Showing posts with label photography books. Show all posts
Showing posts with label photography books. Show all posts

Monday, December 2, 2013

To Do Wednesday: Ashley Gilbertson in conversation with VICE's Rocco Castoro





Via VII

Featuring Ashley Gilbertson
December 4, 2013
Brooklyn Brewery, 79 N. 11th Street
New York, NY
$25

For a discussion about war reporting, VII photographer Ashley Gilbertson will speak with VICE’s Rocco Castoro about his book Whiskey Tango Foxtrot, hosted by the Brooklyn Brewery.

Gilbertson’s book is a collection of images taken over the course of four years in Iraq. The book charts path of Iraq from the post-invasion excitement to the extreme violence that later occurred in the country.

The event will begin at 7:30 pm. Tickets are required to attend and include a free Brooklyn Brewery beer. All proceeds from the events in this series benefit RISC (Reporters Instructed in Saving Colleagues

More information here.

Monday, July 8, 2013

To Do in NYC Wednesday: Photojournalists On War Conversation and Book Signing

 



"Photojournalists on War: The Untold Stories from Iraq [is] required reading for anyone interested in the way news is gathered and disseminated these days ... Kamber was another one of those eyes in Baghdad, so these conversations are remarkably candid -- confidences shared among friends that we're privileged to be listening in on." -- Vince Aletti, Photograph, July/August 2013

 
COINCIDING WITH PUBLICATION OF
MICHAEL KAMBER'S ACCLAIMED NEW BOOK ON THE IRAQ WAR
BROOKLYN BREWERY
WITH WAR CORRESPONDENTS AT THE BROOKLYN BREWERY

PRESENT:

PHOTOJOURNALISTS ON WAR:
THE UNTOLD STORIES BEHIND THE HEADLINES
A CONVERSATION WITH
STEVE HINDY AND MICHAEL KAMBER
WEDNESDAY, JULY 10, 7:30 - 10:00 P.M.


Brooklyn Brewery
79 N. 11th Street
Brooklyn, New York 11249
7:30 P.M. - 10:00 P.M.

Ticket includes admission and a free Brooklyn Brewery beer.
All proceeds from event benefit RISC
( Reporters Instructed in Saving Colleagues).
Ticket price is $15.00. To purchase a ticket, go
here.
Copies of the book will be on sale and available for signing

With never-before-seen work from the world's top photographers, Michael Kamber's new book Photojournalists on War: The Untold Stories from Iraq (University of Texas Press) features a groundbreaking visual and oral history of America's nine-year conflict in the Middle East. Influenced by his own experience as a multimedia pioneer, Kamber set out to interview photojournalists from leading news organizations including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, The New York Times, Paris Match, Reuters, Time, The Times of London, VII Photo Agency, and The Washington Post. In his book, he recounts their first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam's statue, and the Haditha massacre. These hard-hitting accounts and photographs reveal the inside and untold stories behind the headlines in Iraq.

On July 10, Brooklyn Brewery founder and former AP foreign correspondent Steve Hindy will interview Kamber about his career and his mission to create the most comprehensive collection of rare eyewitness accounts of the Iraq War to date. Both men will reflect on the often shocking and sometimes heroic actions that journalists undertake in trying to cover the war, as they discuss the role of media and issues of censorship. The conversation will be followed by a book signing.


Photojournalists on War photographers are: Lynsey Addario * Christoph Bangert * Patrick Baz *
Nina Berman * Ben Brody * Andrea Bruce * Guy Calaf * Patrick Chauvel * Alan Chin * Carolyn Cole * Jerome Delay * Marco Di Lauro * Ashley Gilbertson * Stanley Greene *Todd Heisler * Tyler Hicks * Eros Hoagland * Chris Hondros * Ed Kashi * Karim Ben Khelifa * Wathiq Khuzaie * Gary Knight * Yuri Kozyrev * Rita Leistner * Benjamin Lowy * Zoriah Miller * Khalid Mohammed * John Moore * Peter Nicholls * Farah Nosh * Gilles Peress * Scott Peterson * Lucian Read * Eugene Richards * Ahmad Al-Rubaye * João Silva * Stephanie Sinclair * Bruno Stevens * Peter van Agtmael

Michael Kamber has worked as a writer and photojournalist for 25 years. Since September, he has worked primarily as a conflict photographer, covering a dozen conflicts, including Afghanistan, Somalia, Liberia, Darfur, and the Congo. Kamber worked as The New York Times' chief photographer in Baghdad in 2007, the bloodiest year of the Iraq War. He also covered Iraq for the Times in 2003, 2004, 2008, 2009, 2010 and 2011. As one of the first journalists to routinely file photography, video and written articles from overseas, Kamber helped pioneer the use of multimedia. Photojournalists on War is the result of a five-year oral history project documenting the role of photojournalism and the Iraq War. Kamber is the founder of the Bronx Documentary Center, and is the recipient of the World Press Photo, and many other awards.

Steve Hindy is a former journalist and became interested in homebrewing while serving as a Beirut-based Middle East Correspondent for The Associated Press. He is a co-founder of The Brooklyn Brewery.

Publisher Website: http://utpress.utexas.edu/index.php/books/kampho

Author Website: http://www.kamberphoto.com

Bronx Documentary Center: http://www.bronxdoc.org


Media Contact for Michael Kamber:
Andrea Smith, andreasmith202@gmail.com; 646-220-5950

Sunday, February 24, 2013

LA Times: Steve Schapiro's photos in 'Then and Now' offer a mix of emotions


Hollywood Pix
Marlon Brando in a makeup session for "The Godfather" in New York, 1971      
©Steve Schapiro

 The photographer's book features candid Hollywood portraits alongside everyday images.

