Photography Collection From All Over The World
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State media has long been one of the primary sources of information about developments in North Korea, and its importance for professionals working on DPRK issues has only grown during the pandemic, when access to the country has become more restricted than ever.
But the limitations of relying on what is little more than regime propaganda are clear, and this is just as true when considering the images published by North Korea’s newspapers and wire services.
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Here are the 25 hilarious photos of people having the worse day of their lives. Sometimes you’re not having a good time of things. You didn’t get much sleep, the car won’t start, and you’re late for work. Seems like you’re having the worst day ever! It’s easy to feel grumpy and full of self-pity; you might even bring the people around you down as well, with your crappy mood.
People over at the r/Wellthatsucks/ subreddit are sharing their worst day photos, and you’ll be surprised by the amount of things that can go wrong.
Scroll and enjoy yourself. All photos are linked and lead to the sources from which they were taken. Please feel free to explore further works of these photographers on their collections or their personal sites.
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Long before the advent of social media and before there was a television in every home, Americans learned about the world in the pages of magazines like Harper’s Bazaar, Life, Look and the Saturday Evening Post. Photographs were a focal point in those mid-20th-century publications, informing and illustrating, conveying symbolism and sometimes racism, sexism and classism. The photographic works of Richard Avedon, featured in those magazines, stood out for their searing intimacy and for bringing readers face to face with celebrities, models, heroes, murderers, athletes, politicians, activists, musicians, writers and everyday Americans.
In the new exhibition “(Re)Framing Conversations: Photographs by Richard Avedon, 1946-1965,” now on view at the Smithsonian’s National Museum of American History, visitors can view 20 of the iconic photographer’s portraits of some of the most luminous personalities of our times—Judy Garland, Bob Dylan, Billy Graham, Malcolm X, Dorothy Parker and Charlie Chaplin, to name a few.
Louis Armstrong by Richard Avedon, 1956 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/1a/08/1a084b29-d158-49b2-af94-09f43bcf38c7/louis-armstrong-et2007-28388-s.jpg)
These are not glamour shots. The photographs are printed in a stark graphic black-and-white style and mounted on a black backing board, emphasizing the substance of the subjects.
“Avedon is not interested in flattery,” says Shannon Thomas Perich, curator of the museum’s photographic history collection. “He really is pushing on the boundaries of what portraiture looks like and thinking about how to get beneath the surface—how a portrait reveals a psychological state, an emotional state, a physical state.” The photographer injected a bit of himself in many of the images, Perich points out, arranging the lighting so that in his subject’s pupils, a viewer can see the faint reflection of Avedon himself.
Judy Garland at the Palace Theater, New York City by Richard Avedon, 1951 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/50/b8/50b84e9e-a7b1-4f37-add9-7ae537faac72/judy-garland-et2007-28303-s.jpg)
Born in New York in 1923, Avedon began his photography career in 1942 as a member of the U.S. Merchant Marines. During his service, he was tasked with making the standard-issue identification photographs for the seamen, taking tens of thousands of pictures. The characteristic devices of an ID image—a white backdrop, forensic lighting, a straight-on pose and a sober expression—became his signature style, says Philip Gefter, author of What Becomes a Legend Most: The Biography of Richard Avedon.
Avedon used the “most basic application of portraiture to assert the existential condition of [the human] in visual terms,” Gefter says. “He shot all of them in the same way, stripped of the clues about their status or accomplishment,” he says. “In effect, he created a forensic observation of American society across the second half of the 20th century, all specimens of the same species.”
Humphrey Bogart by Richard Avedon, 1953 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/65/b0/65b02f9b-4979-48c1-b8e4-afe3a22539a6/humphrey-bogart-et2007-28300-s.jpg)
By the mid-1940s, Avedon had begun his magazine career, having been taken under the wing of Alexey Brodovitch, art director for the fashion magazine Harper’s Bazaar. Avedon soon took New York by storm, with his works also appearing in Vogue, Life and Look.
“He was the most famous fashion photographer in the world,” says Gefter. In the 1957 movie Funny Face, Fred Astaire played fashion photographer Dick Avery, a thinly veiled tribute to Avedon, who consulted on the film. Memorabilia from the movie is in the new exhibition.
