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

Thursday, July 28, 2016

Winning The White House: From Press Prints To Selfies



WINNING THE WHITE HOUSE FROM PRESS PRINTS TO SELFIES

Via ICP

NEW YORK, NY AND SOUTHAMPTON, NY – From official portraits and campaign ads to selfies and televised debates, images play an essential role in every presidential campaign. Now, Winning the White House: From Press Prints to Selfies—a new thought-provoking special exhibition presented by International Center of Photography opening at the Southampton Arts Center on August 6th—explores the complex relationship between candidates’ representations in visual media and their carefully created and tightly controlled campaign images.

Organized by ICP’s Assistant Curators Susan Carlson and Claartje van Dijk, Winning the White House: From Press Prints to Selfies features works by Cornell Capa, Grey Villet, Elliott Erwitt, Bill Eppridge, Chris Buck, Stephen Crowley, Ken Light, Mark Peterson, Antoni Muntadas and Marshall Reese, and others as well as campaign ephemera, posters, and video materials created for candidates from John F. Kennedy and Richard Nixon to Hillary Clinton and Donald Trump.

“Since the time of Abraham Lincoln through the present day, presidential candidates have used photographic imagery in their campaigns to impact public opinion,” says Claartje van Dijk, Assistant Curator of ICP. “While staged and curated press prints have historically been the tools of choice for candidates to reach and perform for their electorate, the delivery method has shifted from print publications to broadcast to computer and mobile phone screens—and the imagery has become more personal, more immediate and seemingly more off-the-cuff. With Winning the White House we examine that evolution and put it side to side with the screened selection of campaign images.”

“While professional press photographers continue to cover every campaign stop for major media outlets like their predecessors, they are now joined by thousands of amateur photographers,” adds Susan Carlson, Assistant Curator of ICP and van Dijk’s co-curator for Winning the White House. “With the rise of smart-phone technology and the rapid rate at which images are released on social media, the 2016 campaigns are seeing an even greater demand for visual content. This provides us with a timely opportunity to explore photography’s significant role in elections.”

The Southampton Arts Center is located at 25 Jobs Lane, with gallery hours Thursday-Sunday from 12-6pm. Admission is free and open to the public. For programming and other information, please visit us at http://www.icp.org or http://southamptonartscenter.org.  The exhibition was made possible by ICP Trustee Renee Harbers-Liddell and Chris Liddell.

Southampton Arts Center
25 Jobs Lane
Southampton, NY 11968 United States
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Tuesday, December 20, 2011

Police are roughing up journalists across U. S.



Alarmingly, we are seeing more and more posts about interference with the press, including photographers. UPDATED: "The Committee to Protect Journalists have released their report for 2011 which chronicles the attacks on journalists worldwide. They report that at least 43 journalists were killed including seven dead in Pakistan making it the deadliest country to work in as a journalist. Photojournalists suffered particularly heavy losses in 2011."


Via BuffaloNews.com



By Douglas Turner
News Staff Reporter
Updated: December 19, 2011, 6:30 AM

WASHINGTON — Half-dressed celebrities can’t get enough of them when posing along the rope lines of Hollywood or Dubai. Then there is the stale but true remark about how dicey it is to get between a certain legislator and the lens of a camera.

Beyond serving our amusements, the work of press photographers and reporters is deadly serious. The crux of the matter is that press photographers and reporters are our last guarantors of freedom.

Think Danny Pearl, beheaded by al-Qaida in 2002; Don Bolles, murdered by the mob in Arizona in 1978; and Lara Logan, brutally assaulted while monitoring the behavior of a dictator’s police during Egypt’s Arab Spring.

Worldwide, 889 journalists have been killed since 1992, according to the Committee to Protect Journalists. Today, photographers and reporters are being manhandled again in this country by police. Not in the smoky backwoods of the Deep South, as in the 1960s, but in cradles of so-called liberalism like New York, Los Angeles, Oakland and Rochester.

These cities are among dozens where the cops are moving out Occupy Wall Street protest encampments, and the police plainly don’t want citizens to see how they’re doing it. Photographers and reporters, with chains of credentials hanging off their necks like the Lord Mayor of London, are being handcuffed, herded into pens, hustled into police wagons and sometimes into court.

The cops under New York City Mayor Michael Bloomberg are operating with impunity. Consider the timeline of a Buffalo lawyer, Mickey H. Osterreicher, who is in the middle of this swirl. Osterreicher, a former newspaper and television photographer, is general counsel of the National Press Photographers Association.

Osterreicher helped arrange a meeting with Bloomberg’s police commissioner, Ray Kelly, in Manhattan just before Thanksgiving to get Kelly to restrain his troops, who were roughing up demonstrators and journalists while closing down an Occupy encampment. Among the attendees were representatives of Thomson-Reuters, Dow-Jones and the New York Times.