Via The Los Angeles Times
By Liesl Bradner
February 24, 2013
 
When photographer Steve Schapiro first arrived on the Lower East Side set of "The Godfather" in 1971, there were rumors floating around that Marlon Brando was not well. Moving closer to the action, he noticed an old man in an overcoat and hat talking to an assistant director with this gravelly, sick voice. The rumors must be true, he thought.

"Suddenly," Schapiro recalled, "Brando turns to the crowd with this enormous electricity shooting out of his eyes and in his best 'On the Waterfront' accent said, 'I think there's someone with a camera out there.'" That stunning transformation was just one of many Oscar-worthy moments Schapiro has witnessed in his 50-year career working on the sets of such groundbreaking films as "Taxi Driver," "Midnight Cowboy" and "Chinatown."

In "Steve Schapiro: Then and Now" (Hatje Cantz) the 78-year-old pairs candid photos and portraits of Hollywood celebrities alongside artists, musicians, civil rights activists and everyday people taken from the 1960s through 2011.

"I see a lot of celebrity books that don't excite me because they're just portraits," said Schapiro on a call from his Chicago studio. "We wanted to bring pictures together that work against each other or with each other by interjecting things which weren't necessarily film-related." For example, Jane Fonda clad in aerobics attire at the height of her fitness craze juxtaposed next to sumo wrestlers in Chicago in 2010 or Dustin Hoffman in a midair jump placed next to Roman Polanski in a flying-nun pose from 1968.

Of the nearly 150 photos, only 12 pictures have been published before, quite extraordinary for a photographer who has worked on more than 200 films and created 100 movie posters. The list of famous faces he's photographed reads like a history of the Academy Awards: Francis Ford Coppola, Jodie Foster, Sophia Loren, Martin Scorsese and nominee Robert De Niro, up for his third golden statuette at Sunday's ceremony.

Whether it's a candid between-scenes shot or an intimate picture in the comfort of home, Schapiro's aim is to capture the spirit and sense of his subject. "I try to be a fly on the wall as much as possible," he said. "For me emotion is the strongest quality in a picture."

One of the more interesting discoveries he made was an unearthed negative of a young Muhammad Ali (then known as Cassius Clay) meeting his future wife Lonnie for the first time in 1963. On assignment for Sports Illustrated, the black-and-white image Schapiro shot reveals a shy, ponytailed 6-year-old girl, just one of a gaggle of neighborhood kids hanging out on the stoop with Ali outside his parent's house in Kentucky.

Growing up in Brooklyn, Schapiro was influenced by Henri Cartier-Bresson and studied under W. Eugene Smith. He began as a photojournalist during the turbulent '60s. After photo-centric publications such as Life and Look folded in the early '70s he turned to film, working as a special photographer, an industry term for a contractor hired for publicity and marketing. His photograph of Mia Farrow from "The Great Gatsby" was on the first cover of People magazine

Tuesday, January 8, 2013

Getty Publications publishes "This is the Day: The March on Washington Photographs by Leonard Freed




 

                       © Estate of Leonard Freed - Magnum Photos (Brigitte Freed).

 
LOS ANGELES, CA.- August 28, 1963, marked a great day for democracy in America. On that day nearly fifty years ago, more than 250,000 people gathered at the National Mall in Washington, D.C., to mount a peaceful protest demanding equal rights and economic equality for African Americans. Led by a contingent of civil rights organizations, The March on Washington for Jobs and Freedom called for the desegregation of public schools, protection of the right to vote, and a federal program to train and place unemployed workers. This demonstration ultimately led to the passage of the Civil Rights Act of 1964, and soon became the iconic expression of social protest that inspired the women's rights movement, as well as rights for the disabled and other disenfranchised groups, and serves to this day as a blueprint for democratic action.


This Is the Day: The March on Washington, which will be published by Getty Publications in February 2013 to coincide with Black History Month and the 50th anniversary of the march, presents Magnum photographer Leonard Freed's stirring and nuanced visual testimony of the event that culminated in Dr. Martin Luther King Jr.'s prophetic "I Have a Dream" speech, delivered at the base of the Lincoln Memorial. The 75 photographs in this volume, most of them never before published, were chosen from hundreds of images Freed made in the nation's capital the day before, during, and after the march. These images present spectacular wide-angle views of the hundreds of thousands of marchers overflowing the National Mall, intimate group portraits of people straining to see the speakers, and tight close-ups of individual faces filled with hope and yearning.

A Visionary Portrait of Democracy
Freed's images reveal the powerful impact of the march, which took place in the midst of the civil rights movement, when racial inequities were being most painfully exposed to the nation and the world. Freed's holistic approach to photographing the events of this historic day is revealed in the details he chose. In the hours before the march, he photographed the area surrounding the Mall as people arrived in buses and cars, protest signs were being stacked in preparation for distribution, policemen took up their posts, and people passed by the famed Ford Theatre, where a sign reads "House Where Lincoln Died." With the Washington Monument, the Reflecting Pool, and the Lincoln Memorial as his visual anchors, Freed photographed the massive crowd as it gathered and swelled, and then went in tight to capture groups of marchers chanting and singing in their Sunday-best clothes, a range of individual expressions, and the interplay of text and image on placards. He photographed well into the evening when the remaining marchers linked hands for a final rendition of "We Shall Overcome," and the aftermath as the crowds dispersed and the visual remains of this history-making event were reduced to placard scraps blanketing the ground.

