Saturday, October 10, 2020

 

Via TED Countdown Global Launch

October 10, 2020

24 hours on Earth — in one image

Stephen Wilkes • Countdown • October 2020

"Nature reveals itself to us in unique ways, if we stop and look at the world through a window of time," says photographer Stephen Wilkes. Using a special photographic technique that reveals how a scene changes from day to night in a single image, Wilkes exposes the Earth's beautiful complexity and the impacts of climate change — from the disruption of flamingo migrations in Africa to the threat of melting ice — with unprecedented force.



Friday, October 9, 2020

"Watching the Earth Melt Away", directed by Joe McNally, at the Ridgefield Independent Film Festival

Via Ridgefield's Hamlet Hub

October 9, 2020

"Watching the Earth Melt Away" directed by Joe McNally, an internationally-acclaimed, award-winning photographer and filmmaker will screen live on Friday, October 16 @ 4:00 pm at the Ridgefield Theater Barn and is also available to screen virtually.




Watching The Earth Melt Away is a wake-up call to climate change. In 2001, McNally covered a story about George Divoky, an ornithologist who, at that time had spent three months every summer for the past 28 years, living on a Cooper Island, a forbidding stretch of ice north of Alaska, where he studied artic seabirds. Over the course of his study though, which has now spanned 46 years, Divoky had inadvertently amassed one of the world’s largest experiential accounts of global warning. In 2001, McNally took a breathtaking photo of Divoky standing on a stretch of ice with the artic sky behind him. When McNally returned to Cooper Island in 2019, he recreated the photograph. The glaring difference between the two said it all—Divoky was standing knee deep in water. The magnitude and speed with which the landscape had melted and changed is heartbreakingly evident in the haunting film, Watching The Earth Melt Away.




Saturday, September 26, 2020

Bones to pick: Obscure items in the Georgia O'Keeffe Museum

 

Via Pasatiempo

The Santa Fe New Mexican

September 25, 2020

Georgia O'Keeffe painting Pelvis Red with Yellow
Georgia O'Keeffe: Pelvis Series, Red with Yellow, 1945
©Georgia O'Keeffe Museum

...“I think, in particular, of the way she uses the pelvis bone,” (Museum Fellow Victoria) Plotek says. “It becomes a device she uses to frame her compositions. One of the centerpieces of her New Mexico paintings is a pelvis painting where the pelvis is sort of framing this oval of blue sky. It would be impossible for anyone to know what the motif was without looking at the label. But it becomes a recurring motif for her.”

Take, for example, Pelvis Series, Red with Yellow (1945). It looks like an abstraction: a yellow ovoid form surrounded by a nebulous, organic shape rendered in shades of pale white and ochre. Once it registers that the pale-and-ochre shape is a pelvic bone, you no longer view the painting as an abstraction but as a painting of a representational form.

“That painting, where O’Keeffe abstracts the bone, is the subject of a very famous photograph by Tony Vaccaro,”  ...

Tony Caccaro Photograph of Georgia O'Keeffe holding Pelvis Red-Yellow painting
©Tony Vaccaro: Georgia O'Keeffe with painting, New Mexico, 1960



Full article here.

Wednesday, September 23, 2020

BOB GOMEL: EYEWITNESS NOW AVAILABLE

 

Bob Gomel Eyewitness cover photo, Bob with camera


When history was made, Bob Gomel was there. This documentary examines the stories behind the stories of some of the most significant events in the 20th century. Hear and see the history unfold from the perspective of a legendary LIFE Magazine photographer.

Now available from Amazon Prime


View a selection of available Bob Gomel prints.

Wednesday, September 16, 2020

Photograph Daily Podcast: Meet Ryan Vizzions

 



Via Photograph Daily



September 16, 2020

Meet Ryan Vizzions, a photographer who started making pictures at the most difficult time of his life after losing his father to suicide. He quit his job at a Fortune 500 company, travelled half way across the world to Bangkok, a place chosen randomly from the spin of a world globe, to find himself alone in the midst of civil unrest in Thailand during the 'Red shirt protests' of 2010. It was to be a trip that shaped his photographic future covering stories of injustice and protest.

Ryan has since photographed protest and the plight of protestors whilst building what you could describe as a more ‘regular’ successful commercial photography business, but it’s clear where his passion lies, in making photo documentaries about social injustice. It’s a journey as you’ll hear in the continuation (part 2) of this story that has landed him with a government agency file. Today he is one of the growing voices in the photography community that believe it has become harder to tell photo stories with the freedoms once enjoyed.





Protester on horse faces off with police, Standing Rock

Photographs copyright Ryan Vizzions. Not to be reproduced or used without express permission of the photographer. 



Today's show is kindly supported by www.imagesalon.com - outsource your post production and spend more time shooting and working on your business with 25% off your first order in 2020.

Comment on the show: studio@photographydaily.show




Photographs copyright Ryan Vizzions. Not to be reproduced or used without express permission of the photographer.

FURTHER REFERENCE:

Thailands reds and yellows, a story published on the BBC website and a further article on the protests of 2010

NPR’s report on COINTELPRO

Thursday, August 27, 2020

MONROE GALLERY LAUNCHES NEW WEBSITE




Santa Fe, NM -- Monroe Gallery of Photography proudly announces the launch of its new website www.monroegallery.com with a short video “Photography: The medium of our time”. 

