"It is neither a police officer’s duty or right to decide what is appropriate news coverage of any story"

 An Albuquerque police officer first told a news videographer that he would not be allowed to continue filming an incident where the body of a motorcyclist remained trapped underneath a car this morning.


Mickey Osterreicher, general counsel for the National Press Photographers Association, who will be sending a letter to Albuquerque Police Chief Ray Schultz, provided the following statement:

Watching the video of a senior officer who should know better illustrates how important proper guidelines and training are regarding these issues.

It is neither a police officer’s duty or right to decide what is appropriate news coverage of any story. So long as news personnel are in a public forum and not violating any ordinances they have a right to gather news unfettered by the personal feelings or opinions of law enforcement. Anything less may be considered a form of prior restraint or censorship. It is all well and good that the police set-up a media staging area but that does not mean it is the only place that media are allowed to be. They can go wherever the public is allowed, which in this case is outside of the "crime scene" perimeter. To expand that area for the sole purpose to preventing photographs or video recording is not a reasonable time, place and manner restriction and limits more First Amendment protected activity than is necessary to achieve a governmental purpose.

This department would be well-advised to take a page from the Crime/disaster scene guidelines of San Diego Sheriff's Department Media Guide, specifically:

Do not establish artificial barriers. For example, do not hold the press at bay a block from the crime scene, while allowing the general public to wander freely just beyond the crime scene tape.

Do not prevent the taking of pictures or interviews of person(s) in public places. The media, when legally present at an emergency scene, may photograph or report anything or interview anyone they observe.

Do not isolate the media outside the crime/incident scene unless the area has been secured to preserve evidence or their presence jeopardizes law enforcement operations.

PRIDE 2012

Ken Regan: Gay Rights March on Washington, April, 1993

All across the nation today, America’s LGBT population and their friends, family, and allies will unite in parades across the country celebrating the yearly tradition of Pride, always the last weekend in June to commemorate the Stonewall Riots of 1969, widely recognized as the first gay rights manifestation.


NY Daily News Slideshow: Gay Rights Movement in New York City


Related exhibition - People Get Ready: The Struggle For Human Rights

Steve McQueen: Unpublished Photos of the King of Cool

 John Dominis/Time Inc.: At his home in Palm Springs, McQueen practices his aim before heading out for a shooting session in the desert

Via Life.com


In the spring of 1963, Steve McQueen was on the brink of superstardom, already popular from his big-screen breakout as one of The Magnificent Seven and just a couple months away from entering the Badass Hall of Fame with the release of The Great Escape.

Intrigued by his dramatic backstory and his off-screen exploits — McQueen was a reformed delinquent who got his thrills racing cars and motorcycles — LIFE sent the great photographer John Dominis to California to hang out with the 33-year-old actor and, in effect, see what he could get.

Three weeks and more than 40 rolls of film later, Dominis had captured some astonishingly intimate and now-iconic images — photos impossible to imagine in today’s utterly restricted-access celebrity universe. Only a handful of those photos were ever published. Here, LIFE.com presents a series of previously unpublished gems from what Dominis would look back on as one of his favorite assignments, along with insights about the time he spent with the man who would soon don the mantle, “the King of Cool.”

Full slide show here.

Today in News History: June 21, 1964: Three civil rights workers disappeared in Philadelphia, Miss.

Today in News History: June 21, 1964: Three civil rights workers disappeared in Philadelphia, Miss. Their bodies were found buried in an earthen dam six weeks later.


A CIVIL RIGHTS LEGACY: "NESHOBA: THE PRICE OF FREEDOM"

“I once saw her taking a picture inside a refuse can. I never remotely thought that what she was doing would have some special artistic value.”

Self Portrait, February 1955   ©Maloof Collection

Self-Portrait in a Sheet Mirror: On Vivian Maier
Via The Nation

"We can’t know the full story behind this self-portrait, or behind the many thousands of images left in a storage locker in Chicago. But we can look at the range of Maier’s work and see the tantalizing evidence of artistry and ambition, and we can look at the expression of the woman reflected in the sheet mirror and see her indisputable pleasure. This is no frumpy old bird woman looking at her own pathetic destiny. This is a woman who knows what she wants, who has chosen to do her work free of judgment and commerce, and who is in charge of the scene."  Full article here.

