A new generation of black artists are changing fashion photography

As a teenager growing up in Peckham, an ethnically diverse area of London, the photographer Nadine Ijewere observed the way that the women around her dressed. The neighbourhood “aunties”, as all older women were known, paired Nigerian patterns with Gucci handbags and Burberry motifs; they would style their afro hair in a way that was almost sculptural. Ijewere was interested in fashion photography, but she began to notice that the prints and hairstyles she saw everyday didn’t appear in magazines. She didn’t understand why these “pieces of art in themselves” were not more visible. At weekends, she would take photographs of her friends, many of whom were of mixed heritage like her, in the local park.

In 2018, at the age of 26, Ijewere became the first black woman to shoot a Vogue magazine cover, featuring the singer Dua Lipa draped in white feathers. Ijewere soon became known for her ethereal backdrops, her work with mixed-race models and her meticulous attention to black hair. In 2020, she did another photoshoot with Vogue, which accompanied a piece praising Nigerian “aunties”. The women in the shoot wore traditional head wraps and metallic floral and chequered prints in clashing colours. “I looked at those photographs and saw the women I grew up with,” Ijewere said. “I saw my heritage. And it was special.”

March on Opening image: Arielle Bobb-Willis is part of a new generation of black fashion photographers. From top to bottom: Nadine Ijewere shoots in ethereal locations. Ijewere’s photo series “Tallawah” celebrated black hair. Ijewere casts her own models, with a focus on mixed-race individuals

Almost 50 years before Ijewere’s “auntie” shoot, another black photographer, Armet Francis, took a photograph in Brixton, a neighbourhood not far from Peckham. In the picture, a stylish young black woman wearing a lilac suit leans back on a wooden chair in the middle of a road, an umbrella in hand. She looks aloof and carries herself with confidence, seemingly oblivious to the dreary weather and the workaday setting. Francis had been commissioned by a fashion magazine, but wanted to be subversive: instead of shooting in a studio, he went to Brixton Market, in an attempt to record the “proper reality of everyday black life”.

Since the mid-19th century, black photographers have sought to capture images that reflect the lives, preoccupations and personalities of black subjects. In the process, they have worked to rectify centuries of hackneyed representations. Francis was one of a small group of photographers to do this in Britain. In the 1960s, he moved away from the fashion industry towards a lifelong project: documenting the experiences of the African diaspora in the Americas and Britain. He had been struck by the fact that one rarely saw black people featured in magazines, beyond reports about famines in Africa. He wanted to photograph the black diaspora in all its vibrancy: “to me, they are home pictures,” he said.

In 20th-century Britain, black photographers were seldom published widely, and discrimination against them was common. James Barnor, one of Francis’s contemporaries, only attained mainstream recognition as an octogenarian. Now his work stands as a vital historical document of black societies as they changed. In the 1950s, Barnor witnessed Ghana’s independence movement; during the swinging Sixties, he photographed members of the African diaspora in London.

Both Barnor and Francis explored black identities as they fractured, shifted and evolved across continents. Many of today’s black photographers draw on their work, consciously and subconsciously – especially those working in the fashion industry. According to Antwaun Sargent, the curator of an exhibition at the Saatchi Gallery about a new generation of black fashion photographers, these young artists are attempting, like Barnor and Francis, to “make beauty from their real, if once unseen, reflections”. Sargent believes that “these image-makers are in the best position now, over any generation that came before them, to make a lasting impact.”

Bold and beautiful Ruth Ossai has photographed life in Nigeria since she was a teenager (top). Ossai’s signature is her use of printed backdrops (middle). Her work is in part inspired by traditional black portraiture (bottom)

Before British-Ghanaian photographer Campbell Addy first encountered Barnor’s work in 2018, he had only seen photographs that looked at Africa through a white lens, focusing on poverty, slavery and war. Barnor’s photos were different. They showed contemporaries of Addy’s grandmother in Ghana and of Ghanaians moving to London. Addy hadn’t seen anything like them before: “It was classy, it was fashionable. It was beautiful. It was modern.” Barnor made Addy feel seen “in a way that only those who have been detached from their culture can understand”.

