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Love them or loathe them, drones have democratized aerial photography, once an elaborate and costly operation. These flying robots, which have become increasingly affordable in recent years, are contentious as they pose dangers to privacy and security but also allow photographers to capture impressive images from viewpoints that they couldn’t reach before. A sign of their newfound role as a legitimate form of photography is the annual Drone Photo Awards, a section of the Siena International Photo Awards, which announced its 2020 winners on September 21.
The contest, divided into nine categories spanning urban landscapes to wildlife, responded to the events of 2020 with a new category dedicated to images that capture the impact of the coronavirus pandemic with haunting photos of deserted cities. Several other images captured protests around the world in a year marked by political unrest.
The competition is open to all photographers, and organizers say they receive tens of thousands of entries from professionals and amateurs each year.
This year, the first place went to Australian photographer Jim Picôt, who photographed a salmon school in Australia forming a giant heart shape, with a shark swimming ominously inside.
Israeli photographer Tomer Appelbaum won the category “Empty Cities: Life Under Covid-19” with a photo of a socially distanced protest in Tel Aviv against the government’s Covid-19 shutdown of businesses.
In the “Urban” category, Polish photographer Tomasz Kowalski won with “Alien Structure on Earth.” The aerial shot captures the Petronas Towers in Kuala Lumpur, also known as Petronas Twin Towers, from a mesmerizing point of view.
The 45 awarded photos will be showcased in the exhibition Above Us Only Sky, scheduled from October 24 to November 29 at the Accademia dei Fisiocritici in Siena, Italy.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…