Shutterfly Buys School Photo Company Lifetouch for $825M in Cash

Shutterfly Buys School Photo Company Lifetouch for 5M in Cash

Shutterfly has announced that it has agreed to acquire Lifetouch, the employee-owned photography company best known for being the national leader in school pictures. The purchase price is $825 million in cash.

“Shutterfly and Lifetouch, two undisputed leaders in their respective industries, are both built around the mission of helping customers share life’s joy through photos,” says Shutterfly CEO Christopher North. “The two companies are uniquely well suited for one another, with similar target customers as well as complementary manufacturing capabilities.”

North says the deal will give Shutterfly access to the millions of families who need to order photo products from Lifetouch. In addition to school pictures, Lifetouch also shoots portraits for special events, sports, businesses, churches, and in studios.

Lifetouch was founded by two traveling salesman 82 years ago in 1936 as National School Studios. Eldon Rothgeb and R. Bruce Reinecker opened their own school photo company after raising $500 in funding during the Great Depression. After starting in a rural area in the Upper Midwest, the company grew to cover all 50 states and rebranded as Lifetouch in 1984.

Every year, Lifetouch photographs over 25 million children in the United States on fall picture day, serving over 50,000 schools and 10 million households in the process. In the previous fiscal year, Lifetouch had revenues of $963.9 million and earnings of $111.3 million.

But growth has slowed in recent years, and Lifetouch had been actively looking for a buyer over the past several months.

“Lifetouch essentially had put itself up for sale in recent months, said its CEO, Michael Meek,” reports StarTribune. “He said it wasn’t growing fast enough to generate sufficient cash flow to invest in new technology and in other ways in the business, while cashing out some of its 16,000 employee and former employee owners as they reach retirement age and are eligible to sell their stock back to the company.”

Shutterfly investors, apparently enthusiastic about this acquisition, sent the company’s stock surging nearly 28%, from $53 a day earlier to over $68 at market close today.

The acquisition is expected to be completed in the second quarter of 2018, after which Shutterfly will officially be in the school picture business.

Source: PetaPixel

Shutterfly Buys School Photo Company Lifetouch for 5M in Cash

Breathe: An Epic 8K Storm Time-Lapse Film in Black-and-White

Breathe: An Epic 8K Storm Time-Lapse Film in Black-and-White

Mike Olbinski is one of the best in the business at combining time-lapse photography with storm-chasing, and his latest work is yet another jaw-dropping fusion of those two things. Titled Breathe, the 4-minute short-film captures the beauty and fury of thunderstorms in black-and-white 8K.

Olbinski, a wedding photographer based in Scottsdale, Arizona, created the film using storm imagery he shot in 2017 from spring storms in the central plains to monsoon season in the southwest.

“Some are favorites, some are just ones I knew would be amazing in monochrome and others I used because they fit the music so well,” Olbinski writes. “I also went with a wider aspect ratio on these films to give it more of a cinematic feel.

“I used two Canon 5DSR’s along with a Canon 11-24mm, 35mm, 50mm, 135mm and Sigma Art 50mm. Manfrotto tripods. The final product was edited in Lightroom with LR Timelapse, After Effects and Premiere Pro.”

Here are a handful of the gorgeous still frames that went into this film:

You can find more of Olbinski’s work on his website, Facebook, and Vimeo.

Source: PetaPixel

Breathe: An Epic 8K Storm Time-Lapse Film in Black-and-White

V’s Class of 2018: Teddy Quinlivan

V’s Class of 2018: Teddy Quinlivan
Teddy Quinlivan went from Instagram star to instant runway model after getting discovered by Louis Vuitton’s creative director Nicolas Ghesquiere. But her decision last year to reveal her transgender identity catapulted her to the top, clearing space for much-needed new voices and perspectives in the modeling industry and raising even more awareness for the LGBT community, making her one of our picks for the Class of 2018. Read on as Teddy answers our questions about success, hardships, and the…

Keep on reading: V’s Class of 2018: Teddy Quinlivan
Source: V Magazine

V’s Class of 2018: Teddy Quinlivan

Shooting a Magazine Cover with a Smartphone

Shooting a Magazine Cover with a Smartphone

I recently got a call from a client in Chile asking if I’d like to photograph Alexis Sanchez for the cover of COSAS magazine. Alexis is Chile’s most capped footballer was just transferred from Arsenal to Manchester United. He is also one of his country’s biggest celebrities. COSAS is Chile’s biggest selling lifestyle and celebrity magazine. Obviously, I said yes.

