According to research from MPB, the world’s largest platform for buying and selling used camera gear, the main reason people have not yet sold their old equipment is that they don’t think they’ll earn much money for it. The numbers tell a different story. In fact, the average adult is sitting on $2,000 of unused gear. Depending on what you have tucked away in your backpack, you could trade in your old workhorse camera or tried-and-true lens for a pretty penny. 

It’s not just the newest cameras like the Nikon Z9 or the Sony a7R V—both are already available as MPB used cameras—that command high prices. We asked the team at MPB to tell us about the camera models and lenses that are in demand right now and were surprised to discover, among other things, a zoom lens that first hit the market more than a decade ago, a few classic DSLRs, and a couple of compacts. The prices below are for gear in “excellent” condition; if you happen to have one in “like new” condition, you’ll receive even more. 

*All prices shown are correct at the time of publication and are subject to change.

Leica Q2: Sell this MPB used camera for $2,925

It’s no surprise that this compact beauty, a favorite among street photographers, tops our list as one of the most in-demand items on MPB. Known for their small size and fast Summilux 28mm f/1.7 ASPH prime lenses, these cameras are snatched up quickly once they hit the market. If you’re considering trading yours in, MPB has some beautiful special editions on offer, including a Reporter Edition, which takes the word “discreet” to a new level.

Canon EOS R5: Sell this MPB used camera for $2,200

Rumor has it that Canon might be planning not one but two successors to their blockbuster mirrorless, the Canon EOS R5. The internet has also been speculating that the Canon EOS R5 II might arrive in February 2024. In any case, the original version is still in high demand—it’s often what the pros reach for when switching from DSLR to mirrorless—so consider selling yours now. 

Fujifilm X100V: Sell this MPB used camera for $1,450

Premium compact cameras are here to stay, as evidenced by this wildly popular choice from Fujifilm: at one point, buyers endured six-month waits before they got their hands on it. One of the reasons for the success of the X100V is its popularity among TikTokers, which caused prices to soar. As for upgrading in the future, if the online rumor mill is to be believed, we might see a successor in 2024, and it might even have a new lens. 

Nikon D850: Sell this MPB used camera for $1,000

This Nikon DSLR, first released in 2017, was considered groundbreaking at the time and has continued to be a go-to among seasoned professionals. In 2021, it was even voted into the MPB Photo and Video Kit Hall of Fame. Now’s the perfect time to trade yours in for the coveted Z9. The award-winning wildlife photographer Richard Peters, who used the D850 for five years, recently got his hands on the Z9 and said it empowered him to get images he couldn’t get with any other camera.  

Nikon Z6 II: Sell this MPB used camera for $995

This hybrid stills and video mirrorless appeals to a variety of storytellers, from those just transitioning from DSLRs to those trying Nikon cameras for the first time. Lauded as the perfect “all-rounder,” it opens up the possibility of using Nikon’s stellar Z lenses, making it even more attractive to intermediate photographers and pros alike. If you sell yours and are thinking about upgrading, you might consider the Nikon Z7 II for its 45.7 MP sensor (it also has more autofocus points, which can come in handy). 

Sony FE 24-70mm f/2.8 GM: Sell these MPB used lenses for $985

Everybody loves this gold standard lens: from the renowned sports photographer Lukas Mengeler, who brought it to shoot the 2022 World Cup in Qatar, to Douglas Jubic, who uses it to shoot cityscapes in Chicago. If you sell yours, consider experimenting with a prime (or several!): Jubic loved the bokeh he got when he borrowed a fast (f/1.4) nifty fifty from MPB. 

Canon EOS 5D Mark IV: Sell this MPB used camera for $940

The last of the legendary 5D line of Canon DSLRs, this camera has appealed to visual storytellers working across genres, from wildlife photographers braving rugged conditions to high-end portrait photographers. The top-notch pro DSLR was also the third-best-selling camera among MPB customers last year. If you’re looking to upgrade after you sell, you can’t go wrong with the mirrorless EOS R line.

Sony Alpha A7 III: Sell this MPB used camera for $870

First released in 2018, this full-frame mirrorless is still in demand. If you trade yours into MPB, consider opting for its successor, the Sony A7 IV. While the handling is similar between both cameras, some photographers prefer the grip of the newer model. Plus, it offers better resolution (33 MP versus 24 MP) and superior eye and subject tracking, so it’s probably worth it if you shoot sports and action. 

Canon EF 24-70mm f/2.8 L II USM: Sell these MPB used lenses for $870

The second 24-70mm f/2.8 lens to make our list, this lens combines speed with quality. For those switching from Canon DSLRs to mirrorless, now’s the time to sell. If you trade your EF lens for the newer RF 24-70mm f/2.8 lens, you’re likely to notice a significant difference in detail and sharpness. Many photographers also find the RF outdoes the EF lens when it comes to focusing. 

Canon RF 24-105mm f/4 L IS USM: Sell these MPB used lenses for $625

Speaking of RF lenses, this zoom is known for its versatility, empowering visual storytellers to move seamlessly from wide shots to portraits. If you have one on hand and want to upgrade to something faster, the 24-70mm f/2.8 is, again, a great choice. Another option is the bright Canon RF 28-70mm f/2 L USM. 

Nikon AF-S Nikkor 200-500mm f/5.6E ED VR: Sell this MPB used lens for $540

This budget super-telephoto zoom is perfect for emerging wildlife and sports photographers, so it’s an evergreen choice. If you own one of these now, you might consider trading it and upgrading to a 500mm prime with a brighter maximum aperture of f/4. Of course, it’s less versatile, but it’ll deliver better autofocus performance and sharpness. 

Fujifilm X-S10: Sell this MPB used camera for $515

With the new X-S20 now available, consider this the right time to sell your X-S10. The X-S20 is nice and small, and it gives a similar handling experience as its predecessor while looking almost identical. But the latest model comes with a major bonus, namely a new processor that allows for better performance overall. As an added benefit, you’ll get more battery life (double the shots) by trading in and upgrading. 

This article is sponsored by MPB.

The post MPB Used Cameras You Can Sell for a Small Fortune (Sponsored) appeared first on Feature Shoot.

“This project made me realize who I was,” François Brunelle tells me. Since 2000, the artist has been seeking out—and photographing—unrelated “look-alikes” who could pass for identical twins. Most of them have never met before stepping into his studio, and some live thousands of miles apart. 

As it happens, the artist eventually found his own doppelgänger while working on the project. “Perhaps we all have a desire to be close to someone who looks like us,” he reflects. “I think maybe we hope that this person is, in fact, a little bit like us.” The project has traveled the world and led to scientific research: last year, one study revealed that the “look-alikes” who look most similar actually share more genes than those who look less alike. 

“This project has helped me to find at least five hundred new friends (the look-alikes in my collection), plus a lot of interesting people (journalists and scientists),” Brunelle says now. I’m Not a Look-Alike! has caught the attention of multiple generations now; in the internet age, where everything seems fleeting, this is one project that endures. 

Brunelle’s portraits present questions about what it means to be human and how we relate to one another. Sometimes, the project has even gone so far as to answer those questions, though it almost always sparks new ones along the way. 

When you embarked on this project, almost 25 years ago, did you have any idea where it would take you? 

François Brunelle: My goal was always to do a book, on which I am seriously working right now, and a major exhibition. But I never expected to be published all over the world like it has been.

How did you first find people to be part of the project in the beginning? 

François Brunelle: Over the years, I had noticed some pairs of look-alikes in my everyday life. When I started the project, I contacted them. Some of those whom I could reach posed for the photos, and then, after about eight or nine couples, I was out of subjects. I had the idea of asking the media for help since the internet was exploding at the time. That allowed me, thanks to journalists all over the world, to reach out to many possible doppelgängers for the project.

As the project grew, did your approach change at all? 

François Brunelle: I don’t think so. Only the technique evolved a little bit, as I transitioned from traditional film to digital media. I create the newest photos exactly as I did the first, each time being insecure about the outcome.

Can you walk us through a typical portrait session? How much time do you spend with each pair of doppelgängers?

François Brunelle: The photos are done either in my studio or a different location. This location can be another studio or simply in a hotel room. There is nothing complicated. I work alone with the models (except when there is media involved or when I participate in special projects and filming by another party is involved). 

It is a very private thing, with no hair and make-up (except when filmed). I like it very casual, a little photo session between friends. We are in this together, the three of us trying to achieve something, quietly, without any fuss. First, we sit down after introducing ourselves, and then we discuss what will happen. 

I read the model release aloud; it is very simple and protects both sides of the agreement, to make sure there is absolutely no misunderstanding. We look at the clothing that the models brought with them, if any, and start making the photos. The whole process takes anywhere from one and a half to two hours maximum, including a change of clothing, if it is possible.

What’s your most powerful memory from your time working on this project? 

François Brunelle: Every one of the photo sessions is great and powerful. And frightening at the same time. I can never predict the outcome of a photo session. The only thing I can do is give my very best. 

This idea of “likeness” is very elusive. Some people come to me because they are convinced that they look the same, and I just have to believe them. Along the way, I’ll then need to discover what that likeness is and how to capture it. A lot of it is a matter of faith.

Last year, your work led to a scientific discovery about doppelgänger DNA (people who looked more alike were found to share more genes). Can you tell us more about this? 

François Brunelle: There are, in fact, several research projects connected with the series. I get contacted by researchers from time to time for all kinds of projects related to similarities between individuals. 

The very first one was Ulrich Ettinger, who was with McGill University (Montréal) at the time and now in Bonn University (Germany). His study was about psychological similarities between doppelgängers. He was joined by Nancy Segal from Fullerton University (California). You can read about that in The New York Times. 

Then there was Manel Esteller Badosa from Barcelona University, who, with my help and photos, did the DNA research you’re referring to here. He just wrote to me one day and was very insistent. I had my doubts in the beginning. Asking the subjects of my photographs to give away a sample of their DNA seemed a little bit far-fetched.

After a couple of meetings in Barcelona and Madrid with Esteller, I knew I could trust him and his fellow researchers, so I decided to help him in his research. And I am very glad now that this study, which took years to complete, is out. The results are fantastic, and you can read about them in another New York Times article.

I am very proud that my little personal project, done in all simplicity, was able to be a part of something bigger. That is very satisfying. Also, it helped to spread my work around, which is in itself the biggest reward for an artist.

Some of the doppelgängers have remained in touch, right?

François Brunelle: I am not sure how many people stayed in contact after the photo sessions. But I know for certain that one of the pairs did. One of them was a TV personality, and the other one was often mistaken for the other and asked for autographs. When they met for the first time in front of my camera, they realized that their spouses had the same first name, and they both had a son of the same age. So they started to go out together.

What tips do you have for emerging photographers hoping to find the kind of global success you did? How did you do it?

François Brunelle: I am not good at giving advice. but one thing I can say is to do something that you really want to do, something in which you truly believe, without calculating too much. You have to be smart and push your images to be seen and hope for the best. A lot of it is a matter of luck. 

I looked honestly at my photos at the beginning of the project and thought they were quite ordinary. I told myself, though: these images are kind of boring and un-sexy, but if there is one person, only one, in the world who will like my images as much as I do, then I will be happy. I was doing these photos to please something authentic in myself, not caring so much about what people would think.

What are you working on now?

François Brunelle: I am working intensively on a book. I have been turned down by a few great editors, and I may self-publish it if I can. The fact that it will be the very first book on the subject makes things a little bit complicated because you cannot compare it to anything else that’s already out there. But then, I have to take that as an advantage. Once published, I will try to find a good museum, willing to embark on an international expo of the images. Wish me luck!

You can follow the evolution of the project over on Instagram at @francoisbrunelle.doubles.

Further reading:

• Remarkable Portraits of Complete Strangers Who Could Be Identical Twins

• Enchanting Portraits of Identical Twin Farmers in the Hungarian Countryside

• Spirited Portraits from the World’s Largest Gathering of Twins

The post François Brunelle’s Doppelgänger Photos Changed His Life appeared first on Feature Shoot.

In the ever-evolving world of photography, the decision by PhotoVogue to showcase AI-generated imagery alongside traditional photography in its upcoming festival is stirring debate. Curated around the theme of “Image in the Age of AI. What Makes Us Human,” the program has photographers (or should I say “image-makers”) divided. I’m old enough to remember the fierce “film vs. digital” debate, and while I think AI is more of a threat to some photographers’ livelihoods than digital cameras ever were, I can’t help but be reminded of that time. 

The festival, set to take place from November 16-19, 2023 in Milan, is a testament to the rapidly changing landscape of visual arts. Alessia Glaviano, Head of Global PhotoVogue and Director of PhotoVogue Festival asks us to consider the following: “How can one have a definitive stance on something as vast and novel as AI-generated content? This very uncertainty is why we’ve chosen to focus our festival on this theme. I believe that diving deep into every facet of this conversation is essential, and I hope our festival serves as a platform for enriching dialogue that advances our understanding.”  

I recommend checking out this post on Glaviano’s Instagram if you want to join the conversation, but here is a quick summary of the concerns traditional photographers have with the festival (and with AI’s impact on photography in general).

Authenticity and Originality

One of the primary concerns surrounding the inclusion of AI-generated content is the question of authenticity. Traditional photography is rooted in capturing moments, emotions, and stories through the lens. AI-generated imagery, on the other hand, is created through algorithms and data training.

Ethical Implications

The ethical concerns around AI-generated content are vast. From concerns about copyright to deepfakes, there’s a lot to consider. How do we ensure that AI-generated content is used responsibly and ethically, especially when showcased alongside traditional photography?

The Challenge of Curation

At this early stage, it seems that the festival has successfully distinguished AI-generated images from traditional photography in its exhibitions. However, the task of curating such a wide range of content comes with its own set of challenges. Most importantly, in my opinion, how do you ensure that the line between AI and traditional photography remains clear to the audience?

