Showing posts with label human rights. Show all posts
Showing posts with label human rights. Show all posts

Sunday, October 19, 2025

Photojournalist Ed Kashi on his career-spanning exhibition at Monroe Gallery

 Via The Albuquerque Journal

October 19, 2025

A fashionably dressed Kurdish woman, accused of being a member of the outlawed Kurdistan Workers’ Party (PKK), stands at a cage-like witness stand, a handful of armed military men behind her.
Ed Kashi

In a Turkish terrorist court in Diyarbakir, this Kurdish woman was sentenced to 13 years in prison, accused of belonging to the Kurdistan Workers Party, or PKK, which seeks to create an independent state in southeastern Turkey, 2006


By Logan Beitman


Even people who don’t know Ed Kashi’s name are often familiar with his photographs. Over the course of his nearly 50-year career, the award-winning photojournalist has created memorable long-form photo-essays for National Geographic, and his work has been published in Time, Newsweek and The New York Times. The World Photography Organisation has called him “one of the leading and most innovative photojournalists of our time.”

Kashi’s current, career-spanning exhibition at Monroe Gallery of Photography in Santa Fe, “Ed Kashi: A Period in Time,”
is also the title of his most recent book. The exhibition runs through Nov. 16.

Known for documenting some of the world’s most challenging social and geopolitical issues, Kashi’s subjects have ranged from Protestants in Northern Ireland during the time of the Troubles to oil workers in the Niger Delta to America’s rapidly aging population.


Oil soaked hands, one holding a machete, of a  worker subcontracted by Shell Oil Company cleans up an oil spill from a well owned by Shell that had been left abandoned for over 25 years, 2004
Ed Kashi
A worker subcontracted by Shell Oil Company cleans up an oil spill from a well owned by Shell that had been left abandoned for over 25 years, 2004


“One of the many reasons that I feel so fortunate that I’ve been able to have a long career in this field is that I get to really go deep with issues and subjects that I come to truly care about and that I think that are important,” Kashi said.

One thing that sets Kashi apart from more events-driven news photographers is the length of time he spends with his subjects. He often embeds himself with the groups he’s documenting for months on end, returning year after year for decades-long projects.

“I often say I’m as much of an anthropologist as I am a journalist,” Kashi said. “While many of my projects have a journalistic edge, or they’re topical — like oil in Nigeria or Jewish settlers in the West Bank — I’m not a great news photographer, and frankly, I don’t like working in situations where there’s a lot of other media around. It always feels intrusive to me, and it makes me uncomfortable.

“I much prefer to work where my subjects, or collaborators, as I like to call them, are my own, and I’m able to develop a direct relationship,” he said.

One of Kashi’s longest-running photojournalism projects centered on the Kurdish diaspora. He began photographing the Kurds for National Geographic in 1991 — his first major project for the magazine — and kept returning to the subject for the next three decades.

“It was something I really cared about, and I was given this tremendous support that only National Geographic could give, where I went to eight countries — not only in the Middle East, but in the Kurdish diaspora in Germany and the U.K. — and I was really able to spend time to tell a very deep story about what was the largest ethnic group in the world without a nation of their own,” Kashi said. “The Kurds have the geopolitical misfortune of being in what is now Iran, Iraq, Turkey and Syria, mainly, so not the friendliest places for a minority group.”

One of Kashi’s most compelling images from that series was taken at a military tribunal in Diyarbakir, Turkey. A fashionably dressed Kurdish woman, accused of being a member of the outlawed Kurdistan Workers’ Party (PKK), stands at a cage-like witness stand, a handful of armed military men behind her.

“I think I got in because I was following a Kurdish human rights lawyer, so I sort of traipsed into the courtroom with him and made a few pictures. And that ended up being a very significant image,” Kashi said. “But after that image appeared in the magazine, they (the Turkish government) confiscated all the copies of (that) 1992 issue of National Geographic within Turkey.”

Despite the attempted censorship, that image, and others from the series, reached a wide international audience. Kashi credits those images with bringing much greater attention to the persecution of the Kurds, a subject that had previously gone underreported.

The Turkish government, meanwhile, grew increasingly restrictive on press freedom. Government repression is an ever-present challenge for photojournalists around the world, Kashi said, and something he has contended with many times.

“For journalists, and particularly for photographers, there is a constant battle of how much can we get away with. How close can we get? What can we access? And when that gets shut down, we have to find other ways to gain access,” he said.

The global landscape for press freedom has gotten significantly worse in recent years, according to Kashi, with widespread and concerted attacks on journalists that he calls “unprecedented.”

“Look at our own Pentagon and the restrictions they’re trying to place on the media,” Kashi said. “It’s a very interesting and tricky moment right now for the media in general, all around the world. There’s been an increase in journalists being arrested, imprisoned and in some cases killed, particularly in Gaza.”

Although Kashi said he has sometimes risked his life for stories, he was never deliberately targeted, the way he said some journalists are currently being targeted and killed in places such as Gaza and Ukraine.

“I’ve not worked in Ukraine, but a colleague of mine, who works a lot with the New York Times as a photographer, was just saying, the scariest thing is when you’re driving down a highway and you hear a drone overhead. It’s not even about (accidentally being hit by) missiles or bombardment from planes or artillery. It’s that a drone can take your car out because they suspect you of being the enemy, or they just want to,” Kashi said. “They know you’re a journalist. They wanted to target you.”

Despite the dangers, photojournalists continue doing their jobs, Kashi said, because they know it can change people’s hearts and minds. Kashi has seen the far-reaching impact his own work has had, and he hopes it will inspire others.

“If you tell good stories, and you tell them in an authentic and sincere way, you can reach people. You can penetrate their consciousness,” Kashi said. “And whether they donate money, or they get involved through their actions, or, at the very least, you might change their mind about something. That’s the reason we must do this work.”

Man with umbrella looks at a cloudy view near Machu Picchu
Ed Kashi

A journey, made in 1999, to some of Peru's most outstanding natural and man-made sights. A cloudy view near Machu Picchu.