Bob Dylan by Richard Avedon, 1963 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/e9/9f/e99f118e-e28e-4263-a527-ba6aae23cdda/bob-dylan-et2007-28438-s.jpg)
Avedon became a celebrity in his own right. “To commission an Avedon portrait was the ultimate status symbol in New York,” says Gefter. “He glided through the upper reaches of American culture with the glamour and savoir-faire of a movie star, enjoying the kind of fame that doesn’t exist in the same way today.”
In 1962, the Smithsonian honored Avedon with his first one-man show. Avedon donated the works in the show to the Smithsonian and later in the decade made two more contributions. The American History museum now holds nearly a thousand photographs, negatives, advertisements and print proofs from Avedon in its collections.
Malcolm X, Black National Leader by Richard Avedon, 1963 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/84/6c/846cde23-1c24-4134-a127-5f9a23a652a9/malcolm-x.jpg)
When putting “(Re)Framing Conversations” together, Perich said she was guided in part by the words of essayist and playwright James Baldwin: “It doesn’t do any good to blame the people or the time—one is oneself all those people. We are the time.”
Baldwin’s essay “Letter from a Prisoner,” accompanied by an Avedon portrait of Baldwin, appeared in the April 1963 Harper’s Bazaar; a copy is on display in the show. Baldwin and Avedon had known each other since they were co-editors of the literary magazine at DeWitt Clinton High School in the Bronx.
The Reverend Billy Graham by Richard Avedon, 1964 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/d6/95/d695cbb3-9f17-4f98-b391-943075ef6577/billy-graham.jpg)
The two also collaborated on the monograph Nothing Personal. Published months after the 1964 passage of the Civil Rights Act, the book delved into the contradictions of American culture, illustrated by often-jarring juxtapositions of Avedon photographs—including a nude depiction of the Beat poet Allen Ginsberg facing off with an image on the opposite page of the American Nazi Party leader George Lincoln Rockwell, being saluted by a group of minions.
In “(Re)Framing Conversations,” Perich says she has similarly positioned Avedon’s portraits in groupings around themes, to provoke discussions—even providing a comfortable living room setting with couches for visitors to sit and peruse original magazines from the 1940s to the 1960s. Avedon’s images and the accompanying text in the magazines prompted multi-generational exchanges about what it means to be an American, Perich says. The Avedon portraits, too, she says, are meant to be in “conversation with each other.”
George Wallace, Governor of Alabama by Richard Avedon, 1963 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/93/89/9389ebd7-bc1b-4b42-bb2d-434d1d6af1ee/george-wallace-1963l.jpg)
“It’s not just about the genius photographer, it’s not just about the genius subject, but it’s about the period,” Perich says.
Avedon’s deep commitment to civil rights, Perich says, is illustrated in three portraits—of the segregationist, iron-fisted Louisiana political boss Leander Perez; the white supremacist George Wallace; and a Black man whose name was William Casby. The grouping asks museumgoers to consider the question: “How long does change take?”
Perez, who backed Wallace in his failed 1964 and 1968 presidential bids, is the very picture of arrogance and bitterness with his rimless glasses and tilted fedora, and a cigar jutting out of his downturned mouth.
William Casby, Born in Slavery by Richard Avedon, 1963 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/e6/95/e695e532-55ea-4a2e-983c-6d2cd0b193dd/william-casby-1963.jpg)
Wallace has an aggressive head tilt and slicked-back hair, a slightly clenched jaw and dark eyes glinting with malice.
Casby, born into slavery in Louisiana, has a straight-ahead gaze clouded by cataracts and perhaps all he has witnessed.
In the immediate post-World War II era, Americans worried about the atomic bomb and what it had spawned. They debated women’s rights and questioned whether a Catholic could or should be president. Many spiritual leaders emerged during this period, and Avedon’s triptych of the evangelist Billy Graham, Nation of Islam leader Malcolm X and English Jesuit priest the Reverend Martin Cyril D’Arcy provides another conversation opportunity surrounding the question “What guides your moral compass?”