The catch? The entire shoot had to be shot with a smartphone. Why? Because Alexis is a brand ambassador for Huawei, the Chinese telecoms giant.

Note: At this point, I should stress that I have not been paid by Huawei and have not been asked to endorse their products in any way. The phone, a P10 Plus, has an excellent camera but I would have approached the shoot in exactly the same way had I been using any other smartphone and in many cases, I would have expected similar results.

So I accepted the challenge, which I knew wasn’t going to be about image quality – I didn’t doubt the phone would be capable of producing images that could be good enough. Rather it was about planning and executing a photo shoot beyond my comfort zone. I liked and feared in equal measure the idea of not being able to rely on my familiar cameras and instead having to push a smartphone way beyond what it was designed for.

Just like any other shoot, it was going to be about lighting, but in this case especially so. The P10 Plus is capable of shooting raw images and I knew that would be a big help but I also knew I’d have to get the lighting just right and there would be very little room for error.

Plus this was an editorial shoot with a very limited budget, rather than a well-resourced advertising campaign. So no big lighting budget for me, (or even enough for an assistant). So I had to think carefully about what lighting I could use and how to use it most effectively.

There were other challenges too. Like previous shoots with high-profile sportsmen and women, I wasn’t going to get much time with Alexis — in fact, only 10 minutes. And from that, the magazine wanted pictures from at least three different set-ups. I also knew that Alexis doesn’t speak English, which not only meant that it would take longer than normal to establish a rapport with him but also that our conversation would need to go through an interpreter and this would also take time. So I would have to be efficient with the time available.

Then there was the space… or rather the lack of it. The shoot wasn’t going to be in a large, bright studio but in a residential house in south-west London where Alexis was shooting a (much bigger budget) television commercial during the rest of the day. They got all the good spaces. I was allocated a bathroom and two bedrooms for my shoot. The bathroom had no windows, not that it mattered as the shoot was scheduled for late afternoon, in London, in winter… so no natural light in the bedrooms either then.

I was given the phone two days before the shoot so that I could practice with it and learn its settings inside out. I also did loads of tests with the lighting I was going to use – a Rotolight Anova Pro and a series of Limelite Pixel 300W heads.

On the day of the shoot, I arrived with hours to set up, test, check and double-check everything. I ended up creating three mini-studios, one in each of the rooms available to me, and moved the Anova Pro with me as we moved between them.

The shoot itself went really well and despite the language barrier Alexis was a true professional and appeared to take it all in his stride. (From personal experience the same cannot be said of all Premiership footballers). I was definitely nervous, which often helps sharpen the mind, but in any case, it was all over in the blink of an eye.

All that was left was to pack up, go home and start going through the results. And breathe a massive sigh of relief.

The client was really happy with the pictures and ended up running an 8-page spread in the magazine.

I wouldn’t choose to ditch my cameras and shoot many assignments with a smartphone, but I definitely learned a lot from the experience. Doing something that scares you once in a while has its rewards.

About the author: Ben Phillips is a UK-based commercial photographer. The opinions expressed in this article are solely those of the author. You can find more of his work on his website, Facebook, Instagram, and Twitter. This article was also published here.

Image credits: All photographs by Ben Phillips and used with permission

Source: PetaPixel

Shooting a Magazine Cover with a Smartphone

New Makeover for Group Registration of Photographs: 6 Takeaways

New Makeover for Group Registration of Photographs: 6 Takeaways

By Melinda Kern

Calling all photographers! Starting February 20, 2018, the U.S. Copyright Office will implement a new rule affecting how groups of photographs are registered. The rule aims to modernize and streamline the registration process for group registrations of photographs, but also implements other important changes.