Return Visits to Washington, D.C.
Freed would return to the National Mall numerous times to photograph other marches and rallies, including Vietnam War protests. In 1964 he photographed individual African Americans exercising their right to vote for the first time, and in the same year made an iconic photograph--reproduced in the book--of Dr. Martin Luther King Jr. being celebrated in a Baltimore motorcade after receiving the Nobel Peace Prize. This Is the Day includes a selection of Freed's images from the 20th Anniversary March of 1983. These photographs, which reveal a more casual trend in American style and dress, from the dark suits and pearls of 1963 to T-shirts and shorts in 1983, show a youthful Jesse Jackson three months before he declared he would run for president and placards calling for President Reagan to cut the military budget.

The Legacy of Freedom Fighters
Freed was born in Brooklyn, New York on October 23, 1929, to a working-class Jewish family of Eastern European descent and strong social values. Working in Germany in the 1960s Freed photographed a black soldier standing before the Berlin Wall and was struck by the realization that while this soldier was defending freedom in Europe, his brothers and sisters were fighting for their own freedom at home. This thought inspired him to return to the United States and produce a photo-essay examining the daily life of blacks across America, from the East Coast to the Deep South. His resulting photo-essay culminated in the book Black in White America, first published in 1967/68 and reissued in 2010 by Getty Publications. It was during the course of this project that Freed photographed the March on Washington. After Freed's death in 2006 his widow, Brigitte, was inspired to compile a book on the March on Washington from her late husband's archive when she heard then-Senator Barack Obama remark to an audience of civil rights activists, "I stand here because you walked."

Accompanying the photographs are a first-hand, backstage account of the preparations leading up to the march by civil rights activist and author Julian Bond; an introduction to the importance of the march, and Dr. King's involvement, by sociology professor and author Michael Eric Dyson; and an informative discussion of Freed's approach to the photographic project by scholar Paul Farber.

Book Launch Event at Library of Congress
A book launch event will be held at 12 Noon on Tuesday, February 5 at The Library of Congress's Center for the Book in Washington, D.C., as part of its "Books & Beyond" program. The event is a conversation with Brigitte Freed and authors Paul Farber and Michael Eric Dyson who will discuss the significance of the march and how its legacy lives on in the present day. The conversation will be followed by a Q&A and book signing. The event takes place in the West Dining Room, Madison Bldg. (101 Independence Avenue, SE, Washington, DC, 20540). Many other activities are being planned throughout the year.

Leonard Freed (American, 1929-2006) began making photographs in 1954 and joined Magnum Photos as a full-time member in 1972. He photographed extensively in Germany, Holland, Italy, and Israel, and published numerous books and photo-essays. It was, however, his coverage of the American civil rights movement in the 1960s that brought him the most acclaim. Getty Publications reissued his book Black in White America, first published in 1967/68, in 2010. Freed's photographs are included in the collections of the Museum of Modern Art in New York, the Metropolitan Museum of Art in New York, and the J. Paul Getty Museum in Los Angeles.

Julian Bond is a social activist and civil rights leader as well as a writer, teacher, and lecturer. While a student at Morehouse College in Atlanta, Georgia, during the early 1960s, he helped found the Student Nonviolent Coordinating Committee (SNCC). He was the first president of the Southern Poverty Law Center and was elected to both houses of the Georgia legislature, where he served a total of twenty years. He was chairman of the National Association for the Advancement of Colored People (NAACP) from 1998 to 2010 and is professor emeritus in the Department of History at the University of Virginia, Charlottesville.

Michael Eric Dyson is a widely published writer, media commentator, and professor of sociology at Georgetown University in Washington, D.C. He is the author of sixteen books, including April 4, 1968: Martin Luther King, Jr.'s Death and How It Changed America and I May Not Get There With You: The True Martin Luther King, Jr.

Paul M. Farber is a scholar, currently completing his doctorate in American culture at the University of Michigan, Ann Arbor. He is currently a visiting instructor of Urban Studies at the University of Pennsylvania.


 

Sunday, December 16, 2012

Photographer Craig Varjabedian discusses “Landscape Dreams” at 1:30 today at the Albuquerque Museum


 
This photo titled “Welcome to New Mexico” was made near Chama. (CRAIG VARDJABEDIAN FROM ‘LANDSCAPE DREAMS, A NEW MEXICO PORTRAIT’)
 



Review: Captivating panorama
 Which one to choose for publication? A San Marcos cowboy holding a saddle with his canine friend Buddy next to him? A roadside descanso in Mora? Quaking aspen in Red River? Chile fields near Hatch?

I reviewed and re-reviewed the many wondrous black-and-white images of Santa Fe photographer Craig Varjabedian in his new book “Landscape Dreams” before deciding on the accompanying one you see.

I was taken by the tilt and the architecture of the “Welcome to New Mexico, Chama, New Mexico” sign. How 1950s New Mexico it was. I was also enraptured by the shimmering cool leaves, the curving vale, the stand of trees in the middle ground, the upward slope of the hill to the sky.

As the first full-page photograph in the book, it welcomes the reader to a journey – a journey into Varjabedian’s work – into a thoughtful essay on the Land of Enchantment, into an explanation of the photographer’s themes and artistic philosophy and into the how and why of his own coming to New Mexico.