Leander Perez, Judge, Plaquemines Perish, Louisiana by Richard Avedon, 1963 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/9e/1c/9e1cd978-4622-4d43-8617-9e48cec66c60/judge-leander-perez-1963.jpg)
A youthful Graham—who advised presidents from Dwight D. Eisenhower to Barack Obama—is depicted with a slight smirk playing at his lips. Malcolm X is blurry, viewed as a man in motion, his eyes in deep shadow. D’Arcy, known for his writings on love and humanity, appears somewhat sinister, however, with only half of his face fully visible.
“(Re)Framing Conversations” also explores how musicians have used their platform to shape American culture. Women’s contributions to arts and literature—and their lack of visibility—are also considered. Each conversation starter is accompanied by Avedon’s portraits of 1950s and 1960s icons. Another segment highlights Senator Joseph McCarthy’s 1950 to ’54 hunt for communists in Hollywood and among the nation’s journalists and writers—perhaps not so unimaginable in today’s polarized political environment.
Charlie Chaplin by Richard Avedon, 1952 Richard Avedon, NMAH/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/filer_public/73/38/73386b17-d8fb-4570-a12a-84082baf2476/charlie-chaplin-et2007-28309-s.jpg)
In one portrait from 1952, the silent film star Charlie Chaplin, who had been hounded by McCarthy and the media for alleged subversion, playfully uses his index fingers to form devil’s horns. The photograph was taken—unknowingly—on Chaplin’s last day in the United States. He left for his native England to promote a new film and was banned from reentering the U.S., leading to a 20-year exile in Switzerland.
Avedon continued to work until he died at the age of 81 in 2004. His death occurred while on assignment in San Antonio for the New Yorker, where he had become a staff photographer in 1994. Avedon, throughout his long and storied career as informant and illustrator, was a master influencer—decades before Instagram was even a glint in the world’s eye.
“(Re)Framing Conversations: Photographs by Richard Avedon, 1946-1965” is now on view at the Smithsonian’s National Museum of American History.
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Lighting is everything. It determines the tone and ambiance of every photo you capture. For portraits, manipulating your flashgun or strobe (opens in new tab) with a range of lighting modifiers gives you the extra control to create the specific moods and effects you require.
A light modifier is a piece of equipment that can control the direction of light, its intensity, and its quality, too. They include reflectors, umbrellas, softboxes, snoots, scoops and beauty dishes, and are essential tools for studio photographers. The primary purpose of a lighting modifier is to control the flash that shines on your subject, and by using one, we can create different effects, from soft and flattering to hard and dramatic.
• These are the best flash diffusers, softboxes and modifiers (opens in new tab)
When buying lighting modifiers, be sure to check they are the correct fit for your flash head. For example, Pixapro Citi600 flash heads use the common Bowens S mount, so any accessories with the Bowens S mount work perfectly with it. Light modifiers can be used to produce soft light, hard light, specular light and diffused light. The type of modifier you choose is mainly dependent upon the mood you want to portray. Different lighting arrangements have other effects, as well.
The size of the light source, the distance between the light and the subject, and the intensity determine whether the light is hard or soft. In this guide, we help you understand these concepts and expand your capabilities with lighting in your home studio.
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This is where your flash head has no modifier attached at all and it creates very bright light and harsh shadows, like full-strength sun.
With a shoot-through umbrella, your flash is pointed towards your subject and the harsh light of the flash is softened by the semi-translucent brolly material.
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Turn your flash away from your subject and reflect the light back into the scene with the silver-lined side of your umbrella to diffuse the lighting.
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You can also diffuse your flash with a softbox or octabox, which soften the light in the same way that clouds soften the bright light from the sun.
A snoot is a cone that attaches to your flash to aim the light to specific areas – great if you only want to light subjects from the side or behind, such as their hair.
A dome is a wider, less-focused snoot, ideal for spotlighting areas such as a background. The light can become more directional by fitting a honeycomb grid.
Barn doors fit on to your flash head with bare bulb or a scoop attached, and are so-called because a barn doors modifier has four ‘doors’ that you can manoeuvre and position to block the light from appearing where you don’t want it. This gives you a great level of control; for example, if you’d like to light your model from the side, you could use barn doors as a ‘flag’ to restrict the light, so it doesn’t spill on to the background that you want to keep dark.
