Please join us on Saturday, February 17 from 4-6 pm as we roll out the red carpet for the new exhibition "The Movies".
Free and open to the public.
Preview the exhibition here.
Tuesday, February 13, 2024
Saturday, February 10, 2024
Refractions: A Conversation with Mark Peterson
Tuesday, Feb. 13, 2024 1:00pm - 2:00pm ET
On this episode of Refractions, Stephen Mallon is joined by photographer, Mark Peterson.
Refractions are live videocasts hosted by award-winning photographer and filmmaker Stephen Mallon. Conversations will be with a select group of guests discussing creativity, imagery, business, fine art, and light! Curators discuss working with new and established artists. Photographers talking about their careers. Festival directors sharing what challenges face them. Directors will talk about all aspects of filmmaking. Photo editors will discuss the changing world of editorial and what they need from today’s assignment shooters. The mostly one-on-one conversations will have a diverse group of image makers and the people that work with them.
Refractions: A Conversation with Mark Peterson from B&H Photo on Vimeo.
Mark PetersonMark Peterson is a photographer based in New York City. His work has been published in New York Times Magazine, New York Magazine, Fortune Magazine, Time Magazine, Geo Magazine and other national and international publications. In 2018 he was awarded the W. Eugene Smith grant for his work on White Nationalism. He is the author of Acts Of Charity published by Powerhouse in 2004 and Political Theatre which was published by Steidl in the fall of 2016. In the Fall of 2023 Steidl will publish his new book The Fourth Wall. The National Gallery Of Art in Washington DC has collected one of his images from the January 6th insurrection. See his guest opinion essay in today's NY Times:
Stephen Mallon
Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles.
Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. It has been featured in publications and by broadcasters including Smithsonian Magazine, The New York Times, National Geographic, NBC, The Wall Street Journal, The Daily Mail, MSNBC, PBS, GQ, CBS, the London Times and Vanity Fair. Mallon has exhibited in cities including Miami, Los Angeles, Philadelphia, St. Louis and New York, as well as in England and Italy.
Stephen’s project following the MTA’a artificial reef project where over 2000 subway cars were placed in the Atlantic was shown at The New York Transit Museum’s Grand Central Terminal Gallery. Over 60,000 people experienced the exhibition and was featured by Gothamist, Artnet, Yahoo, Fox News, and numerous other outlets.
As David Schonauer wrote in Pro Photo Daily, “Mallon’s word harkens back to the heroic industrial landscapes of Margaret Bourke-White and Charles Sheeler, who glorified American steel and found art in its industrial muscle and smoke during the Great Depression.” He has also been compared to photographers including Edward Burtynsky, Thomas Struth and Chris Jordan.
Mallon served as a board member of the New York chapter of the American Society of Media Photographers from 2002 until 2020 and served as president from 2006 to 2009. He is represented by Front Room Gallery in New York.
Friday, February 9, 2024
60 Years Ago Today: The Beatles on Ed Sullivan
Via The Ed Sullivan Show -- At 8 o’clock on February 9th 1964, America tuned in to CBS and The Ed Sullivan Show. But this night was different. 73 million people gathered in front their TV sets to see The Beatles’ first live performance on U.S. soil. The television rating was a record-setting 45.3, meaning that 45.3% of households with televisions were watching. That figure reflected a total of 23,240,000 American homes. The show garnered a 60 share, meaning 60% of the television’s turned on were tuned in to Ed Sullivan and The Beatles.
Ed opened the show by briefly mentioning a congratulatory telegram to The Beatles from Elvis and his manager, Colonel Tom Parker and then threw to advertisements for Aero Shave and Griffin Shoe Polish. After the brief commercial interruption, Ed began his memorable introduction:
“Now yesterday and today our theater’s been jammed with newspapermen and hundreds of photographers from all over the nation, and these veterans agreed with me that this city never has witnessed the excitement stirred by these youngsters from Liverpool who call themselves The Beatles. Now tonight, you’re gonna twice be entertained by them. Right now, and again in the second half of our show. Ladies and gentlemen, The Beatles! Let’s bring them on.”
At last, John, Paul, George and Ringo came onto the stage, opening with “All My Loving” to ear-splitting screeches from teenaged girls in the audience. The Beatles followed that hit with Paul McCartney taking the spotlight to sing, “Till There Was You.” During the song, a camera cut to each member of the band and introduced him to the audience by displaying his first name on screen. When the camera cut to John Lennon, the caption below his name also read “SORRY GIRLS, HE’S MARRIED.” The Beatles then wrapped up the first set with “She Loves You,” and the show went to commercial. Upon return, magician Fred Kaps took the stage to perform a set of sleight-of-hand tricks.
