Thursday, February 11, 2021

Ida Wyman: East Harlem, New York, 1947 in Color

 

1947 color photograph of boy on steps with hand in pockets
Ida Wyman: Hands in pockets, East Harlem, New York, 1947


Santa Fe, NM -- Monroe Gallery of Photography is honored to announce an exhibition of rare color photographs Ida Wyman made in East Harlem, New York, in 1947. The exhibit opens in the Gallery (no reception)  and on-line at www.monroegallery.com on Friday, February 12 and continues through April 11.

East Harlem in 1947 was a neighborhood of immigrants from poor and working class backgrounds. In the Depression and New Deal era of the 1930s, the Photo League was formed to document poverty and other social problems. Ida’s youthful idealism attracted her to the League, and several League photographers embarked on a mission to document conditions in Harlem.

Her photographs reveal the extraordinary within what, at first glance, might appear to be otherwise unremarkable. Reflecting the related practices of documentary photography, photojournalism, and street photography, these images are a testament to Wyman’s abiding curiosity about the human condition and the complexity of human experience, both familiar and unfamiliar.

This series of color Ektachromes Ida made of East Harlem in 1947 were discovered in her archive only recently, and exist as the only color body of work from that period.

Although not as famous as some of her contemporaries, Ida was one of the defining artists of early street photography that helped shape how we look at our world. Wyman’s photographic vignettes of life in urban centers and small towns in the United States, taken during the mid-twentieth century, illuminate the historical moment while providing a deeply humanist perspective on her subject

Ida strived to capture everyday life of everyday people in all its frustrating, illogical and banal glory.

The daughter of Jewish immigrants from Eastern Europe, Ida Wyman was born March 7, 1926 in Malden, Massachusetts. The family soon moved to New York, where her parents ran a small grocery store in the Bronx. Her parents bought her a box camera when she was 14, and she joined the camera club at Walton High School, honing her skills at taking and printing pictures. By the time Wyman was 16, she know that she wanted to work as a photographer. Opportunities then were few for women photographers, but in 1943 Wyman joined Acme Newspictures as a mail room ‘boy’; pulling prints and captioning them for clients. At lunch hour, she photographed nearby laborers and office workers with her Graflex Speed Graphic camera.

When the war ended, Acme's only female printer was fired so a man could have her job. Wyman set out on her own to begin free-lance work for magazines, and her first photo story was published in LOOK magazine the same year. By 1948 she was in Los Angeles, working on assignments for LIFE magazine. She would eventually cover over 100 assignments for LIFE.

For the next several years, Wyman covered assignments for LIFE, Fortune, Saturday Evening Post, Parade, and many other leading publications of the time. Her varied assignments always focused on human-interest stories, which have become a hallmark of her work.  From 1951 through 1962, Wyman took time to raise a family, as well as handling many corporate assignments.  From 1962 to 1968 she created photographic documentation for speech research projects at Haskins Laboratories in New York City.  From 1968 to 1983, Wyman was the Chief Photographer in the Department of Pathology at Columbia University’s College of Physicians and Surgeons.  In 1983 she again returned to free-lancing, and handled assignments for The New York Times, Gannett Newspapers, US Magazine, American Lawyer, Inc. Magazine, and other publications.  Throughout her career, Wyman held numerous teaching positions and speaking assignments.  Her photographs are in the collections of the New York Public Library, the Museum of Modern Art in New York, the Jewish Museum of New York, FundaciĆ³n Municipal de Cultura in Valladolid, Spain, and other collections. She died July 13, 2019 at age 93.


Current Gallery hours are 10 to 3 Monday - Thursday, 10 to 4 Friday and Saturday, admission is free. Covid-19 safety protocols must be followed and face masks are required throughout your gallery visit. Gallery capacity is limited to no more than 10 visitors..




-- 

Monday, February 1, 2021

Bob Gomel's work endures from Life magazine to ‘One Night in Miami’

black and white photo of Malcolm X photographing Cassius Clay, in a diner in Miami, 1964

Malcolm X takes a photograph of Cassius Clay -- who was about to announce his conversion to Islam and his new name, Muhammad Ali -- on February 25, 1964 in Miami. Malcolm X was staying at The Hampton House Motel, where he spoke with Ali, singer Sam Cooke and football star Jim Brown. The photo was captured for LIFE magazine by Bob Gomel.