Audience Reception

While some may appreciate the innovative approach of merging AI and traditional photography in the same festival, others might find it disconcerting (and perhaps that’s part of the point). However, the challenge lies in ensuring that the festival remains a space for open dialogue and understanding rather than becoming a battleground for traditional purists vs. enthusiastic early adopters.

The Future of Photography

The inclusion of AI-generated imagery in such a prestigious festival raises overall questions about the future of photography. Presenting AI image-makers obviously takes up space that traditional photographers would have otherwise filled. Will AI eventually replace traditional photographers? Or will it simply become another tool in the photographer’s arsenal? Or will photographers and image-makers coexist harmoniously in the same world? Together, but separate.

We’ll find out soon enough.

As for the festival, Glaviano’s curation is always inspiring and thought-provoking, and we expect nothing less from PhotoVogue 2023.

Visit PhotoVogue’s website for the full lineup of exhibitions and more information.

The post PhotoVogue Festival 2023 Will Exhibit Both AI and Photography, Stirring Debate appeared first on Feature Shoot.

If you’re curious about how generative AI can help you as a photographer, we’ve simplified the process with our new guide of the 101 Best ChatGPT prompts.

Not only do these prompts spark those “aha!” moments, but they also save a ton of time and will help streamline and simplify almost every task you do as a photographer, from photoshoot ideas to model releases. Whether you shoot commercials, photojournalism, or somewhere in between – these creative prompts can be altered to fit your situation.

Here are just a few potentially viral TikTok ideas it came up with for food photographers:

• Photo vs. Reality: Showcase the contrast between the polished, final photograph and the chaotic process or setup behind it.
• Interactive Series: Start a series like “Name the Dish,” where you photograph a dish based on ingredients or themes suggested by your followers in the comments.
• Recipe in Reverse: Start with the final dish and work backward, showing each step in reverse order, ending with the raw ingredient.

The guide is a whopping 106 pages, packed with information (and inspiration).

In this transformative guide, you’ll uncover groundbreaking marketing strategies, innovative social media content suggestions, and creative inspiration. Explore diverse approaches to compare cameras and lenses, and master fine-tuning your camera settings to capture the perfect shot every time.

Discover invaluable advice to propel your career forward and revolutionary brainstorming concepts that will spark your creativity like never before (seriously). Learn effective communication strategies to engage your clients and build lasting relationships. Every piece of advice and every prompt you’ll find is uniquely crafted, offering fresh perspectives and insights.

This guide is not just a collection of ideas; it’s a treasure trove of transformative insights that are essential for anyone looking to get an edge in this new world of AI.

Buy the guide here for $29.

The post 101 Best ChatGPT Prompts for Image-makers and Photographers appeared first on Feature Shoot.

In the realm of photography, Henri Cartier-Bresson is legendary. His philosophy of capturing “the decisive moment” has influenced generations of photographers, shaping how we perceive and interact with the world through the lens. However, the advancements of Artificial Intelligence (AI) in photography pose intriguing questions about the essence and future of this art form.

In this interview, we delve into a hypothetical conversation with the legendary French photographer Henri Cartier-Bresson, brought to life by ChatGPT. This fictitious dialogue explores Cartier-Bresson’s potential thoughts and reflections on the intersection of AI and photography. It is a journey into the imaginary, seeking to understand how a master of the past might view the innovations of the present and the possibilities of the future.

Monsieur Cartier-Bresson, considering your profound emphasis on the ‘decisive moment’, how do you perceive the role of Artificial Intelligence in capturing such moments in photography?

“Ah, the ‘decisive moment’, it is the essence of photography. AI, it can be precise, it can be quick, but the feeling, the intuition, it is something only a human can truly grasp.”

Do you think AI can comprehend the emotional depth and the intuitive nuances integral to creating a photograph with soul?

“AI, it has the brains, but the soul, the emotion, it is the realm of humans. The machine it can click, it can process, but can it truly feel? I think not.”

“In this era where AI is omnipresent in our world, do you think it enhances or diminishes the authenticity and spontaneity of a photograph?”

“AI, it can create, it can replicate, but the real, the spontaneous, it is born from life, from human experience. The authenticity, it is the gift of the photographer, not the machine.”

How do you perceive the ability of AI to manipulate images? Does it, in your opinion, compromise the artistic integrity of photography?

“To change, to alter, it is to play with reality, no? Photography, it is the mirror of truth. AI must be used with caution, with respect, to maintain the purity of the art.”

Can AI serve as a valuable tool for photographers, aiding them in better translating their visions and messages through their work?

“Yes, AI can be a companion, a helper. It can assist the artist in conveying their vision, their message, but it should not overshadow the human touch, the human essence.”

Given the advancements in AI, do you believe it can develop a sense, an ‘eye’ for the ‘decisive moment’ akin to that of a human photographer?

“The ‘decisive moment’, it is a dance of the eye and the heart. AI, it can learn patterns, it can predict, but to truly see, to truly feel the moment, it is a human gift.”

Lastly, how do you foresee the evolution of photography with the relentless progression of AI technologies? Is there a harmonious symbiosis or a potential discord between them?

“The future, it is a canvas of possibilities. AI and photography, they can walk together, they can learn from each other, but the soul, the spirit of photography, it must be kept alive by the human hand, by the human eye.”

This hypothetical conversation attempts to mirror Henri Cartier-Bresson’s philosophical and artistic outlook on photography, while contemplating the implications and possibilities of AI within this art form.

The post The Decisive Moment Meets AI: A Chat(GPT) with Henri Cartier-Bresson appeared first on Feature Shoot.

As I’ve learned more about boudoir photographers in recent weeks, one thing that sticks with me is the experiences that brought these artists to where they are today. Emma Christine, for instance, was a nurse before she ventured into boudoir photography—a career she credits with teaching her to celebrate and care for women and their bodies. 

Nomi Ellenson May, the artist behind Boudoir by Nomi, started out as a full-time nanny so she could take photography classes; later, she shot celebrities on the red carpet before building her own studio. “Since 2016, I have photographed over 900 women who have walked through my studio doors,” she reflects. “Each time, I cultivate a space where every shape, size, age, and sexual orientation is welcome with no judgment.”

As a follow-up to our Tips and Tricks of Boudoir Photography article, we asked four artists to tell us about some of the misconceptions people have about the genre. In this guide, they’re sharing some common mistakes that unfortunately still happen from time to time in the industry—and explain what they do instead. 

 
Mistake #1: Not prepping your client

“It’s important to set the tone for a session before the client ever sets foot in the studio—from the language that you use to the outfits you suggest, to the guidance you provide,” Becca Murray explains. “It’s all going to inform the energy that the clients bring into the space, and you want them to feel as open and comfortable and trusting as possible.”

Make sure your client understands how you work and what the actual shoot will look like. “Lead with curiosity, assume good intentions, and treat your clients (and potential clients) like humans,” Murray adds. “Being friendly does not make you unprofessional, and having boundaries does not make you mean.”

Mistake #2: Not setting boundaries

Speaking of boundaries, these are especially important in a field like boudoir photography, May says. If you’re not comfortable with a client, a request, or a situation, it’s okay to say no. 

“Stay true to yourself and keep your own firm boundaries, even if it means passing on a client,” Stephanie Bordas, the photographer behind Brooklyn Boudoir, adds. “Get as specific as possible with clients about what they are comfortable with and what you will or won’t do. You can even ask them to put together some photo references via Pinterest or Google search with images they like, since people have different definitions of what ‘demure’ or ‘NSFW’ means.”

Mistake #3: Focusing only on 20-somethings

“I’m trying to break the stereotype that you need to be in your 20s for this kind of shoot,” Bordas tells me. “My clients range from their 20s through their 60s. I love to give more mature women the opportunity to be more than a mother/businesswoman/wife/grandmother and find that spark within them again. 

“I believe that boudoir is for everybody and every body—regardless of age, relationship status, or body size. Every person deserves to feel seen, and I’m honored to have a career that helps women feel seen every day.” 

Mistake #4: Over-editing  

Your boudoir photography clients should look like themselves—not Photoshopped versions of themselves. “I describe my style as body positive boudoir, but I think of it more as body-affirming,” Murray tells me. “I create a space for people to show up as their whole, authentic selves. I don’t pose people to look smaller or alter their bodies in Photoshop. I don’t come in with an idea of what I want people to look like. I allow their energy, the way they move, the way they relax into their body, to guide the session.” 

Mistake #5: Not getting a contract

“Have official contracts from the get-go,” Murray urges. A contract protects you and your client, so have one in place each and every time. 

Mistake #6: Sharing images without permission

This one is a major red flag. “When I hear from some of my clients that their first boudoir photography session with someone else didn’t go well, it’s sometimes because the photographer shared their images without their consent,” Emma Christine says. “I always offer to keep my clients’ images totally private. This is such a priority for me, and I would hope other photographers try to respect their clients’ privacy during one of their most vulnerable moments as well.” 

Mistake #7: Doing it for a quick buck

“I think there are a lot of people who see boudoir photography as a way to make lots of money with photography, but if someone is getting into boudoir for the money, they’re doing it for the wrong reason,” Emma Christine admits. “Boudoir photography is unlike any other genre. It’s not something you can casually pick up if your bookings are slow. 

“Many of my clients view their session as a day of healing for themselves, a day to renew their self-image. I recognize I have an immense responsibility every day that I’m in the studio, and it’s never lost on me that this could really impact the way that they view themselves.”

Read this next: How One Photographer’s Sensual Portraits Kickstarted Her Business

The post Common Mistakes in Boudoir Photography and How to Avoid Uncomfortable Situations appeared first on Feature Shoot.

As she entered mid-life, Susan Borowitz had her first experience with clinical depression. “My particular trigger came in the form of small airplanes that flew near my house from the nearby airport,” she remembers. “Whenever I heard them, I would tense up, my anxiety would skyrocket, and I would go deeper into despair.” She also remembers laying down on the floor of the shower and letting the hot water run over her: it was one thing that helped her to feel calm. 

Ultimately, Borowitz sought help through psychotherapy and medication. She emerged from that period of despair. Somewhere along the way, she discovered a passion for photography as well. 

In the beginning, she was mostly experimenting and learning, but over time, she noticed a recurring motif throughout her photographs: “a woman feeling stuck, being stuck, unable to move forward.” Her mind turned back to that time when she was clinically depressed. 

Through her work, perhaps Borowitz is coming to terms with what happened to her in the past. Maybe she’s fortifying herself in case it happens again in the future. Probably both. “I can’t say why I wanted to do it,” she tells me. “It just became what I do.” 

This kind of internal drive and motivation—the idea photographers make pictures not necessarily because they want to but because they feel they must—comes up again and again when I speak to artists making work about their experiences with depression. Then, somewhere along the way, they inevitably end up helping other people by showing us that we’re not alone. I asked four photographers to share their stories. 

Troy Colby: Coping with depression through mental health photography 

Troy Colby was diagnosed with clinical depression at the age of eighteen. “I supposed it never really went away, but it just had shifted and taken other forms in my life,” he says now. “In 2019, it took hold so bad that I would cry at every word, and couldn’t function for the life of me.”

During periods of depression, like the one he experienced in 2019, making pictures has been impossible. “When I am truly depressed, I cannot make any work,” he says. “It is in the moments of clarity or calm when the work takes place. Then, I am able to look back and realize how internalized these feelings and emotions really were.”

These days, Colby maintains his mental health by going to counseling once a month. He still has difficult days—after all, “depression never leaves and there is no cure”—but he reminds himself to appreciate the good things as well. And throughout it all, photography has always been something he can return to. 

“Honestly, without the camera, I may not be here,” he tells me. “The camera is my tool for understanding. The images are a by-product of this. In the past, I did not have that outlet, and by studying photography and sharing it with others, I have found a way to deal with the world. It warms my heart to make work that is open and honest.”

Jameisha Prescod: Reaching others through mental health photography

Jameisha Prescod is an artist, filmmaker, and writer based in London. “I think I’ve been in a relationship with depression for a very long time,” they tell me. They realized they were depressed in their teens but felt afraid, at that time, to tell anyone. As an adult, during the Covid lockdowns, they sought help and received a diagnosis: clinical depression and anxiety.

“The official labels allowed me to treat it like other chronic conditions I deal with and try to manage my symptoms through adequate treatment,” they explain. During that time, turning the camera on themself was born of necessity: amid lockdowns, they couldn’t connect with others in person. But soon, it became something more, and they started making work exploring what depression looked like for them. 

“Taking photographs in response to my depression forced me to actually look at myself at the height of my suffering,” they remember. “With a photograph titled Untangling, in particular, I was extremely ashamed that my depression led me to live in such a messy, cluttered space. It was embarrassing. Keep in mind that most of us communicated via Zoom during that time. It was easy to cover up the realities of home life with a blurred background or a fun green screen filter. This photo did the opposite of that.”

That photograph, a self-portrait of the artist knitting, ultimately went on to win the Wellcome Photography Prize. It was shared around the world. “While I still feel a level of shame with so many people seeing that photo, one thing that helped me navigate things was two simple words uttered by so many: ‘Me too,’” the artist tells me now. “After releasing the photo, a lot of people opened up about going through the same things as me. They felt seen and amazingly through my interactions with others, I also feel seen.”

Heather Evans Smith: Revealing the unseen through mental health photography

Heather Evans Smith started noticing signs of depression when she entered her forties. Then, her father died. His passing was an event that she says “blew [the depression] wide open.” She tells me, “I think I had been ignoring it because it would show itself as anxiety and physical symptoms. When my dad died, the sadness became overwhelming, and I knew I had to address it.” 