Concerned that The Beatles’ shrieking fans would steal attention from the other acts that evening, Ed Sullivan admonished his audience, “If you don’t keep quiet, I’m going to send for a barber.”
As hard as Ed tried to protect them, the other acts that night suffered from the excitement surrounding The Beatles. Numbered among those performers were impressionist Frank Gorshin, acrobats Wells & the Four Fays, the comedy team of McCall & Brill and Broadway star Georgia Brown joined by the cast of “Oliver!”
The hour-long broadcast concluded with The Beatles singing two more of their hits, “I Saw Her Standing There” and “I Want to Hold Your Hand” to the delight of the fans in attendance and those watching at home.
The show was a huge television success. As hard as it is to imagine, over 40% of every man, woman and child living in America had watched The Beatles on Sullivan.
Related: Bill Eppridge: 1964 The Beatles and Their Cameras
Tuesday, February 6, 2024
Resilience - stories of women inspiring change: Alexandria, Egypt
Via World Press Photo Foundation
February 6, 2024
Anna Boyiazis: Swim instructor Chema, 17, snaps her fingers as she disappears underwater in Nungwi, Zanzibar, 2016
Resilience - stories of women inspiring change: Alexandria, Egypt featuring Gallery photographer Anna Boyiazis
01 February 2024 to 21 February 2024
Gender equality and justice is a fundamental human right critical in supporting cohesive societies. Yet women around the world face deeply entrenched inequality and remain underrepresented in political and economic roles. Worldwide in 2021, women represented just 26.1% of some 35,500 parliament seats, only 22.6% of over 3,400 ministers, and 27% of all managerial positions. Violence against women prevails as a serious global health and protection issue. An estimated one in three women will experience physical or sexual abuse in her lifetime.
This joint exhibition conveys the commitment of the Netherlands to women’s rights and gender equality and justice. Multiple voices, documented by 17 photographers of 13 different nationalities, offer insights into issues including sexism, gender-based violence, reproductive rights, and access to equal opportunities. The selection of stories explores how women and gender issues have evolved in the 21st century and how photojournalism has developed in the ways of portraying them.
See a selection of the stories and photographs on display.
Event information
Location
IFE (Institut français d'Egypte à Alexandrie)
30 Nabi Daniel street, Al Attarin Sharq,
Al Attarin, Alexandria
Visiting hours
Monday to Thursday : 9.00 - 21.00
Friday and Saturday: 10.00 - 20.00
Sunday : 9.00 - 21.00
Tickets
Free
Thursday, February 1, 2024
"The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone."
February 1, 2024
What charges against journalist Brandi Morin mean for Canadian democracy
Trends show a clear sign that Canada is allowing tendencies of an oppressive state where law enforcement’s action cannot be documented by independent journalists and instead they are slapped with bogus charges.
By Kiran Nazish, Contributor
The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone. On Jan. 10, Morin was interviewing indigenous elders and people inside an encampment in Edmonton for Ricochet media, when the police raid on indigenous encampments began.
Despite showing her credentials Morin was arrested, detained and kept in a cell at the police station for hours and charged with obstruction. Later Morin told me, an officer told her he had heard of her and knew her work.
The events Morin experienced that day was not only an escalation of police encounter for a journalist doing her job, but also what seems to be a carefully thought through intervention to the press’s ability to have access when the police is using force on citizens. Is it reasonable that after the police saw Morin's press credentials and the condemnations of her arrest — which were all over social media while she had been in the police station — that the police had a reason to believe that she was "obstructing?"
Charging a journalist covering a public issue that impacts hundreds of thousands of Canadians lacks foresight and sincerity on many levels, but most importantly smells of maleficence. This is a deliberate charge to intimidate journalists covering important stories that bring vital insight into some of the most concerning and sensitive issues impacting Canadians lives today.
This is not the first time law enforcement in Canada has gotten in the way of journalistic work.
At Women Press Freedom, a New York-based advocacy group focused on press freedom and gender globally, we observe authorities impeding journalists to be an ongoing issue and unfortunately a growing trend in Canada.
Since 2019, according to Women Press Freedom, almost 70 Canadian women journalists have been intimated or harassed for doing their work: 39 of these incidents include smear campaigns and online harassment, 16 press freedom violations including assaults while on the job, and 17 of these have been violations and impediments conducted by law enforcement including police and RCMP. These numbers only reflect attacks on the press for women journalists and do not cover the overall picture, which is much more bleak.