Photo: photo by Bob Gomel used with permission


 Via The Houston Chronicle

By Andrew Dansby

February 1, 2021

Near the end of the film “One Night in Miami,” Cassius Clay — hours after defeating Sonny Liston and declaring himself king of the world … and so pretty — holds shop in a small diner at the Hampton House Motel over a bowl of ice cream.

“I want a picture with Malcolm!” he says, referring to Malcolm X, who had advocated for the boxer’s conversion to Islam, which yielded a new name: Muhammad Ali.

The film follows Malcolm X for a meditative moment. A dangerous power struggle was in place amid the Nation of Islam, and he had only one year to live. But Clay, in that moment, got his photo.

Life magazine photographer Bob Gomel — the only member of the media inside the diner — caught the champ at the counter, a look of feigned surprise with Malcolm X leaning on his shoulder seemingly enjoying the moment of celebration.

Gomel captured several enduring images from the fight and its aftermath. One included Malcolm X behind the counter taking a photo of a tuxedo-clad Ali. That iconic photo has been acquired by the Library of Congress. Both the photo and the evening have taken on significant cultural weight. The fight and the meetings that followed were caught on film by Gomel and have been written about in biographies of Ali, Malcolm X and Cooke. That one night has become almost mythical, as it saw the rise of a cultural icon in Ali, lending itself to a play that would become a film.

As for Gomel, he’d made a fleeting moment permanent, something he’d done before and would do many times later as a storied and celebrated photojournalist whose work covered presidents and presidential funerals, Olympians in action and the Beatles on a beach.

“I’d suggest the challenge is to do something better than had been done before,” Gomel says, “That was something instilled in me early in my career. When I was just starting my career, I had an editor at Life. I came back and said some event didn’t happen. And he said he didn’t ever want to hear that. After that, I never batted an eye about doing what it took to get a photograph.”

Film on film

David Scarbrough, a professional photographer, met Gomel through mutual friends and colleagues. He’s been in Houston for more than 20 years; Gomel moved here in 1977.

Any time the two would meet, Gomel would share his stories about working at Life from 1959 to 1969. Gomel resisted the idea of putting down those stories as text to accompany the photos in a coffee-table book. So Scarbrough pitched the idea of a film.

“I convinced him to do a proof of concept, and if he didn’t like it, we’d drop it,” Scarbrough says.

Using two iPhones and a makeshift sound studio behind his house, Scarbrough got Gomel to tell the tales behind some of his most famous photos.

Those interviews became the basis of “Bob Gomel: Eyewitness,” available to stream on Amazon, in which the photographer narrates his career, a mix of his photographs and his on-camera commentary. Occasionally, Scarbrough throws in an outside image, as from the first Ali/Liston fight. When Scarbrough called up the fight on YouTube, he thought he saw a familiar face in the bedlam that followed Ali’s win.

“I blew it up, and it was grainy, but there’s Bob on the other side of the ring, climbing the ropes to get the shot. I had to work that in.”

That shot becomes part of a theme throughout the film. Gomel discusses his terror shooting Olympic bobsledders from a bobsled. He is photographed in a wetsuit immersed in a pool to capture a swimmer doing the butterfly. Gomel’s photo presents the swimmer as a human wavelength, her body contorted in a way both beautiful and grotesque.

One of the most fascinating passages includes two presidential funerals. From an elevated space, Gomel photographed President John F. Kennedy’s casket in the Capitol rotunda in 1963. His image is haunting for the light beaming across the rotunda. Gomel that day made a mental note that a direct overhead photograph in the rotunda could be striking. When President Dwight D. Eisenhower died six years later, Gomel rigged a camera directly overhead.

“Everybody knows that photo,” Scarbrough says. “It was a significant moment captured by a well-executed photograph. But people don’t know the preparation to get the picture. The hours and hours of testing. This was before our digital age. You had to string the camera out, bring it back, test lenses. The prep work was incredible.”

Gomel had another concern. “I prayed my lights didn’t start flashing before the event.

“I always draw a distinction. I say you can take a picture or you can make a picture. My objective was always to make pictures. To have some idea of what you’re trying to achieve and then figure out the best way to do that.”

Life behind the camera

Gomel grew up in the Bronx, where his interest in photography began when he was still in grade school. He delivered groceries to make money for his first camera and set up a darkroom in his parents’ home. He earned a journalism degree from New York University before spending three years stationed in Japan as an aviator in the Navy. He says landing planes on an aircraft carrier created a certain fearlessness.

