"the conference will reflect upon on how human rights and individual agency can be promoted and violated through the camera"

Via Jim Johnson at (Notes On) Politics, Theory, and Photography
(Highly recommend that you bookmark this blog)

Call For Papers: Picturing Others: Photography and Human Rights

Picturing Others: Photography and Human Rights
Cardiff, 17-18 January 2013

This 2-day conference will bring together photography practitioners, academic researchers, press officers, journalists and members of community groups to discuss how photographs are used to represent people in situations of conflict or disaster, and to consider the real-world effects that photographic representation can have on the lives of people migrating from one country to another. The conference aims to create an initial forum for on-going dialogue between photographers, media officers, journalists and researchers on photography.

The conference will focus on the ways in which photographs from past times can affect how people are represented today; on the ways in which different sectors use photography to inform or educate; and on how the photographic images used in different sectors communicate with each other and with their publics. The conference will also engage with how people from areas of conflict or disaster view images of themselves by others, and how they use photography themselves. More broadly, the conference will reflect upon on how human rights and individual agency can be promoted and violated through the camera; and the choices that photographers, broadcasters and campaigners make when using photographic images.

We invite paper proposals of 200 words for submission by 8 October 2012 from all those with an interest in photography and human rights. Decisions on proposals will be communicated by e-mail by 22 October 2012. Proposals should be sent to the organising committee at migration@cf.ac.uk and may discuss any aspect of the questions suggested below.

We warmly invite presentations taking a practical, personal or theoretical approach, and referring to any historical period or geographical area. Conference presentations will be of 20 minutes’ length.

Topics for discussion may include, but are not limited to:

• Are there patterns in the ways in which people in conflict or distress elsewhere are represented in photography?
• How do these patterns of representation affect how people who migrate to other countries are perceived and how well they can integrate and settle?
• How do past photographic representations of people from elsewhere link to contemporary photographs of countries in conflict or disaster situations and the way they are presented?
• How do non-photographic media, such as text and radio journalism, affect responses to photographs of other people?
• How do photographed people in situations of conflict or disaster, or in peacetime, interact with their media representations?
• What kinds of images do indigenous media and NGOs use to represent people in situations of conflict or disaster in their own countries and localities?
• What are the decision-making processes used by photographers picturing conflict and disaster?
• How do image the choices made in news media affect how images are used by development organisations or community groups, and vice versa?
• Where migration is concerned, what are the effects of images on perceptions of migrants, on social integration in host countries, and on the resolution of conflicts at home and in host countries?
• How is the educational role that images of others can have connected to issues of wider power relations between the global South and the global North in making, publishing/broadcasting and viewing images?

 Rachael Langford
School of European Languages, Translation and Politics, Cardiff University
Cardiff, Wales, UK
tel +55 2920 875643
Email: langfordre@cf.ac.uk

The World Through the Lens of Bob Gomel: Spotlight Nepal

Thursday, August 23
6:30 to 8:00 p.m.115 Hyde Park Blvd.
Houston, Texas 77006


Photojournalist Bob Gomel will share photographs of his international travels including Argentina, Brazil, Cambodia, Chile, India, Israel, Laos, Nepal, Russia, South Africa, Spain, Tibet, and Vietnam. A collection of Gomel’s images, taken over a decade working with LIFE Magazine, will be exhibited as well. He will also offer valuable tips on taking great photographs.


Bob Gomel earned a journalism degree from New York University in 1955 and then served as a U.S. Navy aviator. In 1959 he joined the immensely popular magazine LIFE. He later shot national advertising campaigns for Audi, Bulova, GTE, Merrill Lynch, and Shell Oil, among others.

This program is for Supporting, Donor, Patron, Council Cabinet and Young Professional Members.

Online Registration

To begin the registration process please select one of the following fees.

Description	Amount
Supporting/Donor/Cabinet Members Coming to Monroe Gallery of Photography: "Bob Gomel: LIFE in the 1960's" October 5 - November 18. Bob Gomel will be in atendance for the opening reception Friday, Oct. 5, 5 - 7 PM.	$10.00	Register fee ends 8/23/2012

John Edwin Mason: Margaret Bourke-White in South Africa

We have held that Margaret Bourke-White, although highly acclaimed during her career years, has been largely overlooked in modern photography. We highly recommend this post from John Edwin Mason. See part One here.

Margaret Bourke-White in South Africa: Part 2, the Black Problem

Now about the mines. One thing that’s happened to me... from now on I just hate gold and diamonds.

--Margaret Bourke-White

* * *

Note: It's a sad coincidence that I'm posting this piece on the day after over 30 striking platinum miners were killed and nearly 80 were wounded by police bullets in Marikana, South Africa. When I began my research on Margaret Bourke-White's 1949-1950 South African photos nearly a year ago, I was initially drawn to the subject by her powerful and sympathetic portrait of two gold miners. [See below.] She had come to understand the exploitation and degradation that defined their working lives. For her, the men embodied the strength and endurance of all black South Africans in face of odds that were overwhelmingly stacked against them.