In 2016, journalist Justin Brake was criminally charged for his coverage of an occupation by Innu and Inuit land protectors of a construction site for Muskrat Falls, a controversial $12-billion hydroelectric project in Newfoundland and Labrador. In 2021, Ian Wilms was arrested while covering a similar raid of homeless encampment. The same year journalist Amber Bracken and Micheal Toledano were arrested by RCMP while reporting on the escalating situation at Gidimt’en camp in Wet’suwet’en territory. During Fairy Creek several journalists were intimidated, harassed and impeded from reporting on the protests.
The arrest, detention and bogus charges against journalist Brandi Morin launched by the Edmonton police should concern everyone. On Jan. 10, Morin was interviewing indigenous elders and people inside an encampment in Edmonton for Ricochet media, when the police raid on indigenous encampments began.
Despite showing her credentials Morin was arrested, detained and kept in a cell at the police station for hours and charged with obstruction. Later Morin told me, an officer told her he had heard of her and knew her work.
The events Morin experienced that day was not only an escalation of police encounter for a journalist doing her job, but also what seems to be a carefully thought through intervention to the press’s ability to have access when the police is using force on citizens. Is it reasonable that after the police saw Morin's press credentials and the condemnations of her arrest — which were all over social media while she had been in the police station — that the police had a reason to believe that she was "obstructing?"
Charging a journalist covering a public issue that impacts hundreds of thousands of Canadians lacks foresight and sincerity on many levels, but most importantly smells of maleficence. This is a deliberate charge to intimidate journalists covering important stories that bring vital insight into some of the most concerning and sensitive issues impacting Canadians lives today.
This is not the first time law enforcement in Canada has gotten in the way of journalistic work.
At Women Press Freedom, a New York-based advocacy group focused on press freedom and gender globally, we observe authorities impeding journalists to be an ongoing issue and unfortunately a growing trend in Canada.
Since 2019, according to Women Press Freedom, almost 70 Canadian women journalists have been intimated or harassed for doing their work: 39 of these incidents include smear campaigns and online harassment, 16 press freedom violations including assaults while on the job, and 17 of these have been violations and impediments conducted by law enforcement including police and RCMP. These numbers only reflect attacks on the press for women journalists and do not cover the overall picture, which is much more bleak.
In 2016, journalist Justin Brake was criminally charged for his coverage of an occupation by Innu and Inuit land protectors of a construction site for Muskrat Falls, a controversial $12-billion hydroelectric project in Newfoundland and Labrador. In 2021, Ian Wilms was arrested while covering a similar raid of homeless encampment. The same year journalist Amber Bracken and Micheal Toledano were arrested by RCMP while reporting on the escalating situation at Gidimt’en camp in Wet’suwet’en territory. During Fairy Creek several journalists were intimidated, harassed and impeded from reporting on the protests.
When it comes to police intimidation, impediment or arrests, we notice a consistent thread: number of journalists covering Indigenous stories and climate change-related stories dominate the chart. Brandi Morin has been targeted by RCMP and police on multiple occasions in the past few years, and in all these cases she was covering issues that impact lives of Indigenous Peoples.
These trends show a clear sign that Canada is allowing tendencies of an oppressive state where law enforcement’s action cannot be documented by independent journalists and instead they are slapped with bogus charges. These are clear intimidations, and if a reformation of these police actions are not called for now, it would harm other institutions in the country widely.
This calls for attention for all Canadian leadership, particularly those who care about this country’s democratic values. There is an urgent need for steps that ensure the police and law enforcement comply with the laws of democracy, in which journalists are not obstructed but respected and supported.
Morin was just doing her job. It is time that the Edmonton Police takes inspiration from that and do their job by respecting freedom of the press and dropping charges against her.
Kiran Nazish is the founding director of the New York-based Women Press Freedom and the Coalition For Women In Journalism.
Wednesday, January 31, 2024
Associated Press Photo Operations Head Hal Buell: ‘I had the greatest job in the whole world.’
January 31, 2024
Hal Buell, who led AP’s photo operations from darkroom era into the digital age, dies at 92
SUNNYVALE, Calif. (AP) — Hal Buell, who led The Associated Press’ photo operations from the darkroom era into the age of digital photography over a four-decade career with the news organization that included 12 Pulitzer Prizes and some of the defining images of the Vietnam War, has died. He was 92.