“I’ve never considered safe spaces when I’m working,” he says. “I’d stand on the struts of a helicopter and make sure my wide angle lens cleared the blades. But it never occurred to me to be concerned. A safety strap to the cockpit wall was all I needed.”

He was hired by Life magazine in 1959, “a childhood dream,” he says in the film.

Life at the time had a sterling reputation for its photojournalism. Gomel shot heads of state, athletes and celebrities.

The rush of images that passes in “Bob Gomel: Eyewitness” is astounding for both the richness of the individual photographs and the breadth of Gomel’s work. The photographs clearly stand alone, but the narratives that accompany them offer enrichment through context. A bust of a session with President Richard M. Nixon was salvaged a day later when Gomel returned with some brighter neckties. He also discusses his paintinglike photograph of Manhattan at night during a 1965 blackout, thought to be the first double-exposure image published as a news photo.

In the 1970s, Gomel began doing commercial photography, which led him to Houston. He’d worked closely with an advertising executive at Ogilvy who set up an office in Houston in the early 1970s when Shell relocated from New York.

“I came on a lark, and I liked what I saw,” he says.

He has made Houston his home ever since, working here and sometimes dispensing tough love to students. Long ago he hired now famed photographer Mark Seliger — who at the time was about to graduate from the High School for the Performing and Visual Arts — as an assistant.

“A month or two later, I fired him,” Gomel says. “He was too good. I told him to leave Houston and go where the big action was taking place. Fortunately, he took my advice.”

Back to Miami

Seliger is the sort of photographer who might typically appear in a documentary about an old master like Gomel. But Scarbrough had only completed the interviews with his subject when the pandemic shut down his work. So he let Gomel’s stories and his photographs tell the story, which he distributed through Amazon Video Direct.

After a short introduction, the film moves to February 1964, when Life sent Gomel to Miami and assigned him to Clay before he became Ali. Liston was favored 7-1, but Life wanted a Clay cover photo ready should he provide an upset.

Days before the fight, Gomel caught a sweat-soaked Clay smiling. The fight took place Saturday. By Monday, Gomel had a magazine cover.

But the aftermath of the fight proved interesting, too. Because he was assigned to Clay, Gomel traveled with the boxer’s entourage — which included Clay’s brother and Malcolm X — to the Hampton House in Brownsville because no South Beach hotel would accept Black guests.

Playwright Kemp Powers debuted “One Night in Miami” seven years ago. Powers was drawn to a meeting that took place after the fight, when Malcolm X, Clay, singer Sam Cooke and football star Jim Brown gathered in a room at the Hampton. His story, an imagined account of their conversation, springs from four prominent Black men at personal, vocational, cultural and spiritual crossroads. Clay would soon announce his new name and faith; Brown would leave the NFL for film; Malcolm X and Cooke would both become victims of violence.

Late last year, actor and filmmaker Regina King presented a filmed version through Amazon. The film plays with the timeline, flipping the sequence of the diner and the hotel room meeting. It also re-creates that scene from Gomel’s photo: Malcolm X behind the counter, camera in hand.

Gomel expresses frustration that nobody involved with the film reached out to him for licensing or even a credit. He resisted Life’s offers of insurance and equipment allowances to have rights to his photos revert back to him.

Re-creation of photographic moments isn’t unique to “One Night in Miami”; Netflix’s “The Crown” — to name just one TV show — is teeming with shots based on photographs.

Gomel has dealt with the issue before. He’s found the image on T-shirts, throw pillows and earrings.

“It’s new dealing with organizations that don’t do the right thing and contact you,” he says. Gomel recalls the estate of golfer Arnold Palmer securing a photo Gomel took for Palmer’s clothing line.

“That’s the way it was for 50 years,” he says. “People respecting traditions.”

So “Eyewitness” provides the story behind the photo behind the film.

“Just about everybody else in that context is long gone,” Gomel says. “I’m one of very few eye witnesses who was actually there.”

Friday, January 29, 2021

Stephen Wilkes captures Joseph R. Biden's inauguration from sunrise to sunset in one striking picture

 

color photograph of Presient Biden's inauguration from sunrise to sunset
Stephen Wilkes


Via National Geographic


The inauguration, from sunrise to sunset, captured in one striking picture.

Photographs taken over the course of 15 hours are combined in this historic image. "Sometimes it’s this magical serendipity that I have no control over but I am just present for." --Stephen Wilkes

Read the full article on the making of this historic photograph during unprecedented times here.

See Stephen Wilkes' complete Day To Night collection here.