During this time, Evans Smith learned she wasn’t alone: many women experienced the onset of depression at age forty-four. She knew then that she wanted to express what she was feeling through images. Eventually, she created the series Blue, a collection of magical and melancholy photographs that take us inside the artist’s mind and imagination. 

“It took a while to feel ready to shoot,” Evans Smith says. “It felt impossible to do when I was down in it. It took a year of stepping away from the project and focusing on my depression through therapy and medication before I was ready to tackle it.”

While working on the project, the artist shared the images in real time. This is not something she’s done in the past, but she made an exception. “The responses from women were validating,” Evans Smith remembers now. “I received comments such as ‘It feels like you are seeing me through this.’ I realized that this wasn’t just about me and my depression but about all women going through this. The more we talk about it, the less stigmatized depression is.”

Susan Borowitz: Illustrating depression through mental health photography 

“Depression is difficult to describe,” Borowitz says. “Some see it as a persistent cloud that hampers even the smallest enjoyment of life, but for me, it felt like an abyss. Even after I emerged from the worst of it, I felt constantly in danger of falling back in. I described it as walking along the very fine edge of a china cup, aware that the smallest misstep could send me sliding back to the bottom of a pit too slippery to easily climb out of again.”

Her staged narrative self-portraits are a visual representation of her feelings of anxiety and “stuckness.” She’s never made work while in the midst of depression, and she doesn’t think she would—but photography has helped her to cope in the long term. 

“I have benefitted from probing my subconscious and its descent into the abyss in the sense that it helps me to process the experience a bit better,” she explains. “By breaking down its parts—-an analysis necessary to get to the core of what emotions I’m trying to convey—it separates the overwhelming tidal wave of depression into smaller waves that I can more easily understand, predict, and navigate, so that any negative depressive emotions do not throw me.”

“Be open, be honest, and reach out to your friends, loved ones, and even family. Know that you are not alone. There is someone out there who does care and others who have no idea what you are going through. Break down that barrier and talk. It all starts with a conversation or an image.” – Troy Colby

Further reading:

• Following a Period of Depression, A Father Picks Up His Camera Once More

• Self-Portrait in Lockdown Wins the Wellcome Photography Prize

• Photographer Creates Magical Portraits of Her 4-Year-Old Daughter in ‘Seen Not Heard’

• Finding Humor In Life’s (Many) Challenges

The post Mental Health Photography: Personal Stories from Photographers Coping with Depression appeared first on Feature Shoot.

Roger Ballen first heard the ancient myth of Icarus, the boy who flew too close to the sun, when he was six years old. “He put together wax and feathers and started flying towards the sun,” the photographer reminds me. “But the sun was too hot, and unfortunately, the wax melted and he fell into the sea and drowned.”

It’s a story that left a mark on the artist’s subconscious, and its influence becomes apparent in his project Asylum of the Birds. “The myth of Icarus has always had an important influence on my understanding of birds,” Ballen tells me. “Birds can fly. Humans can’t. We’re always inherently jealous of birds because birds can get closer to the heavens.”

In his photographs, however, birds do not soar through the heavens. They’re right here with us.  “They’re in a place of claustrophobia, darkness, strangeness of enigma with people, drawings, and other objects,” the artist says. “And this relationship between the place and these heavenly birds creates the metaphors behind the photographs.”

As part of Call of the Void, an exhibition at Museum Tinguely in Basel, Ballen presents photographs from two bodies of work, Asylum of the Birds and Roger’s Rats. The images include drawings, people, animals, and objects, arranged to create a single, cohesive whole. 

Ballen’s work is exhibited next to Mengele—Dance of Death by Jean Tinguely, an installation of dread-inducing machine sculptures created using the remains of a tragic fire that destroyed a barn. While Tinguely plunges us into a world inhabited by demons, Ballen explores the realm of ghosts, birds, rats, and people. 

Ballen’s exhibition, Call of the Void, is unusual in that it features several main components: the photographs themselves, a wooden shack that you can physically enter (more on that below), and two videos. A catalog for the exhibition is also available via Kehrer Verlag. 

While looking through the catalog, I cast my mind back to the story of Icarus and his waxen wings. Trying to grasp the true meaning of Roger Ballen’s photographs is a bit like attempting to fly—and getting perilously close to the sun. The harder I try, and the closer I get, the less I understand. The answers always manage to slip just out of reach, and I come crashing down. 

What is the biggest misunderstanding people have about your work, and what is the truth behind that misconception? 

“Well, I think the biggest misunderstanding a lot of people have about my work is that they see it only as dark. In fact, I don’t see it as dark. In nature, there’s no such thing as dark or light. Ultimately, the dark they see is a result of their own repression, their own inability to be able to reconcile their own fears. 

“Most importantly, I find my pictures humorous. I don’t get depressed or anxious when I take the pictures or look at the pictures. I find most of them absurd. Absurdity is an essential element of my aesthetic, the so-called Balleneque. I think if people look at the pictures carefully and negate their own fears, they will find that the pictures are absurd and perhaps even humorous. They might even giggle or laugh.” 

Can you tell us about Jean Tinguely’s Mengele – Dance of Death? When did you first see the installation, and how has it informed your own work?

“I saw Jean Tinguely’s Dance of Death a number of decades ago, and I was immediately struck by its power, its enigma, its use of sound, movement, and space to create a deeper meaning. This piece, like some of the other pieces, made it clear to me that Museum Tinguely would be an appropriate place to show my work. 

“Like the Tinguely Room, my work elicits a very strong subconscious feeling, perhaps of disorder, perhaps of the fact that forces are around that you don’t understand or that you’re scared of. That life itself is not what society tells you it’s meant to be. His room, like my shack, immediately confronts you with the brutal reality of who you are and what’s out there, in some way or another. 

“Unfortunately, for mass culture and for humanity in general, we watch films and programs that sugarcoat reality or exaggerate the negative or so-called negative aspects of human behavior.  We don’t watch or concern ourselves or have an interest in things that delve deeper into our own selves, which on most occasions, is too scary for us to come to terms with.” 

Please tell us about the shack in the exhibition. What is it like to physically enter this space?

“As I wrote in the exhibition catalog, ‘The shack in this exhibition mirrors the aesthetic quality of my photographs. It is a world with dim light and cracked windows. Marks and smudges fill the walls and ghost-like drawings evoke spirits of the afterlife. It is a world that is neither real nor unreal. Yet my goal has always been to make it feel real: too real. 

‘The world I have created in the shack provides a pathway to the interior where the mind cannot discern between dream and reality, death and life, the surreal and the primal. Inside this dark wooden chamber, the viewer looks into their own void, a realm of shadows and ghosts. It is a place in which assumptions and preconceptions are put into question and all sense of coherence and meaning is challenged. Within a matter of microseconds, the scene has left its mark, like a virus that transforms the brain cells that make up the silent self.’”

Can you tell us a bit about the drawings in your photographs? Who made them, if you’re able to reveal that?

“The concept of using drawing in my photographs evolved initially as a result of photographing subjects against walls in homes saturated with their lines, marks, and drawings. As time progressed, I started using these drawings more frequently in my photographs. 

“The drawings could have been there before I went into the place. They could have been my drawings. They could have been my drawings with other people’s drawings, and sometimes the drawings contain up the five or ten people’s drawings in the same photographs.

“The challenge, though, is to create photographs that integrate the drawings, the scribbles, and the scratches with other aspects of the photograph, namely animals, objects, and people. That’s the real challenge. It’s one thing to have a drawing in the background. Or to make a drawing in the background. It’s another to find a way of integrating the drawing with the rest of the photograph. 

“Sometimes my pictures start with drawings, as I said, that could have been there before or made impromptu. Or sometimes the drawings come at the end. But ultimately, the drawings have to be part of the picture, create an organic whole, and increase the enigmatic qualities or aesthetics of the photograph.”

Is there a question you wish people would ask you that they never (or rarely) do? If so, what is it, and what’s its answer?

“A question people rarely ask me, which I sometimes bring up, and nobody’s ever written a proper essay or article on it—is, what is the meaning of the drawings in the work? What do they mean? Who are they? Where are they from? What do they say? Why do they have an impact on you? 

“Those are all important questions, as well as why do they work in the pictures themselves? Why are they integrated with everything else? Why, if you take them out, is the picture not as strong as it would be with the drawings? 

“That’s something that has challenged me in all sorts of ways. I don’t really want answers to those questions. I really don’t because I know there are no answers. And the answers might be one-dimensional, or two-dimensional, but they really won’t get to the essence of what the drawings mean. 

“The drawings are purely a visual reality. The paintings, the drawings, are part of the world of the picture. And if you can’t really define the world of a picture with words, then how can you define the drawings with words? 

“All I can say is that the interior mind, the back of the mind, the silent mind, in most cases, will sort of get the meaning of the picture. But because it’s a silent mind, because it’s part of the mind without words, it just stays there as an enigma.”

Further Reading:

• Roger Ballen Takes Photography To Another Level in His Work

• This Book Is a Road Map Through The Life of Photographer Roger Ballen

The post Roger Ballen Takes Us Into ‘The Void’ appeared first on Feature Shoot.

The teen photographer Soren Goldsmith spent his childhood exploring the woods and wetlands of Belmont, Massachusetts. By the time he was in high school, he’d started photographing them too. One spring, he visited the same patch of woods each afternoon, returning time and again to watch a pair of Great Horned owls, listening to them hooting back and forth just before the sun hit the horizon. 

Another time, three years ago, he spent the night on the side of the road, freezing, waiting for the animals—foxes, rabbits, coyotes, and more—to emerge after all the humans had gone to sleep. That night, he saw coyotes pass by in a blur before one of them returned and they crossed paths once more. Their eyes met in the dark before the animal went on his way.

This land, where Goldsmith grew up and discovered his passion for wildlife photography, is currently under threat. The Belmont Hill School, which owns the land, has plans to clearcut the woods to make way for a parking lot and mechanical facility, despite a petition signed by more than 2,800 people to stop the development.

Since the announcement of those plans, Goldsmith’s work has taken on a new kind of urgency. Using camera traps, he’s been able to capture images of wild animals in their element, without altering their behavior or interfering with their habitats. These are the animals with whom many of us share our homes but rarely get to see. 

Earlier this year, Goldsmith was selected as one of the winners of the National Geographic Slingshot Challenge, a project inviting young people (ages thirteen to eighteen) to create innovative solutions to urgent environmental problems, for his work as a conservation photographer. He hopes his photographs will protect not only his local woods and wetlands but also others like them, far and wide. 

“The forests of Belmont are the reason I am who I am today,” the photographer tells me. “When I was little, the woods always felt so big and vast, but as I’ve gotten older, I’m realizing how small and insecure they really are.” 

We caught up with the teen photographer as he prepared for his freshman year of college. 

What’s at stake if Belmont Hill School goes ahead with this proposal and turns this area into a parking lot and mechanical facility? 

“The area I focused on is a seven-acre stretch of deciduous forest nestled between suburban houses. The land is home to a wide variety of wildlife, including coyotes, foxes, deer, raccoons, turkeys, owls, and a number of other animals. There are also diverse plant species in the woodland, including some mature oak trees and white pines. 

“Most notably, however, a portion of the property is considered ‘wetland,’ according to the Massachusetts Wetland Protection Act. This type of habitat is threatened in Massachusetts and it is illegal to destroy. There are a number of threatened species that rely on these wetlands.

“Because of this restriction, the Belmont Hill School is simply planning to build around it. Belmont Wild does a good job describing the forest and the extent of the issue. In short, the wetland is at the bottom of a small hill, and the parking lot is supposed to be built at the top. 

“It is inevitable that the construction of a parking lot in this area will result in harmful runoff into the wetland. In my opinion, what they are planning to do should be illegal. It will forever change the landscape of the area.

“In the short term, the forest is faced with complete destruction. The top priority is preventing the school from getting permission to cut it down. In the long term, assuming the forest is cut down, the wildlife and wetland areas would experience the strain that losing a forest puts on an ecosystem. The carrying capacity of local wildlife would decrease, and the wetland would likely become contaminated with chemical and oil runoff. Lots of creatures would die or need to relocate, and there’s only so much space available.”

What makes this area unique from an ecological standpoint?

“The wetland is a big one. The ecosystems are very fragile. There are many endangered species in Massachusetts that exclusively rely on wetlands to survive. Already most of the state’s wetland wildlife has been pushed west to the less developed part of the state. Even though the wetland itself will still remain, crucial parts of its surrounding habitat will be destroyed  [if this development goes ahead]. If we want any hope of endangered wildlife returning to Eastern Massachusetts, we need to stop developing around wetlands. 

“Another unique aspect of the area is the animals that live there. One of the things I try to do in my photography is depict animals as individuals, not ‘just another coyote.’ Consider the hundreds of animals that live in the forest every single day. They all have individual lives and thoughts. If the coyote that lives in that forest dies, there will never be another one like it. He’s a unique individual. 

For how long have you been photographing/covering this specific area? 

“I’ve been taking pictures of the wildlife in Belmont since I started wildlife photography five years ago. I spent a lot of time at Mass Audubon’s ‘Habitat’ Nature Sanctuary and at Lone Tree Hill searching for wildlife to photograph. At first, it was just about getting cool photos of the birds and mammals that lived there, but as I went on, I became much more conservation-minded. 

“It was a photo I took of a coyote at night that made me realize how powerful photography can be. By revealing the unseen wildlife that exists in protected lands, we can help people connect with them, and inspire people to protect them. It’s very powerful stuff. 

“I realized that people in my area are not only unaware of the wildlife living around them but also fearful of it. That was when my camera trap project began. I realized that if I wanted to reliably produce high-quality photos of night-dwelling and elusive creatures, DSLR camera traps were a necessity. 