Buell died Monday in Sunnyvale, California, after battling pneumonia, his daughter Barbara Buell said in an email. His final two months were spent with her and her husband, and he died in their home with his daughter at his side.
“He was a great father, friend, mentor, and driver of important transitions in visual media during his long AP career,” Barbara Buell said. “When asked by the numerous doctors, PT, and medical personnel he met over the last six months what he had done during his working life, he always said the same thing: ‘I had the greatest job in the whole world.’”
Colleagues described Buell as a visionary who encouraged photographers to try new ways of covering hard news. As the editor in charge of AP’s photo operations from the late 1960s to the 1990s, he supervised a staff that won a dozen Pulitzers on his watch and he worked in 33 countries, with legendary AP photographers including Eddie Adams, Horst Faas and Nick Ut.
FILE - South Vietnamese National Police Chief Brig Gen. Nguyen Ngoc Loan executes a suspected Viet Cong officer with a single pistol shot in the head in Saigon, Vietnam, Feb. 1, 1968. The image won the 1969 Pulitzer Prize for spot news photography. (AP Photo/Eddie Adams, File)
“Hal pushed us an extra step,” Adams said in an internal AP newsletter at the time of Buell’s retirement in 1997. “The AP had always been cautious, or seemed to be, about covering hard news. But that was the very thing Buell encouraged.”
Buell made the crucial decision in 1972 to run Ut’s photo of a naked young girl fleeing her burning village after napalm was dropped on it by South Vietnamese Air Force aircraft. The image of Kim Phuc became one of the most haunting images of the Vietnam War and came to define for many all that was misguided about the war.
After the image was transmitted from Saigon to AP headquarters in New York, Buell examined it closely and discussed it with other editors for about 10 minutes before deciding to run it.
FILE - In this June 8, 1972, file photo taken by Huynh Cong “Nick” Ut, South Vietnamese forces follow behind terrified children, including 9-year-old Kim Phuc, center, as they run down Route 1 near Trang Bang after an aerial napalm attack on suspected Viet Cong hiding places. The image won the 1973 Pulitzer Prize for spot news photography. He was 92. (AP Photo/Nick Ut, File)
“We didn’t have any objection to the picture because it was not prurient. Yes, nudity but not prurient in any sense of the word,” Buell said in a 2016 interview. “It was the horror of war. It was innocence caught in the crossfire, and it went right out, and of course it became a lasting icon of that war, of any war, of all wars.”
Ut was just 20 when he made the iconic photo that won him the Pulitzer Prize. Without Buell’s support, he said, the photo might never had become a symbol of the war.
“He thought it was powerful, and he wanted to get it out right away,” Ut said by phone Tuesday.
He said he last spoke several weeks ago with Buell, who he called a mentor and a great friend.
“Hal was the best boss I ever had,” Ut said. “He was very supportive of me.”
Santiago Lyon, a former vice president and director of photography at AP, called Buell “a giant in the field of news agency photojournalism.”
David Ake, who recently retired as AP’s director of photography, said Buell set the standard for that role.
“I can’t tell you the number of times I would get a pearl of ‘Hal wisdom’ from one staffer or another,” Ake said. “He will be missed both in the AP and by the entire photojournalism community.”
Buell joined the AP in the Tokyo bureau on a part-time basis after graduating from Northwestern University in 1954 with bachelor’s and master’s degrees in journalism. He was serving with the Army at the time, working on the military newspaper Stars and Stripes.
Out of the Army two years later, he joined AP’s Chicago bureau as a radio writer, and a year later, in 1957, was promoted to the photo desk in AP’s New York office.
Buell returned to Tokyo at the end of the decade to be supervisory photo editor for Asia and came back to New York in 1963 to be AP’s photo projects editor. He became executive news photo editor in 1968 and in 1977 he was named assistant general manager for news photos.
During his decades with AP, technology in news photography took astonishing leaps, going from six hours to six minutes to snap, process and transmit a color photo. Buell implemented the transition from a chemical darkroom where film was developed to digital transmission and digital news cameras. He also helped create AP’s digital photo archive in 1997.
“In the ‘80s, when we went from black-and-white to all color, we were doing a good job to send two or three color pictures a day. Now we send 300,” Buell said in the 1997 AP newsletter.
Former AP CEO Lou Boccardi said in a statement that Buell drove this remarkable period of innovation and transition, but he never forgot, nor did he let his staff forget, that capturing “the” image that told the story was where it all had to start.