WORLD REFUGEE DAY 2012

Eddie Adams: Boat of no smiles, Vietnamese Refugees, Gulf of Siam, Thanksgiving Day,1977



Theme for 2012: Refugees have no choice. You do.

THE BOAT OF NO SMILES

 Here’s my story: in early 1977 I noticed a couple of paragraphs in the New York Times about people escaping from Vietnam. Associated Press had just signed me up with carte blanche to cover the whole world, and complete editorial control. (The first person before or since to get it–that was the deal I made with them.) And I went to the president and said, "Boat people. Here’s a story I want to do," and started making calls all through Southeast Asia to AP bureaus to find out more. No one, no country, was letting the refugees land. You couldn’t even find out about them. At first, I went back and said the story was impossible to cover. Then I had an idea and got in touch with the Thai Marine police (I knew Thailand very well) who had been shoving the boats right back offshore to certain death. I told them would like to go with them on patrol in the Gulf of Siam. They OK’d it, so we headed for the most likely point in northern Thailand, getting there at 4am when a refugee boat had just pulled in; the Thai authorities were getting ready to cast it off again. It was Thanksgiving Day in 1977. I suddenly asked the Vietnamese if I could go with them— I bought gas and rice – they had no fuel or food. There were forty-nine people aboard that fishing boat, including children— in the hold that same day a baby was born. The Thais towed us back out to sea and set us adrift. On that boat, there was no room to lie down, so they all had to sit up straight, waking or sleeping. I cannot describe the despair. There were dramatic pictures of mothers with half-dead children in their arms but something even worse was there. Whenever you go to refugee camps in a war zone where terrible things have happened, where bodies might be stacked up, and disease everywhere, you still find children who gather before the camera with a smile. This was the first time in my life that no child smiled. I called the pictures, "the boat of no smiles." The boat was hardly moving- they didn’t even know where to go. Then we were approached by another Thai boat with a megaphone ordering me off at gunpoint— they were afraid someone would let them dock knowing there was an American aboard. I had mixed feelings about getting off. I wrote the story and sent the pictures immediately, and they ran. Peter Arnett did a story also and a few others. Within a couple of days the administration asked the AP to present the photos to Congress. And Carter said let them come to America. The Congress had been thinking about it, sure, but the pictures did it, pushed it over. To me that was the only thing I ever done that I cared about, valued. Pictures do work, at least sometimes. They carry conviction. Go back to the pictures in Speak Truth to Power and you can look at them in another way. These people, those faces, are the person next door. These are real people, and the pictures prove that no one made this up– they are the evidence that they exist. Ordinary people, doing extraordinary things.  --Eddie Adams

Related: Forthcoming Exhibition -

                        People Get Rady: The Struggle For Human Rights

                        July 6 - September 23, 2012

LIFE : Robert Kennedy dying by Bill Eppridge

Dying Robert Kennedy by Bill Eppridge © 1968 Time Inc



"I looked, and I did something that you should never do. I didn't take a picture."


-- Bill Eppridge



Via La Lettre de la Photographie

FATHER'S DAY, 2012

Guy Gillette: Arnolds, Cafe, Lovelady, Texas, 1956

You can thank Richard Nixon for making Father's Day and official holiday.

Related: Happy Father's Day 2011

FLAG DAY, 2012

Bill Eppridge: White Barn, New Preston, CT, 2007

The History of Flag Day

100 books, 56 cameras and 6,000 photographs

100 books, 56 cameras and 6,000 photographs

Pinhole Resource Collection Joins the History Museum’s

Palace of the Governors Photo Archives

Santa Fe (June 13, 2012)—Mysterious, artistic, and as low-tech as an oatmeal box, pinhole photography has captivated everyone from schoolchildren to professional photographers for more than a century. The Pinhole Resource Archives, the world’s largest collection of images, books and cameras, just joined New Mexico’s largest archive of photography, the Palace of the Governors Photo Archives at the New Mexico History Museum.

The collection was a donation from Pinhole Resource Inc., which is based in New Mexico and led by Eric Renner and Nancy Spencer.

“In looking at other possible repositories for the Pinhole Resource Collection, we felt the Palace of the Governors Photo Archives had a tremendous web presence, which would make the collection accessible to people worldwide,” Renner and Spencer said in a prepared statement. “In addition, with the staff’s enthusiasm and interest in pinhole images we felt the collection would have a good home here in New Mexico."