Copyright registration is, of course, voluntary. However, photographers should still consider the benefits that copyright registration offers, such as being able to bring an infringement lawsuit. Understanding that the filing fee for registrations can be burdensome for photographers, who often seek to register large volumes of work, the U.S. Copyright Office has created a rule that allows photographers to register multiple works under a single application and single filing fee.

Here are six characteristics that all creators should be aware of:


  1. Modified registration processes for two group registration options.

The Copyright Office has created two new group registration options for photographs: group registration of published photographs (GRPPH) and group registration of unpublished photographs (GRUPH). The current “unpublished collection” option for photographs and the pilot program for published photographs will no longer be available after the rule takes effect in February. It’s also now up to photographers to determine whether a photograph is published or unpublished according to the Copyright Act, as the Copyright Office won’t register an application including that combines published and unpublished photographs.

The Copyright Act’s definition of “publication” is tricky, even for copyright lawyers. While many photographers may also have trouble distinguishing between whether their works are published or unpublished, the U.S. Copyright Office “intends to add examples [in the Copyright Office Compendium] to explain the difference between published and unpublished photographs,” and also update its informational materials, such as the Copyright Office’s circulars, regarding the rule’s new registration options to help photographers understand this important distinction.


  1. Paper registration applications are a thing of the past.

All GRPPH and GRUPH applications must be filed online. Any group registration claims attempting to use paper applications will be refused by the Copyright Office. Recognizing that photographers may have difficulties using the new online application process, the Copyright Office will provide an example of the online application on its website for photographers “to familiarize themselves with the new form” and “will prepare an online tutorial that explains how to use the new applications.” The new applications will also include links that will help answer frequently asked questions.


  1. Registrations are limited to 750 photographs.

Photographers are now limited in the number of photographs that may be registered in a single application. The new rule imposes a 750 photograph limit for both published and unpublished group registration applications, changing the previous options that allowed photographers to register an unlimited number of photographs.


  1. Applications require digital deposits and Identifiable Information.

The rule changes how photographs within these group registration applications are deposited and the information that must accompany these photographs. Photographers must submit digital copies of their photographs along with their application. This requirement can be met one of two ways: “by uploading the photographs to the electronic registration system or by sending them to the [Copyright] Office on a physical storage device, such as a flash drive, CD-R, or DVD-R.” Digital deposits are required to be in either JPEG, GIF, or TIFF format, and can’t exceed 500MB.

Photographers must also provide a title for the group of photographs as a whole, in addition to assigning each photograph within the application a title and file name. The information for each individual photograph must be submitted in a separate document along with the application, in either Excel, PDF, or other format the Office approves. Applications for group registration of published photographs additionally require the month and year of publication.


  1. Group applications must meet new eligibility requirements.

The Copyright Office clarified the eligibility requirements for submitting group registration applications. Each photograph must be created by the “same author.” While the term may sound limited, it encompasses works made for hire, which are works prepared by an employee within the scope of his or her employment and the hiring entity is considered the actual “author,” and therefore, the copyright owner, of the work.

For works made for hire, the copyright owner isn’t required to identify the employee who took the photographs in their application. However, if during the registration application process the copyright owner checks the work made for hire box but leaves the designated “employee” space empty, “the application will not be accepted” by the registration system. To prevent this problem, the Copyright Office has advised copyright owners to state that employee(s) are “not named in the application.” If the registration application is approved, the work for hire information, or lack thereof, will still appear in the online public record.

In addition to being created by the same author, all photographs within the group registration application must be owned by the same person or entity. For example, if a corporation files an application to register a group of 500 photographs, that corporation must be the copyright owner for all 500 photographs. A corporation may not file a group registration application if they only own 499 photographs and another individual owns the remaining photograph.

Published photographs registered through the new GRPPH process aren’t required to be published within the same country, but are required to be published within the same calendar year. If an application contains various publication locations, this information may, but isn’t required to, be noted in the application’s “Note to Copyright Office” field. GRPPH applications should also include the author’s country of citizenship or domicile (which will usually be the hiring entity’s under the work made for hire doctrine) and the country where the photographs were first published. The citizenship and publication information helps the Copyright Office determine whether the photographs are eligible for U.S. copyright law protection.