Sunday, September 22, 2024

The Age of Rage: Protest, Camera, Action

 

Via The Nation

September 21, 2024


"Photography radically acts as a language that speaks for the world’s oppressed and critically functions as a vital visual voice of resistance."


"Photography helps us understand what we are and imagine what we might become...

The fight for equality across the human condition radically evolves out of protest. Beyond the jackboots, the batons, the water cannon, the tear gas, the bullets, the tanks, the fences, the walls, the concentration camps and all means of surveillance, history teaches that what power fears more than anything is a people on the move against injustice. Looking at the history of photography, we can understand that progress across the political terrain of human rights has been difficult. Marginalized bodies, when divided, are vulnerable to capture, control and genocide. Thinking through our past in photographs and decentering the knowledge formations of imperial lenses means that we can critically join or remake the politics of the left intersectional, aligned in mission, and truly inclusive. This will create waves of solidarity and supportive modes of resistance that strategically enable people to embrace the different ecologies of freedom and resist imperialist politics that divide and rule" -- click for full article

Saturday, October 22, 2022

Resilience - stories of women inspiring change features Anna Boyiazis' "Finding Freedom in the Water"

 Via World Press Photo

October 21, 2022


The World Press Photo Foundation presents a selection of stories, awarded in the annual World Press Photo Contest from 2000 to 2021, that highlight the resilience and challenges of women, girls and communities around the world.

Gender equality and justice are fundamental human rights critical in supporting cohesive societies. Yet women around the world face deeply entrenched inequality and remain underrepresented in political and economic roles. Worldwide in 2021, women represented just 26.1% of some 35,500 parliament seats, only 22.6% of over 3,400 ministers, and 27% of all managerial positions. Violence against women prevails as a serious global health and protection issue. An estimated one in three women will experience physical or sexual abuse in her lifetime.

This joint exhibition conveys the commitment of the Netherlands to women’s rights and gender equality and justice. Multiple voices, documented by 17 photographers of 13 different nationalities, offer insights into issues including sexism, gender-based violence, reproductive rights, and access to equal opportunities. The selection of stories explores how women and gender issues have evolved in the 21st century and how photojournalism has developed in the ways of portraying them.


color photograph of young woman learning to float, in the Indian Ocean, off Nungwi, Zanzibar,  November 2016

A young woman learns to float, in the Indian Ocean, off Nungwi, Zanzibar, on 24 November 2016. Credit/©: Anna Boyiazis.

Finding Freedom in the Water shares the story of students from the Kijini Primary School who learn to swim and perform rescues, in the Indian Ocean, off of Muyuni Beach, Zanzibar. Traditionally, girls in the Zanzibar Archipelago have been discouraged from learning how to swim, largely due to the absence of modest swimwear. The Panje Project teaches local women and girls swimming skills in an effort to reduce high rates of drowning.

This story awarded in the 2018 World Press Photo Contest can be considered an example of photojournalism with a solutions approach. Rather than focusing only on problems, solutions journalism reports on how people are trying to deal with difficult social issues and what we can learn from their efforts. The series looks at how teaching women a vital skill like swimming can be an important step towards emancipation and gender justice.


'Resilience: stories of women inspiring change’ is on display in:


Sao Paulo, Brazil - 14 October to 6 November
Athens, Greece - 28 October to 18 November
Brasilia, Brazil - 4 to 20 November
Belo Horizonte, Brazil - 9 to 26 November
Porto Alegre, Brazil - 16 November to 4 December

Istanbul, Turkey - 24 November to 15 December
Dhaka, Bangladesh - 25 November to 10 December
Skopje, Macedonia - 25 November to 11 December

Ankara, Turkey - 25 November to 15 December

Monday, July 18, 2022

Defend Our Clinics! Photo Story by Nina Berman

 Via Indypendent

Photos by Nina Berman

July 5, 2022

screen shot of Indypendant cover story about pre-choice protest in New York after Supreme Court overturned Roe v. Wade on June 28, 2022

A Planned Parenthood clinic in Lower Manhattan has become a magnet for anti-choice activists who don’t want to stop with Roe’s repeal.

Women who have abortions should get the death penalty,” Beatrice, a pro-life protester, told The Indypendent. She wore a T-shirt that read “Hope is here” and was one of several women protesting outside the downtown Manhattan Health Center on the Saturday morning before the Supreme Court toppled Roe v. Wade. 

While the religious right’s quest for earthly dominion over women’s bodies proceeds undisturbed on this morning, that’s not always the case. On the first Saturday of each month, Witness for Life, an anti-choice group, returns to the same clinic, which is run by Planned Parenthood. They are met by counter-protests organized by NYC For Abortion Rights, a socialist-feminist collective that fights for full abortion and reproductive justice.

The Supreme Court’s ruling in Dobbs v. Mississippi will lead to the outright ban or severe restriction of abortion rights in 22 states that are home to 64 million women and girls, with several more states likely to enact similar laws. It won’t stop there. People who suffer miscarriages or stillbirths could face criminal investigations and those who cross state lines to procure an abortion will be targeted, as will all the people and organizations that help them. Digital surveillance technologies will further the aims of the abortion police in ways that weren’t possible when Roe was decided in 1973.

Meanwhile, New York’s state and local leaders have promised that ours will be a sanctuary state for women seeking abortions and won’t cooperate with out-of-state law enforcement. Mutual aid groups have also vowed to aid those in need. The prospect that anti-choicers, now further emboldened, will step up their protests and harassment outside New York City’s abortion clinics seems likely. If they do, how many of us will be there to greet them? For more, see abortionrights.nyc.


black and white photograph of thousands of abortion rights supporters rallying in Washington Square Park hours after the Supreme Court overturned Roe v. Wade on June 28.
Nina Berman: Thousands of abortion rights supporters rallied in Washington Square Park hours after the Supreme Court overturned Roe v. Wade on June 28.