On Nov. 21, Kelly sent out a pious-sounding directive to all police reminding them of the journalists’ constitutional rights and directing that they be treated with respect. “The next day,” Osterreicher said, “a photographer for the New York Daily News was interfered with. And there were absurd incidents involving journalists trying to cover the Thanksgiving Day parade.”

Last week, according to AtlanticWire. com, Kelly’s cops shoved a New York Times photographer down a set of stairs, then blocked him from shooting an Occupy protest. So much for Kelly’s paperwork.

In Los Angeles, police arrested a credentialed City News Service reporter trying to cover the dismantling of an Occupy site. A video shows police taking him to the ground as he tried to show his credentials. Police later claimed he was drunk.

Among Osterreicher’s cases is his defense of a student journalist in Rochester who was arrested trying to cover an Occupy protest there. In what Osterreicher claims is a “terrific waste of public resources,” the Monroe County prosecutor refuses to drop trespassing charges against the man.
Osterreicher sees some of the police-versus-press tension as cyclical. The Occupy movement and police anxiety following 9/11, he adds, prompt more of it. There is also some public myopia involved.

“Photographers were killed in Syria and Egypt,” he said. “What is seen as heroic overseas is looked on as offensive here.”

Police harassment of demonstrators and journalists doesn’t seem to trouble the Obama administration much. Rep. Jerrold Nadler, D-Manhattan, wrote to Attorney General Eric Holder on Dec. 6 asking for an investigation into police mauling of Occupy demonstrators. Holder hasn’t bothered to answer Nadler, ranking Democrat on a Judiciary subcommittee.


dturner@buffnews.com

Friday, September 9, 2011

CNN - Witness to History: White House photographer Eric Draper and the images of 9/11

Via CNN


Washington (CNN) -- As the president's personal photographer and head of the White House Photo Office, Eric Draper was with President George W. Bush for nearly every day of his eight-year term, often just a few feet away.

On the morning of September 11, 2001, he was there, too.

"My job was to document the president, to follow him everywhere," Draper told CNN in an exclusive interview. "But I had no idea what stories, what events would play out ... September 11 changed everything."

Draper, a former newspaper and wire photographer who is now a freelancer based in Albuquerque, New Mexico, ended up at President Bush's side on that fateful day and made some of the most iconic and memorable images of the president as the tragedy unfolded.

He was there in the motorcade, driving to Booker Elementary School in Sarasota, Florida, when press secretary Ari Fleischer first got a "page" on his pager -- "Back then, we didn't have BlackBerrys," said Draper -- alerting the White House that a single plane had hit the World Trade Center.

Eric Draper video: 9/11 through Bush's lens

"I remember the president saying, 'What a horrible accident.' That's what everyone thought, that it was a shocking, one-time, how-could-that-ever-happen accident," recalled Draper.

Minutes later, they knew it wasn't an accident.

Draper was there, in the holding room of the elementary school, as Bush and his advisers first saw the second plane, United Airlines Flight 175, crash into the south tower, hitting it between the 77th and 85th floors.

He was there, on Air Force One, as the president flew first to Barksdale Air Force Base in Louisiana, and then to Offutt Air Force Base in Nebraska, as events continued to develop that tense day.

He was there, in the room, when President Bush saw the twin towers collapse and he was there, days later, when Bush climbed atop the rubble at ground zero in New York, holding a megaphone, and proclaimed "The whole world will hear us soon."

Draper sat down with CNN for an exclusive interview, walked us through several never-before-seen images from September 11 and the days following, and shared how one of the most significant days in American history unfolded:


President Bush reacts to live video of the burning World Trade Center at a classroom at Emma Booker Elementary School in Sarasota.
President Bush reacts to live video of the burning World Trade Center at a classroom at Emma Booker Elementary School in Sarasota.

CNN: This photo of President Bush in the holding room at the elementary school in Florida, what is happening here?

Draper: This was literally just seconds after the president left the classroom. And the timing here is pretty critical because there's a clock on the wall, you can see it's around 9:10.

The president was asking questions, trying to get the timing down, what happened in New York. It was tense, it was unbelievable. And then there was the distraction of watching the burning towers on TV. Immediately, I just tried to focus on making the picture.


...as President Bush turns to see the second plane hit the south tower of the World Trade Center.
...as President Bush turns to see the second plane hit the south tower of the World Trade Center.
CNN: And this frame, President Bush is on the phone...

Draper: This was the moment, when the president finally was alerted. We're watching the live screen of the towers burning in New York, and all of a sudden they start replaying the video of the second tower getting hit. ... This was the first time that everyone saw that second plane hitting the tower, the moment of the attack.

