Eugene Tapahe's Jingle Dress Project Featured: Embracing Native American Traditions This Winter Solstice

Via Cowboys and Indians Magazine 

December 21, 2024

The Gift, Eugene Tapahe, 2022, Yellowstone National Park, WY, Art Heals: The Jingle Dress Project

"Earlier this fall, I had the wonderful opportunity to connect with and learn from Umatilla/Cayuse/Nez Perce jingle dress dancer Acosia Red Elk. In addition to sharing her beautiful performances, she is also a yoga instructor and a wellness advocate who has gained her wisdom by overcoming countless obstacles throughout her life, including losing her father at a young age and being burned in a fire as a child. The minute I met Acosia, I could feel that deep wisdom radiating from within her." --click for full article

The Gift, Eugene Tapahe, 2022, Yellowstone National Park, WY, Art Heals: The Jingle Dress Project

Eugene Tapahe is featured in the current Gallery exhibition Frozen In Time, on view through January 19, 2025.

New Documentary “Overturned,” with photography by Gallery photographer Ashley Gilbertson and edited by Julie Winokur of Talking Eyes Media

 Via Health Care Un-Covered

December 16, 2024

Watch the New Mini Documentary "Overturned" by Wendell Potter

"Health insurance is the biggest scam in the history of the United States of America."

Read on Substack

HEALTH CARE un-covered published previously, for eight grueling months, Jennifer Braunagel endured debilitating pain from rheumatoid arthritis while her insurance company, Aetna, denied coverage for Actemra, the only medication that offered hope. Her struggles were both emotional and physical – confronting endless roadblocks like prior authorization and step therapy, tactics big health insurers like Aetna, Cigna and UnitedHealth use to cut costs at patients’ expense.



Braunagel’s breakthrough came through a startup called Claimable, which uses AI to streamline and supercharge the appeals process. By leveraging data from similar cases and highlighting violations of insurance guidelines, Claimable crafted an appeal that succeeded where traditional methods failed. Within days Braunagel’s insurer was forced to cover her medicine. The results were life-changing — Braunagel experienced dramatic relief after her first infusion.

This mini documentary, “Overturned,” with photography by Ashley Gilbertson and edited by Julie Winokur of Talking Eyes Media, features Braunagel’s story, her arthritis clinic’s tireless advocacy, and interviews with other patients, who are navigating systemic health care barriers and denials by big health insurers.

Gallery Photographers Mark Peterson and Ashley Gilbertson Featured In NY Times "The Photos That Defined 2024"

 Via The New York Times

December 18, 2024

The Year In Pictures 2024

West Palm Beach, Fla., Nov. 5

Waiting for election results at a Trump watch party at the Palm Beach Convention Center. They came faster than expected, with former President Donald J. Trump declared the winner early the next morning.

Mark Peterson for The New York Times

“It was before people knew Trump was going to win. It was shortly after they let a lot of the public in. They could have been waiting hours in line. They kept filing in and filling up the chairs until all of them were full. They were all dressed so alike. I took five frames and that was that.” — Mark Peterson

From the project “Watching the Total Eclipse Across North America,” April 8

As darkness raced across the sky during the total solar eclipse, people in Niagra Falls gathered outside to look up for a moment of reverence.

 Ashley Gilbertson for The New York Times

The Battle of The Bulge: December 16, 1944 to January 25, 1945

 December 16, 2024

Tony Vaccaro: Moving up in the  Ardennes, 1944

#onthisday, December 16, in 1944, The Battle of the Bulge, also known as the Ardennes Offensive, the last major German offensive campaign of WWII began. With the onset of winter, the German army launched a counteroffensive that was intended to cut through the Allied forces in a manner that would turn the tide of the war in Hitler's favor. 

The "Bulge" was the largest and bloodiest single battle fought by the United States in World War II.