These are the best cameras for portraits (opens in new tab) and the best portrait photography tips (opens in new tab). You might also like the best photo editing software (opens in new tab) and the best photo-editing laptops (opens in new tab).
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Here are the 30 photos of cute adoption pets that make your day a little better. Adoption makes a difference in an animal’s life, and it also makes the people happy with the guarantee of amazing companionship.
Scroll down and enjoy yourself. All photos are linked and lead to the sources from which they were taken. Please feel free to explore further works of these photographers on their collections or their personal sites.
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Photography is a unique discipline; you can try endless tips and tricks to make your pictures look better. However, many of these will involve needing additional equipment—such as tripods and different lenses.
The good news is that you don’t need much more than the camera you already have to take amazing photos—even if that camera is on your smartphone.
If you’re curious to discover a wide selection of photography tricks that don’t require fancy new gear, you’re in the right place. This guide will show you a selection of things anyone can try with any camera.
Puddles are incredibly useful if you want to get creative and make the most of reflections. An easy way to take unique photos is by flipping your camera or smartphone upside down, ensuring you can see both the puddle and its reflection.
Once you’ve positioned your device appropriately, you can take the picture. Besides puddles, this tip might also work with other bodies of water—such as lakes and rivers.
Whether you live in a big or small city, you will find plenty of unique photography opportunities. You can try taking pictures of well-known places through holes or gaps to make images of notable places look more unique.
If you look at many bridges, you’ll notice that they have circles or rectangles you can use to make your images look more interesting. You can also use narrow streets to create a similar effect; if you’re trying to get better at street photography, consider waiting for someone to walk past for a more unique shot.
Another trick you might want to try is covering half of your lens with a wall or something similar.
One of the easiest picture tricks for incredible photography is capturing shots at different times of the day. For example, golden hour is a popular time for taking pictures; the soft lighting can make scenes look dreamier, and portraits seem more flattering. In many cases, photos taken at this time might invoke positive emotions in many people.
However, golden hour isn’t the only interesting time of day to take photos. Blue hour offers plenty of opportunities as well. Capturing images in cloudy conditions is another handy way to make your pictures look more intriguing.
You can experiment and find out which time of the day suits your style.
While you can purchase filters for your camera lens, that’s not what we’re talking about in this instance. Instead, we’re primarily discussing the different filters you can add to your pictures from within your camera.
If you use an iPhone to take photos, you’ll have plenty of different filter options—and the same is true for many Android devices. Meanwhile, camera manufacturers like FujiFilm have also included various profiles you can use to make your pictures look more interesting.
When using camera filters, it’s worth remembering that—in some cases—these might only apply to JPEGs. However, tools like Adobe Lightroom will allow you to add filters to RAW files.
This tip seems pretty straightforward—but if you look at many people who snap pictures these days, you’ll notice that they only shoot in portrait mode. Considering that images with a 4:5 crop take up more screen space on Instagram, this isn’t too surprising.
Doing things differently and shooting in landscape mode can help you capture more interesting images. And since everyone else is doing the opposite, you might also stand out. Photographing in landscape mode is also useful if you want to get more of the scene into the shot.
If you want to publish your pictures on Instagram later, consider using Photoshop Express to create 4:5 canvases to which you can add your photos. That way, you won’t need to crop your images too much.
Your shutter speed will play a huge role in determining how your pictures look, and being a little more flexible with it can help you achieve amazing results. Capturing motion in your photos will let you portray shots that are more fast-paced, and they allow you to get multiple moments in one go.
If you choose a slower shutter speed, you’ll have more motion. Conversely, choosing something faster—like 1/000—will freeze time. You’ll need to figure out a balance between getting the results you want and not making your photos too blurry.
When adjusting your shutter speed, you’ll also need to tweak the ISO and aperture to keep your exposure triangle balanced.
If you don’t have a zoom lens, you can move closer to your subject to get an interesting perspective. This is especially true if you have any form of Macro Mode on your camera.
You can get closer to leaves, buildings, people, and so on. Doing so will also allow you to capture textures and give your shots more life.
We’ve already discussed putting your camera close to puddles or other bodies of water, but that’s not the only way to gain a unique perspective. You can twist and turn your camera in multiple other ways, such as pointing it upwards at buildings or placing your device on the floor.
