2011: WOMEN IN PHOTOGRAPHY

Two seemingly disparate blog posts caught our attention today:

Hillary Clinton, Audrey Tomason go missing in Situation Room photo in Der Tzitung newspaper

The Washington Post
By Melissa Bell


Update: Der Tzitung responded in an emailed statement, that the photo editor did not read the fine print on the picture and the newspaper has since apologized to the White House and State Department. “In accord with our religious beliefs, we do not publish photos of women, which in no way relegates them to a lower status... Because of laws of modesty, we are not allowed to publish pictures of women, and we regret if this gives an impression of disparaging to women, which is certainly never our intention. We apologize if this was seen as offensive.” Read the full statement at the bottom of this post.



Why Is a Photojournalist’s Gender Relevant to Their Work?

Black Star Rising
by Paul Melcher
I’ve never been able to identify a photojournalist’s gender from the photos she takes. Have you?


When Margaret Bourke-White photographed the Nazi death camps for Life magazine, no one cared if she was a woman or not. Her images told the story and that was that.

So why is it so important for some photographers to define themselves as “women photojournalists,” rather than simply as “photojournalists”?   Full post here. One rebuke here.


We are not sure if there is a broader context to these two posts....your thoughts?

New York Photo Festival - May 11-15, 2011

Photo: Balazs Gardi

New York Photo Festival - May 11-15, 2011


CURATED BY ENRICO BOSSAN AND ELISABETH BIONDI


Taking place throughout DUMBO, Brooklyn.

Ticket information here. Tickets will also be available at 1 Main Street Storefront, starting Thursday, May 12 @ 11am


Exhibition Hours
Wednesday, May 11 - 5:00 p.m. to 7:00 p.m.
Thursday, May 12 - 12:00 p.m. to 10:00 p.m.
Friday, May 13 - 11:00 a.m. to 8:00 p.m.
Saturday, May 14 - 11:00 a.m. to 8:00 p.m.
Sunday, May 15 - 11:00 a.m. to 7:00 p.m.

https://www.brownpapertickets.com/event/172633


Full details here

This year’s main exhibitions, curated by Enrico Bossan and Elisabeth Biondi (on show at the 81 Front Street Storefront) are presented under the shared rubric PHOTOGRAPHY NOW: engaged, personal, and vital. They offer distinct perspectives on a shared theme: the state of documentary photography today.

Bossan’s show, entitled Hope, features the work of young photographers who, in his words, "neither provide a faithful representation of reality nor create an illusion, but who have impressed me with their ability to capture the essential aspects of life." These artists include Olivia Arthur, Clemence de Limburg, Matt Eich, Simona Ghizzoni, Andrea Gjestvang, Sean Lee, Margo Ovcharenko, Andy Spyra, Mikhael Subotzky, Ali Taptik and Peter van Agtmael. Bossan grants that photography can portray the world at its bleakest, but suggests that it can also—and, in fact, must—remain oriented toward what lies ahead.

Curated by Elisabeth Biondi, Subjective/Objective argues that documentary photography today is remarkably vibrant and creatively thriving, despite the bleak financial picture and vanishing support from a publishing industry challenged by digital media. She has selected photographers who refract reality through their own distinct visions, often venturing into more personal visual languages. Subjective/Objective will include the work of Alejandro Chaskielberg, Stefano De Luigi, Carolyn Drake, Martine Fougeron, Balazs Gardi, Jessica Hines, Ethan Levitas, Irina Werning and A Yin.

In addition to their respective exhibitions, Bossan and Biondi are jointly curating a room of work by photographers Shaul Schwarz and Richard Mosse that reveals the common ground in the curators’ perspectives.

A separate venue, located at 30 Washington Street, will feature multimedia works by artists CIA DE FOTO and Ben Lowy, as well as six viewing booths featuring work by such industry luminaries as MediaStorm and Panos Pictures.

About the New York Photo Festival

Designed to be a New York counterpart and thematic successor to the prestigious European photo festivals Les Rencontres d’Arles, PHotoEspaña, Perpignan and Visa pour l’Image—and American festivals such as FotoFest in Texas—the New York Photo Festival creates an international atmosphere of inspiring visual installations, professional and aficionado fellowship and camaraderie, and news-worthy staged presentations, awards ceremonies, and symposia over the course of four-and-a-half days during the busiest photography month in New York City.