“I never wanted to be a fighter, but I always wanted to be a photographer. I decided to photograph portraits of the people in my unit, because they were the people I lived with. We slept together, we risked together. We did so much together. I never saw soldiers. I saw human beings. I saw red blood, human blood. The battlefield, in a way, helped me, because when the war is on, that’s all that it is, fighting all the time. You know that it can happen to you. What do you do about it? I took pictures.” –Tony Vaccaro

Tony Vaccaro: Battle of Ardennes, Near Ottre, Belgium., January,1945

In the spring of 2025, Monroe Gallery of Photography will present a major exhibition commemorating the 80th anniversary of the end of World War II. Details to be announced soon.

Tony Vaccaro: Firing Line, Battle of Hurtgen Forest, Germany, 1944

San Francisco names street for Associated Press photographer who captured the iconic Iwo Jima photo

 BY ASSOCIATED PRESS

December 12, 2024

U.S. Marines of the 28th Regiment, 5th Division, raise a U.S. flag atop Mount Suribachi, Iwo Jima, Japan, Feb. 23, 1945. (AP Photo/Joe Rosenthal, File)

Credit/©: ASSOCIATED PRESS

SAN FRANCISCO (AP) — A photojournalist who captured one of the most enduring images of World War II — the U.S. Marines raising the flag on the Japanese island of Iwo Jima — will have a block in downtown San Francisco named for him Thursday.

Joe Rosenthal, who died in 2006 at age 94, was working for The Associated Press in 1945 when he took the Pulitzer Prize-winning photo.

After the war, he went to work as a staff photographer for the San Francisco Chronicle, and for 35 years until his retirement in 1981, he captured moments of city life both extraordinary and routine.

Rosenthal photographed famous people for the paper, including a young Willie Mays getting his hat fitted as a San Francisco Giant in 1957, and regular people, including children making a joyous dash for freedom on the last day of school in 1965.

Tom Graves, chapter historian for the USMC Combat Correspondents Association, which pushed for the street naming, said it was a shame the talented and humble Rosenthal is known by most for just one photograph.

“From kindergarten to parades, to professional and amateur sports games, he was the hometown photographer,” he told the Chronicle. “I think that’s something that San Francisco should recognize and cherish.”

The 600 block of Sutter Street near downtown’s Union Square will become Joe Rosenthal Way. The Marines Memorial Club, which sits on the block, welcomes the street’s new name.

Rosenthal never considered himself a wartime hero, just a working photographer lucky enough to document the courage of soldiers.

When complimented on his Pulitzer Prize-winning photo, Rosenthal said: “Sure, I took the photo. But the Marines took Iwo Jima.”

The line between activism and journalism breaks

 Via Neiman Labs

By Hafsa Maqsood

December 10, 2025

“When journalists around the world are being killed for practicing their freedom of press, journalists have no choice but to become activists.”

There is a growing frustration in the pit of the global journalism industry’s stomach. A frustration that comes from witnessing an entire year of devastating war in the Middle East, massive bloodshed, and ongoing conflicts across the globe where nothing seems to be working. A sickening frustration fed by the reeking hypocrisy of trying to “holding truth to power” in a post-truth world simultaneously bowing to power.

This frustration was born long ago in the stomachs of marginalized members of various diasporas, like myself, coming from histories of ancestral displacement and ravaging colonialism, and it is in part what has motivated them to join media and journalism industries only to be met with walls of supposed objectivity. An “impartiality” that leads to donning a hollow mask of white neutrality discordant with their lived realities.

That frustration will come to a breaking point in 2025 and translate into tearing down the line between activism and journalism that has already been breached, particularly since the 2020 rise of the Black Lives Matter movement.

When democracies are in peril, when international laws meant to hold humanity accountable are being disregarded, when people charged with criminal offenses are leading governments, when journalists around the world are being killed for practicing their freedom of press, journalists have no choice but to become activists.