I asked Varjabedian about the “Welcome to New Mexico” photograph.

“The sign is a kind of metaphor for New Mexico,” Varjabedian said. “As real and truthful as it looks, it is not really truthful. Ultimately what I am trying to say is that I’ve been calling this book my love letter to New Mexico. Whatever tools, tricks I can use as a photographer, I use. The sign was shot up. There were holes in it.”

The fact that the sign is a bit off-kilter, Varjabedian commented, says that there’s something “wonderfully different” about New Mexico.

He took the photograph in 2010. Since then, he said, the state Highway Department has replaced the sign with one that is more vertical.

“It’s a new sign and it doesn’t have the quality of its older relative,” he said.


Craig Varjabedian discusses “Landscape Dreams” at 1:30 today at the Albuquerque Museum, 2000 Mountain NW. In addition, Jeanetta Calhoun Mish and Jennifer Simpson read from essays in the book. Rebekkah Varjabedian, the photographer’s daughter, introduces her short film “Landscape Dreams.” UNM Press director John Byram talks about the press’ collaboration with Varjabedian and the importance of physical books.


To Varjabedian, the sign signifies something more.

“There’s something magical, enchanted and turned a little different about this place, which brings it its charm … and delights me to want to photograph it. I’m struck by those things that are turned a little bit differently, whether a sign or some historical fact,” he said.”

On the facing page of the “Welcome” sign is part of historian Hampton Sides’ foreword. In it, Sides touches on New Mexico’s road to statehood. The state “worked its way into the national consciousness,” he wrote, “and, as it nearly always does, won people over.” It was a reference to a welcoming act on Jan. 6, 1912 – membership into the Union as the 47th state.

Varjabedian’s public love letter was published in the same year as the New Mexico Centennial.

An exhibit of images from the book is up through Dec. 31 at William Talbot Fine Art, 129 W. San Francisco St., Santa Fe.

David Steinberg is the Journal’s Books editor and an Arts writer.


This is the cover of the book “Landscape Dreams: A New Mexico Portrait” (courtesy of unm press website)

Monday, November 26, 2012

Steve Schapiro Talks Photography: Then and Now


Steve Schapiro: Martin Luther King, Alabama, 1965


Via Women's wear Daily

By
November 26, 2012


“I still haven’t done my best photograph, in my mind, at this point. I’m still looking for a photograph which I really feel has lasting quality,” insisted Schapiro, sitting down for a chat at Berlin’s CWC Gallery, the city’s newest outpost of Camera Work. Surrounded by glass-framed photos from his long and varied career — a Factory party with Edie, Andy and the gang, Muhammad Ali shirtless and playing Monopoly, Barbra Streisand in perfect profile — he paged through his latest book “Then and Now,” published by Hatje Cantz.

The book, which recently launched in Germany and is scheduled for a Friday release in the U.S., includes many never-before-seen images from Schapiro’s archives of journalistic work, celebrity portraits and movie-set shoots, as well as some of his recent forays into digital photography. The 50 years’ worth of pictures reveal incredible access and intimate insights.

As a freelance photojournalist in the Sixties, Shapiro worked for the magazines Life and Look, and later shot the first cover for People. His photos hang in the halls of the Smithsonian and Atlanta’s High Museum of Art and feature in countless private collections and galleries, as well as several books. Many of his pictures are powered by that undefinable, invaluable quality that propels so many notables to the top — charisma. Schapiro says it’s not always evident at first glance, citing a shoot with a famous top model as an example.

“We were going to photograph her, and we’re in the Grand Canyon, and we’re driving to it. And she’s, like, incredibly famous. And I’m looking in the [rearview] mirror and I’m saying, ‘This is isn’t going to work at all,’” he says, recalling a shoot with Christie Brinkley. “And the moment we started shooting, it was perfect. So you can’t always tell.”

What is evident is that his images also have a cinematic quality, so he was a natural to take behind-the-scenes portraits on some of the great films, including “Taxi Driver,” “Midnight Cowboy” and “The Godfather.” But whether on the streets or film shoots, he says he wasn’t always aware of when he had a hit in his lens, or that his mountains of daily work would end up as collectibles.

“Basically, this little guy took all these pictures, and now I have them. This little guy was a workaholic, which was great. Because he left me all this stuff,” laughs Schapiro.

The once brightly colored but now fading orange band on Schapiro’s wrist proves that the little guy is still working hard. It’s from the Beloved sacred art and music festival in Oregon, one of the venues he’s visited for his current book project called “Bliss.” Together with his son, who is keenly spiritual, Schapiro is making the rounds of such events internationally, camping in tents and snapping participants reveling in the music and community, for the work in progress. This veteran of several youthquakes says there’s something missing in the current generation of seekers compared with those of the Sixties. “You were very much aware of what was happening in the world. And I would say that in terms of this grouping, there’s less interest in the outside world entirely,” he muses, noting a lack of interest in politics as well.

Go to slideshow

For a man known for his poignant photos of Dr. King and Robert F. Kennedy, politics are still important, but politicians of today hold little appeal, nor do contemporary celebrities whose schedules and speech are highly controlled by publicists, Schapiro says. Once, he spent days or even weeks with his subjects, building relationships that developed into great photos. Now, he says, “if it’s not a cover, you probably spend two hours, and people have to keep changing their clothes every 15 minutes so that it looks in print as if you’ve been with them a long period of time. And you have usually a handler sitting there saying, ‘Oh no, wait a minute, I have to fix your hair — no you can’t put a cigarette — no cigarettes,’” he says, dropping his voice into an intent whisper to imitate the commentary of an intent p.r. agent.