The festival was founded by Daniel Power and Frank Evers. The inaugural NYPH (May 14–18, 2008) proved an astounding success, with over 15,000 tickets sold, 2,500 industry professionals and artists, 1,000 members of the international press, packed seating for all day and evening programming events at St. Ann’s Warehouse (450 capacity), 20 countries represented in curated and satellite pavilions, 85,000 clicked site visits, 47,000 blog posts, 2.5 million unique visits to www.nyphotofestival.com, 49 media partners, and over 3,000 submissions from 87 countries for the New York Photo Awards (www.newyorkphotoawards.com). Each year, the New York Photo Festival has been bigger in all respects.

The festival is headquartered in DUMBO, Brooklyn, NY.

MOTHER'S DAY, 2011

Nina Leen: Housewife Marjorie McWeeney under Helene Curtis brand hairdryer as she has a manicure while keeping an eye on her baby beside her in his bassinet at beauty parlor. Rye, NY, June 1947

...AND THEY'RE OFF!

Neil Leifer: The 1965 Kentucky Derby, with Lucky Debonaire and Bill Shoemaker, Churchill Downs, May 1, 1965.

Neil Leifer: The First Turn,  1965 Kentucky Derby

 

It’s really easy to name the most incredible athlete I’ve ever seen, and I always say it was Muhammad Ali, but when you really sit down to think about it, I’m not so sure that the most incredible performance I’ve ever seen was at an Ali fight. I’ve never photographed Tiger Woods, but watching Tiger on television in 2000 gave you the same feeling as watching Secretariat run away with the Triple Crown races in 1973. This picture was taken at the finish line of the Kentucky Derby. Look closely at it: have you ever seen a more powerful-looking athlete, or should I say a horse? It also clearly shows how convincing Secretariat’s Derby victory was, and this victory wasn’t nearly as convincing as the one he would pull off at the Belmont Stakes five weeks later. The picture is also very different from the traditional under-the-rail finish line shot. I forgot about the famed spires for this picture and isolated Secretariat. It was a gamble, but it worked out beautifully. I had no idea how great Secretariat was, and what a legend he would become. Five weeks later everyone knew. People had always talked about a Triple Crown winner when I was growing up, but it seemed like it would never happen again. Then along came Secretariat, and not only did it happen, but in a style so convincing that it was hard to believe that any single athlete/horse could be so better than his competition.
 -- Neil Leifer

Neil Leifer: Secretariat, The Kentucky Derby, Churchill Downs, Louisville, KY, May 5, 1973

The Kentucky Derby Website

COMPOSING THE ARTIST

Steve Schapiro: Rene Magritte, Museum of Modert Art, New York, 1965

Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce "Composing The Artist", an extensive survey of more than 50 classic photographs portraying iconic personalities from the arts as captured by renowned photographers. The exhibition opens with a reception on Friday, May 6, from 5 to 7 PM. "Composing The Artist" will continue through June 26.


The common definition of an "artist" is one who is able, by virtue of imagination and talent or skill, to create works of aesthetic value, especially in the fine arts. Photographs of artists and writers across the centuries have shaped our sense of what they do. Photographs in the exhibit include images of visual artists and classic writers, at work, in quiet contemplative moments and in portraiture. In these photographs the essential personality of the artist is revealed, and an image of the past becomes visual history. Other pictures also brilliantly match artworks with the personality and appearance of their creators: they are not just at one with their working environment, they are their work.

View the exhibit here.


Related: Guardian Newspaper Series: Photographer Steve Schapiro's Best Shot

THEN, AND NOW: GROUND ZERO

Eric Draper: Ground Zero, New York City, September 14, 2001

May 5, 2011: On a morning so clear, so blue and so sunny that it recalled the morning of September 11, 2011, President Barrack Obama arrived in New York  to lay a wreath at the 9/11 Memorial and meet with families of September 11 victims and, along the way, to meet with firefighters at a Midtown firehouse that lost 15 men on September 11.

Doug Mills/The New York Times

President Obama laid a wreath at ground zero on Thursday, May 5, 2011

Charles Dharapak / AP



Related:

NY Firefighters Gather for News of Bin Laden



Joe McNally - The Faces of Ground Zero

ERNST HAAS: New York: Magic City

Clouds and Skyline, New York, 1957

ERNST HAAS "NEW YORK, MAGIC CITY" IN PARIS

May 6 - June 4, 2011

Details here. (in French)

Gallerie Basai Embiricos

Gallerie Photo 12


Ernst Haas (1921-1986) is considered one of the most important photographers of the second part of the 20th century. Haas attended medical school in Austria, but, in 1947, left to become a staff photographer for the magazine Heute. His photo essay for the magazine on prisoners of war coming home to Vienna won him acclaim and an offer to join Magnum Photos from Robert Capa. Haas and Werner Bischof were the first photographers invited to join Magnum by the founders Capa, David "Chim" Seymour, Henri Cartier-Bresson, George Rodger and Bill Vandivert.

