New York City's Sidewalk Clock

Ida Wyman: Sidewalk Clock, New York City, 1947

The Radical Camera: New York's Photo League, 1936-1951, currently on view at the Jewish Museum in New York through March 25, includes several photographs by Ida Wyman.

Her photograph of the sidewalk clock, located at the corner of Broadway and Maiden Lane in lower Manhattan,  was written about in the Photo Hunt blog recently:

"Ida Wyman took great advantage of this unique object for her 1947 photograph Sidewalk Clock, an image that captures the spirit of women’s progress in postwar America. In it, a professional woman in stockings and high heels marches confidently across the frame. The woman is in sharp focus, while the enigmatic clock appears hazy, as if it can barely keep pace with her. Wyman herself was enjoying a successful career as a freelance photographer when she took the picture. Following in the footsteps of acclaimed photojournalists Margaret Bourke-White, Dorothea Lange, and Berenice Abbott, she published her pictures in popular magazines such as Life, Fortune, and The Saturday Evening Post, an early joiner to the ranks of professional women photographers."

Frank Sinatra by John Dominis

John Dominis: Frank Sinatra and Jackie Gleason, 1965

©Time Inc

Via La Lettre de la Photographie



In mid-20th century, performers would let magazine photographers get close. Audrey Hepburn did so with Mark Shaw in 1953. James Dean let Dennis Stock hang out in 1955. Leonard McCombe shadowed Kim Novak in 1956. John Dominis seized his opportunity with Frank Sinatra in 1965.

John Dominis: It was Sinatra’s 50th birthday, and what he probably thought was that he was going to have a long interview with a writer and maybe a few formal pictures. Often with famous people, when it comes to actually taking real pictures of their lifestyle, they balk. They don't want a guy hanging around every minute of the day and night. But that's what we wanted to do.

I went down to Florida, where Sinatra was performing. I met him and hung around backstage. After the show he’d eat with a bunch of friends. For about a week I just hung around. People would come by all the time, and he'd say, “Hey, John, take a picture of old Joe and me.” So I'd go snap and take this snapshot.

We went out to Las Vegas, and at some point on the plane I said, “Everything's great, but I'd like to start getting some of the stuff we hear about. You have parties late at night with some of your old buddies and things like that.” So he invited me to a party. He had all these girls there and guys up in his suite, and they drank, and he jerked the tablecloth out from under all the dinner dishes on a table. I'd never seen that trick really done. It worked. I was amazed. He didn't spill any dishes on the floor. I shot all this, and he got smashed and ended up singing in the closet with Jerry Lewis. Good stuff. I took three months with Sinatra. That’s unheard of nowadays.

(Interview dated October 27, 1993 was printed in full in the Bullfinch Press book, LIFE Photographers: What They Saw, in 1998. These photographs  ©Time Inc., are courtesy The LIFE Gallery of Photography)

More photos here

A Storyteller Is Seen With New Eyes

Grey Villet:"Slo-Pokes", Drag Racing In Moline, Illinois, 1957

Via The Wall Street Journal


"(Grey)  "Villet really fits into that ICP/Cornell Capa tradition—not only with photojournalism but this real interest in ordinary people and their lives."
 --Erin Barnett, International Center of Photography


"My sense of his power as a photographer was very great, and I was beginning to lose all hope that I was going to get this beautiful work out there."
--Barbara Villet, Grey's widow

"Villet shot for LIFE in both its weekly and reinvented monthly iterations between 1955 and 1985, producing some 40 full-length features of remarkable emotional and intellectual range—from a 1962 visit inside Synanon House, a controversial drug-treatment facility in California, to "The Lash of Success," an allegorical look at a Chicago furniture-chain owner whose abuse of power ultimately destroyed what he'd built. His mid-'70s essay about a hospital nurse, "More Than Compassion," like W. Eugene Smith's "Country Doctor," is a striking examination of life and death. Yet Smith's 1948 essay is legendary, and Villet's is hardly known."

"Grey was able to tell a story about something people necessarily hadn't gotten their minds around," said David Friend, who worked with Villet at LIFE as a reporter and picture editor. "It's not necessarily about [Henri] Cartier-Bresson's 'decisive moment'; it's about the collision or dovetailing of images that add up to a greater whole."

Among his own kind," Mr. Friend said of his former colleague, "he was revered."

"His work is every bit as important as those who were so well known," said Sidney Monroe, whose Santa Fe-based gallery represents Villet's estate."

Full article here.
(Subscription required)

Wall Street Journal slide show
(No subscription required to view)

Wall Street Journal Interactive: Watching and Listening: The Work of Photojournalist Grey Villet
View Grey Villet's photographs during the AIPAD Photography Show March 28 - April 1 at Monroe Gallery of Photography Booth #419.