The Photo Archives has already digitized hundreds of the images, which can be searched here (http://econtent.unm.edu/cdm4/indexpg.php ); click on “Browse Pinhole Resource Collection” or type the word “Pinhole” into the search box. In 2014, the museum will mount an exhibition, Poetics of Light, celebrating pinhole photography.

 “The Photo Archives and the state of New Mexico is fortunate to be the repository for this world-class collection of pinhole photography. There is no other collection like it and is a tremendous addition to the resources made available to the public through the Photo Archives,” said archivist Daniel Kosharek.

Even in this digital age, pinhole photography remains an intriguing medium. Its popularity has been celebrated every April since 2001 with Worldwide Pinhole Photography Day. The 2010 event drew 3,387 images from 67 countries.

An exhibition of images from this unparalleled collection of pinhole photographs, representing images from New Mexico and around the world, is scheduled for April 2014 at the New Mexico History Museum. Poetics of Light will coincide with Worldwide Pinhole Photography Day.

In the 5^th century BC, a Chinese philosopher noted the inverted image produced through a pinhole—an effect that led to development of the camera obscura and serves as the fundamental quality of pinhole photography. Renaissance artists Leonardo da Vinci, Filippo Brunelleschi, and Leon Battista Alberti advanced the knowledge of pinhole camera obscura imagery, creating a basis and understand of one-point perspective. In 1850, Sir David Brewster, a Scottish scientist, took the first photograph with a pinhole camera. By the mid-1980s, a variety of pinhole cameras could be purchased by anyone who wanted to create images without creating the camera.

In its most simple description, a pinhole camera is a lens-less camera with a small aperture. The interior of the “camera” (which can be, yes, an oatmeal box…or a traffic cone…or the human mouth…) contains a piece of film that records the projected image over periods of time that can range from a second to a year.

Pinhole Resource Inc., a nonprofit organization dedicated to pinhole photography across the globe, was formed in New Mexico in 1984 by Eric Renner. He began working in pinhole photography in 1968, while teaching three-dimensional design for the State University of New York at Alfred. Images from his 6 pinhole panoramic camera were shown in the first exhibition of the Visual Studies Workshop Gallery in Rochester, New York. Consequently, one of Renner’s images was included in the Time-Life Series The Art of Photography, 1971. Through exhibitions and workshops, he met pinhole artists throughout the world and worried that their work might become as lost as the thousands of images taken during the Pictorial Movement from the late 1880s to early 1900s.

After forming the nonprofit, he created the Pinhole Journal, and in 1989 was joined by Nancy Spencer, co-director of Pinhole Resource and co-editor of the journal, which ceased publication in 2006. Their collections included images from Europe, the Mideast, Asia and the Americas, books about pinhole photography, and dozens of pinhole cameras, one of which dates back to the 1880s.

The Palace of the Governors Photo Archives contains more than 800,000 prints, cased photographs, glass plate negatives, stereographs, photo postcards, lantern slides and more. Almost 20,000 images can be keyword searched on its website. The materials date from approximately 1850 to the present and cover the history and people of New Mexico from some of the most important 19^th- and 20^th-century photographers of the West—Adolph Bandelier, George C. Bennett, John Candelario, W.H. Cobb, Edward S. Curtis, Charles Lindbergh, Jesse Nusbaum, T. Harmon Parkhurst, Ben Wittick, and many others.

The Archives actively seeks material from contemporary photographers as well in order to document the past 50 years of visual history in New Mexico. Recent acquisitions include works by Jack Parsons, Herbert A. Lotz, Tony O’Brien, Steve Fitch, David Michael Kennedy, John Willis, Ann Bromberg, and Cary Herz.

Image: Top, "Community," by Linda Pearson, 2002. Palace of the Governors Photo Archives HP.2012.15.357.

Media contact: Kate Nelson, Public Relations and Marketing

New Mexico History Museum/Palace of the Governors

(505) 476-1141; (505) 554-5722 (cell)

kate.nelson@state.nm.us

http://media.museumofnewmexico.org/

The New Mexico History Museum is the newest addition to a campus that includes the Palace of the Governors, the oldest continuously occupied public building in the United States; Fray Angélico Chávez History Library; Palace of the Governors Photo Archives; the Press at the Palace of the Governors; and the Native American Artisans Program. Located at 113 Lincoln Ave., in Santa Fe, NM, it is a division of the Department of Cultural Affairs.