Turning to review the famous faces he’s captured and the moments he’s frozen forever in black and white, he says he can’t really explain what makes a photograph have lasting power. It could be an emotional quality or an intuitive feeling or immaculate design. “Certain pictures get better with time.”


Related:  Steve Schapiro, Then and Now: Rare Images from a Photography Legend

Wednesday, November 7, 2012

"Vivian Maier’s story had come to an end. To the world, it was only just beginning."


Via New York Times Lens

The still unfolding legend of Vivian Maier has been one of photographic genius discovered only after a lifetime of shooting. Now hailed as a master of street photography, she spent most of her working life in obscurity as a nanny in New York, where she was born, and Chicago, where she died in 2009 at age 83.

In her later years, her oeuvre – more than 100,000 images – sat unseen in storage, along with much of her earthly possessions. When she was unable to keep up with the storage fees, they were auctioned off in 2007. After her death two years later, a collector who had bought one of the lots began to put her images online. Within weeks, she had a global following.

The latest chapter in this endlessly fascinating tale is the publication this year of “Vivian Maier: Out of the Shadows,” by Richard Cahan and Michael Williams (CityFiles Press). The following essay is excerpted from that book.






It’s the end of the day. The TV has been flipped on. A small fire is tended in the backyard. The marquee of the Wilmette Theater is being changed over. Parents’ night at the local school is wrapping up. The children are asleep as Vivian Maier heads home with her camera by the glow of the streetlights.

Maier continued to document her life throughout the 1980s and 1990s. She shot Ektachrome, packing tens of thousands of the color transparencies into sleek yellow Kodak slide boxes. But her days with the Rolleiflex, with which she had taken her most personal and important photographs, were mostly over by the 1970s.

DESCRIPTION
Vivian Maier On the beach at Coney Island during the early 1950s.
Vivian Maier learned to photograph using a box camera, which lends an impressionistic look to her early work.
 
Work as a nanny continued. When Zalman and Karen Usiskin interviewed her to be their housekeeper and baby sitter in the 1980s, she announced: “I come with my life, and my life is in boxes.” Zalman told her that would not be a problem since they had extra room in the garage. “We had no idea how many boxes,” he later said.

Around 1990, Maier took a job caring for Chiara Baylaender, a teenage girl with severe developmental disabilities. Maier was good company for her: they played kick the can and amused themselves with pop beads. Maier dressed Chiara in mismatched clothes from the Salvation Army. “But it’s Pendleton,” Vivian told the girl’s sister when she protested. It didn’t matter. “My sister looked like a junior Vivian,” she recalled.
 
DESCRIPTION
New, Old Photos
 
Ever since her street photography was “discovered” in 2009, Vivian Maier has received increasing attention and accolades. Lens has posted on Ms. Maier before:
 
And Maier proved an uninterested housekeeper, too. “It’s just going to get dusty again,” she would say. Having filled the Baylaenders’ storage room, she piled her bedroom five feet deep with books, leaving only a narrow path to her bed. Then she covered that — and slept on the floor.

In the mid-1990s, Maier went to work as a caretaker for an older woman. After the woman moved to a nursing home in 1996, Maier stayed on in her Oak Park house for a couple of months to get it ready to sell. Maier made overtures about working for the family of the woman’s daughter, but she was not needed.

Over the years, leaving was never easy. Despite being close to these families, Maier was an outsider. During the late 1960s, she photographed the light coming from the homes she passed. Always looking in. At seventy, she was looking for work in North Chicago or Waukegan, almost an hour north of Chicago. With little saved and no family of her own, she was determined to keep living independently.

Acquaintances recall Maier as an imposing, confident, stolid woman in her later years. Jim Dempsey, who worked the box office at the Film Center of the School of the Art Institute, saw her most every week for over a decade. She would dig through her purse looking for money, sighing until Dempsey let her in. She often stopped to talk — about movies, life, anything but herself — although he never got her name.

Bindy Bitterman, who ran the antiques store Eureka in Evanston, knew Maier only as Miss V. Smith, the name she gave to hold an item. She was the only customer who ever bought Ken, a long-forgotten liberal magazine from the 1930s. Roger Carlson, who ran Bookman’s Alley nearby, knew her full name but was scolded when he introduced her to another customer by it. She visited his shop as late as 2005 and bought Life magazines, talked politics (“Her judgment was pretty harsh on everyone”), and agonized about how difficult it was to find work.


She was a fighter to the end, Carlson said.

The boys who had thought of Vivian Maier as a second mother tried to keep track of her for years. They made overtures to help, but she resisted. She loved the Gensburgs and kept up with the family — going to weddings, graduations, baby showers — but it was hard for her to ask for help.


DESCRIPTION
Vivian Maier Self-portrait, Los Angeles. 1955.
Because of her pride and her need for privacy, Maier remained elusive for years. When the Gensburgs found her, she was on the verge of being put out of a cheap apartment in the western suburb of Cicero. The brothers offered to rent a better apartment for her on Sheridan Road at the northern tip of Chicago, but they told her she needed to clean up her Cicero place before she left. She agreed, showed them the Clorox and rags, pulled up a chair, sat back with The New York Times, and told Lane to start with the walls and bathroom.

Even in her new apartment, Maier made it difficult for the family to keep track of her. The Gensburgs bought her a cellphone, but she refused to use it. So they just dropped by when they wanted to see her.