As a child, Addy moved from Ghana to south London. For a while after his arrival, his new friends would make fun of his accent. Eventually, the accent disappeared, but the feeling of difference remained. He was also frustrated when he visited Ghana: he didn’t know Twi, the main language spoken in Accra, well enough and couldn’t quite grasp the cultural nuances.

Addy’s dual identity has helped him draw on different cultural traditions in his work. “Ignatius”, an early photographic series, pays homage to Ignatius Sancho, the first known black Briton to vote. But elements of the styling and set design nod ironically to the British royal family.

In 2019, aged 26, Addy shot Naomi Campbell, one of the world’s most-photographed black women, for the Guardian. Later, reflecting on the shoot, Campbell noted that it was the first time she had been photographed for a mainstream publication by a black photographer in her 33-year career. To her, “there was something in that moment that felt sacred.”

Feeling seen Campbell Addy has been commissioned by many of the world’s leading publications (top). Addy’s work tells stories about self-assured black lives (middle). He draws upon both the British and Ghanaian aspects of his own identity (bottom)

Addy and Ijewere are just two members of a new generation of black photographers opening up opportunities for black artists working in fashion. Ijewere is establishing her own studio in south London, where she hopes to give younger photographers the space and equipment they need to start out. Addy knows that there is much work to be done. “Black photographers are doing well right now,” he said. “But I sometimes fear we will get smudged out of history. And I don’t want to be a trend.” The best way to make sure this doesn’t happen? “We need to keep on being visible,” he said. “People will look at our work and know that we exist.”

The exhibition “The New Black Vanguard” runs from October 28th to January 22nd 2023 at the Saatchi Gallery in London. It features the work of 15 young black fashion photographers, including Nadine Ijewere and Campbell Addy

Ann Hanna is an intern at 1843 magazine


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Cancer survivor continues passion for photography and enjoying life

PARKERSBURG, W.Va. (WTAP) – Lorain Fought – or “Rain” as she prefers to be called – is a four-time breast cancer survivor, two of those times with breast cancer and she is currently battling lung cancer.

Despite the many different bouts with this disease, Rain doesn’t let any of this stop her from continuing to enjoy her life.

As she continues to take up many of her passions, including one that has garnered her both local and national attention.

“I just don’t want to sit around the house,” says Fought. “I want to do something. I got to keep busy. I want to enjoy everything that’s on this Earth, one way or the other.”

After multiple fights with cancer, Fought is not letting this disease wear her down.

She continues many of her passions. One of them being photography.

Something she got back into when she got on Facebook and her friends told her how good she is at it.

Fought says, “And I’m like, ‘You know, maybe a calendar. Maybe make a calendar.’”

And since then, Rain has been churning out a calendar almost every year.

Rain says she provides roughly 150 calendars each year and they go out fast, as people love her wildlife photos.

“I love wildlife. I love nature. I love everything, I think,” says Fought. “So, I’ll go out in the woods and like – for this calendar here – some of the pictures, I sat for probably 10 hours.”

Rain’s photos are not just for calendar use though.

As her work has been featured on many publications and media. Both locally and nationally.

“And I’ve been published in ‘Birds and Bloom,’ ‘Wild and Wonderful West Virginia,’ the bird digest out in Marietta. Also, the Chicago Tribune, the Columbus News,” says Fought.

Rain says that the calendars are also more than a hobby, as she uses these for herself to track her treatments.

“If you look through mine, which you did, you’d see CAT scans, doctor appointments, blood work. You’d see all of those appointments in there,” says Fought. “And I know people do it on their phones, but I’m old school. I use a calendar.”

Fought says that the photos found in these calendars will also be used in “thank you,” “get well,” and other greeting cards at Memorial Health Systems.

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Fujifilm announce INSTAX SQUARE Link Smartphone Printer

Fujifilm has just announced the release of the INSTAX SQUARE Link Smartphone Printer. This new compact printer has been designed to be 100% portable, and the small size and light weight mean that it will easily slip into a large coat or bag pocket, so that it’s there and ready to printing whenever and wherever you are. 

The new printer is part of the growing and popular line of Link Smartphone printers and creates INSTAX SQUARE format instant prints that are 1.5 times the size of the INSTAX mini. 