  1. Group registration won’t limit a photographer’s available remedies.

The rule confirms that each individual photograph registered under the GRPPH and GRUPH registration application is a separate work under the Copyright Act, similar to the current rule. Treating each photograph as an individual work allows a photographer to seek separate statutory damage awards, as opposed to being limited to a single award for all the photographs in a single application. This provides photographers with greater avenues for relief to protect their works.

Melinda Kern is a Legal Fellow with the Copyright Alliance. This post first appeared on the Copyright Alliance blog and has been republished with permission.

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Shootout: $4,990 Zeiss Otus 28mm vs $4,250 Leica Q

Shootout: ,990 Zeiss Otus 28mm vs ,250 Leica Q

In the pantheon of lens focal lengths, 28mm is a bit of an outlier. Photojournalists are more apt to reach for the 35mm, while many manufacturers have settled on 24mm for primes and the wide end of their zoom lenses. But 28mm has become visually familiar to consumers because its field-of-view equivalent can be found on many smartphones like the iPhone.

Zeiss caused a ruckus when it announced its line of Otus lenses in 2013; a line designed for maximum still photography performance with a weatherproof construction made of glass, aluminum, and rubber. Maximum quality also means eye-popping prices. The 28mm f/1.4 Otus can be yours for a touch under $5,000.

Although I have no need for a 3 lbs, manually focused lens, I was curious to take it out for a spin affixed to a 45MP Nikon D850, and even more curious to compare the picture quality to the Leica Q, which has a fixed 28mm f/1.7 lens. Let’s take a look!

The Otus’s minimalist aesthetic makes for a gorgeous looking lens. When mounted on a camera, it’s the type of combo that I found people staring at because of its size. There is no sense in trying to be discreet with this hunk of glass.


Manually focusing with the Otus is challenging while hand-holding a DSLR. If you’re shooting wide open, strictly relying on the viewfinder is not accurate. So I found myself trying to use Live View combined with focus peaking. The problem was that when I regripped the camera, I often knocked the focus ring without knowing it. Part of this is a lack of technique, but the other is a design quibble.

The rubber focusing ring feels very similar to the rest of the body, especially in colder weather where you can’t rely on the tackiness of the rubber. Notched focusing rings provide both grip and as well as a tactile differentiation from the rest of the lens. I missed more than a handful of shots because of this.

It’s easy to miss focus while handholding the Otus.

The Leica Q has a lightning-quick auto-focusing mechanism despite relying on a contrast detection mechanism rather than the typically faster phase detection.

Vignette and Barrel Distortion

As expected, the lens has strong vignetting and barrel distortion at f/1.4 – both easily solved by applying a lens profile in Lightroom. The Leica Q has a built-in profile, so we can’t readily view non-computationally corrected images straight out of camera.


Because we’re dealing with different sensor resolutions, moiré patterns are revealed with certain details at specific distances on one camera and not the other. Neither camera has an anti-aliasing filter, so moiré was produced in a variety of scenes. This isn’t a function of the lens, but it is worth pointing out that expensive gear doesn’t insulate you against the laws of physics.


It’s impossible to make a straight apples to apples comparison because the Nikon D850 has nearly twice the resolution of the Leica Q, but suffice it to say, both camera/lens combos produce incredibly sharp images. I wasn’t able to say that one lens was obviously superior in my tests.

Some 1:1 comparisons.

Both lenses produce a creamy bokeh.


I’m not quite sure who the Otus is designed for. Without autofocus, it’s impractical to handhold at wider apertures. It’s not a street photography, photojournalism, or portrait lens. I can see nature photographers using this on a tripod, but there are a number of lighter, cheaper lenses that work pretty well at f/5.6 or smaller. And if you’re going to hike a few miles to get the shot, I’m not sure the added weight is worth a nearly imperceptible increase in quality.

You can certainly make the argument that a 45MP sensor needs great glass, and in this regard, the Otus delivers the good. But the slow operation of the lens turns a pretty great digital camera into something more like a large format camera. If you like “slow” photography and have deep pockets, the Otus might be for you. If you just have deep pockets (and a bad back), stick with the Leica.