In November 2008, Maier fell on the ice on Howard Street not far from her home and hit her head. She was taken, unconscious, by paramedics to St. Francis Hospital in Evanston. When she came to, she refused to tell the emergency room staff what had happened and demanded to leave. Lane Gensburg was called. Doctors assured the family that she would recover, but she never did. For the next several months, she resisted eating and was barely responsive. Too weak to return to her apartment, Maier was transported in late January 2009 to a nursing home in Highland Park, where her health continued to decline. She died there on April 21, 2009.

The Gensburgs had Vivian Maier cremated and scattered her ashes in a forest where she’d taken the boys fifty years earlier. They considered having a funeral but knew she would have abhorred such an observance. So they paid for a death notice in the Chicago Tribune: “Vivian Maier, proud native of France and Chicago resident for the last 50 years died peacefully on Monday. . . . A free and kindred spirit who magically touched the lives of all who knew her.”

To the faithful Gensburgs, Vivian’s story had come to an end. To the world, it was only just beginning.


DESCRIPTION
Vivian Maier Vivian Maier, Highland Park, Ill. 1965.

Monday, October 22, 2012

STEVE SCHAPIRO: "“I don’t think I’ve yet taken my most important photograph"



 
Barbra Streisand, 1970. 'We shot this at her house in Malibu. She has extremely good taste and strong ideas about how pictures should be.'
Photo: Steve Schapiro

 Via The Telegraph


Steve Schapiro: access all areas


How did photographer Steve Schapiro go from documenting the lives of drug addicts and immigrants to spending months trailing Hollywood’s biggest stars? ‘I was quiet and polite,’ he tells Lucy Davies


Steve Schapiro learnt not to be intimidated by fame at an early age. As a teenager, long before he became a fixture of film sets and rock star mansions, Schapiro was determined to become “the world’s greatest novelist”. So he enrolled at Bard College in upstate New York, where he had tutorials with author Saul Bellow; they walked in the woods together, discussing Dostoevsky. But after a five-week sojourn in Paris and Spain working through the night on a novel, he realised there were “only four good pages in the whole thing. It was at that point I took up photography.”

Until then, it had been his hobby – something to do on holiday. He had a small, Bakelite camera called an Argoflex that he sometimes took outside on the streets near his home in the Bronx. “It seemed to me that the best thing you could do was work for Life magazine, so I began my own projects that were similar to the things they published – drug addicts in East Harlem, Haight Ashbury. I would keep going back to Life every few weeks to persuade them to hire me.”

In 1959, his story on migrant workers in Arkansas was picked up by a small magazine called Jubilee: “The New York Times saw it and asked if they could use one on their cover. It was really a terrific moment for someone just starting out.”

Life finally commissioned him – a portrait of Patrick Dennis, author of hit comic novel Auntie Mame. “I’d heard that Life photographers liked to photograph people in a bathtub – I don’t think it was necessarily true – but I brought along some bubble bath and persuaded him to do it. It ran full page.” The rest of the pack followed suit: Look, Time, Newsweek, Rolling Stone.

“Even though I was in my twenties, I looked about 16, and I was quiet and polite. Everyone liked me. I travelled with Bobby Kennedy, I photographed the Selma March with Martin Luther King. I did Andy Warhol in The Factory and Muhammad Ali. I never knew where I would be in two days because I was always on the plane.”

Alongside the political stories he was making his name on the entertainment pages. His photograph of Dustin Hoffman for Look became the logo for Midnight Cowboy, then Otto Preminger hired him to take the onset photographs for The Cardinal, which was nominated for six Academy Awards.

While working on the lots he heard that Marlon Brando was going to be in Paramount’s forthcoming production of The Godfather. “At the time Brando was the top actor, so I went to Life and I got them to guarantee a cover, which they never do – they wouldn’t even do it for Frank Sinatra. I went back to Paramount and, of course, they agreed. I ended up working on the entire film.” Schapiro’s shots of Brando, Pacino et al are now classics of still photography. Everybody saw them, and everybody wanted Schapiro to photograph them. At the time it wasn’t unusual for him to spend four days, even six months, with a personality, one-to-one. “It often seemed we were the best of friends,” he says.

The only person he found difficult was Charles Bronson: “very brash”. Generally, though, his shoots were amiable collaborations. “For me there’s no difference between photographing a celebrity and a migrant worker. You’re always looking for a picture with emotion, design and information. I leave a lot of room for self-expression. I want my subjects to be themselves, and then I quietly pounce.”

Now 78, Schapiro lives in Chicago with his wife and youngest son. He continues to photograph and recently worked with his son on a photo story about the ageing hippie generation. “I don’t think I’ve yet taken my most important photograph,” he says. “I’m happy with many of the images. But I always look to the future.”

‘Steve Schapiro: Then and Now’ (Hatje Cantz, RRP £55) is available to order from Telegraph Books at £50 plus £1.35 p&p. Call 0844 871 1516 or visit books.telegraph.co.uk

This article also appeared in SEVEN magazine, free with the Sunday Telegraph. Follow us on Twitter @TelegraphSeven

Tuesday, September 25, 2012

Never-before-seen Kennedy family photos released



Via  CBS Morning News



(CBS News) A collection of new photographs has been released nearly 50 years after the death of President Kennedy. The photos -- released in a new book, "The Kennedys: Photographs by Mark Shaw -- show JFK with his wife Jackie and their two children during intimate family moments
The late "Life" magazine photographer, Mark Shaw, and his wife, 81-year-old Pat Suzuki, grew to become close friends of the Kennedy family. The friendship allowed Shaw unprecedented access to the first family during the so-called era of Camelot.