Monday, January 25, 2021

Hollywood Film Re-creates Bob Gomel's Iconic Photograph

 


Comparing photographs of scene from movie "One Night in Miami" with original Bob Gomel photo of Cassius Clay (Muhammad Ali) with Malcolm X

Via Bob Gomel Eyewitness

January 24, 2021


One Night in Miami is a movie streaming on Amazon Prime. The film, directed Regina King, is a fictional account based on a true story of the events after Cassius Clay defeated Sonny Liston in February 1964 in Miami.

As you can see in the images above, the movie is based on an actual photograph taken by Bob Gomel. Amazon Studios photographer Patti Perret painstakingly recreated the iconic photograph that appeared in LIFE Magazine.

In the actual picture Sam Cooke and Jim Brown are not in the image as they are in the picture by Perret. The movie is a fictional account based on actual events.

The picture by Bob is featured in the documentary (also streaming on Amazon Prime) Bob Gomel: Eyewitness, as is the entire story leading up and including the fight, as well as, the post fight celebration at The Hampton House where this image was taken.

Bob Gomel owns the rights to the original image. Signed prints are sold through Monroe Gallery in Santa Fe, NM.

Bob was not consulted, credited, or compensated in any way in the making of the film or the recreation of the image.

Wednesday, January 13, 2021

Nina Berman's photographs of January 6 Insurrection featured internationally and in "History Now" exhibit

 

Black and white photo of President Trump on giant screen at a rally outside the White House.
President Trump's image appears onscreen at a rally outside the White House
January 6, 2021 by Nina Berman

Photographer Nina Berman covered the January 6 Insurrection at the Capitol in Washington, DC. Her photographs of that day have been published internationally, including National Geographic, Vice News, and L'Illustre. Berman's photographs are included in the current gallery exhibition "History Now".

A historic day in photos: from a pro-Trump insurrection to a pre-dawn Biden victory sealed

"The normally solemn atmosphere at the Capitol Building was transformed into a scene of chaotic violence unprecedented in modern times on Wednesday afternoon, as a mob of insurgents waving Trump flags, Confederate symbols, pro-Nazi messages, and other symbols of right-wing extremist groups breached the building’s security, halting proceedings to certify Trump’s defeat and forcing lawmakers to take cover as they were evacuated to safety with gas masks, as violent protesters roamed hallways, smashed windows, and destroyed Congressional property."  Via National Geographic




Protest with America First Flags
"America First" Flags at Capitol Insurrection, Washington, DC, 
January 6, 2021 by Nina Berman



"We are part of a team of researchers at the Tow Center for Digital Journalism and Columbia University’s Engineering and Journalism schools that has been developing a tool called VizPol, which helps journalists identify unfamiliar political symbols, since April 2019. Nina had the idea to help improve journalists’ understanding of visual political symbols at a right-wing rally in 2018 after she saw a TV journalist fail to point out a contradiction between what an interviewee was saying and what a symbol she had tattooed on her forearm suggested about her political beliefs. As part of keeping the app’s database up-to-date with the constantly evolving landscape of symbols, we have paid close attention to the various symbols appearing at political rallies across the political spectrum in the United States."   Via Vice News






Monday, January 11, 2021

Ashley Gilbertson's Photographs of January 6 Insurrection Featured in NY Times and Monroe Gallery Exhibit

NY Time magazine artice with phot of Trump riot


Via The New York Times

January 10, 2021


Photographer Ashley Gilbertson witnessed the events of January 6, 2021 that will be cemented into US history while on assignment for the New York Times. See the full series of photographs with an important essay by Timothy Snyder here.

Ashley Gilbertson is an Australian photojournalist with the VII Photo Agency living in New York. Gilbertson has covered migration and conflict internationally for over 20 years.

Gilbertson's photographs are included in the current exhibition "History Now".

Thursday, January 7, 2021

Santa Fe Workshops Presents: Perspectives — Stephen Wilkes Day to Night, through Ellis Island, to "Jay Myself”

 

Graphic of Serengeti Day to Night photo for SF Workshops lecture


Via Santa Fe Workshops

January 12 - 15, 2021

In a world where humanity has become obsessively connected to personal devices, the ability to focus in a profound and contemplative way is becoming an endangered experience. These three lecture-format presentations promise to provide an engaging alternative to that trend.

Over the course of three days, fine-art and documentary photographer, National Geographic Society explorer, and filmmaker Stephen Wilkes takes you on a deep dive into his most important bodies of work.