More photos and full article here

Nina Berman and David Butow will be in discussion about the current threats to photojournalism on Friday, Jul 22 - Zoom registration here.


Thursday, June 16, 2022

"This is just two people protected under the Constitution, and it is seen as suddenly offensive. That's a huge problem."

 

two men kissing at a 2019 Charlotte Pride event

This photo, shot by freelance photographer Grant Baldwin, was taken down from the Gaston County Museum at the direction of the county manager. 

(Photo: courtesy of Grant Baldwin Photography)

June 15, 2022

Photo removed from Gaston County Museum to be displayed in Santa Fe gallery
Kara Fohner

A gallery in Santa Fe, New Mexico, will display the photograph that the Gaston County manager ordered removed from a museum exhibit.

The photograph, which features two men kissing after one of them proposed at a Charlotte Pride parade in 2019, will be featured in an exhibit titled "Imagine a World Without Photojournalism" at the Monroe Gallery of Photography. The exhibit runs from July 1 to Sept. 29.

Grant Baldwin, the photographer who shot the image, said that he received an email from the gallery owners, Sidney and Michelle Monroe, asking to use the photograph in the exhibit with plans to include an explanation about how it was removed from the photography exhibition at the Gaston County Museum of Art and History.

The photograph was removed from the Gaston County Museum at the order of County Manager Kim Eagle. The county said in a written statement that Eagle reviewed the photograph and told museum staff to work with the photographer to find an alternative photograph to display "that would be more considerate of differing viewpoints in the community." 

The county said that it finds it important that the items the museum shares be "informational without championing political views," according to a statement released by the county Tuesday.

Baldwin, who has been a freelance photojournalist for 11 years, has mixed feelings about the situation. He is sensitive to the impact that the news of the photo's removal may have had on LGBTQ+ individuals in Gaston County, but he is also excited that the photograph seems to have taken on a life of its own. 

"I just feel like, you know, on those occasions when a journalist gets to make something that takes on its own narrative and life, ... that's really great, that excites me. And I feel honored that I got to make a piece of work that's doing that," Baldwin said. "So, as a journalist, I'm excited about what's going on, and I don't mean that in any sort of disrespectful way to the challenges that this poses for the LGBTQ community. I'm not happy with what they're experiencing with this."

Michelle Monroe, one of the co-owners of the Monroe Gallery of Photography, said that she learned the photograph had been removed from the museum exhibit from media reports.

"I'm using the photo for several reasons, but it is also a wonderful photograph. We are a gallery, and you know, we don't just want a photograph with substance. We want a photograph that is well done and beautiful, and tells an important story," she said. "We actually have had other work that would represent the human civil rights of the LGBTQ and decided that we would switch out one of those for this, because this was so current and apparently so threatening that we wanted to champion it."

She said that in terms of the arc of history, some moments are signals, catalysts that ultimately have historical significance.

She said the removal of the photograph from the exhibit is a clear signal that history is moving in the wrong direction.

"This piece of art is simply a photograph, right?" she said. "This is just two people protected under the Constitution, and it is seen as suddenly offensive. That's a huge problem." 

Related Coverage

"It is our understanding that the photograph has already been sent to a gallery in Santa Fe, where the gallery owner, Michelle Monroe of Monroe Gallery of Photography, recognizes that it is a substantial photograph that tells an important story about human civil rights."  -Opinion, Gaston Gazette

N. Carolina county orders museum to remove photo showing same-sex couple kissing to celebrate marriage proposal

NC museum removes LGBTQ Pride photo, sparking outrage

Gaston County Museum pulls gay Pride photo

'It's surreal:' Man shocked his engagement photo at center of Gaston County controversy

Monday, March 18, 2019

Ryan Vizzions: No Spiritual Surrender - A Dedication To Standing Rock


©Ryan Vizzions
Protesters face off with police and the National Guard on February 1, 2017, 
near Cannon Ball, North Dakota




Santa Fe--Monroe Gallery of Photography is pleased to announce the release of an important photobook by independent photojournalist Ryan Vizzions documenting the Standing Rock movement. “No Spiritual Surrender: A Dedication to Standing Rock” will be first released at a special book signing during the AIPAD Photography Show in New York at Pier 94. Ryan Vizzions will be signing copies in the Monroe Gallery of Photography booth #706, on Friday, April 5. A second book signing will take place Friday, April 12 in Santa Fe, New Mexico at the Monroe Gallery. (Books are only available for in-person sales at these event, no orders or reserves.) Monroe Gallery of Photography is the exclusive representative for Vizzions’ fine art photography. 


The 11” x 8.5” hardcover bound book comprises 5 visual chapters with 117 photographs across 166 full color pages. Vizzions’ takes the viewer inside the resistance camps, both showing frontline resistance to the pipeline and conflict with the over 50 law enforcement agencies from over 10 states, as well as the spirit and life of the camp itself. Featured in the book are writings by Joye Braun, Paula Antoine, Bobby Jean Three Legs, Waniya Locke, Jennifer Weston, and Morgan Brings Plenty, -   Oceti Sakowin women -  to provide context and history of the Standing Rock reservation.


Between April of 2016 and March of 2017 one of the largest social justice movements in American history took place in the plains of North Dakota on the Standing Rock reservation. With an oil pipeline threatening the drinking water of the Standing Rock Sioux and 17 million people downstream on the Missouri River, thousands of people ascended upon the resistance camps to stand in solidarity with the Lakota Sioux and oppose the construction of the pipeline. From early spring of 2016 to late winter of 2017, over 15,000 people camped in tipis, army tents and vehicles without the use of electricity in an attempt to raise awareness and prevent the possible contamination of Lake Oahe, the source of drinking water for the reservation. Over 300 tribes and indigenous communities traveled to the camps, as well as nearly 4000 veterans and 500 clergy, to stand in solidarity with the NODAPL movement. 