As well as the new size in print, the printer packs in various unique features designed to inspire creativity. A new AR (Augmented Reality) print and INSTAX Connect enable smartphone users to create truly individual prints in completely new ways. 

As with previous models of the INSTAX printers, plenty of creative options can be reached through the APP. These enable you to add frame templates and digital stickers as well as giving you access to different print mode options.

The App is fully compatible with Android and Apple phones and can be downloaded and installed for free. 

The new AR feature is the leading ticket with this new printer, and enables AR special effects, text, images, background colours, doodles and animations to be added. It works by placing a QR code on the photo, unlocking the AR potential.

As ever, INSTAX can also utilise popular smartphone apps using the SQUARE Link App. This enables users to share INSTAX images digitally and again allows the ability to add text and effects before sending them to connected devices. 

Along with the special print features comes two print mode options. INSTAX-Rich Mode for deep enriched colours and INSTAX-Natural mode for a more classic look. 

The image on Smartphones can also be enhanced with art filters or more traditional development techniques. 

Shin Udono, Senior Vice President, Imaging Solutions, FUJIFILM Europe, said:

“Designed with instant photography and smartphone printing fans in mind, we are excited about introducing the new INSTAX SQUARE Link. The new SQUARE Link combines everything existing customers love about the existing Link formats, now in a SQUARE format – with exciting new features including AR Print and INSTAX Connect, presenting even more options for users to connect, customise, and share images.”

For more details check out the INSTAX SQUARE Link Printer page at fujifilm.com

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A Farm at Eagles Ridge Wedding | Alec & Chelsea

It was my last wedding of the season and I can’t imagineeee a better wedding to end it with than Alec & Chelsea and their sunshiny hearts!! Spend just five minutes with them and you’ll know what I mean. They’re the kind of couple you just love from the moment you meet them. They’re genuine, kind-hearted, full of joy, and appreciators of the little details in life. <3 Watching Chelsea float around on her wedding day as the happiest human ON EARTH filled my whole heart!

Alec & Chelsea! Thank you for trusting me with these memories and for making my 2019 wedding season end on the perfect note!! One that I’ll never forget. I’m truly so grateful for your trust in me to capture this day. <3

Getting in touch with the best fake tan ireland, to look extraordinary on the wedding day can also be one of the highlights of the ceremony.

Enjoy a few of my favorites from this beautiful Farm at Eagles Ridge wedding full of so much love and be sure to read more of Alec & Chelsea’s love story here! Xo

Vendor Credits:
Photographer | Caroline Logan Photography
Second Shooter | Vanessa Shenk
Planner | Planned Perfection
Venue | Farm at Eagles Ridge
Floral & Event Design | Petals with Style
DJ | 3 West Entertainment
Hair & Makeup Artist | The Bonafide Ginger
Rentals | Treasured Events
Invitations | Minted
Wedding Gown | Country Way Bridal
Lighting | Shumaker PDT
Catering | Tasteful Occasions
Cake | Tasteful Occasions

For Photographers: Love creamy skintones & soft colors? Learn to edit light & airy here!

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Gary Davies – 360Cities Blog

Gary joined 360Cities more than 10 years ago, back in 2011. During this time he has published more than 1,300 stunning panoramas, for which he earned a well-deserved Maestro badge.

Gary is a freelance photographer specializing in maritime scenes. His panoramas focus mainly on historic buildings, such as cathedrals, castles, and lighthouses from his home country, the UK, and from other beautiful locations around the world.
Enjoy just a few of his 360ºs below and don’t forget to visit Gary’s profile page!

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Photographer Jeffrey De Keyser Captured Extraordinary Pictures Depicting “The Absurd Human Condition”

Belgian street photographer Jeffrey De Keyser captured extraordinary pictures depicting “The Absurd Human Condition”. Jeffrey who travels to various parts of the world and captures some extraordinary shots from ordinary day-to-day lives. During traveling, Jeffrey comes across different types of situations that depict “the absurd human condition”.

Scroll down and inspire yourself. Please check his more amazing work on his Website and Instagram.