About the author: Allen Murabayashi is the Chairman and co-founder of PhotoShelter, which regularly publishes resources for photographers. The opinions expressed in this article are solely those of the author. Allen is a graduate of Yale University, and flosses daily. This article was also published here.

Source: PetaPixel

Shootout: ,990 Zeiss Otus 28mm vs ,250 Leica Q

How To Photograph Seascapes

How To Photograph Seascapes

Photographing the sea and the waves can be both challenging and fun. People often ask me what “the right settings” are to shoot moving water so I decided to write a little guide on it. There are many options depending on what look you’re going for. By using some examples of my own, I’ll explain how I shoot my seascapes.

I usually define 3 options: Shooting the sea normally with a very fast shutter speed (not going to discuss it in this article as it’s just pressing the shutter and not doing much else), shooting the sea with a bit of a slower shutter speed of around 0.5 – 2 seconds, and shooting the sea with a very long exposure to get that super silky smooth water.

Look and Feel

Now I like to create some ‘life’ in my images. I like them dynamic so I often go with the shutter speed of around 1-2 seconds. Why? Because I still get that ‘painting’ look I love myself, but I still get the movement of the water. The flow that creates the dynamics in an image is very important. It can also be used for compositions.

I don’t like very short shutter speeds (except for rare occasions when the sea is very dramatic), simply because the sea is often quite messy and with very short shutter speed it’s hard to create that painterly look I like. This is, of course, different for everyone, and I’m just stating my own style here. I sometimes love extremely long exposures too (30 seconds and up) to create that very smooth water surface. When you’re shooting with some objects in the foreground (like rocks for example) you can create that ‘misty’ look.

Rough sea at Tellera Italy with a 1.3 second exposure to capture the dynamics of the sea.


As mentioned above, for flowing waves and water I like to use a shutter speed of around 0.5-2 seconds depending on how fast the water is moving. I use Aperture priority with a closed down aperture of around f/14. I want a rather closed down aperture because I want a big focus plane. I want things in the foreground and background to be both in focus. I also use a closed down aperture because I want to create that longer shutter speed.

Use the lowest ISO available on your camera. If you have bright light during the day you’ll not be able to get a shutter speed of 0.5-2 seconds with just closing the aperture — you’ll need some filters. When the weather gets dark and moody, you may just be able to shoot without a filter because there is less light. When you want a really long exposure during the day, you’ll always need an ND (Neutral Density) filter.

4 minutes exposure during sunset with a 10 stop ND filter.


There are a wide variety of filters available. To slow down the shutter speed you will have to use ND filters. During daytime I mostly use a 4 or 6 stop filter to slow down the shutter speed just enough to get that silky look. If you want to use a very long shutter speed, you’ll need a 10 stop filter. The stops define how much light an ND filter will let through. The less light, the longer your shutter speed.

Think of it as sunglasses with different strength. You can also use ND graduated filters. These only darken the top of the frame (the sky) so that you can balance out your exposure. The most commonly used ND graduate filter is the 3 stops (often called 1.2 grad) I often use an ND graduated filter together with a full ND filter (4-6 stops, or 10 for very long exposures).

Another filter that is very useful for shooting water and the sea is the CPL (circular polarized) filter. With the CPL filter you can control the reflections and glare on the water. Sometimes you get those nasty highlights on the water that you want to get rid of. That’s where the CPL comes in. By turning it you can control the amount of reflection on the water.

Very long exposure (3 minutes) of a seascape in the Netherlands. Leading lines point straight to the middle of the wind direction.
The same scene with a different white balance, toning and settings. Exposure time is only 1 second in this shot to still get those ‘painty’ waves but the image retains its dynamics and drama. I like both versions even though they are completely different.


If you’re all set up with the right settings, it’s time to shoot! When want to shoot moving waves timing is crucial. Waves come in and pull back, and hitting the shutter button at the right time is essential. Using a remote for this is recommended, as you don’t want to be touching your camera when shooting longer exposures as your shot might get blurry from you touching the camera.