In September of 2016, Ryan Vizzions traveled from Atlanta, Georgia to stand in solidarity with the movement. Bringing his camera with him, but not intending to be a media source, Vizzions soon found himself using social media to reach over half a billion people with his photographic documentation of events unfolding over the months. With viral reach of one photograph in particular, "Defend The Sacred", Vizzions’ photography helped bring awareness around the world to the movement. Vizzions documentation of his 6 months at Oceti Sakowin camp was selected for the "Photos of the Year" by People Magazine, ABC News, The Guardian, Artsy.net; and as well his work has been featured in the Nobel Peace Prize forums, Adbusters, Huffington Post, Mother Jones, Amnesty International and many more publications as well as books such as "The Militarization of Indian Country" by Winona LaDuke & "An Indigenous Peoples History of The United States" by Roxanne Dunbar-Ortiz. 


100 advance copies are being made available exclusively through the Monroe Gallery book signing events, and proceeds from these releases will be given to the Water Protectors to help against KXL Pipeline, another oil pipeline threatening the same indigenous lands as DAPL. From the total edition of 2,000 500 books are being donated to Water Protector families across the nation as a thank you for standing in support of the water. On April 1st pre-orders will open to allow the public to access the book.

Signed copies are available from Monroe Gallery of Photography.





Atlanta based photographer Ryan Vizzions first discovered his love for exploration and photography in 2010 while on a self discovery trip around the world. In Atlanta, Vizzions has been named Creative Loafing 2014 "Best Fine Art Photographer" (readers choice), 2015 Creative Loafing "Best Cityscape Photographer" (critics pick), worked alongside international brands such as Adidas and Pharrell Williams, along with local companies such as #WeLoveATL, The Atlanta Opera, Van Michael Salon, and covered many music festivals including Outkast's long awaited reunion series "Outkast ATLast". Hosting his own photo exhibition yearly entitled "Wander Never Wonder", Vizzions connects local photographers, and helps provide a platform for local artists to make money off of their craft. Ryan is also involved with the Atlanta community, often donating portions of his art sales to various local charities and foundations. 


Friday, May 1, 2015

World Press Freedom Day May 3





World Press Freedom Day is Sunday, May 3. Join us in remembering journalists who have died while bearing witness. Change your social profile picture to our black press ribbon and post your support using ‪#‎remembering‬ on May 3 between 6 and 9 p.m. (local time).

Learn more at rememberingfallenjournalists.com.

United Nations:  World Press Freedom Day 

UNESCO: World Press Freedom Day

Wednesday, December 10, 2014

December 10: Human Rights Day



The UN General Assembly proclaimed 10 December as Human Rights Day in 1950, to bring to the attention ‘of the peoples of the world’ the Universal Declaration of Human Rights as the common standard of achievement for all peoples and all nations.


Via The Guardian:
Today is Human Rights Day and the press freedom watchdog, the International Press Institute (IPI), is marking it with a message and a short film, called My Voice.
It features the award-winning humanitarian photojournalist Giles Duley who explains his work in documenting post-conflict communities, to portray what he calls “the legacy of war.”


Related Exhibition: People Get Ready: The Struggle for Human Rights

Friday, August 23, 2013

"Those Who Dared is a sort of collective retrospective of people and events that shaped the twentieth century"

Harry Benson, Alexander Solzhenitsyn, Vermont, 1982, archival pigment print, 16” x 20”


Via THE Magazine

THOSE WHO DARED, AN EXHIBITION OF PHOTOGRAPHY AT MONROE GALLERY

 

expands on the organization’s longstanding program of showcasing significant historical figures and events with imagery that’s often political and always provocative. With a grouping of works that spans decades and continents, the exhibition functions like a historical survey: a who’s who of people most of us know for their achievements. As such, Those Who Dared is a sort of collective retrospective of people and events that shaped the twentieth century. It’s also surprisingly cohesive, despite the huge range of personalities—from Martin Luther King, Jr. to Jacques Cousteau to Ai WeiWei—who may represent disparate aims and causes, but whose actions display human qualities united in goals of exploration, persistence, and boundary-breaking.

Among the most recognizable images is that of a man standing before a row of four military tanks; Jeff Widener’s 1989 Tiananmen Square photograph is still gripping despite its widespread reproduction. The tanks, lined up in robotic and chilling precision, make an impactful and grotesque juxtaposition to the poignantly small human figure facing them down. Other photographs capture lesser-known figures, and these are some of my favorites. When art can teach us about people whose actions have directly affected our lives, it behaves as a bridge between history’s purely intellectual resonance and its equally important, though more nebulous, spiritual or emotional resonance. Atender shot of Richard and Mildred Loving embracing does just this. Mildred was black and Richard was white, and their 1967 Virginia marriage resulted in prison sentences for each. The very idea of a law preventing interracial marriage now seems shudderingly backwards, but the couple’s tribulations ultimately resulted in a resounding victory. The Supreme Court unanimously ruled to strike down the law, and its abolishment paved the way for similar legislation throughout the country. For decades, Loving v. Virginia has been cited in numerous cases involving discrimination.

A 1978 vertical snapshot of Anwar Sadat by Eddie Adams pictures the Egyptian president looking out of a narrow window. The scene feels a bit tense, with a pallid pool of sunlight spread across the room’s dark carpet. Sadat, partially obscured in shadow, looks out of an open window, his hands resting on the sill. Among the few color photographs on display is an image of Aung San Suu Kyi. Also taken by Eddie Adams, the picture captures Suu Kyi in a meditative stance, her hands clasped together against her chest, with yellow flowers in her hair. One of the planet’s most prominent political prisoners, Suu Kyi has fearlessly stood up against oppression in her homeland of Burma for decades. Deeply influenced by the non-violent teachings of Mahatma Gandhi (who also makes an appearance in this exhibition), Suu Kyi famously said, “It is not power that corrupts, but fear. Fear of losing power corrupts those who wield it and fear of the scourge of power corrupts those who are subject to it.”