It will take some time for conflicting accounts of this tragedy to be sorted out. It seems clear, however, that the root causes of the strike are low wages, dangerous working conditions, and abysmal housing. Just as important is the miners' sense of having been betrayed by their union and abandoned by their government. Eighteen years after the coming of democracy to South Africa, too little has changed in the lives of the country's miners.

You can read reports about these awful events in the South African Mail and Guardian and the New York Times. The South African Daily Maverick has a good piece on the background to the strike.

* * *

Life, 18 September 1950, pp. 110-111. [The magazine was much larger than it looks here -- approximately 14 inches high and (opened) 22 inches across.]

"Visually dazzling but surprisingly naive." In Part 1 of this brief series, that what I had to say about "South Africa Enshrines Pioneer Heroes", the first of two long photo-essays about South Africa that Margaret Bourke-White produced for Life magazine in 1950. In accounting for Bourke-White's unexpected naivete -- she was, after all, one of most highly regarded photojournalists of her generation -- I noted that she had been in the country for a very short time when she shot the story on the dedication of the Voortrekker Monument. She was also seduced, I thought, by the sheer spectacle of the occasion and the warmth of the people that she met

Full Post here.

Related: "The Daring Camera Girl"

Selections from People Get Ready: The Struggle for Human Rights

Women in Parade Down 5th Avenue on the 50th Anniversary of the Passage of the 19th Amendment, New York, 1970 -Photograph by John Olsen  ©Time Inc.



Today is the 92nd anniversary of women receiving the right to vote in the United States 



People Get Ready: The Struggle For Human Rights continues through September 23.

"Topic that concerns me the most in recent years is law enforcement’s misconceptions regarding the legality of a person’s ability to photograph in a public space"

Via The Baltimore Sun

Public spaces are fair game for photographers – a right protected under the First Amendment as free speech. But in recent years that right has come under attack by law enforcement and officials, who are challenging the constraints of what can and cannot be filmed in a public space. Now, more than ever, photographers would be well-advised to learn their rights.

 

As the director of photography at The Baltimore Sun, I deal with legal issues concerning a number of topics, from copyright to privacy to trespassing to public access. First, let me state, I am not a lawyer nor have I ever played one on television. But, I am called upon often to give my opinion, or at times, state that The Sun should consult a real lawyer.

The one topic that concerns me the most in recent years is law enforcement’s misconceptions regarding the legality of a person’s ability to photograph in a public space. Photography in a public space is free speech protected under the First Amendment.

People believe that the press is granted special privileges because they have credentials. This is not the case. The press has no greater access then the average person in a public space, and certainly no less access. So a photographer standing in a crowd at a crime scene should not be singled out to move back unless everyone else is asked to do the same.

When confronting a photographer who is taking pictures in a public area such as a train station, police and other officials will often site the Patriot Act as forbidding photography. The Patriot Act does not forbid photography.

In May 2011, Baltimore Sun reporter Michael Dresser wrote about photographer Christopher Fussell, who was detained by three MTA police at a Baltimore City light rail stop while taking photographs.

Dresser wrote, “The right of photographers to take pictures in public places has been a point of contention virtually since the invention of the camera. But the disputes have become more frequent — and more contentious — since the terrorist attacks of September 11, 2001, which prompted police to challenge individuals who take photos or video of public infrastructure as potential security risks.”

“Civil libertarians and rights advocates say police have been given no new powers to curb photography since 9/11. In many cases, they say, police are making up laws and rules on the spot and issuing orders they have no right to give,” he added.

Continue reading full post here.


Related: "Literally every day, someone is being arrested for doing nothing more than taking a photograph in a public place"

World Humanitarian Day August 19

Via The United Nations

World Humanitarian Day
19 August

2012 Theme: "I Was Here"

World Humanitarian Day is a time to recognize those who face danger and adversity in order to help others. The day was designated by the General Assembly to coincide with the anniversary of the 2003 bombing of the United Nations headquarters in Baghdad, Iraq, which killed 22 UN staff.

Every day humanitarian aid workers help millions of people around the world, regardless of who they are and where they are. World Humanitarian Day is a global celebration of people helping people.


This year’s campaign "I Was Here" is about making your mark by doing something good, somewhere, for someone else.

To show your support for World Humanitarian Day visit

www.whd-iwashere.org

"Literally every day, someone is being arrested for doing nothing more than taking a photograph in a public place"

Today's must read, via The New York Times Lens Blog

Mickey H. Osterreicher is the general counsel for the National Press Photographers Association and edits the organization’s Advocacy Committee blog. He spoke with James Estrin. Their conversation has been edited.

"It’s not just news photographers who should be concerned with this. I think every citizen should be concerned. Tourists taking pictures are being told by police, security guards and sometimes other citizens, “Sorry, you can’t take a picture here.” When asked why, they say, “Well, don’t you remember 9/11?”
I remember it quite well, but what does that have do to with taking a picture in public? It seems like the war on terrorism has somehow morphed into an assault on photography.