“Fortunately for us, and for news photography, his vision and energy empowered and inspired AP Photos for decades,” Boccardi said.
After retiring in 1997, Buell wrote books about photography, including “From Hell to Hollywood: The Incredible Journey of AP Photographer Nick Ut;" “Uncommon Valor, Common Virtue: Iwo Jima and the Photograph That Captured America;” and “The Kennedy Brothers: A Legacy in Photographs.” He was the author of more than a dozen other books, produced film documentaries for the History Channel and lectured across the United States.
“In the ‘80s, when we went from black-and-white to all color, we were doing a good job to send two or three color pictures a day. Now we send 300,” Buell said in the 1997 AP newsletter.
Former AP CEO Lou Boccardi said in a statement that Buell drove this remarkable period of innovation and transition, but he never forgot, nor did he let his staff forget, that capturing “the” image that told the story was where it all had to start.
“Fortunately for us, and for news photography, his vision and energy empowered and inspired AP Photos for decades,” Boccardi said.
After retiring in 1997, Buell wrote books about photography, including “From Hell to Hollywood: The Incredible Journey of AP Photographer Nick Ut;" “Uncommon Valor, Common Virtue: Iwo Jima and the Photograph That Captured America;” and “The Kennedy Brothers: A Legacy in Photographs.” He was the author of more than a dozen other books, produced film documentaries for the History Channel and lectured across the United States.
Winter Break - And a new exhibition, "The Movies"
The Gallery will be closed Friday, Sunday, and Monday (February 2, 4, 5) for our Winter break. The Gallery Will be open on Saturday, February 3 from 11-5.
The new exhibition "The Movies" officially begins on February 7 and will be on view through April 14, 2024. Please join us for an open house reception on Saturday, February 17 from 4-6 pm.
YouTube introduction to The Movies
Monday, January 29, 2024
Panel Discussion: Nina Berman among journalists behind Scientific American's multimedia reporting project
Via Columbia Graduate School of Journalism School
January 29, 2024
The U.S. is embarking on its biggest nuclear weapons production project ever which will cost taxpayers nearly $2 trillion dollars. To investigate the dangers and risks of nuclear weapons policy, Scientific American teamed up with Columbia Journalism School professors, Princeton's Program on Science and Global Security and the Brown Institute for Media Innovation, to create Missiles On Our Land, a video documentary, a 5-part podcast, data visualizations and print stories.
Join us Jan 29 at Columbia Journalism School's Lecture Hall from 6pm - 8:00pm for a talk about nuclear weapons policies and risks and how to successfully report on big issue topics across multiple media platforms.
Panelists:
Jeffrey DelViscio, Chief Multimedia Editor, Scientific American
Tulika Bose, Senior Multimedia Editor, Scientific American
Nina Berman, CJS Professor, co-director of Fallout
Duy Linh Tu, CJS Professor, co-director of Fallout
Sebastien Tuinder, CJS Alum, editor of Fallout
Sébastien Phillipe, Princeton University
Ella Weber, Princeton University
Katie Watson, Brown Institute
Mark Hanson, Brown Institute
Columbia Journalism School
Lecture Hall 2950 Broadway New York, NY 10027 United States
Thursday, January 25, 2024
"Journalists play an important role in holding those in power accountable...."
January 25, 2024
"I was I was arrested on January 10 while reporting on a police raid on an Indigenous encampment in Edmonton. During the arrest of the camp’s leader I was targeted and told I had to leave the area. When I tried to assert my rights as a journalist, rights which have been upheld by high courts in two provinces, I was arrested and charged with obstruction.
My editors and lawyers feel this charge is an attempt to send me a message. Now, I need your help to send one back.
I hope you’ll stand with me."
Wednesday, January 24, 2024
New Exhibition: The Movies - and Flying With Michelle Yeoh
The opening image in the new exhibition "The Movies" is Joe McNally's stunning photograph of actress Michelle Yeoh suspended from a helicopter over the iconic Hollywood sign.
On a 2002 Jimmy Kimmel interview session, Michelle spoke about "flying" with Joe McNally as a stunt over the Hollywood sign, for a story in the National Geographic.
Joe McNally wrote about the making of this photograph on his blog, here.
"Jimmy Kimmel dryly observed that I should have been arrested for doing this to her. She recalls being very cold. I recall her being absolutely magnificent, hanging off those wires, just across from me, as I hung from the other skid."
The Movies is on exhibit through April 14, 2024. Join us for a public reception open house on Saturday, February 17, 4-6 pm.
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