The exhibition includes images whose interpretations and implications are decidedly less straightforward. One of the standouts is a shot of Russian novelist and historian Alexander Solzhenitsyn. Best known for the novella One Day in the Life of Ivan Denisovich and the sweeping Gulag Archipelago, Solzhenitsyn was a bold and outspoken critic of Communism— decrying the brutish Soviet Union during times when it could have proved fatal. A 1982 photograph of him by Harry Benson is mysterious and beautiful. It depicts the black-clad, heavily bearded Solzhenitsyn in the middle of a Vermont snowscape. He arches backward, his large hands spread out across his chest. His mouth is slightly open and his eyes are closed. His posture suggests a number of possibilities: relief or reflection or ecstasy—all of them intimate and recognizable in their humanity. It’s a deeply touching and unexpectedly meditative take on such an outspoken personality.
 
This exhibition seems like a gift for those of us lucky enough to spend time with it and learn from it. Iris Murdoch once wrote that art’s purest goal and highest achievement must be “to tell the only truth that ultimately matters.”

This captivating exhibition serves as a beautiful testament to those who ultimately mattered.

 

—Iris McLister
 
The exhibition continues throuugh September 22, 2013.

 

Sunday, June 23, 2013

Public photography is not a crime



Police officers tackle and detain a National Post photographer while he was photographing protesters demonstrating against the G8/G20 summits June 26, 2010 in Toronto, Canada. Photo: Scott Olson/Getty Images

Via o.canada.com

PEN Canada responds to a series of arrests and other police actions aimed at deterring photography in public spaces


The June 2, 2013 arrest of Toronto Star photographer Alex Consiglio for trespassing in a Toronto railway station is the latest in a series of events that has PEN Canada’s National Affairs Committee concerned about the interpretation of certain Charter rights pertaining to public photography and filming.

In particular, we wish to state that it is not a criminal offence for individuals to photograph or film police officers as they go about their duties, and that police officers are not allowed to confiscate a person’s camera or recording equipment (including phones), force them to delete images, or otherwise prevent them from taking photographs or filming in public places. We also wish to clarify the law when it comes to taking pictures or filming on private property that is open to the public.

We are especially concerned about the way recent trends in enforcement of non-existent prohibitions on photography and filming are affecting members of the press.

This document is not intended to be an exhaustive examination of all laws as they pertain to photography and filming. The issue is complicated and depends to some extent on laws that vary from province to province and municipality to municipality.

Subject to certain very limited constraints, it is not a crime in Canada for anyone to do any of the following things, and it is a violation of their Charter rights to prevent anyone from doing so:
  • photographing or filming in any public place, or in any private place to which the public is admitted, and publishing those pictures and films,
  • taking pictures of or filming in any government site other than “restricted access areas”*
  • photographing or filming police officers in public, as long as the photographer/filmmaker does not obstruct or interfere with the execution of police duties. While everyone has a reasonable expectation of privacy in certain circumstances, police officers have no reasonable expectation of privacy as they go about their duties.
A police officer does not have the right to confiscate cameras or recording equipment (including phones), unless the person in possession of such equipment is under arrest and such equipment is necessarily relevant to the alleged offence. A police officer cannot force anyone to show, unlock or decrypt cameras or recording equipment, or to delete images, even when that person is under arrest, unless the police officer has a warrant or a court order permitting him to do so.

At no time, and under no circumstances, is anyone in Canada subject to arrest for the simple act of taking a photograph or filming, although he or she can be arrested if he or she is breaking another law in the process, such as, for example, trespassing or breaking or entering.

Other laws and legislation, including the Criminal Code, the Copyright Act, the Security of Information Act, the Youth Criminal Justice Act, and the Personal Information Protection and Electronic Documents Act, the Personal Information Protection and Electronic Documents Act (PIPEDA), must be obeyed while taking or publishing pictures.

Statement

PEN Canada affirms that the rights of people to make photographs and films in public places and in private places open to the public, and publish them, are hallmarks of a transparent democracy, and that arbitrary restrictions upon photography and filming or on the publication of photographs and films is a characteristic common to repressive governments.

The rights of people to make and publish photographs and films in public places, and in private places open to the public, are hallmarks of a transparent democracy.

Not only do all people in Canada have the right to make images and publish them, but in the age of ubiquitous photography, amateur photographs and films are proving to be an important tool in fighting crime – including crime committed under colour of authority.

We also affirm the value of photography and film in securing law enforcement officers from false accusations.

This application has already been widely recognized by law enforcement departments across the country, and it’s partly for this reason that video dashcams are now standard issue in law enforcement vehicles.

History

In the past several years, many cases have come to light in which police officers sought to confiscate cameras and delete images, even though (a) they have no legal authority to do so and (b) this may actually constitute a crime in itself. The following incidents point out the need for all citizens to be informed of their rights, and for all law enforcement officers to be aware of those rights.

The most glaring example is the case of Robert Dziekanski, a Polish man who died after being tasered by RCMP officers at the Vancouver airport in 2007. Dziekanski’s tasering and subsequent collapse was filmed by Paul Pritchard, who surrendered the video to police with the understanding that they would return it to him in 48 hours. When they did not do so, Pritchard initiated a lawsuit against them. The video was ultimately returned. Partly as a result of its existence, the RCMP eventually admitted that they had misled the public in several statements about the Dziekanski incident. They issued an official apology for their actions and agreed to a financial settlement with Dziekanski’s mother. All four officers involved were formally accused of having lied in notes and statements about what happened that day.
At no time, and under no circumstances, is anyone in Canada subject to arrest for the simple act of taking a photograph or filming
Without the existence of the Pritchard video, it is certain that the outcome of the investigation would have been different.

Last year, lawyer Karen Selick published an opinion piece in the National Post concerning an incident at the home of one of her clients. During the incident, police confiscated numerous cell phones, deleted images, and made threats of arrest to various people for photographing police activity. Selick contends that the behavior of the police was not only out of bounds but was also criminal.