President Bush turns around for the first time and sees that image that's burned into everyone's memory.

It was just shocking to see the horrific explosion and knowing immediately that there was going to be a huge loss of life. The roller coaster of emotions really started that day. It started out with shock, then, knowing how many people were in those buildings, it turned to anger, then turned to, at least in my mind, who would do this?


Bush confers on a secure line as "the football" -- the briefcase holding the secure nuclear launch codes -- is watched by a Marine.
Bush confers on a secure line as "the football" -- the briefcase holding the secure nuclear launch codes -- is watched by a Marine.
CNN: In this picture, I noticed the Marine in the background and the briefcase on the floor. Is that what I think it is?

Draper: Yes. That's the so-called "football" -- the nuclear launch codes -- that the military carries for the president. Right there. On the floor.


White House advisers plan the route for Air Force One as Bush works in his cabin.
White House advisers plan the route for Air Force One as Bush works in his cabin.


CNN: OK, now you're on Air Force One. What happened once the president was in the air?

Draper: We knew they wanted to get him in the air as soon as possible... I remember walking aboard the plane, and the first thing I heard was (Chief of Staff) Andy Card's voice saying, "Remove your batteries from your cell phones." because we didn't know if we were being traced. I thought, are we a target? I didn't know.

We were hearing a lot of false reports, too. There was a moment when the president came out of the cabin of Air Force One and said, "I hear that 'Angel' is the next target." Angel is the code name for Air Force One.

I also remember those first moments aboard the plane, when the president really tried to rally the staff. He walked out of his cabin and he said, "OK, boys, this is what they pay us for."


With Andy Card watching, President Bush gives the order to shoot down any aircraft that might threaten an attack on the U.S.
With Andy Card watching, President Bush gives the order to shoot down any aircraft that might threaten an attack on the U.S.
CNN: What's going on here? The president appears to be in intense conversation with Andy Card on Air Force One.

Draper: The timing here is pretty critical. This was around the time when the president made the decision that any aircraft that was threatening attack would be shot down.


President Bush watches the collapse of the twin towers aboard Air Force One, with Dan Bartlett and a secret service agent.
President Bush watches the collapse of the twin towers aboard Air Force One, with Dan Bartlett and a secret service agent.
Air Force F-16s fly off the wingtips of Air Force One.
Air Force F-16s fly off the wingtips of Air Force One.


CNN: Did President Bush say much to you that day?

Draper: One time, there was a moment. That's when we're watching live TV aboard the plane. That's when the towers fell.

It was a moment of utter disbelief. It was a moment of silence. I remember the president saying, "Eric, what do you think about this?" I said, "This is unbelievable." That's all I could say.

Just moments after this, this is when we discovered the F-16s escorting Air Force One as we approached Andrews Air Force Base. Everyone was looking out the windows, trying to see them. They were right there, literally, looked like they were touching the wings of the plane. For me, it really hit home, that we were in a war. You could see the F-16s on one side of the plane, then you look out the other side of the plane and you could still see the smoke rising from the Pentagon. It was really a shocking scene.


CNN: Now here, the president is in New York, at ground zero. How did that come together?

Draper: I remember, the firefighters, they were fired up. They were angry. They were sad. Some of them had tears in their eyes. They were looking to the president for leadership. You could see it in their eyes.

There was this area set aside for the president to walk over and speak. At the last minute he was handed a megaphone, and the firefighter marking the spot was there, and the president kept him there. He was just there to make sure the president got to the spot, then he was going to leave, but the president said "Stay here."

I remember the firefighter yelling in the background, "I can't hear you." I still get chills when I remember the quote, when the president said, "I can hear YOU, and the people who knocked these buildings down will hear from all of us soon."


President Bush always kept the badge worn by Port Authority Officer George Howard, who died in the trade center, in his pocket during his presidency.
President Bush always kept the badge worn by Port Authority Officer George Howard, who died in the trade center, in his pocket during his presidency.


CNN: This last photo, of the officer's badge, what is this?

Draper: That is the badge that was worn by a New York Port Authority officer who died on 9/11. That badge was found on his body and given to (President Bush) by his mother around the days following 9/11. The president carried it in his pocket as a reminder, he carried it every day. I felt it was very important, symbolically, to make a photograph of that badge. He would always carry it and pull it out to remind people and to remind himself about what happened that day.

Q: Looking back on 9/11, were you scared that day?

Draper: I had it easy because I had a camera to distract me. I had the technical aspects of being a photographer. But at the same time, I was scared about what was happening in Washington, because that's where my wife was, she had just moved to Washington a few days before 9/11.