In 1959, he was assigned to shoot a "Life" cover story on Jackie Kennedy, when her husband, then a Massachusetts senator, was making his presidential run.

Shaw captured the couple at home, on the campaign trail and at the office. The pictures were an immediate sensation and depicted the Kennedy family with an air of glamour that is atypical in the political realm. Shaw -- and his camera -- soon joined the family at the Inaugural gala, at the White House and on vacation in Hyannis Port, Mass. and Italy.

Kennedy biographer Mark Dallek says the photos added a previously unseen intrigue to political life.
"There's a sort of Hollywood quality to it, a sense that these are celebrities," Dallek told CBS News' Bill Plante. "These are people who are famous, and they enjoy their fame, and they enjoyed their notoriety and the public responds to it."

Dallek also claims the photos shaped the way JFK was perceived for decades to come.
"It was not just that he was handsome, but there was a kind of aura, a kind of charisma to the man that allowed him to capture the public imagination."

Though perhaps less comfortable in front of the camera, Jackie Kennedy nevertheless quickly became one of the world's most famous women, revered for her style and elegance.

Pat Suzuki remembers her camera-shy friend, "When she was under pressure and she had the paparazzi moving in on her, it made her...not so much self-conscious but it assaulted her sense of propriety," Suzuki told Plante. "It was hard on her in the beginning and then she learned to handle it," she added.

For a glimpse of Shaw's historic photos, watch the video above.
© 2012 CBS Interactive Inc.. All Rights Reserved.

Mark Shaw: The Kennedys book now available through Monroe Gallery of Photography
Mark Shaw: The Kennedys Exhibit at Monroe Gallery November 23 - January 27, 2013

Wednesday, September 19, 2012

Steve Schapiro: Then and Now

 
Freedom Bus, Summer of 1964 © Steve Schapiro


Via La Journal de la Photographie (with slide show)


Robert Kennedy was the most imposing politician he ever met. And Johnny Depp is incredibly photogenic. Steve Schapiro (1934 in Brooklyn) ought to know, because he has actually photographed them all: his expressive portraits of Martin Luther King, Jr., Muhammad Ali, Barbara Streisand, Marlon Brando, David Bowie, Jodie Foster, and Robert de Niro are part of our collective visual memory. Besides his work with the stars, Schapiro and his camera accompanied the greatest political and social upheavals of the sixties and seventies. These photographs have also achieved iconic status.

This volume includes a selection of photos taken over a period of more than fifty. In the accompanying essays, Schapiro explains how they were created, describing his experiences in a lively, humorous way. Along with previously unpublished photographs, the book also features new works by the timeless master.

Steve Schapiro, 
Then and Now

Texts by Steve Schapiro, interview with the artist by Matthias Harder, graphic design by Julia Günther, Steve Schapiro
Editor : Hatje Cantz
272 pages, 25 x 31 cm
60 €

Links

http://www.hatjecantz.de/controller.php?cmd=detail&titzif=00003426&lang=en

Sunday, September 2, 2012

The Kennedys, By Mark Shaw



Via The Independant


"These photographs were taken in order to catch and reflect the mood, the feeling of a given moment. If the viewer receives from these pictures an understanding of the affection of the Kennedys for one another, their high spirits and enjoyment of life, the book will have fulfilled its purpose." So wrote the Life magazine photographer Mark Shaw in the original 1964 edition of The John F Kennedys: A Family Album.

But in this new expanded edition, Shaw's widow reveals that the publication was also a coping mechanism; that Shaw had become not only the Kennedy's unofficial family photographer but a close friend. It explains why the work of this pre-eminent fashion and portrait photographer never recovered from Kennedy's assassination, but also how he'd been able to get such fresh, candid shots; shots that, with their vigour, vitality and promise of fresh hope for America's future, were arguably instrumental in Kennedy's election successes. Shown right, Jackie on the beach in Hyannis Port, Massachusetts, with her daughter, Caroline.


Jacqueline Kennedy swinging Caroline in surf, Hyannis Port, 1959
 
 
 
GQ (Germany) Article and Slide Show

BBC: As a new book of images of The Kennedys by Mark Shaw is published in the UK, we talk to the editor Tony Nourmand about how images help the political campaign. Listen here.


Available from Reel Art Press $75

Fine art photographs available from Monroe Gallery of Photography

Thursday, July 19, 2012

W. M. Hunt in Santa Fe: “The Unseen Eye: A Life in Photographs and other digressions ... "

 


Not necessarily by popular demand but at his own insistence, W.M. – Bill – Hunt will recreate his unique performance piece suggested by the text for his book, “The Unseen Eye: Photographs from the Unconscious” (Aperture 2011). Hunt debuted "A Life in Photographs and other digressions ...” last October when the book was launched.

 “The Unseen Eye: A Life in Photographs and other digressions ... " 

Special performance by W.M. Hunt on Thursday, July 26, 2012 at 6 PM, at Tipton Hall, Marion Center for Photographic Arts at Santa Fe University of Art & Design, 1600 St. Michael’s Drive, Santa Fe, NM. 

Free and Open to the Public. 

This is a monologue with video suggested by the text for my book, “The Unseen Eye: Photographs from the Unconscious” (Aperture 2011). It’s rude and sweet and funny. It lasts a little over n hour and will be followed by refreshments and a book signing.