Each day Stephen provides an exclusive in-depth look at his creative and technical processes, imbued with treasured stories and inspiration about a single project. This format allows him the rare opportunity to share the rich details of each one and weave them together to showcase the arc of his iconic career.

Day One - Day to Night

Day to Night represents Stephen's 10-year personal journey to capture fundamental elements of our world through the span of 24 hours, as light passes in front of a lens over the course of a full day. This synthesis of art and science is an exploration of time, memory, and history, as witnessed through the daily rhythms of our lives. For Stephen, it also became a meditation. The concept of Day to Night has redefined the medium of photography, melding aesthetics and technology to create a new way of seeing time, capturing history, and using imagery to convey a narrative. Blending these epic images of cityscapes and landscapes into a single photograph is a process that takes months to complete. Day to Night has been featured on CBS Sunday Morning and exhibited around the world.

Day Two - Ellis Island

We explore Stephen's critically acclaimed photographic documentary project capturing the abandoned infectious disease hospital on Ellis Island. In 1998, a one-day assignment to the south side of Ellis Island led to a five-year photographic study of the island’s abandoned medical wards, where immigrants were detained before they could enter America. The project, which was featured on NPR and CBS Sunday Morning, eventually became Ellis Island: Ghosts of Freedom, named one of the top 10 photography books of 2006 by Time magazine. Stephen served for five years on the board of directors for Save Ellis Island.

Day Three - Jay Myself

A special screening of Jay Myself is made available for participants to watch between the webinar's second and third presentations. Then Stephen shares his fascinating story about the making of the film and his enduring 40-year friendship with its subject, Jay Maisel. The film charts the arduous logistical and emotional journey of Maisel—himself a renowned photographer—as he moves out of his six-story, 72-room home in New York City's Bowery. Variety's film critic Owen Gleiberman said: “After watching Jay Myself, you yourself may begin to see the world in a whole new way, as if you’d woken up to all the images that might have been invisible before, but only because you passed them by.”

These three presentations by a visionary photographer and filmmaker leave an inspirational and indelible mark on all who choose to open their eyes and minds to his technical and artistic mastery. You are invited to join Stephen and experience an unforgettable photographic journey through time. Tune in and let’s get busy!


Register here

Sunday, January 3, 2021

Fighter with a camera: Renown photographer, who battled COVID-19, will celebrate turning 98 with a virtual show

 Via The Albuquerque Journal

By Kathaleen Roberts

January 3, 2021

man playing violin on street in Venice 1947
“The Violinist,” 1947, by Tony Vaccaro. Courtesy of Monroe Gallery


ALBUQUERQUE, N.M. — Tony Vaccaro reigns as one of the few people to have battled both COVID-19 and the beaches of Normandy.

The photographer will celebrate his 98th birthday with a virtual show at Santa Fe’s Monroe Gallery of Photography through Jan. 17, at monroegallery.com.

Vaccaro contracted Covid early in the pandemic – in April. He spent two days in the hospital.

He couldn’t walk from room to room,” his daughter-in-law Maria said in a telephone interview from their home in Long Island City, New York. “He just stopped eating and had no energy.”

Vaccaro survived, despite a 103-degree fever.

“I am a runner,” he explained. “I’ve been running since I was a child.”


Peggy Guggenheim in a gondola in Venice, 1968

“Peggy Guggenheim, Venice, 1968” by Tony Vaccaro

Courtesy Monroe Gallery


He’s also a fighter who carried a camera from the invasion of Normandy through the reconstruction of Europe, capturing some of the most iconic images of World War II. Drafted at 21, he brought his 35mm Argus C-3 camera with him, spending the next 272 days photographing his personal witness to the carnage. He fought on the front lines, developing his photographs in combat helmets at night and hanging the negatives from tree branches.


Photographer Tony Vaccaro with Hasselblad camera

                              
Photographer Tony Vaccaro 

Photo by R. David Marks

“Normandy to Berlin was just tough,” he said, “because you could get killed any minute. I was in the infantry and in direct contact with the Germans.”

After the war, he remained in Europe, covering the rebuilding of Germany for Stars and Stripes. It was in Italy that he heard the strains of a violin coming from a narrow Venetian street.

“I was in Plaza San Marco in Venice,” he said. “And I had an idea of going into the small streets. So I go in and there was a violinist playing, of course, for people to throw down money. When I heard this violinist, it intrigued me. I went into the tiny streets of Venice and don’t you know, I had met him before in Rome.”