So when they finally allowed staff to call from the plane later that day, my first words were "Honey, I'm gonna be a little late tonight."

She laughed.

Two of Eric Draper's photograohs from September, 2001 are featured in the exhibition "History's Big Picture" through September 25, 2011.




Saturday, August 27, 2011

Premier International Festival of Photojournalism Visa pour l'Image Opens


Visa pour l'Image Perpignan 2011

Visa pour l'Image is the premier International Festival of Photojournalism held in Perpignan, France. This festival is a unique event where you can join thousands of kindred spirits who share a love and passion for photography. View the greatest photojournalist work from around the world in exhibitions across the city. Experience the evening screenings in the dramatic open air medieval enclosure of the Campo Santo. Take part in symposiums and conferences and meet the foremost photo agencies and manufacturers of photographic related equipment. Explore the web site for full details.

Contact information here. 


Saturday, April 16, 2011

The photographic collection of veteran Picture Editor John G. Morris


John G Morris auction: Jackie and the Kennedys, wedding day in Newport
 Toni Frissell
Jackie and the Kennedys, Wedding day in Newport
John G Morris: "Toni Frissell, whose work appeared mostly in Vogue, was the family photographer at the wedding of Jack Kennedy and Jacqueline Bouvier – "Jackie." She gave me prints for the Magnum story, which I sold to the Ladies’ Home Journal for $100,000. This is perhaps the most rare, as it shows the three Kennedy daughters, Patricia, Eunice and Jean, with the three then surviving sons, Bobby, Ted and Jack. The eldest son, Joseph P Jr, had died as a pilot in World War II"


The Photo Diary of John G. Morris auction takes place on Saturday 30 April 2011 at 3:15pm.



The 230 photographic prints for the sale will be exhibited for three days in Paris at Drouot Montaigne, 15 avenue Montaigne on Thursday and Friday 28-29 April from 11:00 to 18:00 and Saturday 30 April from 10:00 to 13:00. The exhibition is open to the public and a fully illustrated paper catalogue will be available for 30 euros.

In our visual age, photo editors have silently written history behind the scenes. John G. Morris has participated in the greatest photographic chapters of the 20th century. Perhaps best known as Robert Capa’s picture editor for Life magazine on D-Day, Morris’s impact on the visual lexicon spans nearly seventy-five years. While at the Ladies’ Home Journal, he conceived of the series, People are People the World Over, changing the way America viewed the world and inspiring Edward Steichen’s influential Family of Man 1955 exhibition. As the first Executive Editor of Magnum Photos, Morris played a key role in establishing many standards of practice in photojournalism, from story boarding to distribution. At The Washington Post, he balanced images inside the White House with coverage of the conflict in Vietnam. As picture editor for The New York Times he chose the first images of the moon landing published in color.

Morris moved to Paris in 1983 where he worked for nearly a decade as correspondent and editor for National Geographic. In May 2010, John G. Morris was honored with a Lifetime Achievement Award by The ICP, International Center of Photography.

Highlights of the sale include vintage works by Henri Cartier-Bresson, Robert Capa, David Seymour, Elliott
Erwitt, Robert Frank, Toni Frissell, Frank Horvat, Dorothea Lange and award-winning press photographs.

The photographs in this memorable auction are both personal gifts from the artists to John and creative working prints completing the visual diary of John G. Morris. The verso of each print in this collection is inscribed by hand to share the stories behind the images and celebrate John’s enduring friendships with the photographers themselves.

Auction details here.

Download the catalogue here.

Speaking from his home in Paris, where he has lived since the early 1980s, Morris said: "My hope is that this auction will change the outlook on photojournalism in the money markets. I know that's a strange thing to say, but photography auctions in the past have consisted primarily of aesthetically beautiful prints which did not necessarily have much to do with telling the truth about life through the daily newspapers and in magazines. As far as I know, this is the first photojournalism collection to come on to the art market," said Morris. "So in setting minimum prices for the pictures, and estimates, it's been a sort of ballpark thing. We don't know what will sell and what won't." Read more from the Guardian newspaper.


The Guardian newspaper also has an excellent slide show of selected images with commentary from Morris.

"Veteran Life magazine picture editor John G Morris talks us through some of the photographs from his extraordinary personal collection that are to be auctioned in April 2011".


John G Morris auction: Military appraisal at Moscow trolley stop, 1954 (Life cover)

Henri Cartier-Bresson

Military appraisal at Moscow trolley stop, 1954 (Life cover)
John G Morris: "This is the photo I recommended to managing editor Ed Thompson of Life when he asked me, 'What do you see for a cover?' In December I came back from Paris with hundreds of prints of the USSR, I remember the customs officer asking me how much they were worth (in 1954) I replied: 'That’s what I am here to find out'."