Haas moved to New York City and in 1953 produced a 24-page, color photo essay on the city for Life Magazine. Life then commissioned similar photo spreads on Paris and Venice. In 1962, the Museum of Modern Art mounted a one-man show of Haas' color photos. Haas' first photo book, Elements, was published the next year.

In 1964, film director John Huston hired Haas to direct the creation sequence for Huston's 1964 film, The Bible. Haas continued working on the theme, producing the photo book, The Creation in 1971. Other photography books by Haas included In America in 1975, a tribute to his adopted country for its bicentennial year; Deutschland in 1977; and Himalayan Pilgrimage in 1978. Other films that Haas worked on included The Misfits in 1961, Hello, Dolly! in 1969, Little Big Man in 1970, and Heaven's Gate in 1980. Haas also photographed a number of advertising campaigns for Marlboro cigarettes.

In 1986, Haas received the Hasselblad Award for his photography. He died September 12, 1986. (More here)

The Paris exhibitions are conducted under the direction of Victoria and Alex Haas will include a selection of previously unpublished photographs. It will include vintage prints, contemporary prints and dye transfer prints.

Related - New Book: Colour Correction by Ernst Haas, published by Steidl

The Cross, New York, 1966

50 years later, Freedom Rides still resonate

The first Freedom Ride took place on May 4, 1961 when seven blacks and six whites left Washington, D.C., on two public buses bound for the Deep South. They intended to test the Supreme Court's ruling in Boynton v. Virginia (1960), which declared segregation in interstate bus and rail stations unconstitutional.


In the first few days, the riders encountered only minor hostility, but in the second week the riders were severely beaten. Outside Anniston, Alabama, one of their buses was burned, and in Birmingham several dozen whites attacked the riders only two blocks from the sheriff's office. With the intervention of the U.S. Justice Department, most of CORE's Freedom Riders were evacuated from Birmingham, Alabama to New Orleans. John Lewis, a former seminary student who would later lead SNCC and become a US congressman, stayed in Birmingham.
 
 

Joseph Postiglione

(Collection of the Birmingham Civil Rights Institute)

The aftermath of a mob attack on a Freedom Ride bus in Anniston, Alabama

CORE Leaders decided that letting violence end the trip would send the wrong signal to the country. They reinforced the pair of remaining riders with volunteers, and the trip continued. The group traveled from Birmingham to Montgomery without incident, but on their arrival in Montgomery they were savagely attacked by a mob of more than 1000 whites. The extreme violence and the indifference of local police prompted a national outcry of support for the riders, putting pressure on President Kennedy to end the violence.

The riders continued to Mississippi, where they endured further brutality and jail terms but generated more publicity and inspired dozens more Freedom Rides. By the end of the summer, the protests had spread to train stations and airports across the South, and in November, the Interstate Commerce Commission issued rules prohibiting segregated transportation facilities.  (via CORE)

More: It’s been 50 years now, but there are times when Charles Person still finds it hard to talk about the summer of 1961 without his voice breaking.

Steve Schapiro: Summer of 1965 Freedom Bus Riders

MAY 4: ANNIVERSARY OF KENT STATE SHOOTING



"On May 4th, 1970, John Filo was a young undergraduate working in the Kent State photo lab. He decided to take a break, and went outside to see students milling in the parking lot. Over the weekend, following the burning of the ROTC building, thousands of students had moved back and forth from the commons area near to the hill in front of Taylor Hall, demonstrating and calling to an end to the war in Vietnam. John decided to get his camera, and see if he could get an interesting picture. He saw one student waving a black flag on the hillside, with the National Guard in the background. He shot the photograph, and feeling that he now had recorded the moment, wandered to the parking lot, where a lot of the students had gathered. Suddenly, G company of the Ohio National Guard opened fire. John thought they were shooting blanks, and started to take pictures.

A few second later, he saw Mary Vecchio crying over the body of one the students who had just been killed, Jeffrey Miller. He took the picture.