You can also move your body to create similar effects. For example, you can crouch down or bring the camera to hip height instead. Experiment with different positions and figure out which work and don’t work for your photography style.
Let’s talk about white balance to round up our photo tricks. While you’ll want your picture colors to look realistic, you can play around with white balance to get more of a unique style. One example would be trying to achieve warmer tones on a summer’s day.
You can adjust the white balance in your camera by tweaking the Kelvin meter. However, that’s not your only option. For example, you can switch between your camera’s white balance filters—such as sunny and cloudy.
In addition to making your images look warmer, you can do the opposite by picking a bluer tone.
While we’ve covered a selection of trick photography ideas, these are only a small selection. You’ll find plenty of other ways to make your images look interesting, and as you take more photos, you’ll almost certainly find your own unique tricks.
Start with this list and branch out as you become more experienced.
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“Hallelujah” by Preeti and Prashant Chacko (Kenya). Winner, The Greatest Maasai Mara Photographer of the Year.
“We had spent a good deal of time with a small journey of giraffe, made notable by the antics of this youngster, who was keenly exploring its surroundings at a reasonable distance from its mother. Our guide Jackson told me to be prepared for when the calf would return to the mother, as that usually results in something memorable to photograph. The calf returned but what transpired was beyond what we expected, with the oxpeckers seeming to us like angels singing Hallelujah!”
As one of Africa’s most important wildlife reserves, Kenya’s Maasai Mara is filled with countless animal species. This makes it a go-to place for wildlife photographers wishing to take images of the leopards, elephants, cheetahs, lions, and giraffes that populate the reserve. Since 2018, The Greatest Maasai Mara Photographer of the Year contest has honored these photographers by highlighting the best images taken on the reserve.
This year, Kenyan photography duo Preeti and Prashant Chacko won the top prize for their beautiful black and white photo of a giraffe and her calf surrounded by oxpeckers. Their award-winning photo Hallelujah earned them the $10,000 cash prize and a five-night safari for two. In addition, their guide Jackson was also rewarded for his part in helping them take the winning image. For his efforts, he’ll receive a fully inclusive trip to the Kruger National Park in South Africa.
“The emotion of a mother-child interaction is something that we love to photograph,” admits Preeti. “And so we waited. What transpired through exceeded all our expectations. Three oxpeckers flew up into the sky at the moment of reunion, almost as if to say: ‘Hallelujah.’”
The photograph made a big impression on the judging panel, which was tasked with selecting a winner from 50 finalists. Their primary judging criteria was to look at how the photographers captured something ordinary in an extraordinary way. “This is a very clean and powerful image,” shares professional wildlife photographer and judge Federico Veronesi. “The three birds in flight perfectly connect the mother and her calf.”
While the contest is primarily about photography, it also gives back to the boots-on-the-ground conservation initiatives that care for the land. Every entry fee for the contest goes, in full, to one of the competition’s conservation partners active in the Maasai Mara. This year, thanks to over 1,000 entries submitted by 300 photographers, over $15,000 was raised. The proceeds were shared between the Anne K. Taylor Fund, The Maa Trust, the Mara Elephant Project, the Mara Conservancy, The Sheldrick Wildlife Trust, and the Angama Foundation, which hosts the competition.
Entries for the next edition of the contest open on January 1, 2023, with the same prizes up for grabs. And, if you want a piece of the Maasai Mara in your home, select prints are also available for sale.
“Little Mush” by Vicki Jauron (USA). Finalist.
“We had seen this lioness a few days earlier and could tell that she was a new mother, but she was hunting and the cubs were hidden away somewhere. We searched a few times to find her with her cubs and on our last day, we were successful. It was a lovely morning and dad was around soaking up the sun while mom and her sister took the cubs on a walkabout. What made this all the more exciting was that there were very few vehicles nearby and so she had the ability to move without interruption.”
“Stretch” by Kunal D Shah (Kenya). Finalist.
“Watching Nalangu kill an impala that afternoon was incredible. However, due to the size of the kill, it was impossible for her to carry it back for the little one. She walked to the usual hideaways and brought him out after about an hour of waiting. As she guided the cub to the kill, I realized we could get an amazing shot of her on her return, from the bottom of a river crossing. We quickly rushed to the bottom of the river bed and waited. She not only walked by it, but she stretched and looked towards us.”