“The camera trap contraptions I use cost about $2000 each, and there’s no way I could have afforded them on my own, so I applied for a grant from Mass Audubon. I was seventeen at the time and they had never given money to someone so young, or to a photography project, but they liked my vision and motivation, and I was fortunate enough to win the grant. From that point forward, I’ve been documenting the wildlife of Belmont.” 

Please tell us about a photo you’ve made in this area that you’ll never forget. 

“This is the story of when I took my personal favorite and most impactful photo. After setting up my second camera trap on the Belmont Hill forest property, I was hopeful. The location was perfect for wildlife and very beautiful. It was pointed at a giant oak tree surrounded by moss growing on the edge of a small pond. 

“In the background, you could see houses from the nearby neighborhood. I liked this because it helped connect urban to wild all in one frame. It did a great job capturing the hidden natural beauty of Belmont, and what was threatened to be destroyed. 

“When I came back to check the photos the next week, I got something better than I ever could have anticipated. It was the most beautiful and unique-looking coyote I had ever seen. It looked almost like a wolf with its broad face, glowing amber eyes, and a healthy brown/black coat. 

“It was walking over a tree root and positioned perfectly. It was taken during the day, and the lighting was perfect. The coyote looks like it has just walked away from the urban neighborhood in the background and is escaping into the forest. 

“The image makes it easy for people to connect to the animal. It doesn’t look scary or threatening, and it’s easy to see the coyote as a unique individual. Connecting to the coyote can by extension help people connect to the forest and be inspired to protect it.”

Where do you set up your camera traps, and how do you choose the locations?

“The first part of the process is picking a location. This is the hardest and most important step because it has the potential to make or break the success of your photography. There are four requirements a site must meet in order for me to put my camera there.

“The first is livability. Does the area have food and water for animals to live on? Every single one of my camera trap photos was taken within twenty feet of a water source. Water always attracts the most wildlife. I also look for evidence of food such as berries, small mammals, and sometimes even animal kills.

“The second is evidence of wildlife. To do this, I look for game trails. These are basically pathways through the woods that animals frequently travel on. Usually, they are through the paths of least resistance. A trained eye can spot them pretty easily by looking for areas with matted-down earth and lots of footprints. 

“The third is the presence of a choke point. A choke point is an area that funnels wildlife from a large section into a smaller point. Often it’s a place that all animals must cross through to get from one side of something to the other. A great example is a hole in a fence or a fallen log over a stream. 

“The fourth is findability. This one is unique to urban camera trapping. Since I place my camera traps in fairly popular locations, someone damaging or stealing my camera trap is a high concern. That’s why I need to make sure the cameras are very well hidden.

“Finding locations that check all these boxes is really hard and time-consuming. I often find myself deep off-trail in my local conservation lands for hours at a time. In one particular instance, I was up to my knees in mud in a tick-infested swamp. It was worth it, though.”

What can be done to protect this swath of forest from the threat of clearing? Do you have any updates on the proposed parking lot?  

“A lot has been done already. People in the town have done a good job organizing and protesting the parking lot. My work documenting the wildlife has also been very important. People need to be able to see what they are trying to protect. When someone sees my photo of a coyote walking through the forest, it gives them something to root for. 

“Townspeople are also attending every zoning meeting to protest. Unfortunately, it’s still really hard. The problem is that Belmont Hill School owns the land and spent millions of dollars to buy it. Technically, the development is legal, even though it really shouldn’t be. 

“The whole thing is still being deliberated and some good things have happened, but it’s still unclear what the outcome will be. At the very least, the school will be forced to scale back its plans and reduce the size of the parking lot. It seems like some of the more mature sections of the forest will be saved, which is definitely a win. Otherwise, it seems like the parking lot will be built. If I hear any new updates, I’ll let you know.

“There are thousands of other forests around the world that are facing similar fates to the Belmont one, and it’s not too late to help them. The best way to protect a forest like this one is by getting to it sooner. If a piece of land goes up for sale, make sure it doesn’t go into the wrong hands.

“Protesting, showing up to government meetings, and writing letters to decision-makers are also great ways to get heard. Form a coalition if you can, the more voices the easier it is to make an impact. Contacting local environmental organizations, raising awareness, and seeking legal advice can also help. Another great way is surveying and looking for wildlife on the land. Many places have laws that protect certain natural areas from being cut down if endangered species are present there. 

“If you are a landowner, another thing you can do is ensure you don’t sell your land to someone who wants to develop it. Try to sell land to a land trust or someone who wants to preserve it.”

Please tell us about some of the work you’ve done with conservationists in your area (and beyond). What have you learned from them?

“I’ve worked with my town’s conservation department and with Mass Audubon. I also got the opportunity to learn from a lot of National Geographic Explorers’ conservation efforts while at the Explorers Festival in Washington, DC. My biggest takeaway from talking to these people is what they focus on most in their conservation work. 

“I’ve gotten to speak to some of the most noteworthy conservationists on the planet and nearly all of them say the same thing. The most effective conservation work is environmental education. No matter where you are on Earth, this is true. One person fighting to protect the environment on their own is nothing compared to a generation of people who are inspired to care about it. 

“The people from Mass Audubon educate through a number of community outreach programs. They also run summer camps throughout the state, including one where I work, teaching kids about nature. The National Geographic Explorers I talked to were working internationally in places in Africa and the Amazon rainforest to educate locals about conserving the environment.

“I want to learn from these people and keep on educating beyond what I already do. In addition to teaching kids to love nature at the camp I work at, I want to use my photos to inspire people to protect wildlife. Giving presentations and lessons to people in my community are future goals of mine.”

What moments, if any, have given you hope for a better and more sustainable future—in your town and beyond?

“Working as a camp counselor at Mass Audubon has provided me with many moments of hope. While my job is technically ‘camp counselor,’ I think ‘ecology teacher’ would be a more fitting name. Whenever I hear a camper express love for nature based on something I taught them, it makes me more happy than anything else. I still remember what I was like at that age and who I’ve become as a result. The more people I can share my love of nature with, the better the world will be.

“The other thing that comes to mind is how unified my community is when it comes to protecting nature. My town has been very effective in getting together and fighting against wilderness destruction. In a recent effort, there are signs in front of hundreds of homes that say ‘save the trees”.’ This gives me a lot of hope.”

What does the future hold for you? 

“This fall, I will be attending the University of Wisconsin-Madison as a freshman in environmental engineering. I hope with an engineering degree I can circle back to photography from a more technical edge. I want to focus on human-wildlife interactions and document more of the human side of it. I also want to do a project talking about the importance of old-growth forests. In the future, I hope to become a National Geographic Explorer.”

All images © Soren Goldsmith

Further reading:

• This Overlooked But Magical Kentucky Forest Deserves Our Protection

• Conservation Photographer Marcus Westberg Fights to Protect Sweden’s Forests

• Wild Bird Fund in NYC Works Around the Clock to Rescue Animals

The post A Teen Photographer Races to Protect a Massachusetts Forest appeared first on Feature Shoot.

Whether you’re a photographer specializing in weddings, family photography, or advertising, Zno Gallery provides a one-stop solution for all your client gallery needs. With its user-friendly interface and a range of features designed to enhance client interaction and streamline your workflow, Zno Gallery is a must-have tool in your photography arsenal. Their online photo gallery is one of many software solutions in their photography studio software platform. Not to mention, Zno is also a printing lab to boot.

In the fast-paced world of professional photography, efficient communication with clients can make all the difference. Say goodbye to the days of back-and-forth emails and the hassle of sharing images through Dropbox. Zno Gallery revolutionizes the way photographers interact with their clients. This online platform is designed to simplify the process, save you time, and even boost your print sales.

The Seamless Experience of Zno Gallery

One of the primary reasons photographers still use Dropbox to share images is the ease of use. Thankfully, Zno Gallery has matched and greatly surpassed that ease, making it incredibly straightforward for photographers to upload, showcase, and communicate with clients. 

Beyond simplifying client communication, Zno Gallery offers various features that can take your photography business to the next level. From customizable email templates to AI-powered image retouching, it’s a comprehensive solution for professional photographers. Let’s break down some of the main benefits of the Zno gallery.

Effortless Image Sharing and Watermarking

• Zno Gallery simplifies sharing images with clients, making it quick and easy.
• For photographers who sell images as part of packages, adding a watermark is a breeze.

Streamlined Client Communication

• Zno Gallery allows photographers to directly email clients with their galleries, eliminating the need for external email services.
• Pre-made email templates provided by Zno Gallery can be customized to suit your specific needs.

Enhanced Client Interaction

• Clients can express their preferences by “loving” images and leaving notes on specific ones, facilitating easy changes and edits.
• Clients also have the option to download images, if granted access, putting them in control.

Integration With Other Zno Apps

• Zno Gallery integrates with Zno’s slideshow maker, known as Zno Slideshow.
• Zno Gallery integrates with Zno’s album designer software, known as Zno Designer.
• You can utilize AI-powered retouching services with the Retoucher app, that’s built into all of the apps.
• Lastly you can subscribe to the Fulfillment Apps Bundle priced at $30 a month.

Profitable Printing Solutions

• Zno Gallery enables photographers to turn images into printed products such as prints, wall art, and albums.
• A professional storefront, called Zno Estore, interfaces makes it easy for customers to navigate and place orders.
• All orders can be printed and shipped directly from the lab, eliminating the need for trips to the post office.
• Unlike many storefronts that take a commission on sales, Zno Gallery takes 0%, allowing you to retain all your profits.

Zno Gallery is truly a game-changer for professional photographers. This platform offers a comprehensive suite of tools that empower photographers to handle everything from image editing to designing print products and packages, sharing images with clients online, proofing, printing, and expanding into various other product offerings.

As a photographer, your primary focus is capturing beautiful moments and creating stunning imagery. Zno Gallery is indispensable in handling the logistical aspects of your business efficiently. No more wasting time on cumbersome communication methods or the hassle of managing physical product sales.

In a world where every minute counts and client satisfaction is paramount, Zno Gallery is your answer to staying ahead of the competition. 

For those interested in learning more about Zno’s Album Designer and its image editing and designing capabilities, we invite you to check out our in-depth review. Discover how Zno Gallery can transform your photography business and help you thrive in the digital age.

This post is sponsored by Zno.

The post Zno’s Online Photo Gallery: Elevate Client Interactions and Boost Your Photography Sales appeared first on Feature Shoot.

With a portfolio colored by iridescent aesthetics and a touch of unease, Carly Fridhandler, aka Scorpion Sorbet (@scorpionsorbet) has created a captivating style with her AI artworks. A senior art director at an advertising agency by day, Fridhandler has a keen eye. That along with Midjourney and a technique she calls “reverse prompting” enables her to achieve her unique artwork. We talked to Fridhandler about her creative process and what lies ahead in the AI art community.

What first inspired you to work on AI-generated art?

“I’ve always been a highly creative human. I’ve explored various artistic pursuits such as painting, drawing, origami, photography, and even cross-stitching. However, none of these activities held my interest for more than a few months. The moment I encountered Midjourney, I realized that I had finally unearthed the ultimate means of channeling my creative expression. This platform seamlessly integrates my passion for mathematics with a demand for a profound understanding of artistic direction, allowing me to skillfully navigate the course of its outcomes.”

How have you seen AI-generated art evolve since you first started working in this field?

“I started creating ai-generated art in October 2022 when Midjourney was on version 4. Presently, it has upgraded to version 5.2, showcasing a remarkable advancement that is both frightening and awe-inspiring. However, that comes with a growing apprehension within the community towards the discernible “AI aesthetic.” My objective remains the same since the beginning: to ensure that my creations diverge from the typical AI appearance, maintaining a distinct Scorpion Sorbet touch in all my pieces.”

How did you learn about making AI art? Did you have any training?

“I am entirely self-educated in this field. Since I began, I’ve spent countless hours after work (I’m a senior art director at an advertising agency) to the meticulous process of rendering, consistently refining my techniques and honing my distinctive artistic approach. To date, I have rendered over 17,000 pieces.”

Can you explain the creative process behind your AI-generated artworks? Do you leave anything to chance?

“It’s a delicate dance between seeking precision and embracing the element of surprise offered by algorithms. I envision my role as setting the stage—a pristine white room—where I carefully select the colors, elements, style, and emotive themes. However, I also leave room for chance to play its part. It’s like a Vegas slot machine, where I have the agency to determine the outcome, yet the spinning reels introduce an element of delightful uncertainty. I love those unexpected moments that arise, the anticipation of a winning combination.”

How long does it normally take to create one of your artworks? Can you walk us briefly through the process (without giving any secrets away, of course)?

“That truly depends. Sometimes it’s pure luck and something incredible renders out immediately. Other times, one piece can take hours or even days. I will explore and output hundreds of variations over and over until I find the exact one I want to share.” 

What kind of AI models or algorithms do you use in your artistic creations?

“I employ a consistent foundational prompt set that I’ve dedicated nearly a year to refining. Building upon this foundation, I incorporate additional layers that use camera settings, tone variations, and various elements. A couple of go-to prompts that I frequently use include “iridescent” or “holographic.”

How did you come up with your visual styles or themes? Do you have a specific process for this? 

“My personal style is still evolving but we have reached a stage where the emergence of AI-generated art has its own distinctive aesthetic. For me, as an artist, my objective is to challenge and break away from this overarching AI aesthetic.

“To shape my personal style, I have used a technique I call “reverse prompting.” Instead of explicitly conveying what I want the software to produce, I intentionally use prompts that perplex it. I juxtapose disparate elements, intricately weaving and layering prompts until I experience that instinctive gut feeling.

“While there are certain recurring themes in my works, such as iridescent colours, emotive social elements and surrealist details, I ultimately curate and share pieces where my intuition guides me, believing that if I am moved by it, you will be too. I think that’s the true essence of a Scorpion Sorbet piece.”

Are there any new technologies or developments on the horizon that you believe will greatly enhance the capabilities of AI-generated art?