This program is supported by Rixon Reed at Photo-Eye and Mary Anne Redding at the Marion Center,

Related:  Q & A with W. M. Hunt

Friday, June 29, 2012

IRAQ PHOTOJOURNALISTS ON WAR






With previously unpublished photographs by an incredibly diverse group of the world’s top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America’s nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, The Los Angeles Times, Magnum, Newsweek, The New York Times, Paris Match, Reuters, Time magazine, VII Photo Agency and The Washington Post to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published. These in-depth interviews offer first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam’s statue, and the Haditha massacre. The photographers also vividly describe the often shocking and sometimes heroic actions that journalists undertook in trying to cover the war, and discuss the role of the media and issues of censorship. These hard-hitting accounts and photographs, rare in the annals of any war, reveal the inside and untold stories behind the headlines in Iraq.


Only 30 signed and numbered special edition copies available. Pay now and reserve your copy.
Release date: winter, 2012.


Each book is accompanied by a signed 8×10 inkjet print of Joao Silva’s ‘Sniper’.
Each book is signed by five photojournalists interviewed in the book.
Each book comes in presentation box.
Price is $500


Full details and ordering information here.


NY Times Lens Blog: "It is a brutally honest account of the war in Iraq from the point of view of the men and women who photographed it."


--This important book is almost ready for publication. Subscription of these 30 special-edition books will clear the final financial hurdle to publication. Monroe Gallery has placed our orders, please consider placing yours!





Monday, December 12, 2011

Eye On New York: On Nanny-Photographer Vivian Maier

January, 1953, New York

January, 1953, New York


In this segment of Eye on New York, CBS 2's Mary Calvi speaks with Howard Greenberg about the story of nanny and photographer Vivian Maier.

On Exhibit: Howard Greenberg Gallery December 15 - January 28, 2012
                    Monroe Gallery of Photography February 3 - April 22, 2012

Friday, December 9, 2011

Charlie Rose Interview With John Loengard: "A great photographer has the knack of putting a great picture in front of his camera"






John Loengard appeared on the Charlie Rose program to discuss his new book: "Age Of Silver - Encounters With Great Photographers". Watch the interview here, as Loengard recounts photographing Annie Liebovitz, Henri-Cartier Bresson, and Jacques Henri-Lartigue; and Charlie Rose airs part of an interview with Henri-Cartier Bresson.


View John Loengard's photography here.

Photo District News: John Loengard - Photos of the Day

John Loengard: The Development of Photography

La Lettre de la Photographie: John Loengard: Age of Silver

Friday, November 18, 2011

JOHN LOENGARD EXHIBITION CELEBRATES "AGE OF SILVER"


Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987
John Loengard: Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987


Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce an exhibition of photographs by John Loengard celebrating his new book, "Age of Silver", an ode to the art form to which he dedicated his life. The exhibition opens with a reception and book signing on Friday, November 25 from 5 to 7 PM. The exhibition continues through January 29, 2011. Signed copies of the new book will be available throughout the exhibit.


La Lettre de la Photographie: John Loengard  Age Of Silver

Life: John Loengard's 'Age of Silver'

David Schonauer's "The Big Picture": Books: Loengard’s Ode to the Age of Silver

Wall Street Journal Gift Guide: Photography Books

Monday, November 14, 2011

VIVIAN MAIER BOOK RELEASE NOVEMBER 22






Slideshow Presentation
and Q&A with John Maloof

Friday, November 18, 6:30–8:30 p.m.
Tickets $5 click here to buy tickets

The powerHouse Arena ·

37 Main Street (corner of Water & Main St.) · DUMBO, Brooklyn
For more information, please call 718.666.3049

Exhibitions: Howard Greenberg Gallery December 15 - January 28, 2012
Monroe Gallery of Photography February 3 - April 22, 2012



Tuesday, October 25, 2011

John Loengard : Age of Silver


Med_aos_01-jpg
Henri Cartier-Bresson, Age of silver © John Loengard

An entire generation of photographers has come of age since digital technology supplanted film technology in photography. For those who have never wound a roll of film through a camera or dipped their fingers in darkroom chemicals, but have nonetheless wondered about that archaic process, let me recommend the following description from photographer and former Life magazine director of photography John Loengard. It is as succinct and eloquent an account of photography’s origins and chemical past as you will ever find:

Read the full interview betwen David Schonauer and John Loengard in today's La Lettre de la Photographie. "Age of Siver", exhibition opens November 25, Monroe Gallery of Photography. The exhibition continues through January 29, 2012.

Wednesday, October 19, 2011

Vivian Maier, Invisible Woman



Vivian Maier: Street Photographer, edited by John Maloof and published by PowerHouse Books. $40     


Via American Photo

Rescued in a fluke from the dustbin of history, an unknown street photographer makes a remarkable posthumous journey from obscurity to acclaim.

"Howard Greenberg, a top photography dealer who also handles prints by Cartier-Bresson and Stieglitz, confesses, “My fascination with her story has only grown, as has my involvement with her photographs. It is such an unusual story with no resolution. At first her images are extremely well seen, quality photographs of life on the street, in New York City and Chicago. But as one looks at the body of work, she reveals her deeper interests. Then one tries to imagine who she was, what motivated her, her personality. It’s not every day that one becomes so involved and even obsessed with thinking about a particular photographer. It’s completely infectious.”

Full article here.

Exhibit in Santa Fe: February 3 - April 22, 2012