VALENTINE'S DAY 2012

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Vivian Maier: New York, 1954

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Grey Villet: Richard and Mildred Loving laughing and watching television in their living room,

King and Queen County, Virginia, 1965

 HBO: The Loving Story Tuesday, February 14 at 9 PM (check local listings)


The New York Times: Scenes From a Marriage That Segregationists Tried to Break Up

Time Light Box: The Loving Story: Loving v. Virginia and the Photographs of Grey Villet

Washington Post: Virginia’s Caroline County, ‘symbolic of Main Street USA’

Slide show:
About 6 percent of Caroline Middle School’s population is multiracial, a statistic that would not be possible without Mildred and Richard Loving, a couple from the school’s county whose Supreme Court case 45 years ago paved the way for mixed-race marriages

Mother Jones: The Loving Story: How One Interracial Couple Changed a Nation

Entertainment Weekly:  A Moving Tale Of Love And Civil Rights

Grey Villet: The Lovings




Related: Happy Valentine's Day 2011

On Ellis Island, Examining Those Who Arrived Before and After

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Stephen Wilkes: Isolation ward, curved corridor, Island 3

Via The New York Times

Michael Nagle for The New York Times

The Ellis Island Immigration Museum is expanding its scope to include all immigrants,

not just who arrived on the island.

Officials of Ellis Island estimate that as many as one in three Americans can trace their ancestry to immigrants who landed there from overseas.

Now, the officials are focusing on the other roughly 200 million newcomers who arrived in the United States before Ellis Island opened its doors or after it stopped becoming a portal for immigrants. The national historic site in New York Harbor is halfway through a transformation into a more inclusive National Museum of Immigration.

“The Ellis story is a finite story; American immigration is continuing,” said David Luchsinger, the National Park Service superintendent who oversees the island and the Statue of Liberty.
And Stephen A. Briganti, president of the Statue of Liberty-Ellis Island Foundation, said, “If we didn’t tell the current story we would be obsolete in 25 years.”

As part of a $20 million project privately financed by the foundation, 20,000 square feet, comprised of a former railroad ticket office and offices for Park Service staff, are being converted into a new museum that encompasses the story of immigration from the 16th century through today. The first phase, which covers 1550 to 1892, when Ellis Island began operating as an immigration station, opened informally last fall. The second phase, which focuses on the period after 1924—, when strict quotas on foreigners were imposed and the island was used primarily as a detention center—, and especially on the influx following World War II, is scheduled to open about a year from now with a formal ceremony to celebrate the new museum.

Full article here.

Your rights as a photographer

Know Your Rights: Photographers
Via ACLU

When in public spaces where you are lawfully present you have the right to photograph anything that is in plain view. That includes pictures of federal buildings, transportation facilities, and police. Such photography is a form of public oversight over the government and is important in a free society.

When you are on private property, the property owner may set rules about the taking of photographs. If you disobey the property owner’s rules, they can order you off their property (and have you arrested for trespassing if you do not comply).

Police officers may not generally confiscate or demand to view your photographs or video without a warrant. If you are arrested, the contents of your phone may be scrutinized by the police, although their constitutional power to do so remains unsettled. In addition, it is possible that courts may approve the seizure of a camera in some circumstances if police have a reasonable, good-faith belief that it contains evidence of a crime by someone other than the police themselves (it is unsettled whether they still need a warrant to view them).

Police may not delete your photographs or video under any circumstances.

Police officers may legitimately order citizens to cease activities that are truly interfering with legitimate law enforcement operations. Professional officers, however, realize that such operations are subject to public scrutiny, including by citizens photographing them.

Note that the right to photograph does not give you a right to break any other laws. For example, if you are trespassing to take photographs.

Full post here.

So long as we have enough people in this country willing to fight for their rights, we'll be called a democracy.

-- ACLU Founder Roger Baldwin


Related: Freedom of the Press?

The 2012 World Press Photo of the Year

Samuel Aranda—The New York Times via Reuters

A woman holds a wounded relative in her arms, inside a mosque used as a field hospital by demonstrators against the rule of President Ali Abdullah Saleh, during clashes in Sanaa, Yemen on 15 October 2011.

Today the winners of the prestigious 55th annual World Press Photo competition were announced in Amsterdam naming Samuel Aranda from Spain as the World Press Photo of the Year 2011.


"They called me yesterday around 7pm, and told me that I had won the World Press Photo," Samuel Aranda tells BJP in his first interview of the day. "At that exact moment, I was checking my bank account because I didn't know how I was going to pay my rent this month. I was crunching numbers to make it work."

 World Press Photo: "It was about the people," says jury chair Aidan Sullivan



Jury chair Aidan Sullivan speaks about the winning image by Spanish photographer Samuel Aranda

World Press Photo: Does the winning image reference Michelangelo's Pietà?