“Droplets” by Andrew Liu (USA). Finalist.
“We found Short-Tail lounging just after sunrise. He graced us with a little drink from a nearby puddle, resulting in this beautiful dripping of water from his mane and beard.”
“Sunrise Crossing” by Charlie Wemyss-Dunn (USA). Finalist.
“Our guide encouraged a quick departure from camp early one morning as we’d previously seen a massive herd eager to cross over to the Triangle from Lookout Hill the evening before. Before we reached the river, a call from one of our other vehicles came in that the massive herd had just begun to cross at the Miti Moja crossing point. As we arrived we were greeted with a scene I’ll never forget as a mega herd of wildebeest rushed down the bank as the red glow of a perfect sunrise pierced the sky. We were one of only three vehicles on either side to take in this epic scene while the early morning balloons can be made out in the far background in front of the rising sun. Photography was not surprisingly a challenge given the very low and contrasting light so I had to sacrifice ISO for a sharp image with the whole scene in view. A once-in-a-lifetime scene of nature’s greatest show.”
“Glowing Serval” by Vrinda Bhatnagar (India). Finalist.
“We watched this serval cat scan the area, finally pounce and prey upon a mouse, and then stand satisfied for a few minutes as the early morning sun lit up her fur from behind making a glowing halo around her.”
“Inseparable” by Andrew Liu (USA). Finalist.
“After an hour spent watching the cubs, they finally took notice of our truck and decided to come explore. I captured this image as they made their way toward us along the path.”
“Leaning Towers” by Abderazak Tissoukai (UAE). Finalist.
“I got to understand with time that powerful wildlife images are the ones that translate an emotion, which is often the result of the interaction between two or more animals. My experienced guide and I discussed this topic on several occasions in order to ensure his vision was aligned with mine. Luck was on our side when we crossed paths with these two young adult giraffes during their necking practice session. We noticed they were doing it in a quite friendly way, to avoid hurting each other as the moment of force generated by the movement of their long necks could indeed be harmful in real fight situations. When they went a bit too hard, a moment of care and affection almost immediately followed, as if it was their own way of saying ‘sorry’. I felt this one was one of them.”
“Danger out of Dawn” by Silka Hullmann (Germany). Finalist.
“Almost immediately after leaving camp, we encountered a group of three lionesses
strolling through the still dewy grass in search of prey. Hoping that the cats would still be somewhat active in the early morning hours and that we would get pictures in good light, we followed them along the Mara River. Suddenly, startled by the danger from the now blood-orange-red dawn, a group of wildebeest ran straight at us and disappeared into nothingness. We were rewarded: the morning sun and the dust of the savannah gave this brief moment in a beautiful play of colors and an almost mystical mood.”
“The Probing Eyes” by Ashish Ranjan (UAE). Finalists.
“It was a beautiful morning safari in the Maasai Mara when our guide decided to take us to the Topi Pride as they had been seen roaming in their territory looking for food. We spotted the cubs near the foot of the hills where they are known to live. We waited for more than 45 minutes before we could see the pack of lionesses coming towards their cubs. In anticipation of good moments of them meeting their waiting cubs, we positioned our vehicle close to an anthill hoping that the lionesses would climb over it and the cubs would follow. We were proven right and when one of the lionesses went up to her cubs, we got our moment where we took some close-up shots in the warm morning sunlight. One such moment was this where I intentionally kept the mother almost out of the frame and only focused on the eye of the cub resulting in this shot.”
The Greatest Maasai Mara Photographer of the Year: Website | Facebook | Instagram
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London-based photographer Alexander Kent captures stunning still-life minimalism photography. With each photo, Alexander Kent wants to show out-of-the-box creativity.
In his words about his photography “With each image, I like to make objects appear more interesting than we imagine them. By firstly considering the materials that make up an object or scene, I then craft the lighting to make use of the features that really help the subject look its best.”
In this post you can find 20 of his Alexander Kent’s still-life photography. You can find more amazing work on his Instagram and Website.