He captured his famous portrait of an American GI kneeling to kiss a little girl by accident. He came upon residents of St. Briac, France, singing and dancing in the streets after the 1944 liberation.


American soldier kissing a young girl in France after liberation, 1944

“Kiss of Liberation,” 1944, by Tony Vaccaro
Courtesy Monroe Gallery


“There were these people holding hands and singing a song in French,” Vaccaro said. “Here’s this GI who knows not one word of French. They put a handkerchief under the knees of the little girl. It’s the symbol of a carpet for ladies.”

It was the Handkerchief Dance.

When Vaccaro returned stateside, he worked as a commercial photographer for Look, Life, Harper’s Bazaar, Town and Country, Newsweek and more.

His portrait of the art patron Peggy Guggenheim features a hidden joke. On assignment to do a profile, he followed her to the Guggenheim Museum in Venice. A statue by the Italian sculptor Marino Marini guards the entrance.

“There’s a man on a horse and he’s naked and his penis was as long as half my arm,” Vaccaro said. “She had this habit of whenever she had new guests, she unscrewed it.”

Guggenheim expected a children’s tour group, so she unscrewed the phallus and hid it beneath her cloak. It’s concealed under the garment in Vaccaro’s picture of Guggenheim in the gondola.

“She didn’t want the children to see it,” he said.


Georgia O'Keeffe outside her home, Abiquiu, NM, 1960


“Georgia O’Keeffe, AbiquiĆŗ, New Mexico, 1960” by Tony Vaccaro

Courtesy Monroe Gallery


Vaccaro met Georgia O’Keeffe on assignment for Look magazine with art editor Charlotte Willard in AbiquiĆŗ in 1960.

The artist refused to speak to him for five days.

O’Keeffe had been expecting a different photographer, one of her favorites, such as Ansel Adams, Todd Webb or Richard Avedon. Trying his best to charm her, Vaccarro cooked the artist a steak and fixed her broken washing machine, to no avail.

“Georgia O’Keeffe at the very beginning didn’t want anything to do with me,” he said. “She didn’t even look at me. She had just left her husband.”


woman wearing hat resembling the Guggenheim museum in front of the Guggenheim Museum, NY, 1960


“Guggenheim Hat, New York, 1960” by Tony Vaccaro

Courtesy Monroe Gallery


Suddenly, the topic turned to bullfighting. Vaccaro mentioned he had photographed the great Spanish matador Manolete.

O’Keeffe pivoted to face him. She never looked at Willard again.

Vaccaro still works and goes for regular walks.

“I am shooting, but not as before,” he said. “Before it was survival. Somehow, I have an eye for what’s good before I can click it. I have seen so much that it is really an instinct.”

As for Covid, he said, “I have an idea that the body forgets what it doesn’t like.”



IF YOU GO

WHAT: “Tony Vaccaro at 98”

WHERE: Monroe Gallery of Photography, 112 Don Gaspar Ave., Santa Fe

WHEN: Through Jan. 17

CONTACT: monroegallery.com, 505-992-0800.

Friday, December 25, 2020

The "BEST" Photos of 2020/Pictures of the Year 2020

 

2020 was a year most of us would like to forget, but if you would like to review the year in photographs there are plenty of sources. After taking 2019 off, we present our annual compilation of the Year in Photographs.

Visit our current Virtual Project to view "History Now', an on-line exhibit with three highlight photographs of 2020 by Monroe Gallery photographers Ashley Gilbertson,  Gabriella E. Campos and Ryan Vizzions.


Is this the Picture of the Year?

The Guardian: Butterflies, bushfires and bears: Age of Extinction's year in photography

Haaretz Photographers' Top 2020 Photos

BBC: 2020 in pictures: Coronavirus in the UK

New Atlas: The best photography of 2020

MIT Technology Review: A look back at our best photography of 2020

Saying Goodbye to 2020: A last look at some of The Dallas Morning News photographers’ favorite photos from an unforgettable year

Santa Fe New Mexican: 2020: The year in photos

Texas Monthly: The Photographs That Stopped Us in Our Tracks in 2020

CNET: 2020: The year in pictures, from lockdowns and protests to vaccines and hope

The Guardian: My best pandemic shot: Guardian and Observer photographers' take on 2020

Face off! The best Guardian portraits of 2020 – in pictures

NY Post’s Best Photos of 2020

South China Morning Post: This was 2020: the biggest pictures from around the world