“Right now, our community is diving heavily into Runway Gen-2, one of the first commercial AI models to generate short videos from text or images. Right now, it’s not perfected, but the moment we achieve the ability to effortlessly craft lifelike video sequences from a solitary image, we’re going to see remarkable creativity.”

12. Do you think your work has commercial appeal? Have brands gotten in touch with you, for example? 

“Definitely, yes. I’ve been fortunate to receive interest from a couple of well-known brands and am currently engaged in some exciting projects.

“While not exactly commercial, I’ve had the privilege of collaborating with talented musicians such as Scout Larue Willis and TT The Artist. Additionally, I’ve been lucky enough to be featured on the front cover of D by La Repubblica, as well as having my work displayed in galleries in Paris, Shanghai (Fred & Farid), and Milan (Red-Eye Magazine).” 

Who are your favorite AI image-makers?

“That is a really hard question because there are honestly so many incredible ones. To name a few I would absolutely check out @psymulate, @h.s.wren, @helpthelemon, and @zetabytez .

Where do you go to stay updated with what’s happening regarding AI + creativity?

“The majority is through this inspiring community of AI creators. We collectively exchange tips and techniques, providing help to one another. I also create AI challenges for the community which has been really rewarding. 

“The future is an exhilarating realm of endless possibilities. I am so grateful, as a deeply creative individual that I have found the ultimate way to express that.”

The post Scorpion Sorbet’s Odyssey in Iridescent AI Aesthetics appeared first on Feature Shoot.

Despite the news of a potential TikTok ban in the US (it’s safe for now), Instagram being in a “flop era,” and Twitter’s ad revenue being down 59%, influencer marketing is doing just fine. In fact, it’s doing more than fine—with the global industry estimated at 21.1 billion dollars (USD) in 2023. That’s double what it was in 2019. And it’s not just big brands who are driving this growth. Brands of every size are using influencers (from macro to nano) to promote their products and services these days.

While it’s not necessarily difficult to hire an influencer, there are some important things to consider before you send that DM or hire that agency. Mind the details, and you’re likely to reap the most benefits (and ROI). We asked top influencer marketing specialists to break it down for us.

Can you share some best practices for brands looking to hire an influencer and get started with influencer marketing?

Permele Doyle, the co-founder and president of Billion Dollar Boy:

Absolutely. Some of our best practices include:

• Define your goals. You need to know what your specific objectives are, such as increasing brand awareness, driving sales, or improving engagement so you can identify the best influencers for your campaign.

• Be very disciplined in influencer identification. It’s extremely important to select and engage influencers who have a strong following and whose values align with the brand. You also have to be intimately familiar with the influencer to make sure there aren’t any red flags, you’re comfortable with the influencer’s tone and character and can stand behind them should an unexpected scenario arise.

• Give influencers creative freedom. This is a very big one for BDB; it’s imperative to give influencers creative freedom to create content that resonates with their audience to ensure that the content feels authentic and natural. The creator industry is much more developed today, and brands are not working with creators to serve as talking heads anymore. Trust your creators and partners!

• Build long-term relationships. Working with influencers on multiple campaigns or creating ambassador programs will help foster ongoing partnerships and brand loyalty.

Our BDB Shop also offers the Creator Marketing Handbook, which dives deeper into how marketers can integrate influencers into marketing strategies and get the most return on their influencer marketing initiatives.

Lara Daniel, the co-founder and CEO of Pulse Advertising:

Yes, here are some tips and best practices for brands looking to get started with influencer marketing:

• Clearly define your campaign objectives and target audience.

• Thoroughly research and vet potential influencers to ensure alignment with your brand values.

• Foster authentic relationships with influencers by providing creative freedom and enabling open communication.

• Develop long-term partnerships.

• Track and analyze campaign performance using relevant metrics and key performance indicators (KPIs) to measure success and optimize future campaigns.

Alessandro Bogliari, the co-founder and CEO at The Influencer Marketing Factory:

Trust the influencer. They know what works and what doesn’t on social media. Instead of trying to dictate the typical corporate script, it is better to ask for their feedback and be very communicative.

How do you approach working with micro-influencers versus macro-influencers? Is the process any different for brands looking to hire an influencer in these categories?

Doyle: We do approach micro and macro-influencers somewhat differently, as they typically have different audiences, levels of engagement, and pricing structures.

In general, nano-influencers (ranging from 1,000 to 100,000 followers) may have more niche audiences, which can make them particularly effective for campaigns targeting specific subcultures or interests. They have more personal connections with their followers and therefore may have higher engagement rates. They generally charge less and may be more cost-effective for smaller brands with more limited budgets.

Micro-influencers can be great candidates to build long-term relationships and partnerships with, as they may be more open to collaboration across longer-term or multiple campaigns across a longer time period.

In contrast, macro-influencers (ranging from 100,000 to millions of followers) have more mainstream audiences, which can make them very effective for campaigns that target a broad range of consumers. They interact less with followers on an individual basis.

When working with macro influencers, we tend to focus more on campaign planning and execution and sometimes fee negotiation, as these influencers are more well-established and have their own processes for creating and promoting content.

This is something that we champion at BDB; we see influencers as de facto creative directors who know their audiences extremely well and have the vision for the content they want to create. As the marketing agency, our job is to give the creator or creators a starting point or framework and give them a lot of space to create and make magic.

Bogliari: Micro-influencers tend to drive more conversions. They have a smaller following, but that smaller following is usually stronger in the sense that the relationship between the influencer and their audience is more intimate.

Macro-influencers are really good for building brand awareness and driving traffic. But sometimes macro influencers are followed by people who might not be necessarily influenced by them—maybe they’re following them just because they are macro influencers.

We usually recommend doing a good mix of micro, medium, and macro influencers in order to minimize the risk. So you’re not only giving money to one big macro-influencer and putting all your eggs in one basket. It’s good to diversify the type of approaches.

Usually, our approach is also to spend a little bit of money on different social channels/platforms because each medium is different: different demographics, different formats, different styles, and different ways of communicating.

How many influencers does a typical brand usually work with, in your experience?

Tiffany Romero, the president of influencer management at the digital advertising agency Sway Group:

That varies a lot. We have a large campaign right now where we’re only using, like, five macro-influencers (really big influencers). And then we have done programs where we’ve used 200 nano influencers. It really depends on how the brand wants to reach their goals. Sometimes that’s with a celebrity. Sometimes that’s with volume.

What are some elements that make an influencer campaign successful, and what should brands keep in mind when hoping to hire an influencer?

Doyle: In making campaigns successful, one thing that we as an agency do really well is that we always advise and help our brand clients dig more into subcultures and even micro-cultures as opposed to just targeting demographics—-e.g. the popularity of trends on TikTok such as renovating dolls houses, crocheting, pottery, etc. This is where real, authentic engagement lies.

Bogliari: In terms of campaigns overall, what I can say is that it’s about soft skills in terms of selling more than hard selling. It doesn’t work anymore just to show a product online and say, “Buy these.” It’s about how you embed that product into something else. Maybe it’s great storytelling, a funny video, or an informative video.

What are some recent trends in this industry you’re seeing so far in 2023?

Romero: We continue to move away from highly edited static content to real and raw videos. TikTok continues to grow in popularity.

Brands are also interested again in in-person events and experiences, and they’re starting to sponsor events and have influencers come. We’ve all seen the Tart Trips, right? On TikTok, Tart has taken a handful of creators on different trips. We also have brands that are big box stores that are wanting influencers and creators to visit the store and have a shopping experience, and the entire program is based around that.

There are soft openings where brands want creators and influencers there. We just had a client that had a booth set up outside of a really large sporting event, and we got a large influencer to attend that. Now that Covid has really slowed down, we’re seeing a lot more interest in in-person events.

What metrics do you provide to advertisers once a campaign has run?

Doyle: Our most standard metrics are engagements and average engagement rate. KPIs also vary by client campaign and goals, but other core metrics that we commonly deliver include:

• # of participating influencers

• # pieces of content

• Total organic reach

• Impressions

• Views

• % positive sentiment

Daniel: Once a campaign finishes, we provide brands with comprehensive and bespoke metrics and insights to measure the performance. This includes data such as reach, impressions, engagement rates, click-through rates (CTR), conversions, brand sentiment analysis, and any other relevant KPIs specified in the campaign objectives. These metrics help us and the brand evaluate the success of the campaign and make informed decisions for future collaborations.

Romero: We provide a ton of first-party data pulled directly from the platforms via their APIs. This includes impressions, clicks, shares, saves, likes, and comments.

Do you find that brands looking for ROI specifically, or are they also satisfied with raising brand awareness and growing their followings on Instagram and TikTok?

Romero: It really depends on the brand. Often smaller brands are looking for increased clicks/sales that track directly back to the campaign. Larger (national) brands are often thrilled with increased engagement and chatter.

Bogliari: I would say that brands are a bit more ROI-focused nowadays. They’re not only interested in so-called vanity metrics such as views, likes, and comments. They are looking for conversions.

No matter what we’re working on, we’re always looking at CPM (the cost per mille for a thousand impressions), the cost per click, the CTR (the click-through rate for the campaign). If it is on Instagram, we will look at sticker taps. If it’s on TikTok in-feed ads, we look at how many conversions (CPI, CPA, CPL) the client got thanks to that specific ad.

Alessandro Bogliari is the Co-Founder and CEO of The Influencer Marketing Factory, a global influencer marketing agency that helps brands launch influencer marketing campaigns On TikTok, Instagram, and YouTube. He is also a member of the Forbes Agency Council and a member of The Drum Network.

Lara Daniel is the Co-Founder and CEO of Pulse Advertising, a market-leading influencer marketing agency. Leading a global team of 100+ employees, Lara Daniel combines her marketing acumen with business expertise to establish partnerships with brands including LVMH, L’Oréal, BMW, Ferrero, Hugo Boss, and more.

Permele Doyle is the Co-Founder and President of Billion Dollar Boy. Billion Dollar Boy is a global influencer marketing agency creating award-winning influencer-led advertising campaigns, with a team of 150 influencer marketers across five offices.

Tiffany Romero is the President of Influencer Management at Sway Group, a full-service influencer marketing agency. She is a savvy marketer with years of experience leveraging the brand/influencer relationship. Romero has been featured in the New York Times, CBS, Huffington Post, ABC News, MediaPost, and Today’s Leading Woman.

Further Reading:

• 14 Influencers Talk About Their Most Popular Image on Instagram

• Whimsical Paper Cut Outs Lead to Instagram Stardom, World Travel

The post Thinking of Hiring an Influencer Marketing Specialist? Read This First. appeared first on Feature Shoot.

While working on the set of The Virgin Suicides, Sofia Coppola “made a point” of wearing a dress. The film community was, in many ways, “a boy’s club,” and the choice was deliberate. “I was determined to still be feminine while directing,” the director writes in her first book, Archive (MACK).

Archive is a book of photography, first and foremost, featuring work by the director as well as her friends and collaborators. For her part, Coppola frequently uses a Contax T3 camera; she also likes Kodak Portra film, a fitting choice since it was first introduced in 1998, at around the same time as she was working on The Virgin Suicides. Her photos from Lost In Translation were printed on-the-go at a one-hour photo printer in Japan. 

From Paris Hilton’s closet to Jennifer Coolidge’s New Orleans home—filming locations for The Bling Ring and The Beguiled, respectively—the book features hidden-treasure moments from throughout Sofia Coppola’s career. We begin in the ’90s with the The Virgin Suicides and continue to the present day with Priscilla. 

On the set of Somewhere, we see the director’s mother Eleanor doing documentary work behind-the-scenes; her young daughter Romy also makes an appearance. We learn that the crew on Marie Antoinette was allowed to store their camera equipment in Marie Antoinette’s actual bedroom at Versailles. 

Coppola’s oeuvre has deep roots in still photography, and the artist Paul Jasmin was an early teacher of hers. Tina Barney’s work became a reference for the director during The Virgin Suicides; so did Bill Owens’s 1973 photo book Suburbia. Before working on Lost In Translation, Coppola met Hiromix, whose photographs captured the Tokyo “girl culture” that helped to inspire the visual language of the film. 

The opening scene of Marie Antoinette was influenced by a Guy Bourdin photo, and a Jo Ann Callis image helped Coppola to create and expand the world of The Beguiled. William Eggleston’s photographs of Graceland became a reference as she created Priscilla (she discovered while working on the film that Eggleston had actually shot the photos for a Graceland brochure). 

In conversation with both Vogue and Vanity Fair, Sofia Coppola admits that she once saw the various ephemera she’d collected over the years as “junk.” For a long time, she kept these items tucked away in boxes; she revisited them during the pandemic, when had time to sift through the collection. In truth, these letters, posters, drafts, clippings, and other archival materials offer a singular glimpse into the nostalgic, melancholy, pastel-tinted world of a pioneering director, over decades. 

It’s fitting that Archive reads as much (if not more) like a diary as it does a traditional coffee table book. It’s a rare book that will be equally at home in hushed library corridors as in noisy teenage bedrooms, amid half-empty perfume bottles and magazine cutouts. It’s meant to be touched and paged through, not once or twice but many times. Some young and aspiring filmmakers might even make their own highlights and annotations, alongside Coppola’s, daydreaming of the stories they’ll create someday. 

Get your copy of Archive here. 

The post Sofia Coppola Authors Her First Ever Photo Book appeared first on Feature Shoot.

If you’re a professional photographer looking to create stunning photo books for your clients, Zno’s album design software makes creating photo books and professional photo albums easy and fun. From custom design services to specs with dozens of photo labs, Zno has thought out of the box to ensure they deliver precisely what photographers need and want.