Most recently, on June 2, 2013, Alex Consiglio, a Toronto Star photographer, was arrested at Toronto’s Union Station, put into a headlock by a police officer, and ticketed for trespassing. This came after Consiglio had been asked at least twice to stop taking pictures, including pictures of police officers, and to leave the premises.

Consiglio’s case is significant because photography on private property that is open to the public is not an offence and is not civilly actionable unless posted signs specifically prohibit it, or photographers are informed by security guards, owners, or other personnel that they may not take photographs. The owner of Union Station, the City of Toronto, apparently stipulates that members of the public are free to take photographs at any time, but members of the press must first sign a liability waiver. In the opinion of PEN Canada, this requirement for a waiver creates a stifling effect upon the ability of members of the press to do their work effectively, and the requirement should be rescinded by the owner of Union Station.

In the past three years there have been four other incidents that PEN believes are worthy of examination:
  • National Post photographers Brett Gundlock and Colin O’Connor were arrested during the G20 protests that took place in Toronto in 2010. These protests were notable for the police tactics used in crowd control and dispersal, including mass arrests, the apparently random arrests of innocent onlookers and passers-by, and the controversial and now-discontinued practice of kettling. Gundlock and O’Connor were attacked by police while attempting to photograph aggressive crowd dispersal tactics.They were arrested and held in a temporary detention center for 24 hours, where they were strip-searched, denied water for 12 hours, fed almost nothing, and experienced the loss of some of their camera equipment. They were never accused of any crime. Instead, they were simply accused of being “amongst violent people”. Their camera equipment and press ID should have exempted them from any police attention whatsoever, and as soon as it became clear that they were members of the press, they should have been free to go about their business.
  • On March 26, 2013, a Montreal student named Jennifer Pawluck, 20, an active protester with no criminal record, discovered some graffiti depicting police spokesman Ian Lafrenière with a bullet hole in his head. She took a picture of the image and posted it on Instagram. On April 3, Pawluck was visited at her home by police officers and arrested without incident.She was charged with uttering threats against Lafrenière. In the warrant, it was stated that she gave Lafrenière cause to fear for his safety, and one of the conditions of Pawluck’s release was that she must not come within one kilometre of police headquarters or Lafrenière’s home. It is notable that Pawluck was never accused of having created the original image, only of taking a picture and distributing it. PEN Canada considers this to be a particularly egregious violation of the Charter right to self-expression.
  • In September of 2012, 16-year-old Jakub Markiewicz was detained by security guards and arrested by police after filming the violent takedown of a man by security guards at Metrotown shopping mall in Burnaby, B.C. Markiewicz was ordered by the guards to delete his footage, but since he was using a film camera, he could not comply. Although the guards were in their right to order Markiewicz to stop filming, they were not legally authorized to order him to delete the image or to destroy the film. After Markiewicz took a second picture of arriving RCMP officers, he was physically attacked and restrained by security guards. At their request he was then handcuffed by police and taken to an RCMP cruiser, where security guards again demanded he delete the photos. RCMP officers cut Markiewicz’s backpack off with a utility knife in order to search it, and Markiewicz was ultimately arrested for causing a disturbance. He was never officially charged.
  • A Niagara police officer is facing criminal charges of assaulting a photographer outside a bar in May of 2012. Constable Paul Zarafonitis allegedly assaulted Michael Farkas after Farkas refused to stop photographing police during an incident at the Kool Kats Caribbean Restaurant in Niagara Falls. Farkas suffered a broken nose, a fractured orbital socket, and a fractured cheekbone.

In The United States

While American federal and state law differ from Canadian law in many important respects, two incidents have taken place there that we believe are worth mentioning in this context.
After the terrorist bombings in Boston last April, citizen photography played a significant role in establishing the identity of the bombers
On May 14, 2012, the United States Department of Justice wrote a letter to the Baltimore Police Department asserting that the right of people to photograph and film police officers is protected by the First, Fourth, and Fifteenth Amendments to the Constitution. The DOJ also stated that the ability to photograph and film police officers does much to enhance the appearance of transparency of law enforcement organizations and is therefore a way of building public trust and goodwill. PEN Canada believes that the DOJ is entirely right in this assertion, and we wish to uphold and adopt it as our own.

After the terrorist bombings in Boston last April, as noted in this Washington Post article, citizen photography played a hugely important role in establishing the identity of the bombers. Investigators received hundreds of still and moving images from cell phones and handheld cameras that allowed them to piece together a timeline and ultimately to find images of the suspects, resulting in the death of one and the capture of another.

Often police officers seem willing to use violence to stop photographers, as if photography itself were a form of assault instead of a right.

We believe these instances offer additional evidence that public photography should ultimately make for a more transparent, open, and free society, provided standards of privacy and decency are adhered to. It also fosters a more law-abiding culture.

Analysis and Recommendations

The incidents mentioned above show that police officers are sometimes prepared to deprive people of the rights set out above in this memo. Neither photography nor filming in and of itself constitutes obstruction. Often police officers seem willing to use violence to stop photographers, as if photography itself were a form of assault instead of a right.

This state of affairs must not be allowed to continue in Canada. PEN Canada calls upon law enforcement officials to recognize that photographing and filming in public places is in the public interest, and to ensure that their personnel are familiar with the laws concerning public photography/filming and photography/filming of police officers. We encourage people to continue to exercise their right to take photographs and make films in public, to photograph or film actions committed by law enforcement that may be worthy of concern, and to publish these images public, secure in the knowledge that they are within their rights to do so.

* Examples as currently defined by the government of Canada include Operations Zones – areas where access is limited to personnel who work there and to properly-escorted visitors, which must be indicated by a recognizable perimeter and monitored periodically; Security Zones – areas to which access is limited to authorized personnel and to authorized and properly-escorted visitors, which must be indicated by a recognizable perimeter and monitored continuously; and High Security Zones – areas to access is limited to authorized, appropriately-screened personnel and authorized and properly-escorted visitors, which must be indicated by a perimeter, monitored continuously, and to which details of access are recorded and audited.