You can find Jeffrey De Keyser on the web:































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Get Outdoors: Learn about astronomy, photography at Aurora Summit – Duluth News Tribune

Battling Buckthorn: 10 a.m.-noon Oct. 29, Jay Cooke State Park, Carlton. Learn about buckthorn while helping to remove it. Bring lunch, gloves and safety goggles. Meet at the River Inn Visitor Center. Rain date: Oct. 30. Email Lori Seele at


or Alyssa Bloss at


with questions. Register at


Fifth Annual Aurora Summit: Nov. 4-6, Legendary Waters Casino, Red Cliff, Wisconsin. Events include educational sessions on over a dozen topics; photography and photo editing workshops; expert roundtables for camera questions; a gear swap meet; a group aurora chase; and more. Keynote speaker is Tamitha Skov, a credentialed space weather physicist known as “Space Weather Woman” from her popular social media and video platform. COVID-19 vaccination required; guests must register. For more information or to register, visit


. Lineup of speakers includes:

  • Bob King, presenting “What Is the Aurora, How Does it Happen and When Should I Look?” as well as “Upcoming Celestial Events You Don’t Want to Miss.”
  • Jeanine Holowatuik, presenting “The Fundamentals of Aurora Photography.”
  • Vincent Ledvina, presenting “The Sun-Earth Connection: The Science and Processes behind the Northern Lights.”
  • John O’Neal, presenting “The Parker Solar Probe, the Solar Orbiter and Space Weather Reporting.”
  • Melonie Elvebak, presenting “How to Use a Star Tracker and What You Can Do.”
  • Justin Anderson, presenting “Color in Lights: Chasing the Aurora Colorblind.”
  • Anna Martineau Merritt, presenting “Native Culture: Introduction to Our Anishinaabe Culture and the Meaning of Place.”
  • Dave Falkner, presenting “Voyager and the Heliosphere.”
  • Marybeth Kiczenski, presenting “Taking Your Images Further: Using blending and tracking to create beautiful high-definition photos.”
  • Steve Luther, presenting “From Northern Lights Newbie to Aurora Addict: My Journey and Roadmap to Successfully Capturing the Beautiful Borealis.”
  • Mike Shaw, “Basic Night Photography.”

The Maasepan Puukko Knife Making Class: 9 a.m.-2 p.m. Nov. 12-13, Duluth Folk School, 1917 W. Superior St. Cost: $325. Call 218-310-0098 or go to



Snowmoble Safety Field Day: 8:30 a.m. Jan. 7, Nightriders Clubhouse, 5186 Martin Road, Duluth. Instructor: Beth Wentlaff. Must be age 11 before class starts and have completed the online course. Register by calling 218-590-7570 or email



Snowmobile Safety Field Day: 9 a.m. Jan. 7, Boomtown, 4483 Martin Road, Duluth. Instructor: Josh Carlson. Requirements: Must be age 11 before class starts and have completed the online course. Lunch provided by Boomtown. Register by emailing



Jay Cooke State Park Programs: 780 Minnesota Highway 210, Carlton. All nature walks and wildlife talks are free; a Minnesota State Park vehicle permit is needed to enter.

Vehicle permits

can be purchased upon arrival at the park office. Cost: $7/day or $35/year. There are

reduced price options

for disabled veterans, Minnesota tribal members and others. For a complete event schedule, go to


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Museum Opens ‘Firehouse: The Photography of Jill Freedman’ Exhibit

This year marks the 45th anniversary of the groundbreaking book “Firehouse,” featuring photographs by award-winning photographer Jill Freedman and text by firefighter and Firehouse Magazine founder, Dennis Smith.

The New York City Fire Museum is presenting Firehouse: The Photography of Jill Freedman, an exhibition running until April 2, 2023, that showcases images from the book and videos of Freedman describing how she was able to capture these incredible images.

Freedman was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others. She appeared in solo and group exhibitions throughout the world and contributed to many prominent publications.

In the “Firehouse” book, “Jill Freedman created a visual story that captures an important piece of New York City history,” said Jennifer Brown, executive director of the New York City Fire Museum. “Most importantly, she showed the humanity of firefighters through their day-to-day struggles and triumphs.”

The images in the exhibition include close-ups of the firefighters, action shots at the scene of a fire, and other scenes during the FDNY’s War Years in the 1970s..