BBC: Striking News Photos from around the world in 2020

BBC: UK year in pictures 2020

NY Times: Photography From the Year Time Stopped

NY Times: Our Favorite Arts Pictures of 2020

CRUX: Pope Francis in 2020: A pandemic year in pictures

Reuters: Our oddest photos from 2020

TRTWORLD: In pictures: 2020 in review

Aperture’s Best Photography Features of 2020

The best photos of 2020 from Tampa Bay Times photographers

BuzzFeed News: The Best Photo Stories From This Year

BuzzFeed News: The Most Memorable Photo Stories We Published This Year

 Sydney Morning Herald: Photos of the Year 2020

NIKKEA Asia: 2020 in pictures: A year of coronavirus, shifting politics and more

AnOther: Ten Art and Photography Projects That Perfectly Captured Life in 2020

LA Daily News: Photos: Staff photographer Keith Birmingham shares his images of the year 2020

TIME's Top 10 Photos of 2020

Albuquerque Journal: FACES OF 2020 Journal photos express a year in crisis

Le Monde: 2020, une annƩe en photos

Irish News: The stories behind the best photographs of 2020

Irish Times: 2020 in pictures: Irish Times photographers select their images of the year

Seattle Times: Pictures of the Year 2020: More images than ever for a year that was more of everything

InForum: The Forum's Pictures of the Year 

The Guardian: Australia in 2020: bushfires, Covid and Black Lives Matter – in pictures

Our favorite photos from 2020: how Guardian US saw the year

Committee to Protect Journalists: Here are some of the biggest news stories of the year, the biggest safety issues facing journalists, and what CPJ did to assist. 

The Guardian: The best photography and architecture of 2020

ArtNet News: The Year in Pictures: From Global Protests to Museum Heists, Here Are the Images That Tell the Story of 2020

Foreign Policy: The Global Pandemic: A Year in Photos

The Times: My 2020 in pictures: Times photographer Jack Hill

BBC Science: The best scientific images of 2020

BBC: 2020 in pictures: The defining moments that changed Asia

BBC: PA Media photographers choose their best photographs from the past year and reflect on the stories behind the images.

NBC News: 2020's Year in Pictures

Euro News: In pictures: 2020's biggest news stories month by month

UPI: Pictures of the Year: Top images from 2020

UPI: UPI Pictures of the Year 2020 - NEWS & FEATURES

Forbes: 2020 In 20 Pictures: The Formidable Faces Of Young Power

The Guardian: The best photographs of 2020 – and the stories behind them

AP: Year End Latin America & Caribbean Photos 2020

New Yorker Photography in a Year of Crisis

NonDoc: Visuals of our culture: 2020 in photographs

Forbes: 2020 In 20 Pictures: The Formidable Faces Of Young Power

Chicago Sun Times: 2020 in photos: An unprecedented year

LA Taco: L.A. 2020: PHOTOS THAT CAPTURED OUR CITY’S BEST AND WORST YEAR

2020 in pictures: A journey through a year like no other in Pittsburgh

Philadelphia Inquirer: The pictures that captured 2020

Philadelphia Inquirer: 2020: Our photographers’ favorite pictures of the year

Baltimore Sun: The Aegis' 2020 Pictures of the Year

The Times UK: A year like no other: 2020 in pictures

A look at L.A.’s best and worst year - Through a Lens Darkly: A Photographer’s Journey Through Los Angeles

India Today: A flashback at the year 2020 | Pictures from across Asia

Newsroom: Voting and the virus: 2020 in pictures

El Pais: 2020 en imĆ”genes. Cuando todo se desmoronĆ³ (2020 in pictures. When it all fell apart)

The Scientist: 2020 in Pictures

Yahoo: 25 of the most powerful images of 2020 capture a year we'll never forget

The Guardian: This year the picture desk has chosen Hector Retamal as its agency photographer of the year.

TIME's Top 100 Photos of 2020

AlJazeera:  2020 In Pictures: The best photos from around the world

2020 in photos: The best images from Spartanburg Herald-Journal photojournalists this year