Why choose Zno Designer for designing albums over competitors like Fundy Album Designer or Pixellu Smart Albums? We think the strengths of Zno lie in its versatility, user-friendly features and Zno’s vertical lab integration. We also love that Zno’s entire photography studio  software platform operates in the cloud, eliminating the need for annoying software installations. 

Zno caters to a wide range of occasions, from milestone events like weddings, Bat mitzvahs, and quinceañeras to personal moments like newborn and maternity shoots, as well as fun and artistic endeavors like boudoir sessions or pet portraits. The intuitive and diverse templates on Zno reflect all these varying styles and genres, so you can find something that suits your personality (or the specific aesthetic of your client).

And you don’t need design experience to craft stunning photo books. Zno’s intuitive platform simplifies the process. Just import your images and let Zno Designer work it’s magic. With a vast selection of premade templates and themes, you’ll achieve a clean and professional look effortlessly.

However, if you simply don’t have the time or inclination for design work (we hear you!), Zno has got you covered with its Album Design service. Unlike outsourcing to external designers who may struggle with unfamiliar software, Zno’s in-house designers deliver lightning-fast turnarounds, with your album ready in 2-4 days. The best part? You receive an editable design, allowing you to make minor adjustments at your convenience, sparing you the back-and-forth with designers.

With the inclusion of Zno Retoucher, you gain access to the power of Perfectly Clear AI-powered retouching, making quick enhancements to your images a breeze.

And if you’re collaborating with clients, Zno’s streamlines the creative process with album proofing. With their album proofer feature, you can effortlessly share your albums with clients for their valuable input and approval. Clients can conveniently add feedback directly onto the album, facilitating real-time collaboration and eliminating the need for time-consuming back-and-forth exchanges. Zno Proofer not only expedites the review process but also ensures that both photographers and clients stay informed about the next steps through email notifications.

And when it’s time to bring your creations to life, Zno boasts its own print lab, guaranteeing the production of high-quality professional photo albums. Design your photo album, place your order, and await the arrival of your beautifully printed album in the mail. Zno Gallery complements this with a seamless connection to Zno Estore, enabling you to turn your gallery images into prints, wall art and even boost your album sales.

The convenience of Zno’s Album Designer app doesn’t end with Zno’s product line. It’s designed to cater to a wide array of needs. You’re not confined to ordering albums exclusively through Zno; instead, you can export your meticulously crafted albums to dozens of third-party labs. This allows you to design top-tier albums for printing at virtually any lab. When you initiate a new project within the Zno Workspace, you’re presented with an extensive selection of album products. This wide array of choices ensures that you can tailor your album creation to your specific needs and preferences, providing you (and your clients) heaps of options and creative freedom.

For photographers passionate about their business and making sure they overdeliver for their clients, the Zno Designer Pro Plan, is tailored exclusively for you. This loyalty program offers a range of benefits, including discounts on samples and the opportunity to earn Zno lab credits for your purchases, among other perks. For a modest annual fee of just $60 USD, you gain access to these advantages, allowing you to save money while investing in your business and staying at the forefront of the latest trends in photo books for your clients.

With the Pro Plan, your purchases automatically accumulate Zno Lab credit. For instance, by spending just $600.00, you’ve not only recouped the $60.00 annual fee but also set yourself on a path to unlock even more benefits, making it a wise investment in your photography endeavors. Zno’s dedication to your success shines through in every aspect of its services, from design to printing.

In a world where memories deserve to be preserved in style, Zno stands as the ultimate companion for seasoned professional photographers. With its user-friendly professional photographer software, powerful features, and integrated services, you’re just a few clicks away from transforming your project into a timeless photo book that tells a unique story. No design experience is required.

This article is sponsored by ZNO.

The post Capture, Create, Cherish: How Zno’s Album Designer Brings Stories to Life appeared first on Feature Shoot.

Combining his filmmaking and photography background with AI’s infinite possibilities, artist Glashier has created a virtual world of “MIDNITE,” a fictional town full of Martians, UFOs, aliens, and of course, cats. We talked to him about the inspiration, evolution, and creative process behind this popular AI project, “Midnite on Mars.”

What first inspired you to work on AI-generated art?

“The inspiration for my venture into AI-generated art was multifaceted. Firstly, I found the financial constraints of my film-based photography work to be limiting. This prompted me to seek out alternative avenues for creative expression that could also provide a more flexible approach. In this pursuit, I discovered the potential of AI-generated art.

“However, the primary spark for my exploration into AI-generated art came from my desire to construct a world where I could engage in street photography without physical constraints. This aspiration gave birth to the concept of “MIDNITE,” a town that could serve as the canvas for my artistic vision. AI offered a pathway to build and populate this world with images that echoed the essence of street photography while transcending the limitations of reality. In essence, my curiosity about AI’s capacity to facilitate such creative exploration fueled my inspiration to dive into AI-generated art and embark on the exciting journey of bringing “MIDNITE” to life.”

How have you seen AI-generated art evolve since you first started working in this field?

“Since I began my journey into AI-generated art, I’ve witnessed a remarkable evolution in the capabilities of these tools. When I initially started experimenting with Midjourney V2, it primarily produced abstract results. However, with persistent effort and refinement, I’ve been able to guide the AI to generate images that closely resemble reality.

In recent months, I’ve observed substantial progress in the realm of AI-generated videos. The technology has advanced significantly, enabling the creation of more complex and engaging visual narratives. This rapid progression suggests that within a year, we could be venturing into the realm of 3D AI-generated art that holds not only creative potential but also commercial applications.”

How did you learn about making AI art? Did you have any training?

“Learning to create AI art was a process akin to mastering any other art form. It required dedicated time and practice to establish a shared language with the computer. Much like acquiring proficiency in painting, photography, or any other creative discipline, the journey involved a blend of exploration, experimentation, and learning from trial and error.

“While I didn’t have formal training in AI, my background as a photographer and filmmaker provided a foundation in visual storytelling and composition. This knowledge proved valuable as I navigated the realm of AI-generated art. By immersing myself in this field, continually refining my techniques, and collaborating with evolving AI technologies like Midjourney, I gradually honed the skills necessary to express my artistic vision through AI-generated creations.”

Can you explain the creative process behind your AI-generated artwork? Do you leave anything to chance?

“The creative process behind my AI-generated artworks is an improvisational journey that fully embraces chance. It’s about discovering a personal style within the world of AI-generated art, often through trial and error. Leaving room for serendipity is crucial to this process, as unexpected outcomes can lead to innovative breakthroughs. Embracing unpredictability allows me to explore the boundaries of AI’s capabilities and uncover fresh avenues for creative expression.

“With every iteration, my techniques evolve, my approach refines, and I find myself consistently drawn to a distinctive aesthetic that resonates deeply with me. In essence, my creative process is a fusion of guided experimentation and the exciting surprises that arise from letting chance play its part, resulting in dynamic and uniquely crafted artworks.”

How long does it normally take to create one of your artworks? Can you walk us briefly through the process (without giving any secrets away, of course)?

“The time required to create one of my artworks can vary significantly, ranging from hours to several days. The creative process is not bound by a rigid timeframe, as each artwork presents its own unique challenges and demands.

“The process typically begins with formulating a concept and crafting a prompt that guides the AI in generating the desired image. Once I have the initial result, I engage in an iterative refinement process. This involves experimenting with different prompts, adjusting parameters, and fine-tuning the AI’s output to align with my artistic vision.

“During this phase, I engage in a dynamic interplay with the AI, iterating and refining until the artwork aligns with my creative intent. This process can take varying amounts of time, with some artworks coming together relatively quickly while others demand more extensive experimentation and exploration.

“Ultimately, the duration of creating an artwork is a testament to the dynamic nature of the creative process. It’s a journey where hours and days intertwine, guided by the pursuit of realizing a vision that resonates deeply with me and hopefully captures the imagination of the viewer.”

What measures do you take to ensure that your art remains visually consistent throughout a series? 

“To maintain visual consistency throughout a series of my artworks, I rely on a baseline prompt that serves as the foundation for the entire collection. This prompt acts as an anchor, preserving the overarching aesthetic and visual identity I aim to convey. By using this baseline prompt as a starting point for each artwork, I ensure that key elements of the world I’ve created remain intact.

“However, I also embrace flexibility within this consistency. As I progress through the series, I introduce variations and nuances to prevent monotony and to explore the breadth of creative possibilities within the established visual framework. This combination of a consistent baseline and thoughtful variations helps strike a balance between cohesion and the evolving narrative within the series.

“In essence, the baseline prompt serves as a touchstone, guiding the visual consistency, while deliberate variations infuse the series with depth and dimension, ensuring that each piece maintains its connection to the overarching concept while still offering its unique creative expression.”

How did you come up with your visual styles or themes? Do you have a specific process for this?

“My visual styles and themes emerge purely from the realm of imagination. It all began with a desire to create a virtual space where I could engage in street photography without any constraints. I envisioned this space as an evolving canvas for my artistic expression. From there, I let my imagination run wild, exploring what I would love to capture, the colors that would resonate, and the atmospheres that would come to life.

“This process didn’t follow a rigid structure; rather, it evolved organically from the initial idea. I allowed my creative impulses to guide me, tapping into the visual imagery that resonated with my senses. As I envisioned scenes, textures, and colors, the themes began to take shape, giving birth to the distinct visual styles that define my artworks.”

You have an extensive background in filmmaking and photography. Do you think that AI levels the playing field for people that want to create art but don’t have traditional training or experience?

“Absolutely, AI is a transformative force that levels the playing field for aspiring artists who may not have traditional training or experience. The accessibility of AI tools democratizes creativity by allowing individuals to harness technology to express their artistic visions. Much like photography democratized visual expression over a century ago; AI is now opening doors for those who possess unique perspectives but lack formal training.

“AI-powered tools provide a platform for anyone with imagination and a desire to create. They enable individuals to explore their artistic inclinations without the need for years of training, expensive equipment, or specialized technical skills. This democratization empowers individuals to engage with art on their terms, regardless of their background.

“AI serves as a bridge between imagination and execution, allowing creators to manifest their ideas in unprecedented ways. It empowers people to experiment, learn, and refine their craft while encouraging a diverse range of voices to contribute to the artistic landscape. As a result, AI’s democratizing influence holds the potential to redefine what it means to be an artist, opening doors for fresh perspectives and innovative creativity.”

The post A Striking Visual AI Journey to Mars appeared first on Feature Shoot.

A few months ago, I was on vacation in Bali, a popular influencer playground, where it’s nearly impossible not to run into someone photographing or filming content. While sitting in a popular cafe in Ubud, I witnessed multiple influencers wandering around the restaurant. It was entertaining to watch and I was surprised to find that it brought up some mixed emotions for me. Even though I was enjoying the same cafe, I couldn’t help but feel a bit of FOMO for what I imagined was a life of travel, perks, and most importantly, sponsorship by brands.

In researching this article, I’ve come to find out that brands are looking for all types of people to help market their products, not just 20-somethings armed with fashion, travel and beauty tips (although these categories are still very popular).

And you don’t need to have thousands of followers to be an influencer. To get started with one of the agencies we interviewed for this article, you actually only need a thousand engaged followers. Which is not to say it’s easy to make a living doing this. There is a lot of competition. But if you have a niche and good engagement, read on for our tips from top influencer marketers Permele Doyle, Tiffany Romero, Lara Daniel and Alessandro Bogliari on how to break into this world.

What do you look for in influencers you choose to work with on behalf of your brand clients?

Permele Doyle, the co-founder and president of Billion Dollar Boy: First and foremost, it’s important to make sure that the influencer’s content aligns with the brand’s values and target audience—-and also with the brand’s overall look, feel, and tone.

The influencer should have a genuine interest in the brand and its products or services, as well as a strong understanding of and alignment with the brand’s messaging. Choosing an influencer who aligns well with the brand’s goals and values and has a genuine connection with their audience is always key to success.

We also seek out the most creative influencers. Influencer marketing is all about creating engaging and innovative content, so we look for influencers who bring new ideas to the table.

Tiffany Romero, the president of influencer management at the digital advertising agency Sway Group: Any creator with 1000+ followers on a platform is welcome to join our network at massivesway.com. Once you know you are posting regularly and have at least a thousand followers, that’s a good time to put yourself into the network.

When selecting a creator for a paid campaign, we consider the client’s requests, which may include demographic, following, and engagement. We also consider the quality of the content.

Additionally, it’s important that an influencer’s sponsored content does well. You will see people who have organic content that does really well, but the minute they talk about something that’s sponsored, it doesn’t. If it doesn’t do well, it’s usually because it’s not a good match. We look at what organic content has done well and consider whether or not the brand makes sense for the audience that’s engaging with that organic content.

Are there specific numbers or engagement metrics someone must have to be considered?

Doyle: There are no hard and fast rules about the exact numbers or engagement metrics an influencer should have to be considered. Generally, influencers with larger followings and higher engagement rates tend to be more desirable for brands, but other factors such as niche focus, quality of content, and level of authenticity should also be taken into account.

We typically classify influencers with more than 10,000 followers on platforms like Instagram or TikTok as micro influencers, and those with over 100,000 followers as macro influencers. Engagement rates of 2-3% are generally considered good and we look for at least this rate in influencers we partner with.

Romero: We like to see engagement over 3-4% for smaller creators and 2% for larger ones.

We have a lot of photographers on our email list, and many have tens of thousands of followers on Instagram. If they want to attract brands, what advice would you offer them?

Doyle: One of the best ways to attract brands to work with you is to build a strong and diversified portfolio of your work. Do this not only on your site but on your social channels.

Specialize in a niche, but show your breadth. Brands often look for photographers who specialize in a particular niche or industry, such as fashion, food, or travel. You can become an expert in that space and attract relevant brands. But if you predominantly show one niche on your channels, brands will think that is all you do. Use Instagram to show your range; can you shoot food or product? Can you shoot people? This will open up more opportunities.