“Exhibitions such as this are crucial to honoring Jill Freedman’s work and keeping her legacy alive, much like Jill did with her photography subjects,” said the Jill Freedman Estate: Marcia Schiffman, Susan Hecht, Nancy Schiffman Sklar, and Wendy Wernick. “Jill is one of the greatest photographers of all time, and we are pleased to partner with the New York City Fire Museum and other institutions to keep her work available to the public.”


Revised book

The Jill Freedman Estate also announced that they have re-released the book with a new introduction and new captions provided by retired 40-year veteran of the FDNY, Keith Nicoliello.

When I asked Nicoliello, who spent 37 years at Ladder 30, what drew him to the assignment, he had a very interesting response.

“We were working one day, and we were going shopping for the meal when this woman comes up to me and says ‘You guys have always been good cooks! I had a lot of good meals in firehouses.’ So, I said, ‘Who are you?’ and she said, ‘I’m Jill Freedman.’ She didn’t think I’d remember, but I said, “I know exactly who you are!’ I told her all about how much I liked the book, and she was thrilled.”

Later that day, Freedman came to visit Nicoliello at the firehouse, shot a quick video and they were friends ever since.

“When she passed away, her three cousins had an idea for a book…a second writing of the “Firehouse” book. They approached me and I said I’d love to be a part of this. I loved the book, I knew most of the guys in the book, so my job became putting captions to the pictures. And I am so proud to be part of this.”

Nicoliello shared the story of how Freedman was not allowed to stay in the bunk rooms while compiling the photos for the original book.

“She used to sleep in the battalion chief’s car,” he said. “That’s how dedicated she was.”

He went on to explain how each photo has a double meaning.

“A civilian will look at one of these photos and see something amazing,” he said. “A firefighter will see something completely different, especially FDNY guys because we had a certain way of doing things and she captured all of that.”


How it started

Back in the mid-70s, Freedman ran into Dennis Smith at a club in Greenwich Village. She was singing an Irish ballad (Freedman was multitalented) and when she was done, Smith comment about the impressive range of her voice. They began talking and Smith discovered that Freedman was also a photographer whose favorite photo was of a firefighter rescuing a cat.

Smith told Freedman how he always wanted to do a book filled with photos of firefighters and Freedman said how she was always obsessed with firefighters and in fact wanted to be a firefighter when she was younger.

Smith had already authored a couple of books, including the highly acclaimed “Report from Engine Co. 82,” and was in the process of launching Firehouse Magazine. The two talked about it for a while, but then went their separate ways.

And then, somehow fate brought them back together again…in Ireland.

“Ireland was like a second home for Jill,” said her cousin, Susan Hecht. In fact, Freedman visited and photographed the people of Ireland over a seven-year period and published two books, “A Time That Was: Irish Moments” and “Ireland, Ever.”

“On one of those visits, who does she meet again? Dennis Smith!” said Hecht. “They ate, they drank, and they decided they were going to do this book.”


Every photo tells a story

Freedman spent 6–8 months at Smith’s station, Engine 82 and Ladder 31 in the South Bronx and then she went to Engine 69 and Ladder 28 in Manhattan’s Harlem neighborhood.

“Every picture tells a story,” said Hecht. “Just talking to the firefighters here tonight you can see how these photographs bring out such emotion in them.”

One of those firefighters was 89-year-old Louis Andrade, who joined the FDNY in 1957 after having served in the U.S. Marine Corps.

“I was somewhat instrumental in getting her to ride the trucks in the South Bronx,” Andrade recalled. “I introduced her to the chief and told him that she was a photographer and that I she was going to ride with me. That was Chief Cuddles, that’s what we called him because he was like a little bear that you wanted to cuddle.”

One of things Andrade liked most about Freedman’s photos was how it showed firefighters interacting with the community “especially the children. We always had a great time with the children.”


Speaking of children

Dennis Smith passed away earlier this year, but his daughter, Ashley, was on hand for the opening of the exhibit and perfectly summed up the evening.

“This is such a wonderful thing that they did,” said Ashley Smith. “Dad would be happy and proud. We all are as well.”


The exhibit runs through April 2, 2023 at the New York Fire Museum located at 278 Spring Street, New York, NY.        

