back. It is a very challenging environment to operate in, so it hasn’t been extensively explored like other places. I feel like an explorer when I am there, because I know that [my film crew] might be the only people who have ever spent an extended period of time in a particular spot or bay. That is exciting! Therefore, by hanging out there and being able to tough out the conditions and interpret animal behavior, I might see something for the first time. Therefore, Antarctica is the destination that I want to visit for the first time — even though I’ve been there before.

Manske: All new episodes include the determination of predator to find food. Predator vs. prey — that is real life. As much as some viewers might be jolted or squeamish or sad about watching a kill, the predator has to eat, has to feed its family, too. What balance do you try to achieve in filming these scenes?

Gregory: Yes, it’s important to know that nature, just as with humans, can be brutal — and difficult to watch. We often include hunts and predation, because those are often the most dramatic scenes in the animals’ lives. We definitely do not want to go too much into the blood and gore. That is why if you watch the scenes, we are careful about which parts are shown. Usually as soon as the animals have made contact with each other, our scene ends. What we’re trying to do is celebrate either the prey’s ability to avoid the predator or the predator’s athletic ability to catch the prey. It is about documenting and displaying the intelligence of animals.

Manske: New advanced equipment enables you to film scenes that were unattainable not long ago, such as the rebreather.

Gregory: For the Indonesia and Galápagos episodes, we used a rebreather, basically a fancy plastic bag that you wear on your back. Unlike scuba-diving equipment, in which when you breathe out it makes bubbles, the rebreather takes your carbon dioxide bubbles, sending them into a scrubber that removes the carbon dioxide from your breath. There’s also a little tank that adds oxygen. So you’re breathing the same breath over and over again with the carbon dioxide removed and oxygen added. This means that not only are you not making any noise or bubbles, which can spook a lot of animals, you can become accepted by the marine animals as part of the environment. Because you are recycling your own air, you are more efficient in your use of gas and can stay underwater much longer. Sometimes in the Devil Ray Islands, individual dives would be over three hours long. [We were] able to get closer to animals than we otherwise would. In wildlife films, time is your best friend if you’ve got it. The more time you spend waiting and filming, the greater the opportunity that something amazing can happen.

Manske: The night-vision technology in the Elephant Quest episode is truly eye-opening.

Gregory: We used a thermal-imaging camera, which had been developed for the military. It allows you to see into pitch darkness. With the elephants, we were able to see really interesting behavior of secretive animals that live around the elephants at night. We could also see patterns of blood vessels in the ears of the elephants. Their blood vessel patterns are unique. Scientists are now using thermal-imaging cameras to identify individual elephants by looking at these patterns. You can see how their circulatory system works in their ears, too. That is significant, because elephants are very large animals that can get very hot. They can’t dump body heat easily, so they [fan] their ears to [release] body heat. It is how they keep cool in the hot Congo jungle.

Manske: Your ambitious filming trips often require weeks away from home.

Gregory: As much as a lot of people think that we prance around filming animals, having a lovely time, most [of our days involve] overcoming challenging logistics. In Antarctica, we spent a month on a 75-foot [steel-hulled] sailboat, Australis, which was packed with camera gear and food. We sort of ate our way out as the trip progressed, gaining more living space. We have to be entirely self-sufficient. If camera equipment breaks, we can’t get FedEx to send anything. We bring our spare cables and cameras, which are being used in [demanding] environments. Sometimes they don’t make it. I’m quoting Top Gun: Maverick — ‘Time is your greatest adversary.’ That is exactly right. Time is everything. Animals are not always doing interesting things. We often wait for stars to align. You’ve got to be in the right place. The weather has to cooperate. With more time, we have a better chance of everything coming together.

Manske: Complex efforts go into planning and execution of each episode. Hundreds of details.

Gregory: I have great support from National Geographic. My name is in the title of the series, because I am the host. Yet a host gets far too much credit. I am a small cog in a large machine. As well as getting to hang out with animals, which is why I love my job, I also love to hang out with cool people. That’s a highlight! I live in Bristol, England, location of Wildstar Films [a multiple award-winning production company that has worked on many stellar documentary series and wildlife feature films]. It also has a huge team of producers, editors, logistics people. The team work is awesome.

Manske: What is your personal motto?

Gregory: Tough question! One of my friends, she has a great phrase for whenever I’ve talked with her about having a difficult time. She always says: ‘Try harder.’ I like that. Some things you can’t overcome by trying harder, but a lot of things you can. Often, when I [and my team are] on very challenging shoots, I think about her [advice]. Okay, how can we try harder here? Animals and the weather don’t read a script. Mother Nature might deny you some things that you want to film or follow, yet I have learned that if you are passionate and persistent, she will gift you with something else, often beyond your wildest dreams. Everyone thinks that you need patience [utmost] to be a wildlife filmmaker. I disagree. Passion and persistence are far more important.