I like to control timing myself, but another option is to shoot in burst/continuous mode on your camera. You can just keep shooting all the time and hope you get a nice wave in your shot. The downside of this is that you will get lots of files to go through later and also the timing is not super precise.

Now let me explain how I shoot waves in action. I pick a composition and set up my camera settings. Depending on the scenery I wait for the right moment and press the shutter. The right moment is often when the water or sea pulls BACK, not when it’s incoming. When it pulls back you get that white foam pulling back into the sea creating beautiful leading lines in your image.

When you have rocks in the foreground and you want water splashing over them, shoot when the water is incoming. But the trick is often to wait until the water pulls back and then press the shutter button. I keep doing this until I see an image on my display that I like. Then I move on to another composition. I try different shutter speeds from 0.5-2 seconds depending on how rough the water is to see what looks best. Just experiment.


Some tips on compositions with water:

  • Use flowing water as a leading line through the middle or corners.
  • Put your camera very low to the sea to get close up to the action. But be very careful about rogue waves that might hit your camera. Saltwater on your camera often means death.
  • When using very long exposures, use objects in the foreground to create depth in your shot
  • When you find your composition, try all kinds of shutter speeds. Very short, 0.5-2 seconds, and 30 seconds. See what looks best.
  • Try to use objects like rocks in the foreground to use for splashing water, or flowing water around.

You can use waves on its own to create a photo out of completely nothing. Sometimes a single wave on its own can look amazing, without anything else. Just keep shooting to try and catch that perfect wave.

A wave pulling back in combination with swirling plants create a nice swirling leading line into the image. Exif: Sony A7RIII, 16mm, f18, 0.8s, ISO50 with CPL and 3 stop ND filter.
2 seconds exposure close to blue hour of the Golden Gate Bridge in San Francisco. No filters were needed because it was already quite dark.

Have Fun, But Watch Out!

Shooting seascapes can be great fun. I can spend hours shooting the same location by just trying to get that perfect wave in my shot. Make sure you wear boots and waterproof pants if you’re going to stand in the waves. Be careful on rough seas and beaches that are known for rogue waves. Also, be very careful that waves are not hitting your camera. Salt water is NOT good! There are cheap rain covers available for cameras that you can use to protect your camera. I have seen many cameras die in the sea (and I have had one death myself). So be careful!

About the author: Albert Dros is a 31-year-old award-winning Dutch photographer. His work has been published by some of the world’s biggest media channels, including TIME, The Huffington Post, The Daily Mail, and National Geographic. You can find more of his work on his website, or by following him on Facebook and Instagram. This article was also published here.

Source: PetaPixel

How To Photograph Seascapes

Colorized Photos of American Child Laborers

Colorized Photos of American Child Laborers

Photographer Lewis Wickes Hine once said: “There is work that profits children, and there is work that brings profit only to employers. The object of employing children is not to train them, but to get high profits from their work.”

Lewis Wickes Hine was an American sociologist and photographer whose work was instrumental in changing child labor laws in the United States.

Hine is my favorite photographer. Aside from being technically excellent, his black and white photographs are some of the most important ever taken. His record of the first half of the 20th century is a unique glimpse into the real lives of working-class America, and his work for the National Child Labor Committee (NCLC) was instrumental in bringing about change for the nation’s children.

This photo show garment workers Katrina De Cato (6), Franco Brezoo (11) Maria Attreo (12) and her sister Mattie Attreo (5) at 4pm, 26th January 1910 in New York City.

Hine’s work was not without risk. The immorality of child labor was hidden away from the wider public at the time, and his exposure of the underhand practices posed a threat to the industry. He was threatened with violence and death from factory foremen and would resort to wearing disguises such as a fire inspector or industrial photographer (making a record of factory machinery) in order to gain access to the workshops.

Roland, an 11 year old newsboy from Newark, New Jersey.

As a photo colourizer, my aim is always to try and connect with the photo subjects on another level, something not always possible with a black and white photo. Hine’s photos are perfect for this purpose as they are already very engaging pieces.