A few hours later, he started to transmit the pictures he had taken to the Associated Press from a small newspaper in Pennsylvania."
©Dirck Halstead, The Digital Journalist

The photograph won him a Pulitzer. To take the picture John used a Nikkormat camera with Tri X film and most of the exposures were 1/500 between 5.6 and f 8.

Note: An altered version of John Filo's famous picture has over the years been published a number of times instead of the real Filo Pulitzer Prize Winner shown on below. The altered version appeared as recently as May 1st, 1995 in the LIFE magazine article, "Caught in time" , page 38. At some point in the early 1970s someone removed a pole that was apparently sticking out of Vecchio’s head. Time has all of it’s articles on line, unfortunately without photos. Life ran the altered image in an article in May, 1995. David Friend, Life’s Director of Photography, attempted to justify this use – he stated that “LIFE did not and does not manipulate news photos. The photo we published was supplied to us by our photo library–the Time-Life Picture Collection….Amazingly, the fence post had been airbrushed out by someone, now anonymous, in a darkroom sometime in the early 1970′s. The picture had run numerous times–without the fencepost, and without anyone taking notice–in TIME (Nov. 6, 1972, p. 23) PEOPLE (May 2, 1977, p. 37), TIME (Jan. 7, 1980, p. 45), PEOPLE (April 31, 1990, p. 117) to name just a few publications. (via http://www.hennemanphoto.com/)



Related:
National Public Radio: "Shots Still Reverberate For Survivors Of Kent State"

"Out in the world, when people talk about the shootings at Kent State University on May 4, 1970, they call it "Kent State." But in the small town of Kent, 35 miles south of Cleveland, and on the university campus, they call it "May 4th." The full multi-media article is here.

Listen to John Filo recount the making of the photograph here.

John Filo was reunited with the photograph's subject, Mary Vecchio.

NY Firefighters Gather for News of Bin Laden

Michael Appleton for The New York Times



Via The New York Times Lens Blog

Firefighters Gather for News of Bin Laden

By DAVID W. DUNLAP


Michael Appleton managed to bridge a decade in a single photograph on Sunday night

His perfectly distilled picture showed the firefighters of Ladder Company 4 — which lost seven men on 9/11 — perched together on their aerial ladder, watching a news bulletin in Times Square declaring that Osama bin Laden was dead. Though their backs were to the camera, the men’s body language spoke eloquently, beginning with Firefighter Stassi’s obvious exultation. “Each individual has his own reaction,” Mr. Appleton said. “One is celebrating. Others are about to embrace. They’re tight. They’re close.


“It’s like the weight is off their shoulders, perched up there, enjoying each other’s company, shoulder to shoulder. And it was over very quickly.”

Like most of the best news photographs, Mr. Appleton’s composition was the product of pure luck and the experience — and the sharp eyes — to know what to do when such good fortune comes along. Asked by The Times to get himself to Times Square for President Obama’s announcement on Sunday, Mr. Appleton found a somewhat mellow mood at about 10:30 p.m., as news of the killing was not yet generally known. As the president began to speak, however, the crowd grew larger and more attentive.

“There was a crescendo when the Fire Department showed up,” he said.

Ladder Company 4 — the “Pride of Midtown,” together with Engine Company 54 and Battalion 9 — parked its rig in the middle of Broadway. Mr. Appleton tried to get aboard the truck to photograph the appreciatively cheering crowd. But lots of other onlookers had the same idea until the firefighters chased them off before seating themselves on the ladder.

“They were starting to line up,” Mr. Appleton said. “I looked across street at Bubba Gump’s and I could see there was a second-floor window that would give me the vantage I needed. I envisioned the photo before I went up.”

It took a moment to persuade the manager. In that time, Mr. Appleton feared this precious confluence would simply evaporate. Instead, by the time he positioned himself in the restaurant’s window, there were more firefighters side by side on the ladder. Then it was a matter of waiting for the illuminated zipper across Broadway to display the full message.

Mr. Appleton, 33, has been engaged with this story since it began, when he was assigned by The Daily News to cover St. Vincent’s Hospital and wound up instead with extraordinary pictures of the towers’ collapse.

“My career really started on 9/11,” he said by telephone on Monday, after covering the mayor’s news conference on no sleep whatsoever. “It was my baptism by fire.”

Related: Then and Now: VJ-Day and the death of Osama bin Laden