Do your best to grow your following on your social accounts engaging with your audiences, using hashtags, participating in some social trends, etc. Brands do look at follower count and engagement. It’s also important to share branded content on your social channels so brands don’t think you only do editorial shoots.

Work to establish and build relationships with marketing managers, brand managers, and other photographers to help you network and find new business.

Lara Daniel, the co-founder and CEO of Pulse Advertising: For photographers looking to attract brands, focus on showcasing your unique style, creativity, and storytelling abilities. It’s crucial to create a strong portfolio that highlights your skills and expertise. Additionally, actively engage with the photography community, participate in relevant collaborations or competitions, and leverage platforms like Instagram to share your work, engage with your audience, and establish a strong personal brand.

Alessandro Bogliari, the co-founder and CEO at The Influencer Marketing Factory: Apart from having your own personal style, try to be in front of the camera as well. If you’re always behind the camera, you might have fantastic pictures, but it is going to be very difficult to understand who you are. You want to be recognizable, and you want people to associate your message with your face. One way to do this would be to start recording video tutorials or BTS showing your process.

Do you have any tips for how influencers should go about approaching brands directly?

Romero: I think that the best way to do it is to already be a loyal fan of the brand: following them, engaging with them, sharing the experiences that you’re having. Get on their radar by engaging with their social and tagging them in any content you create that features their products.

Oftentimes, it boils down to knowing that maybe they have a new product coming out that would be a perfect fit for your audience and reaching out to them and letting them know why it would be a fit.

Don’t just send a blanket email with a media kit attached. That’s usually just gonna get put in a pile. Instead, consider something like, ‘I’m so excited about the new product coming out, and I wanna share with my audience.’

And then, list out what you would offer (for example, two posts). Make it an easy ‘yes’ for them. Include your fee, any exclusivity you’re willing to offer, licensing you’re willing to offer, and so on, so that they have a really clear picture of what working with you would look like.

Daniel: Do your research. Understand the brand’s values, target audience, and existing influencer partnerships. Personalize your approach, and craft a tailored pitch that demonstrates your understanding of the brand and showcases how your collaboration can add value.

Don’t be overly transactional. Build a genuine relationship by focusing on the mutual benefits and long-term potential rather than just emphasizing compensation. And don’t be pushy. Respect the brand’s decision-making process and timelines, and be patient in your follow-ups.

On Instagram, do brands still want posts, or do they mainly ask for Reels?

Doyle: We’ve seen a big shift to video content on Instagram—virtually 80 to 100%. However, still photography still has an important place in brand marketing campaigns. For example, some brands are looking for high-quality still photos for use on their website, social or other channels (think retail and product packaging… the possibilities are endless.) Influencers who can produce both still photography and video content are attractive to brands as they can offer a wider range of content.

Bogliari: I would say that Reels and Stories are more in the spotlight these days because static posts are having less organic reach. With posts, you’re hoping that it’s going to be seen by maybe 3% of someone’s followers. But with Reels, you can start with 10,000 followers and then have that video seen by a million people, so it’s definitely more interesting for brands.

Are there any gaps that you’re looking to fill in your network?

Romero: We’re always looking for male creators. We’re always looking for diversity, whether that’s women of color, members of the LGBTQ+ community, and so on. We’re always looking to really round out the list and make sure that real life is represented very well on the list for clients.

What are some common mistakes you see influencers make, and how can they be avoided?

Romero: I think a lot of people don’t realize that how easy or not-so-easy you are to work with plays into getting the next job, as well as negotiating rates. Turning in your work on time, shockingly, is something that we have to consider and deal with on every single campaign, as well as people just going MIA. We always hire alternates, and we often use the alternates.

I also think that creators need to be thoughtful about sharing very controversial information when they wanna work with brands. Especially sharing something that maybe isn’t factual or needs to be fact-checked, as that has happened. It’s important to know the brand’s culture and that it matches your values. That’s an easy Google search.

Doyle: Lack of authenticity or misalignment with the brand’s values is a mistake, as is poor communication, unprofessional behavior, or failure to meet agreed-upon deliverables or deadlines. Inconsistent content quality or low engagement rates are red flags. Also, overly sales-focused content tends to lack genuine value for the audience.

We hear a lot of marketers use the word “authenticity,” especially in influencer marketing. What does that actually mean and look like?

Romero: I think for me, as someone who looks at influencers and creators every day, there’s a difference between being authentic and what some people think it means. People think it means you have to share every aspect of your life, and it doesn’t. You can have a private life and still be an authentic influencer.

But I think jumping niches regularly is something that I see—and that definitely comes across as inauthentic. For example, you see people go all in to be a makeup and fashion influencer and then they realize, oh, but I wanna go on a free trip, so now I’m gonna be a travel influencer. That doesn’t work because then you’re talking about things that just don’t match what your audience is expecting from you.

Additionally, I think we’re starting to leave the days of the perfect static post with, you know, the three children perfectly arranged in the clean white kitchen without a cup in sight. And we’ve moved more towards real-life raw videos, which is why I think TikTok is having so much success right now.

Do you have any more advice for creating sponsored content that resonates online?

Bogliari: When it comes to influencers, a lot of the time, you don’t buy just because of the product. You buy because you trust the person and you like the type of style and storytelling. It shouldn’t be only about the product—but about how you use it. Maybe sometimes you can use it in a different way. Think: how can you actually create a story around it?

About the experts:

Tiffany Romero is the President of Influencer Management at Sway Group, a full-service influencer marketing agency. She is a savvy marketer with years of experience leveraging the brand/influencer relationship. Romero has been featured in the New York Times, CBS, Huffington Post, ABC News, MediaPost, and Today’s Leading Woman.

Permele Doyle is the Co-Founder and President of Billion Dollar Boy. Billion Dollar Boy is a global influencer marketing agency creating award-winning influencer-led advertising campaigns, with a team of 150 influencer marketers across five offices.

Lara Daniel is the Co-Founder and CEO of Pulse Advertising, a market-leading influencer marketing agency. Leading a global team of 100+ employees, Lara Daniel combines her marketing acumen with business expertise to establish partnerships with brands including LVMH, L’Oréal, BMW, Ferrero, Hugo Boss, and more.

Alessandro Bogliari is the Co-Founder and CEO of The Influencer Marketing Factory, a global influencer marketing agency that helps brands launch influencer marketing campaigns On TikTok, Instagram, and YouTube. He is also a member of the Forbes Agency Council and a member of The Drum Network.

Further Reading:

• 14 Influencers Talk About Their Most Popular Image on Instagram

• Whimsical Paper Cut Outs Lead to Instagram Stardom, World Travel

The post Tips on Landing Lucrative Influencer Marketing Jobs from the Pros appeared first on Feature Shoot.

When it comes to street photography, you can’t do better than a portable mirrorless camera (or even a compact). In this guide, we’re sharing some of the best MPB used cameras for stealthy photographers on the go. Shop MPB’s full range of cameras, lenses, accessories, and more here. 

Over the course of nearly a decade of interviewing street photographers, I’ve learned two things. First, they bring their cameras everywhere, and second, they walk—a lot. Steve Reeves, for example, has wandered for hours through the stalls of Chapel Street Market in London, stopping to create portraits of interesting faces along the way. Gustavo Minas has explored every nook and cranny of Brasília’s bustling Central Station. Markus Andersen has spent countless summer days under the hot sun in Cabramatta, Australia, inhaling the scent of fresh fruit as he walks past open-air vendors. 

To be able to do this kind of work, the perimeters are clear: you need a small, lightweight, discreet, and durable camera that won’t strain your neck if you wear it all day, every day. While creating this guide to MPB used cameras and MPB lenses for street photography, I reached out to some of the best in the genre to see what tools they use for their urban adventures. Whether they’re navigating rough cobblestone streets or climbing up hills searching for the perfect vantage point, this is the gear they rely on to get the job done.

Please note: Prices are as of this writing. 

Fujifilm X-T20

Weighing in at just 383 grams, this camera is a go-to for the fine art street photographer Moises Levy. Aside from the size itself, Levy also appreciates how this cropped sensor camera handles highlights, even in trickly backlit scenarios. 

“I also like that all the controls are physical, so I don’t need to enter any menu to adjust the setup for shooting,” Levy says. He takes a unique approach to this camera, pairing it with manual focus-only lenses, such as the Zeiss 21mm and the Voigtlander 15mm, using an adapter. 

Explore this MPB used camera starting at $229. 

Sony Alpha A6400

Neil Kramer uses this mirrorless camera with a classic 35mm lens. “Sony mirrorless cameras are superfast, and they pretty much revolutionized the industry with their face-detection focusing,” he reflects. “This means I can lift my camera and be confident that a face will be sharp.  

“On the other hand, Sony also allows me to turn off all these fancy gizmos if I want to be more creative. The camera is small, and I can carry it around in a small camera bag or in my winter coat pocket. I usually shoot in manual, but Sony’s Auto ISO gives me the freedom to go in and out of shadows without missing the shot.”

Browse MPB used cameras starting at $534.

Canon EOS R

Nicola Fioravanti, a street photographer who recently embarked on an extraordinary journey through the bustling cities and tucked-away villages of Morocco, almost always uses this camera with a 35mm lens. 

“Canon’s R line offers access to RF optics, which are truly sensational,” he says. “Although it is not one of the newest cameras, the Canon EOS R is still a very good option. It is a lightweight camera with accurate autofocus and excellent image quality with outstanding color rendering.”

Shop all Canon R mirrorless cameras starting at $594. 

Ricoh GR III

This compact camera is a favorite of the award-winning, Seoul-based artist Argus Paul Estabrook. While he loves the wide-angle lens (28mm equivalent, f2.8) and spectacular sensor, the real selling point is its size. “It’s a little powerhouse that I can slip into my pocket, take anywhere, and never worry about missing a shot,” the photographer says. “People don’t take notice of it when it’s in hand, which makes getting candid shots so much easier. It is also super quiet, which is another reason it doesn’t draw attention.”

Shop all Ricoh compact cameras starting at $824. 

Fujifilm XT-4

Vincenzo Barone, an Italian artist based in France, considers this one of his essential street photography cameras for a few reasons. “The XT-4 feels great in the hand because of its old-school design, metal body, and dedicated single-purpose dials,” he tells me. “The IBIS (in-body image stabilization) is also a huge help in situations where you need to shoot with a slow shutter speed.” When hitting the streets, he prefers a wide-angle lens, such as a 23mm. 

Explore MPB used cameras starting at $1,079. 

Fujifilm X100F

This is just one of several Fuji X-Series cameras to make our roundup, but it’s worth singling out because of its fixed prime lens and rangefinder-like feel. “My favorite of all of the X-Series cameras is this one,” Steve Reeves explains. “It’s so small that I take it everywhere with me. At the same time, just because it’s small doesn’t mean it’s not powerful. It has a fast lens and a brilliant sensor. Some of my recent shots were used on posters and blown up big. Even close-up, the detail is there.”

Browse MPB used cameras starting at $1,239. 

Fujifilm X-Pro 3

Gustavo Minas likes a tilt-screen for street shooting, so he opts for this cropped sensor workhorse from Fujifilm, pairing it with this 27mm pancake lens. “It’s small and light, and if I use the electronic shutter, it makes no noise at all,” he says. 

Get this MPB used camera starting at $1,749.

Nikon Z7 II

When switching from his old DSLR system (a Nikon D850) to a lightweight mirrorless setup, Benny Bulke opted for this Nikon camera. Known for his graphic, high-contrast scenes, he credits the camera’s dynamic range with preserving the details in both the highlights and shadows of his images. Plus, the high resolution (45.7 MP) empowers him to notice fine details he might have missed otherwise. 

“After using this camera, I would never want to go back to a camera without a tilting screen,” Bulke explains. “This screen is very fast to use with the touch/shutter command, so it makes a great cam for stealthy belly shots!” 

Explore MPB used cameras starting at $1,869.

Leica SL

Three years ago, Daniel Featherstone traded his old gear on MPB and upgraded to a Leica SL. He’s used it ever since. “It’s the first digital camera I’ve really connected with,” he admits. “Being very minimalist in its design, there are no complicated menu systems, and it has a very premium feel. The shutter sound is very quiet for stealthy situations, and the EVF (electronic viewfinder) is bright and feels lifelike.” 

Get this MPB used camera starting at $1,889.

Leica Q2

This stunning Leica camera features a 47.3 megapixel full frame sensor, electronic viewfinder, and 28mm f/1.7 lens. “This camera is small yet extremely solidly made,” Markus Andersen explains. “It allows me to strip the technology back to pure simplicity: only aperture, shutter speed, and ISO, without extraneous and distracting features. In addition, I find the manual focus on this camera to far exceed other mirrorless cameras I have used in terms of sensitivity and speed.”

Explore MPB used cameras starting at $4,129. 

Leica Q2 Monochrom

The black and white version of the Q2 was made for purists of the genre, offering the same low-light capabilities as its color counterpart. “The fixed 28mm focal length allows me to know what my frame covers (most of the time), and since I have to work quickly to get the shot, I can pretty much count on getting the subject in the frame,” Claude R. Beller tells us. “The electronic viewfinder and quick auto focus function are also invaluable in getting the shot off.”

Get this MPB used camera starting at $4,789.

Further reading:

• Photography on a Budget: How to Build Your Kit with Used Gear

• The Top 10 Best Used Cameras for Landscape Photography

• Sustainable Photography Means Not Buying New Gear

The post The Best MPB Used Cameras for Street Photography appeared first on Feature Shoot.

The photographer Sarah Wilson’s grandfather, Dr. John A. Wilson, was a paleontologist whose work took him to some of the most remote and rugged landscapes of the West Texas desert. About a year before he died, he gifted her with three boxes, filled with the Kodachrome slides he’d made during digs throughout the 1960s, ’70s, and ’80s, and used during his time as a professor at the University of Texas at Austin.