Q.What’s caused this?

A. It’s been a perfect storm. There’s 9/11, and now photojournalists who traditionally worked for newspapers are losing their jobs and becoming freelancers who may not have the backing of their news organizations. You have Occupy Wall Street, where police didn’t want some of their actions to be photographed. And now everybody with a cellphone is capable of recording very high-quality images. And everyone has the ability to upload and share them almost instantly. There is no news cycle — it’s 24/7 with unlimited bandwidth."

Full post here.

Legal Issues

Photojournalism v. Law

A Lens blog guide to knowing one’s rights of photography.

• You Can Photograph That Federal Building »

• Cracking Down on Croparazzi »

• See Officer, I Can Too Take That Picture »

• ‘Step Away From the Camera!’ »

Related:

Why Is It So Hard to Get Press Credentials?


New York Times photographer arrested while covering arrest

Photographer's Rights: NYPD's Backwards Policy on Photography at Occupy Wall Street

 NYPD 'consistently violated basic rights' during Occupy protests – Report by NYU and Fordham law schools

“That the First Amendment right to gather news is . . . not one that inures solely to the benefit of the news media; rather, the public’s right of access to information is coextensive with that of the press"


Tracking Journalist Arrests at Occupy Protests Around the Country, Part Two


"You got that credential you’re wearing from us, and we can take it away from you.”

Must Read

Via John Edwin Mason

Margaret Bourke-White & the Photography of Segregation: Life Magazine, 1956

"Photographs are notoriously ornery critters. Their meanings are as slippery as eels, as impossible to nail down as Jell-O is to a wall. Photos mean different things to different viewers and different things in different contexts.

I'm absolutely certain that Margaret Bourke-White didn't want the photos that she made for Part III of Life magazine's 1956 series on racial segregation in the South -- "The Voices of the White South" -- to be a defense of white supremacy and an affront to African Americans. But that's exactly what they were."

Full post.

Art Law: Appropriation Art and Fair Use in the Digital Age

Via Photo Eye

Summer Lecture Series

PART THREE -
The REMIX Culture: Appropriation Art and Fair Use in the Digital Age
Wednesday, August 15, 2012 6:30-8:00 pm
photo-eye Gallery is located at 376-A Garcia Street, Santa Fe, NM 87501
photo-eye is pleased to invite you to the third in our Summer Lecture Series in collaboration with New Mexico Lawyers for the Arts, a nonprofit dedicated to providing artists and arts organizations with pro bono legal assistances and educational programming.

As issues of appropriation and remixing increasingly flood our culture, copyright infringement lawsuits are on the rise. In the final part of our Art Law series, a range of experts from across the legal, business and creative realms of art (an attorney, a dealer, an arts consultant and an appropriation artist), will discuss the creative methods and ideas associated with appropriation in art today.

Using the facts from the high profile Cariou vs Prince appropriation case, the panel will discuss the importance of appropriation and forms of visual referencing in our culture, the differences between transformative works and infringement and whether current copyright laws provide sufficient protection while preserving an artist's freedom to reference the work of others.

We hope you can join us this Wednesday evening. This event are free and open to the public on a first come, first served basis.

Read Melanie McWhorter's blog post on the lecture series on photo-eye Blog.

Watch the video of our first lecture Protecting your Rights as a Photographer by Efrain Padro here.

For more information contact Anne Kelly at 505-988-5159 x121 or anne@photoeye.com or Melanie McWhorter at 505-988-5159 x112 or melanie@photoeye.com

"in an age of information overload, now, more than ever, seeing is believing"

Seeing is believing: Human rights content in the age of social media

Via Storyful.blog


"Remember this famous image of a naked Vietnamese girl running in agony after being hit with napalm? Or how the plight of Kosovo refugees was documented in this image in 1999? These photographs were both captured by professional journalists, at times when media professionals played an integral role in documenting human rights abuses and bringing about change for those who weren’t being listened to. But with tightening budgets and technological changes altering the way news is being reported, nowadays it’s often largely up to the citizens themselves to let the world know what’s happening to them. Because in an age of information overload, now, more than ever, seeing is believing."


Full post here. (with video)


"For many reasons, there will always be a need for journalists on the ground, but the burden of human rights promotion rests now more than ever on the shoulders of the people who it most affects. Citizen journalists, working often in harrowing circumstances, can only do so much, however, and NGOs and news agencies must play their part in helping to transmit their message. They collate these citizen videos, verify sources and publicize the human rights violations they document using their established networks. Curation tools, outreach and collaboration play a vital part. The tools made available on and through social media are proving invaluable in the fight for human rights: it’s hard to deny atrocities when they are being documented and shared across a global community. Seeing is believing: what action we take once we witness the result is up to us."


Related: People Get Ready: The Struggle for Human Rights

Guest Blog: "To see, one has to look"