PEN Canada is a nonpartisan organization of writers that works with others to defend freedom of expression as a basic human right, at home and abroad. PEN Canada promotes literature, fights censorship, helps free persecuted writers from prison, and assists writers living in exile in Canada. Republished with permission.
© COPYRIGHT - POSTMEDIA NEWS

Thursday, December 6, 2012

(Must) To Do Friday: Documentary Photography Today Symposium



Documentary Photography Today
Friday, December 7, 2012 - 10:00am to 1:00pm
Teleconference Lecture Hall, Alexander Library, Rutgers University, 169 College Avenue, New Brunswick, NJ
 
 
 
This symposium will reflect on how and why we use the term "documentary" to describe photography today. In what ways are artists, scholars, and curators thinking about documentary photography? How are photographers dealing with the evidentiary function of their pictures, as notions of authenticity and truth are being broadly challenged by political conflicts and new media? How do those pictures shape our understanding of contemporary human rights, and their violations, across the globe? Might we also speak of documentary photography as a style unlinked to the medium's perceived social functions? Participants include photographer Nina Berman, Mary Panzer (NYU), and Sharon Sliwinski (University of Western Ontario), with respondent Diane Neumaier (Rutgers).

WE INVITE YOU TO VIEW THE EVENT ON OUR LIVE WEBCAST BEGINNING AT 10:00 AM EST AT THE FOLLOWING LINK: vcenter.njvid.net

Just click on "live videos" toward the upper-right of the homepage


Sponsors

Center for Cultural Analysis, Rutgers University
Office of the Vice President for Research at Rutgers University

Saturday, November 3, 2012

"Fifty Years Defending Freedom"



Via Syndication

In 1962 a group of dedicated civil libertarians came together to form the ACLU of New Mexico to defend and extend our most basic freedoms. Much has changed since then, and the ACLU has been such an important part of our state’s progress.


In honor of their fiftieth year defending freedom in New Mexico, the ACLU has produced the below short film, “Fifty Years Defending Freedom”. In this 17 minute film, you will hear from some of the key people from the organization’s past and present speak about the values that drive the important work of the organization and the historic civil liberties victories they have won over the past half century.




 
 
 
Check-out some ACLU NM News here, including:
 

With the help of local supporters, the ACLU has grown from a tiny, all-volunteer organization to the largest, hardest-hitting civil liberties organization in the state. Today, the government knows that if they violate people’s rights, the ACLU WILL hold them accountable to the law.



Related: Steve Schapiro

Friday, August 31, 2012

Selections from People Get Ready: The Struggle For Human Rights



 
 
Cairo, Egypt — February 8, 2011
Yuri Kozyrev / NOOR for Time


"Beyond the revolutions in Egypt, Bahrain, Yemen and Libya, I also traveled to cover the protests in Moscow, Greece and Tunis. I came to the conclusion that each revolution must be assessed in its own context, because each had a distinctive impact. The drama of each revolution unfolded separately. Each had its own heroes, its own crises. Each, therefore, demands its own narrative. In the end, the differences between them may turn out to be more important than their similarities, however.  And the common thing about all these protests is the number of young people who really want to bring changes to their country. That’s what’s most incredible. We have a new generation of people who are sick and tired of what’s going on. Call it the Jasmine Revolution, the Arab Spring or the Facebook Revolution, there’s a powerful Sirocco blowing across the world, and young people realize there’s another life and they want to live differently." --Yuri Kozyrev

Previous Selections

People Get Ready: The Struggle For Human Rights exhibition continues through September 23, 2012

Friday, August 24, 2012

Selections from People Get Ready: The Struggle For Human Rights


© Bill Eppridge




Bill Eppridge received a call from his editors at Life magazine that Robert Shelton of the United Klans of America had consented to being photographed. He drove to Tuscaloosa, Alabama and Shelton allowed Eppridge to photograph him in his Imperial Wizard robes as he smoked a cigarette. Shelton drove him around town in a Cadillac that was equipped with police radios. Late in the afternoon, Shelton told Eppridge he knew a pilot and offered Eppridge a ride back to Birmingham in a small plane. Eppridge weighed his options - by the time he got to the airport, returned the rental car, checked his bags and re-packed his cameras, he thought it might take just as long driving back. He decided to drive and just kept going until he arrived in Birmingham a little over an hour later. Once back at his hotel, he went up to the room where the Life reporter was staying and knocked on the door. When it opened, the reporter's fave turned white and he said "You're dead!". "What are you talking about?" asked Eppridge. The reporter ten told him that he had received a phone call from Shelton telling him that Eppridge had been killed in a plane crash. Eppridge never found out if the crash was an accident, or if Shelton simply decided that he had revealed too much and wanted to get rid of the film and the photographer.


New York Times Obituary for Robert Shelton


Previous selections here.


Related: Echo Foundation presents Bill Eppridge exhibition.

Wednesday, August 22, 2012

"the conference will reflect upon on how human rights and individual agency can be promoted and violated through the camera"




Via Jim Johnson at (Notes On) Politics, Theory, and Photography
(Highly recommend that you bookmark this blog)

Call For Papers: Picturing Others: Photography and Human Rights

Picturing Others: Photography and Human Rights
Cardiff, 17-18 January 2013


This 2-day conference will bring together photography practitioners, academic researchers, press officers, journalists and members of community groups to discuss how photographs are used to represent people in situations of conflict or disaster, and to consider the real-world effects that photographic representation can have on the lives of people migrating from one country to another. The conference aims to create an initial forum for on-going dialogue between photographers, media officers, journalists and researchers on photography.

The conference will focus on the ways in which photographs from past times can affect how people are represented today; on the ways in which different sectors use photography to inform or educate; and on how the photographic images used in different sectors communicate with each other and with their publics. The conference will also engage with how people from areas of conflict or disaster view images of themselves by others, and how they use photography themselves. More broadly, the conference will reflect upon on how human rights and individual agency can be promoted and violated through the camera; and the choices that photographers, broadcasters and campaigners make when using photographic images.