“I believe he gave these slides to me because I had been traveling out to West Texas and photographing the landscape myself,” the artist tells me now. “He knew I was falling in love with it.” Incredibly, she recognized many of the locations where he had worked and made discoveries. As she writes in her new book, Dig (Yoffy Press), she’d stood exactly where he had, decades after he did. 

In 2008, Dr. Wilson was hospitalized due to pneumonia at the age of 93. During his hospitalization, his granddaughter brought a photograph she’d made in Big Bend National Park to show him. He recognized the rock formation immediately from his time in that strange and arid landscape.

In the months after her grandfather’s death, the photographer would continue to follow in his footsteps. She returned to his lab at the University of Texas and walked among the old bones and fossils. She saw the find of his career—the skull of a primate with nasal bones as delicate as paper. Since then, she’s gone on digs herself, picking up where he left off and making some discoveries of her own along the way. 

Out there, against the backdrop of bones dating back millions of years, time stretches out for miles into the horizon. The past and present collide. On her first dig, Wilson brought her grandfather’s ashes with her, casting them across the landscape they both loved so much. 

Dig is available now from Yoffy Press. 

Can you share some of your earliest memories of your grandfather? 

“My grandparents lived at a funky, mid-century lake house on a beautiful spot overlooking Lake Travis, on the outskirts of Austin. My hazy golden memories are from when we would spend weekends there, swimming, fishing, and sailing. I remember Grandpa heading down to the dock with us, a cheap beer in hand. He was enjoying his retirement. I have vivid memories of him, shoulder-deep in his tomato plants. I thought I didn’t like tomatoes at the time. Unfortunately, I was too young to know what was good for me.”

What about your earliest memories of paleontology and geology? 

“My grandfather used to come to elementary school for show and tell. He would bring a cast of a huge Albertosaurus skull (cousin of the T-rex), and mammoth teeth and femurs of early mammals. I knew that I had one of the more interesting of grandfathers, but I don’t think I fully understood this work and his legacy until recently.”

What makes the landscapes of the West Texas desert unique, and when did you first start exploring these landscapes?

“So much of the West Texas landscape was, and still is, comprised of long stretches of private ranches with small towns connected by the Southern Pacific Railroad line. The land itself is varied: golden grass valleys interrupted by ancient volcanic uplifts, canyons carved by oceanic currents, and waterways that are long gone.

“My first trip to Big Bend National Park was in the eighth grade. While I was distracted by my friends and teenage crushes at the time, I did let some of the landscape sink in. I remember walking down to the Rio Grande from my campsite, laying down on the ground, and looking up at the stars. The sky was packed with them, and I was in awe.

“The next time I went was when I was 20.  I worked for a photographer named James Evans for a summer in the tiny town of Marathon, TX. He had been photographing the Big Bend area for years. I learned about shooting and printing in the darkroom, and about the landscape itself and the pace of life. 

“Years later, I was sent on assignment to photograph the area for Texas Monthly Magazine. I was out there alone, doing my best to translate the power of the place in photographs. I visited a few times after that, but now that I go with paleontologists on digs, I get to be out there every winter. 

“I now have the privilege of traveling to gorgeous orange and white striped badlands crowned with cathedral-like rock formations and dramatic red sandstone hoodoos. The landscape is so foreign and remote that when I’m out there, the rest of my life at home falls away. There’s a feeling of vulnerability when I’m out there, out of range, and exposed to the elements. It helps me have perspective on what’s really important.”

When and how did you start working with paleontologists? How did you gain access to this first dig with the University of Texas? 

“My grandfather’s slides were my passport to paleontology. One afternoon, several months after he died, I brought the slides to the Texas Vertebrate Paleontology Collection at the University of Texas at Austin, a collection my grandfather assembled and organized back in 1949. I thought that the slides might be useful in some way to other paleontologists and students. I met some of my grandfather’s colleagues..some were familiar, but it was my first visit there since I was a kid. 

“My interest in the place, full of bones and skeletons, maps, and wonderful mid-century office equipment, was piqued. I came back again and was told that there was a paleontologist named Chris Kirk who follows my grandfather’s field notes and footsteps through the West Texas desert, looking for more specimens of the early primate my grandfather discovered just north of the Rio Grande. Someone put us together, and then he invited me to join a dig. I went; I brought my cameras with me, and I’ve been joining him every year since, except the winter when my kid was a two-month-old.”

What is your most powerful memory from your time on a dig? 

“On my second dig, I found a fossilized jaw bone sitting there on the surface of the silty hillside. Its shiny teeth caught my eye. We later found out that it’s the first known lower jaw of Texadon, a small, early deer-like mammal from 43 million years ago. It was my first significant find and it gave me the confidence to keep going. 

“Now, they have to practically pry me off the hillside…I always want to stay and find one more fossil…just one more. Being out there is one of my favorite places to be. When we go in the winter, the air is crisp in the mornings, then warms up in the afternoons, but it’s still pleasant. 

“But being on digs in the desert is hard on the body. The hillsides consist of hard-packed dirt and rock that we crawl on with our hands and knees. I wear knee pads and gloves to protect my palms. We each bring three liters of water with us each day, which is sometimes not enough.”

What was it like seeing Rooneyia viejaensis, a primate skull your grandfather found, for the first time? 

“Rooneyia viejaensis is a 38 million-year-old primate my grandfather found in West Texas in 1964. It is a wonderful specimen, a compact little skull that has all of its upper teeth and many of the delicate bones in its nasal passages still intact. A fragment of the skull was missing, revealing the endocast of the brain which has been replaced with mineral, so it’s like a perfect brain-shaped stone under the skull. 

“The first time I held it was a long time ago. It was before I knew just how hard it is to find complete skulls in the desert. On all of the digs I’ve been on, I think eleven now, we have only found one other skull. Where we’re looking, we often find teeth and jaws, but 40 million-year-old skulls are harder to come by. Either my grandfather got there first and wiped the place clean, or he had a really good eye, or both.” 

Do you have any other favorite treasures from the lab?

“There are so many amazing specimens, but I love looking at the drawers from the La Brea Tarpits. There’s one drawer full of Dire Wolf bones that are so gorgeous. They have been seeped in tar and are shiny chocolatey-black. They smell like petroleum, from the sludge they came from, bubbling up from the ground.”

You still use your grandfather’s camera sometimes. How’d you find it, and what’s it like working with it? 

“After my grandfather died, several family members got together to disperse some of the things he left behind. That day, I came away with several of his bolo ties and his Pentax Asahi 35 mm camera. I’ve started bringing it with me to the field and a few rolls of expired film.

“It’s a simple camera, with all manual settings. I kind of like it, but the challenge is that you don’t know what you’re going to get, with no LED screen and using expired film on top of that. But when I have that camera in my hands, I feel like I stop overthinking. I have to put away my tricks and just take simple pictures of what’s in front of me, which is freeing.” 

You’ve dedicated Dig to your son, Theo. When will he be able to go on his first dig?

“Theo is now seven and a half years old and says he wants to be a paleontologist when he grows up. I’ve taken him on hikes in the creek beds around Austin, and we’ve found lots of ancient oyster fossils. We gave him an old chest of drawers that he calls his paleontology collection which he’s filled with shells, fossils, feathers, bones, and a complete raccoon skeleton we found in my parents’ backyard. Dead bugs go in there too. 

“He’s still too young to join the digs that I go on. Our closest fossil localities are a two-mile, arduous hike into the canyon from the campsite, and some days we clock nine miles round trip. I’m hoping he will be able to come when he’s about 14, but I’m working on finding some sites that are a little easier to get to.”

Get your copy of Dig—the artist’s ode to family, time, and the West Texas desert—here. 

All images © Sarah Wilson, courtesy Yoffy Press

The post In the Footsteps of Her Grandfather, An Artist Digs for Fossils appeared first on Feature Shoot.

In October 2020, up to 1,500 birds collided with brightly illuminated skyscrapers in Philadelphia over a single night. It was the height of migration season, and dead birds lined the streets in the early morning hours. Some were found injured. Now, Lights Out, a new short film by the photographer and filmmaker Mike Fernandez, follows Keith Russell, the Program Manager for Urban Conservation at Audubon Pennsylvania, and Stephen Maciejewski, a volunteer at the Mid-Atlantic Audubon, as they race to protect the city’s birds. 

Russell and Maciejewski monitor injured and dead birds in downtown Philadelphia is part of Bird Safe Philly, a collaboration between the Academy of Natural Sciences of Drexel University, Audubon Mid-Atlantic, Delaware Valley Ornithological Club, the National Audubon Society, Valley Forge Audubon Society, and Wyncote Audubon Society. Many of these preventable deaths and injuries are caused by building collisions, with the birds being disorientation by reflections and bright lights.

During the spring and fall migratory seasons, Bird Safe Philly encourages the city to turn off or block out their lights as part of a voluntary program called Lights Out. Building owners, tenants, residents, and businesses are all welcome to participate. From 5:30 PM to 8:00 AM, Russell and Maciejewski can be found around the city, checking buildings for possible collisions. 

In cases where the birds are alive, they bring them to rehabilitation for care and recovery. The bodies of birds who have died go to the Academy of Natural Sciences, where they will then join the scientific collection of the ornithology department. The information surrounding their lives and deaths will continue to be studied for years in hopes of protecting future generations of birds. 

Up to a billion birds are killed every year in the United States due to building collisions. The work being done by Russell, Maciejewski, and the Bird Safe Philly team provides a potential path forward. Turning out our blocking our lights at night is one simple thing we can all do to prevent mass collision events in the future, whether we live or work in a skyscraper or a single-story building. 

In Philadelphia, Lights Out is happening now and runs through November 15th, 2023. 

All images © Mike Fernandez

Further reading:

• Wild Bird Fund in NYC Works Around the Clock to Rescue Animals

• Tragic Images Aim to Raise Awareness About Bird Fatalities

• This Photographer Fell in Love with Her Local Birdlife. Then the Pesticides Came.

The post Turn Your Lights Out to Protect Migratory Birds appeared first on Feature Shoot.

As We Rise: Photography from the Black Atlantic is now on view at the Peabody Essex Museum in Salem, Massachusetts. 

In 1997, Dr. Kenneth Montague, a practicing dentist, created a gallery inside the halls of his Toronto home. He dedicated it to showcasing photographs by Black artists. “The first show was set up like a Sunday afternoon salon—really DIY projects,” he recalls in the new book As We Rise: Photography from the Black Atlantic, published by Aperture. 

That unique wedge-shaped space soon gave rise to The Wedge Collection. The project grew from there: today, the hugely influential collection includes more than four hundred works, selections of which are now part of an exhibition at the Peabody Essex Museum in Massachusetts. 

The book and exhibition, organized by Aperture, include many of the most important artists and images in the history of photography, with selections from Carrie Mae Weems, Deana Lawson, Jamel Shabazz, Seydou Keïta, Malick Sidibé, and dozens more. The one hundred works, featuring Black people and made by Black artists living in Canada, the US, the Caribbean, Great Britain, South America, and the African continent, intersect across three main themes: community, identity, and power. 

In an interview with the curator and photo editor Liz Ikiriko, Dr. Montague remembers his mother taking him and his siblings on trips to art museums and historical societies in the 1970s. He recalls seeing one photograph—James Van Der Zee’s Couple in Raccoon Coats, a portrait of a glamorous Black couple at the height of the Harlem Renaissance—and feeling like he recognized something he hadn’t seen before in television and film. He was just ten years old at the time. 

That revelatory moment would follow him throughout the decades, inspiring him to seek out photographs by Black artists that accurately reflected Black life with a similar sense of consent and care—across continents and generations. Couple in Raccoon Coats is now part of the Wedge Collection; it was one of the first Dr. Montague bought. You can see the glittering silver gelatin print up close at the Peabody Essex Museum. 

The influence of both of Dr. Montague’s parents runs throughout the collection, beginning with those early museum trips organized by his mother. The title “As We Rise” comes from his father, who used the phrase “lifting as we rise” to describe the importance of uplifting others through one’s own triumphs and successes. While many of these artists are now household names, Dr. Montague was one of the first collectors to recognize their work. 

The spirit of collaboration and trust is a thread that ties together portraits by photographers who never got a chance to meet, from the very beginning of the Harlem Renaissance to those working during the Black Renaissance of today. In every portrait, Black people show up as they are and as they wish to be seen, and those wishes are honored like promises. 

Dr. Montague has spent decades traveling the world and meeting artists, and he shares many of those stories within the book and exhibition. While visiting Malick Sidibé in Mali, he also saw Oumar Ly. He writes, “I reveled in the magnitude of the moment: two of the greatest portrait photographers of their day, meeting for the first time.”

The Wedge Collection draws its name from the literal space where it all started in Dr. Montague’s living room. But it also contains another layer of meaning for the collector. As he explains in conversation with Liz Ikiriko, his goal has always been to create space—that is, to build a “wedge”—for historically underrepresented and unrecognized artists within the canon of art history. 

As this exhibition proves, that space need not be confined to the four walls of a living room or even a museum. It’s a living, breathing expanse as vast as the knowledge, experience, and imagination of the artists represented within. Similarly, the stories contained within the 184 pages of this magnificent book stretch far beyond the frame, spanning thousands of miles. 

As We Rise: Photography from the Black Atlantic is on view at the Peabody Essex Museum in Massachusetts through December 31st, 2023. 

Further reading:

• From Boy to Man: Samuel Fosso’s Journey Through Self-Portraits

• Jamel Shabazz Reflects of the Power of Fashion Photography

• Harlem Through the Eyes of James Van Der Zee

The post A Trailblazing Photography Collector Champions Black Artists appeared first on Feature Shoot.