 The new site has been completely revised for easier viewing of exhibitions and photographer’s collections. A new short video highlights Monroe Gallery of Photography’s specialized focus of 20th and 21st Century photojournalism—images that are embedded in our collective consciousness and which form a shared visual heritage for human society. Many of these photographs not only moved the public at the time of their publication but maintain the power to stir the consciousness (and conscience) today. These images set social and political changes in motion, transforming the way we live and think—in a shared medium that is a singular intersectionality of art and journalism. 

 Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe in 2001, following decades of experience in New York City. The Gallery is currently open to the public and is New Mexico Safe Certified in Covid-19 operating procedures. Current modified Gallery hours are 10 to 3 daily, admission is free. In accordance with mandated health guidelines face masks are required and visitors must maintain social distancing of at least 6 feet. The gallery is limiting the number of visitors to approximately 10 people at a time. Private viewing is available by appointment. 

The new website was created by WebSight Design, a Bay Area web development company that provides clients with creativity, dependability, and value since 1995.

Saturday, August 22, 2020

Photographer Stanley Forman discusses his iconic Anti-Busing photograph with subject Ted Landsmark

 


Ted Landsmark was an attorney going to a meeting at City Hall who came face-to-face with protesters. The clash was captured in this iconic photo by now WCVB photojournalist Stanley Forman.


Men behind iconic Boston photograph to be part of Antique Roadshow special

Hide Transcript Show Transcript -- THAT TOOK THAT PICTURE NEWSCENTER 5 PHOTOJOURNALIST STANLEY FORMAN MET UP AT THE , SPOT WHERE THAT PHOTO WAS TAKEN. NEWSCENTER 5'S MATT REED WAS THERE. >> IT'S FUNNY LOOKING BACK THE PICTURE, TAKES ME BACK TO THAT DAY MORE THAN MY MEMORY DOES.

Monday, August 17, 2020

Ashley Gilbertson: 'I am here today because another man died'

 


Via BBC


 



 Iraq War: 'I am here today because another man died'


At the start of the Iraq War in 2003, over 600 journalists and photographers are given permission by the US government to follow the conflict as embedded reporters.

Photographer Ashley Gilbertson is working for The New York Times when he enters the city of Fallujah with a US marine battalion.

Fallujah, 40 miles outside Baghdad, would be the deadliest battle the marines would fight since the Vietnam War.

Just over a week after entering the city, a small group of them is ordered to escort Ashley on a recce of a local minaret - what happens next will change their lives forever.

Saturday, July 25, 2020

The Story Behind TIME's Commemorative John Lewis Cover






'It's a Picture of Someone Who Knows Who He Is.' 
The Story Behind TIME's Commemorative John Lewis Cover

Via TIME
By Okivia B. Waxman
July 21, 2020


In 1963, Steve Schapiro, then 28, was on assignment for LIFE magazine, photographing prominent civil rights activists, from James Baldwin to Fannie Lou Hamer. One day, while following Jerome Smith, a participant in the Freedom Rides that raised awareness of interstate bus segregation, he went to Clarksdale, Miss., to document one of the many training sessions that were taking place in church basements across the South. In those meetings, volunteers studied how to react to the racism they would encounter in their work. That day in Clarksdale, as Schapiro watched a line of ministers file into the church, he noticed among the group another well-known Freedom Rider, in a tie and button-down shirt: John Lewis. He asked Lewis if he could take his photo, and the young man agreed.

Weeks later, Lewis would become the youngest person on the speakers’ slate at the March on Washington for Jobs and Freedom, addressing some 250,000 people from the Lincoln Memorial as the chairperson of the student arm of the 1960s civil rights movement, the Student Nonviolent Coordinating Committee (SNCC). Lewis, then 23, went on to represent Atlanta in Congress for three decades until July 17, when he died at the age of 80 after a battle with cancer. The picture Schapiro shot more than half a century ago is featured on the cover of the Aug. 3-10 issue of TIME, which dives into Lewis’s life, career and legacy.

“You can feel the determination in him to be who he is,” Schapiro tells TIME, reflecting on the photograph. “In this picture, you see he’s looking forward with an enormous amount of strength, in terms of how he sees the future. It’s a picture of someone who knows who he is, knows what he has to do, and for the rest of his life, after this picture, he did it.”


After that moment, Schapiro kept following the civil rights movement, too. He would go on to cover the March on Washington and voter registration efforts throughout the South. He covered the march from Selma to Montgomery, Ala., photographing Martin Luther King, Jr., Ralph Abernathy, Andrew Young and Rosa Parks. LIFE also sent him to Memphis to cover the aftermath of Martin Luther King Jr.’s assassination on April 4, 1968. In recent years, Schapiro, now 85 and living in Chicago, has covered the Black Lives Matter movement.

Schapiro says Lewis saw the photo in 2014, after the Monroe Gallery exhibited it, and Schapiro sent Lewis a signed copy. Then, in 2015, Schapiro saw the Congressman in person for the first time since 1963. As the nation marked the 50th anniversary of the march from Selma to Montgomery, the two saw each other at different events where veterans of the 1960s civil rights movement gathered. Lewis told Schapiro that 1963 image was one of his favorite photos of himself; Schapiro says that earlier this year, aides to Lewis reached out to him requesting a version of the photo for a belated birthday party for the Congressman.

Schapiro hopes the TIME cover will inspire young people to pick up Lewis’ lifelong fight for racial equality and human rights.

“This is who he was in his time,” the photographer says. “Let’s see who you are in your time.”