We invite paper proposals of 200 words for submission by 8 October 2012 from all those with an interest in photography and human rights. Decisions on proposals will be communicated by e-mail by 22 October 2012. Proposals should be sent to the organising committee at migration@cf.ac.uk and may discuss any aspect of the questions suggested below.

We warmly invite presentations taking a practical, personal or theoretical approach, and referring to any historical period or geographical area. Conference presentations will be of 20 minutes’ length.

Topics for discussion may include, but are not limited to:

• Are there patterns in the ways in which people in conflict or distress elsewhere are represented in photography?
• How do these patterns of representation affect how people who migrate to other countries are perceived and how well they can integrate and settle?
• How do past photographic representations of people from elsewhere link to contemporary photographs of countries in conflict or disaster situations and the way they are presented?
• How do non-photographic media, such as text and radio journalism, affect responses to photographs of other people?
• How do photographed people in situations of conflict or disaster, or in peacetime, interact with their media representations?
• What kinds of images do indigenous media and NGOs use to represent people in situations of conflict or disaster in their own countries and localities?
• What are the decision-making processes used by photographers picturing conflict and disaster?
• How do image the choices made in news media affect how images are used by development organisations or community groups, and vice versa?
• Where migration is concerned, what are the effects of images on perceptions of migrants, on social integration in host countries, and on the resolution of conflicts at home and in host countries?
• How is the educational role that images of others can have connected to issues of wider power relations between the global South and the global North in making, publishing/broadcasting and viewing images?

 Rachael Langford
School of European Languages, Translation and Politics, Cardiff University
Cardiff, Wales, UK
tel +55 2920 875643
Email: langfordre@cf.ac.uk

Thursday, August 16, 2012

World Humanitarian Day August 19


Via The United Nations

World Humanitarian Day
19 August

2012 Theme: "I Was Here"

World Humanitarian Day is a time to recognize those who face danger and adversity in order to help others. The day was designated by the General Assembly to coincide with the anniversary of the 2003 bombing of the United Nations headquarters in Baghdad, Iraq, which killed 22 UN staff.

Every day humanitarian aid workers help millions of people around the world, regardless of who they are and where they are. World Humanitarian Day is a global celebration of people helping people.


This year’s campaign "I Was Here" is about making your mark by doing something good, somewhere, for someone else.



To show your support for World Humanitarian Day visit

Sunday, August 12, 2012

"in an age of information overload, now, more than ever, seeing is believing"





Seeing is believing: Human rights content in the age of social media

Via Storyful.blog


"Remember this famous image of a naked Vietnamese girl running in agony after being hit with napalm? Or how the plight of Kosovo refugees was documented in this image in 1999? These photographs were both captured by professional journalists, at times when media professionals played an integral role in documenting human rights abuses and bringing about change for those who weren’t being listened to. But with tightening budgets and technological changes altering the way news is being reported, nowadays it’s often largely up to the citizens themselves to let the world know what’s happening to them. Because in an age of information overload, now, more than ever, seeing is believing."


Full post here. (with video)


"For many reasons, there will always be a need for journalists on the ground, but the burden of human rights promotion rests now more than ever on the shoulders of the people who it most affects. Citizen journalists, working often in harrowing circumstances, can only do so much, however, and NGOs and news agencies must play their part in helping to transmit their message. They collate these citizen videos, verify sources and publicize the human rights violations they document using their established networks. Curation tools, outreach and collaboration play a vital part. The tools made available on and through social media are proving invaluable in the fight for human rights: it’s hard to deny atrocities when they are being documented and shared across a global community. Seeing is believing: what action we take once we witness the result is up to us."


Related: People Get Ready: The Struggle for Human Rights

Guest Blog: "To see, one has to look"


Thursday, August 9, 2012

Selections from People Get Ready: The Struggle for Human Rights




Sam Mali at gravesites, South Africa, 1982
Grey Villet: Sam Mali at gravesites, South Africa, 1985



South Africa, 1985, during the darkest days of apartheid. Nelson Mandela still languished in a cell on Robben Island. The burning issue to Americans was “disinvestment” – were American companies propping up the racist regime by doing business there? And how to tell that story in pictures? We flailed about – and then discovered a 38-year-old black man who seemed to embody many of the contradictions at work in South Africa. By day Sam Mali had an enviable job as foreman of a General Motors plant in Port Elizabeth, supervising a crew that included whites; by night he was a kaffir, required to carry an ID card, banned from areas marked ‘whites only’. He was forced to live with other blacks in a squalid township without power or running water.

 Sam Mali was profoundly torn - between his livelihood, and “the struggle.” He felt compelled to attend the funerals of activists killed by the police – but risked his job and his life by doing so. It was an act of courage or madness to allow himself to be photographed for the entire world to see. Grey Villet's essay on Sam Mali was duly published. When I returned to South Africa a few months later, I was abruptly summoned to the state capitol in Pretoria. There I was confronted by the furious deputy foreign minister of the ruling racist government. Redfaced, he brandished a copy of LIFE – waving it in the air. “These are lies,” he shouted, “and you know they are!”--Chris Whipple



Related: American Nazi Party Demonstration, District of Columbia Stadium,

Tuesday, July 31, 2012

Selections from People Get Ready: The Struggle for Human Rights

  
Neil Leifer: American Nazi Party Demonstration, District of Columbia Stadium,
Washington, DC, October 1, 1961


 "Even as I look at this picture, 50 years later, It’s hard for me to believe that the American Nazi Party was marching in our nation’s capitol, right in front of D.C. Stadium. In the fall of 1961, the Redskins still didn’t have a single black player, and the Nazis were out front, picketing to keep them that way. It gave a Jewish photographer the creeps. -- Neil Leifer




Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present "People Get Ready", a major exhibition of 55 dramatic photographs from significant human rights struggles in history. The exhibition continues through September 23.  We will be posting selected photographs from the exhibition here throughout the summer.