The eyes of the children are often the first thing we notice, and his photos are so crisp and focused that I believe the addition of color really helps to bring them to life.

As always in the digital age, it is easy to scroll past black and white photos without giving them a second glance, so I hope people will stop to look at these photos and learn more about the children pictured.

5 year old Preston, a young cartoner in Eastport, Maine, 17th August 1911. Hine said of Preston; “I saw him at work different times during the day, at 7 A.M, in the afternoon, and at 6 P.M., and he kept at it very faithfully for so young a worker”
Raymond Klose (middle), newsboy, 13 years old, St. Louis, Missouri US, 1910. The photograph was taken by Hine at 11am, Mon May 9th 1910. Original caption read “Newsies at Skeeter’s Branch, Jefferson near Franklin. They were all smoking”
One of the underprivileged, Hull House, Chicago 1910.
Jennie Camillo, an 8 year old cranberry picker, Pemberton, New Jersey, 1910.
9 year old Johnnie and the shucking-boss, in Dunbar, Louisiana, March 1911. Shucking is the process of removing shells from shellfish. The original caption states that the shucking boss pictured was also a ‘padrone’, an employer who exploits immigrant workers. The caption continues that for four years he has brought these people from Baltimore.
12 year old newsboy Hyman Alpert, who had been selling newspapers for 3 years when this photo was taken in March 1909, in New Haven, Connecticut.
Michael McNelis, age 8, a newsboy. This boy had just recovered from his second attack of pneumonia and was found selling papers in a big rain storm. The photo was taken by Lewis Wickes Hine in Philadelphia, Pennsylvania in June 1910. The man taking the boy’s details is likely Hine’s assistant.
This final photo was taken a few years later, in 1924. I decided to include it to show a different view of childhood, hopefully depicting a better outcome and improved conditions for America’s children at the time.

When researching the background to these photos my eyes were opened to the current problem of child labor around the world. It’s never really gone away from the time these photos were taken. Child labor is still an ugly truth across the world in 2018. I hope this article helps in some small part get people talking about it.

P.S. I was inspired to colourise these photos following an article published in Time magazine by my friend and fellow colouriser Sanna Dullaway.

About the author: Tom Marshall is a professional photo colorizer who offers his services through his business, PhotograFix. You can also find his work on Facebook, Twitter, and Instagram. This article was also published here.

Image credits:All original images © Lewis Wickes Hine courtesy of the US Library of Congress. Colourised images © Tom Marshall (PhotograFix) 2018.

Source: PetaPixel

Colorized Photos of American Child Laborers

Rose McGowan’s Memoir ‘BRAVE’ and Docuseries ‘Citizen Rose’ Are Here

Rose McGowan’s Memoir ‘BRAVE’ and Docuseries ‘Citizen Rose’ Are Here
2017 was a year full of political and social conversations and change that undeniably painted an honest, modern American portrait both in print and on screen, broadcasted live on the world’s stage. One face and voice that is actively shaping and rallying an aggressive, glass-ceiling shattering empowering movement in 2018 is: Rose McGowan. The artist and activist has made wildfire headlines by sharing her story, using social media as a platform to raise awareness of the ongoing, systematic sexual…

Keep on reading: Rose McGowan’s Memoir ‘BRAVE’ and Docuseries ‘Citizen Rose’ Are Here
Source: V Magazine

Rose McGowan’s Memoir ‘BRAVE’ and Docuseries ‘Citizen Rose’ Are Here

Juicy Couture Will Show at NYFW For the First Time

Juicy Couture Will Show at NYFW For the First Time
Needless to say, Juicy Couture dominated the early 2000s, becoming a favorite to all queens of the decade, including JLo, Kim K, and, naturally, Paris Hilton. Now, the brand is attempting a major revival. On February 8th, Juicy will join the New York Fashion Week lineup for the very first time.   

Riding on the wave of 90s sentimentality, Juicy was resurrected late last year and launched straight back into mainstream attention. Vetements lent a hand by collaborating with the brands for thei…

Keep on reading: Juicy Couture Will Show at NYFW For the First Time
Source: V Magazine

Juicy Couture Will Show at NYFW For the First Time