Analysis: Yet, in spite of the strong islamist connotations of the full veil, I cannot help but be reminded of the Christian iconography of the Pieta in which the Virgin Mary holds the body of Jesus after his death


View the entire collection of winning images from the 55th World Press Photo Contest



By the numbers: 5, 247 Photographers, 124 Nationalities, 101, 254 pictures. Three hundred and fifty images by 57 photographers of 24 nationalities were awarded prizes in nine categories


World Press Photo: What was missing for this year's entries?  (For one, Occupy was not represented in this year's entries)



"My photo history class (at art history department) is going to hear all about the (ab)use of the pieta in their next class." "OK, I'm just going to say it: It might be time for an alternative to World Press Photo. Bc you know, I mean, come on!" http://twitter.com/jmcolberg

The most unforgettable images of the year / Best photographs of 2011

50 stunning Olympic moments No13: Tommie Smith and John Carlos Salute

<><> Smith and Carlos, the 200m gold and bronze medallists, don black gloves and give the Black Power salute on the podium in Mexico in 1968 Photo by John Dominis ©Time Inc.

The Guardian has been publishing a series of memorable Olympic moments as a lead up to the 2012 London Olympics.

"On 17 October 2005 a 20ft-high statue was unveiled at San Jose State University showing their former students Tommie Smith and John Carlos frozen, fists aloft, as they had stood exactly 37 years earlier on the Olympic podium in Mexico City. "Tommie Smith and John Carlos stood for justice, dignity, equality and peace," reads the inscription. "Hereby the university and associated students commemorate their legacy."

Two years later Smith published his autobiography. In 2008 the pair were given the Arthur Ashe Courage Award at the ESPYs, something akin to an American Sports Personality of the Year awards. Carlos's own autobiography followed last October. This, now, is their life, full of speaking engagements and interviews, publicity and publication, applause and acclaim.

In the moments before the medal ceremony in Mexico City, Carlos, Smith – as of a few moments earlier the 200 metres world record-holder – and the Australian silver-medallist Peter Norman sat in a room the athletes called "the dungeon", deep in the bowels of the Olympic Stadium. As they prepared, they discussed what was about to happen. One of the things mentioned was the possibility of them being murdered on the spot.

"I remember telling Mr Smith: 'Remember when we get out there, we've been trained as runners to listen to the gun,'" Carlos has said. "'So when we get out there and do what we do, if the hammer hits that bullet, hit the deck. Don't be just a duck on the table for them to just shoot at.'"

Full article here.

On Exhibit: Grey Villet's Photographs of The Lovings

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 Grey Villet

 Mildred and Richard Loving, King and Queen County, Virginia in April 1965

Concurrent with the opening of Vivian Maier: Discovered, we are pleased to exhibit selected photographs Grey Villet shot of the Richard and Mildred Loving for Life magazine in 1965. "Grey Villet: The Lovings" will continue through March 18, 2012.

Grey Villet took over 2,400 frames of the Lovings for Life in 1965 but the magazine did not run the story until March 18, 1966, when the Virginia Supreme Court of Appeals upheld the lower court ruling and the Lovings’ case headed to the U.S. Supreme Court. The tone of the piece, as well as the selected images, was cool and neutral; the three published images that include both Mildred and Richard are extremely chaste and do not capture the emotional bond between them as so many of Villet’s other images do. Life, like many other media outlets, did not want to address the topic of interracial sex directly for fear of offending popular opinion.

The Loving Story, a documentary film, tells the story of Richard and Mildred Loving to examine the drama, the history, and the current state of interracial marriage and tolerance in the United States. It's World Premiere was at the Full Frame Documentary Film Festival in April 2011, and the On-air premiere of The Loving Story will be on HBO, February 14, Valentine’s Day, 2012.

A selection of Grey Villet's photographs, including several of The Lovings, will also be on exhibit during the AIPAD Photography Show in New York March 28 - April 1, at Monroe Gallery Booth #419.

Related:

NPR: The Loving War: How Black History Is Both Black And White

Richmond Times Dispatch: HBO documentary examines Lovings' struggle

Life of Marital Bliss (Segregation Laws Aside)

Grey Villet: The Lovings

"I always think that if I had had any money and any decent equipment, I would never have taken that picture"

Neil Leifer:  Alan Ameche TouchdownN.Y. Giants vs. Baltimore Colts, NFL Championship Game
Yankee Stadium, Bronx, N.Y., December 28, 1958

"There is a picture of Alan Ameche scoring the winning touchdown in what has been referred to as "the greatest game ever played". It was the famous sudden death between the Baltimore Colts and the New York Giants, which coincidentally took place on my 16th birthday, December 28th 1958. When Alan Ameche scored the winning touchdown there were so many Colt’s fans, (mainly drunken Colt’s fans) on the field that the security had their hands full just making sure that they could keep those people off the field. They weren’t worried about someone like me that they had seen every week. So I ended up exactly ten yards in front of Ameche as he scored the winning touchdown. He came right at me and I got that picture, which today, is certainly one of my best-known pictures. I always think that if I had had any money and any decent equipment, I would never have taken that picture because, if I would have had a long lens, a 135mm or a 180mm, I would have tried to fill the frame with Ameche going in for the winning touchdown. Instead I got the wide shot that takes in the whole ambiance of Yankee Stadium that afternoon which is so much better than any picture I would have taken years later when I was an established pro." -- Neil Leifer

Bonus: Live Blog of Today's Super Bowl Commercials