This interview has been edited for length and clarity.

GVL/ Annabelle Robinson

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A new photography display by Douglas R. Gilbert featuring images of musician Bob Dylan is being exhibited on the Lake Ontario Hall Wall Gallery on Grand Valley State University’s Allendale Campus until Dec. 15. Following this, the exhibition will be moved to the Richard M. DeVos Center Wall Gallery on the Pew Campus to be on display from Jan. 5 to June 28, 2024.

The exhibition includes 27 photographs and proof sheets detailing the life of Dylan as a young musician. The photos capture a time when Dylan’s career was beginning to take form in the 1960s. 

The pictures were shot by Gilbert when embarking on an assignment for Look magazine in 1964. When Gilbert was only 21, Look magazine recruited him as a photojournalist. At that point in the magazine’s existence, he was the second youngest staff member employed.

According to the GVSU Art Gallery, Gilbert spent time photographing Dylan at his home and in Greenwich Village, New York. However, at the time, the photographs were denied publication as they were “too eccentric” for the magazine’s demographic.

Gilbert donated his life’s work of photographs to GVSU in 2018. Many of the unique and eclectic pieces donated had not been exhibited before. The importance of the photos are shown in the display of raw moments Gilbert was able to capture.

Prior to his passing in June 2023, Gilbert was interviewed for the GVSU Art Gallery’s YouTube channel, in which he discussed his interactions and experiences with Dylan. He mentioned one of Dylan’s earliest concerts, where a large crowd gathered on a small platform on which Dylan performed. Gilbert requested that the performance sequence be reenacted for a photography session. 

“We could stage one where we would set it all up like a concert. I could take some photographs. I want to make it look real,” said Gilbert in the GVSU Art Gallery interview. “He (Dylan) stopped and looked me right in the eye, about 12 inches away and said ‘nothing’s real man.’ He was a hard person to get close to. Yet that was what I needed– to get close to him.” 

Gilbert was faced with numerous obstacles along the way, but he managed to get around them. Doing so helped him focus on the fact that he was doing what he loved, especially with a growth mindset. 

The gallery display and experiences Gilbert had while photographing Dylan can inspire student photographers and artists. The work shows how perseverance and authenticity can be incorporated into any work and at any age.

Aspiring photographers can find inspiration from the stories behind Gilbert’s images. Gilbert’s website allows readers to view a selection of his images and  explanations of his photographic approach. 

Gilbert said “although the shutter may only open for a brief moment, that time was spent waiting for the perfect subject, perspective and lighting.” The work represents the pure intent of positioning everything in the frame to freeze time.

The Don and Catharine Bryan Cultural Series is honored to announce the Ray Matthews Photography Retrospective, a remarkable exhibition paying homage to the enduring legacy of one of the Outer Banks’ most celebrated photographers.

Matthews, who dedicated his life to capturing the coastal beauty of the Outer Banks, will be remembered through this captivating showcase of his work.

Event Details:

• Exhibition Dates: September 12 to October 7, 2023
• Opening Reception: September 12, 2023, from 5:00 p.m. to 7:00 p.m.
• Gallery Hours: Tuesday – Thursday, 10:00 a.m. – 4:00 p.m., Friday 11: a.m. to 4:00 p.m.
• Location: Glenn Eure’s Ghost Fleet Gallery, 210 E Driftwood St, Nags Head

Matthews’ lens captured the heart and soul of the Outer Banks in a way that few could. His dedication to the craft of photography and his profound connection to the region resulted in breathtaking images that have left a lasting impression on all who have had the privilege of viewing his work.

The opening reception on September 12, 2023, promises to be a special evening filled with the opportunity to immerse yourself in Matthews’ masterpieces. Join us as we celebrate the life and artistry of Ray Matthews and explore the beauty of the Outer Banks through his lens.

The reception runs from 5:00 p.m. to 7:00 p.m. and is free and open to all.

This retrospective is a free event, open to the public, and a unique chance to experience the coastal charm and natural splendor that Matthews so brilliantly captured. Don’t miss the chance to be a part of this extraordinary tribute to an artist whose work continues to inspire and resonate.

Towne Bank of Currituck, OBX Chevrolet Buick, Ramada Plaza Hotel of Kill Devil Hills, and Hilton Garden Inn of Kitty Hawk provide substantial support for this cultural offering of events.

The Bryan Cultural Series is a non-profit organization formed in 2012. The board of directors is composed of nine community leaders dedicated to offering a series of high-quality cultural events. These events will include a variety of visual, literary, and performing arts. The board strives to glean from the talent that has attained regional as well as national recognition to maintain a high standard.

For more information, visit bryanculturalseries.org.