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Photography curator and artist Efrem Zelony-Mindell could face life in prison after they were arrested Friday, December 16 for allegedly attempting to have sex with a nine-year-old boy. Following a series of online conversations between Zelony-Mindell and undercover Federal Bureau of Investigations (FBI) agents, the US Attorney’s Office in the Southern District of New York charged the curator with attempted enticement of a minor to engage in illegal sexual activity, distribution of child pornography, and possession of child pornography.
A complaint outlining the charges alleges that Zelony-Mindell sent their first message to an undercover FBI agent on April 29 of this year. The curator then expressed their desire to engage in sexual activity with a minor and sent child pornography, the document says. In May, the undercover officer sent Zelony-Mindell the contact information of a second FBI agent, who was posing as the father of a nine-year-old boy. In a series of disturbing messages, Zelony-Mindell “made clear that he [sic] wanted to engage in sexual activity” with the child and agreed to meet the child even though the boy would be “knocked out a little bit” with sleep medication, according to a statement released last Friday by the Attorney General’s Office.
On December 16, Zelony-Mindell agreed to meet the supposed father on a Manhattan street corner and return to his apartment, where they would meet the child. At the street corner, Zelony-Mindell instead met a third FBI agent and was arrested.
Zelony-Mindell earned a BFA from the School of Visual Arts in New York, where they have since exhibited their work and given lectures, before embarking on a career as an artist and curator. This year, their art was included in the National Photography Invitational in Iowa City, an event which features the work of 16 graduate students from five United States universities; in 2021, they earned a place on the Lucie Foundation Photo Book Awards Shortlist for editing the book Primal Sight (2021), a compilation of works by 146 artists. In 2020, Zelony-Mindell’s book n e w f l e s h (2019) was shortlisted for the Paris Photo Aperture Foundation PhotoBook Awards.
Zelony-Mindell has also curated a host of exhibitions across the country, including recent exhibitions at Texas Tech University and Ohio University (where they served as juror), and in 2018, they organized the 57-artist Re: Art Show in Brooklyn. They served as a board member of the Robert Giard Foundation, an organization that aimed to preserve the late artist’s legacy through grant programs, before it closed this year. Additionally, Zelony-Mindell’s books are in the libraries of major institutions including New York’s Museum of Modern Art, the Metropolitan Museum of Art, and the Whitney Museum of American Art.
At the time of their arrest, Zelony-Mindell was pursuing a Master of Fine Arts at the University of Arkansas, according to a bio on the artist’s website. The university has not yet responded to Hyperallergic’s immediate request for comment. Hyperallergic has also attempted to reach the School of Visual Arts.
“As alleged, Mr. Zelony-Mindell’s actions are nearly unfathomable,” FBI Assistant Director Michael J. Driscoll said in a statement. “Today’s action should serve as a reminder to anyone who seeks to prey on children — the FBI Human Trafficking and Child Exploitation Task Force and our law enforcement partners will continue to aggressively pursue you and hold you accountable.”
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Image courtesy École Polytechnique Fédérale de Lausanne.
A new approach uses aerial imaging to generate 3D models of cities and regions with advanced precision, enabling urban planners to incorporate full-scale designs of all types of architectural and urban structures.
— Tech Xplore
Tech start-up, Uzufly, operates out of the Le Garage space located inside the Ecole Polytechnique Federale de Lausanne (EPFL)’s expanding Innovation Park. “The company’s 3D models incorporate a wide range of urban-planning data and can accommodate any type of architectural design at full scale,” reports Tech Xplore‘s Sandy Evangelista.
“We basically use the same technology as Google Earth—that is, aerial photography,” Uzufly co-founder Théo Benazzi explains. “But while Google uses airplanes to take huge numbers of pictures at high altitudes, we use drones that have smaller cameras and capture images much closer to the ground. That’s why we can generate 3D models at the level of a neighborhood or an entire city.”
The team is currently working with the EPFL’s Arts of Sciences Laboratory (LAPIS) and the Swiss National Science Foundation to produce a digital twin of an unnamed Egyptian temple by the fall of next year.
“Google Earth on steroids” boosts urban development. Video courtesy of École Polytechnique Fédérale de Lausanne (EPFL).
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