Here is a small sample of what you can expect to see:

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Unique HEIPI 3-in-1 travel tripod announced

Kickstarter has been the launch platform for many exciting camera and accessory projects with the latest project to catch my eye being the HEIPI tripod, a quite unique 3-in-1 travel tripod.

What makes it unique is the way it splits down from a travel tripod in to three components that can be used in isolation, or at least two can the other is the head. As its core function it is a travel tripod, then remove the centre column, and you have a smaller compact tripod and that makes two very functional accessories from one. The third part is the removable head which can then be displaced and popped on top of another set of tripod legs. 

Aside from the design, which from the photos and video looks amazing, the main USP of the unit is the 3-pillar centre column that makes up the lightweight tripod section of the design. 

Essentially, the designers have replaced the standard tube-style removable centre column with one that quickly removes and transforms into a tripod. Then when it’s in place, it can be raised or lowered like any other tripod centre column, all be it looking a little different, which is all very clever. 

The centre column is, therefore, lightweight, very transportable in it’s own right and features spiked rubber feet to keep it steady when working out in the field. 

As a travel tripod, the HEIPI needs to be lightweight and easily transportable, and to this end, the entire tripod weighs in at 0.63lb/0.29kg while taking a maximum load capacity of 55lbs/25kg. It also features a 360º panoramic head with an audible click that highlights every 10º turn. This click has been added to enable users to accurately gauge the rotation of the head in lower light conditions. At present I’m not sure if the click is a permanent fixture or if it can be silenced, I’ll find out soon.

The three-pillar design centre column has also been designed to make the tripod more structurally sound than competitors with legs that fold tight under the head removing much of the negative space common with other manufacturers.

The legs themselves are tubed and offer angles of 22°/48°/69.5°. A simple button mechanism enables the adjustment of the leg and angles and lever locks to enable you to release and lock the legs into position. The sub-tripod features a single leg section with leg angle adjustment from 40°/85°. 

A HEIPI tripod is on its way to us here at Camerajabber.com, and I’ll update you on the tripod as soon as it arrives. 

Visit https://www.tripod.HEIPIvision.com/ or the Kickstarter campaign.

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Artist-in-Residence offers public programs at Big Meadows

Shenandoah National Park Artist-in-Residence Carl Johnson will present public programs about his landscape photography this Friday, Oct. 28 and again on Halloween.

Friday’s program is at 2 p.m. in the Big Meadows Visitors Center auditorium.

“From DSLR to mirrorless cameras and smartphones, pretty much everyone has a camera today,” said Johnson in a park release. “Rather than documenting our trips or hikes, how can we put our cameras to better use?”

The SNP Artist-in-Residence will discuss how to use photography to form deeper connections with nature—in the backyard or a favorite national park.

“These connections can be formed through exploration, discovery, and giving ourselves the time we need,” said Johnson.

He will back at 5 p.m. on Oct. 31 for an outdoor program near the visitor center at Big Meadows.

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“We have all seen amazing photos,” Johnsons said in the release.

“What they have in common is great use of light and composition. But they didn’t happen by accident. The photographer had to see the image first before it could be created.”

He quoted world famous American landscape photographer Ansel Adams (1902-1984): “You don’t take a photograph, you make it.”

“Seeing and noticing details in the world around you is crucial to making that photograph,” Johnson said, encouraging program attendees to join him for an excursion into the field to learn the importance of observation and visualization in the making of good images.

The SNP Artist-in-Residence will also offer helpful technical and creative tips on how to use a camera to take better pictures. Johnson is documenting his residency on Instagram and Facebook.

It’s also an adventure in nature photography. He described his quest to capture an image of an elusive Alaskan moose.

“I first started hiking the trails in the mountains above Anchorage, searching for moose to photograph. Early on, I envisioned a photo that included a large bull moose in the foreground and the Anchorage skyline in the background. Finally, after over eleven years of searching, I finally found it while guiding Doug Gardner, host of “Wild Photo Adventures” to photograph moose,” Johnson recalled.

The upcoming programs are free. Attendees will need a Shenandoah National Park entrance permit or pass. The Artist-in-Residence program is funded through generous donations to the Shenandoah National Park Trust.

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