Center: 2020: A Year in Photos

Gulf News: 2020 in review: The finest landscape photography of the year

Natives Photograph 2020 Year in Pictures




AP: Virus casts shadow over AP's Picture of the Year in Asia

NY Times: 2020  In Pictures: A Year Like No Other

NY Times: 2020 in 12 Photographs

NY Times: Thousands of Photographs, and a Year Like No Other

Women Photograph: 2020 Year in Pictures

Vice: An Incomplete Timeline of the Moments I Remember From 2020

Relief Web: Photo story: A year in pictures 2020

Getty Images: 2020 Year in Review Video

AnOther: The Best Photo Stories of 2020, Documenting Youth Culture

Radio Free Europe: 2020: The Year's Best From RFE/RL's Photographers

AFP: 2020 PICTURES OF THE YEAR

BBC: The most striking images of 2020

The Atlantic: Hopeful Images From 2020

The Atlantic: 2020 in Photos: Wrapping Up the Year

The Atlantic: Top 25 News Photos of 2020

The Atlantic: 2020 in Photos: How the First Months Unfolded

New Atlas: Little things, grand visions: The best small photography of 2020

The Whyy/PBS: A camera, a mask and 2020’s most enduring image

World Economic Forum: 10 of this year’s best pictures on the environment

The Lutheran Reporter: Photo essay: A photographer’s look back at 2020

KSAT: 29 moving images that paint the picture of an epic 2020

WCBD News 2:  AP: 2020 in pictures

Denver Post: 2020 Year in Photos Part 1

                                                        Part II

                                                        Part III

                                                        Part 1V

Year in pictures: Photos from azcentral photographers in 2020

My Modern Met: Best of 2020: Top 60+ Photographs From Around the World

The Independent: Canon photographers capture the highs and lows of 2020

CNN: 2020 The Year in Pictures

NY Times: The Most Important Moments in Art in 2020

Artforum asked an international group of artists to select a single exhibition or event that most memorably caught their attention in 2020

The Guardian: The winners of the 2020 RAF photo competition have been chosen.

The Guardian: Agency Photographer of the Year 2020 – shortlist

The Guardian: Earth Photo 2020: nature photography winners – in pictures

UPI Pictures of the Year 2020 - NEWS & FEATURES

UPI Pictures of the Year 2020 - U.S. PRESIDENTIAL ELECTION

The Independent: AP photographers capture a sports world disrupted in 2020

NY Post: AFP’s best photos from 2020 highlight crazy year

Sun Sentinel best of 2020 | PHOTOS

Marblehead Photos of the Year, a look back at 2020, by staff photographer David Sokol

National Geographic: 10 unforgettable images from our Year in Pictures issue (featuring Stephen Wilkes' March on Washington Day To Night photograph) 

National Geographic: These are the history-defining moments that shaped 2020

National Geographic: Best Travel Photos of 2020

National Geographic: Best Science Photos of the Year

National Geographic UK: These are our best animal photos of 2020

The Guardian: 2020 Historic Photographer of the Year Awards

Republic World: IN PICTURES | 2020: A Year In Isolation And A Never-ending Wait

Rueters: Pictures of the year: Life under coronavirus lockdown

Rueters Pictures of the year 2020

Rueters Pictures of the year: Sports

Rueters Pictures of the year: Oddly

Anadolu Agency's best pictures of 2020

Photos: Emerald’s 50 best of 2020

Tulsa World Chief Photographer Tom Gilbert’s most memorable photos of 2020

CNN: Virtual vacation: Amazing photos from a strange year for travel

The Scotsman: Arts review of 2020: The best photography books of the year

Smithsonian: The Ten Best Photography Books of 2020

The Times UK: Best photography books of the year 2020

LensCulture: Favorite Photobooks of 2020

Photoeye Favorite Photo Books of 2020

Buzzfeed: Here Are 20 Photo Books That Brought Us Joy In The Very Exhausting Year Of 2020

Insider: 50 of the most incredible photos captured in 2020

Women Photograph on Twitter: Hi Hello Are You Checking Your Year In Photos Slideshows Before You Publish Them To Make Sure They Include A Diverse Range Of Photographers?

The year in pictures: AP photographers captured a world in distress

Arizona Daily Star: Photos: Rebecca Sasnett's Fave Five photographs from 2020

The Art Newspaper: One of the most shocking, tumultuous years on record': art market figures reflect on 2020—and guess at what 2021 might hold

The Atlantic: Winners of Wildlife Photographer of the Year 2020

The Guardian: Landscape photographer of the year 2020 – in pictures

The Guardian: Weather Photographer of the Year 2020 – in pictures

National Geographic: See the best wildlife photos of 2020

The MARS 2020 Comedy Pet Photography Awards

The 2020 Audubon Photography Awards: Top 100

New Atlas: Travel back in time with the best historic photography of the year

Wonderwall: THE BEST PHOTOS OF GLOBAL ROYALS IN 2020