In 2025, journalists will no longer be told that coming in to work with a “Free Palestine” sticker on their laptops or water bottles is controversial and against guidelines while a “Stand With Ukraine” sticker is praised. Massive refugee and humanitarian displacements that occurred in 2024 will also impact news audiences. As journalists respond to audience demands, this shift will encourage a journalistic focus on human interest and global perspective stories that amplify refugee and diaspora narratives. Diaspora communities will play a crucial role in shaping these narratives through activism and storytelling that will bloom in the 2025 media and journalism industry.

When giving a lecture on media framing at the University of British Columbia in 2022, I held a roundtable attended by many members of Palestinian diaspora in Canada. Every one of them expressed turning away from legacy media in favor of citizen journalism and treating activists as sources for news. What if journalists with training and established platforms could tap into these audiences who are rejecting them in favor of unofficial news sources? What does this rejection mean for the decline of legacy media and journalistic ethics of “truth-telling?”

The answers to these questions, I predict, will come to fruition in 2025. We, as an industry, will have to reevaluate the meaning of “journalistic independence” if we want that sickening pit of frustration to heal. And the demands of a growing diaspora born out of conflict, war, and displacement will be one exceedingly difficult to ignore.

Hafsa Maqsood is a journalist and Ph.D. candidate at the University of Calgary.

Monroe Gallery – A Photography Show for the Winter

 Via Joe McNally

December 9, 2024

Alone in the Woods, Mikhail Gorbachev, Moscow, 1998

The new Monroe Gallery show is called Frozen In Time, which is the business we are in as photographers, no matter the temperature. But as painful as it can be to expose our fingers and cameras to the occasionally brutal ministrations of winter, those cold times of the calendar, and the resultant ice and snow make for truly memorable imagery. Hence the power of this show. A must see if you are in Santa Fe, and also important viewing online. Monroe’s archive of historically important imagery is so telling, and reverberates so deeply, that a perusal of their archives is basically a tour through our history.

Everything is harder to do in the cold, and so many of these images reflect the struggle of humankind to overcome the piercing blasts of deeply cold environments. In this show are the desperate attempts to fight off winter’s hold on the land, as well as the beautifully lyrical snow scenes of mountains, and the American West. And pictures of joy, as people enjoy the snow and ice, gliding and sliding and skating. But also seen are searing pictures from the front lines of war, as if war itself wasn’t enough utter misery.

I’m fortunate to be included in the show, with a hard won picture of the former president of the Soviet Union, Mikhail Gorbachev. He was a pivotal figure in Russian history, presiding over the dissolution of the Soviet bloc in Eastern Europe, and guiding Russia, despite threats and opposition to a place of more openness to the West, and within its own politics. At once hailed and reviled, he won the Nobel Peace Prize, and became one of the most significant figures in history. At the same time, the reforms he tried to initiate earned him the enmity and disapproval of many Russians, particularly those in positions of power.

Hence the head shot in his office was insufficient in terms of storytelling. I wanted to bring him to the woods, where I could photograph him alone, in a stark environment indicating his isolation. It took some doing. I had to wrangle and push in the best persistent, annoying photographer mode I could. He wasn’t happy about it, but he came to the woods about three days after the office shoot, and stepped into the snow with his fancy shoes. He posed for about five minutes. And then, he shook my hand and spoke the only English word he said to me while we were together: “Goodbye.”

And he meant it.

Not in Kansas anymore: Alabama press violations echo earlier attack

 Via Freedom Of The Press Foundation

December 5, 2024

“Where are all the good people who are supposed to stop this from happening?”

Marion County Record co-owner Joan Meyer asked that question repeatedly before her death — a day after local police illegally and unconstitutionally raided her community newspaper and home in response to the Record’s reporting about a local restaurant owner’s drunk driving convictions.

Alabama reporter Don Fletcher and newspaper publisher Sherry Digmon might have asked themselves that same question.

Last year, the two were arrested on sham charges for allegedly revealing grand jury secrets. Digmon, who also served on the local school board, was charged with violating an Alabama ethics law as well. It’s yet another unfortunate effort to make journalism a crime and silence reporters.

The bogus criminal investigation came after Atmore News, the local newspaper co-owned by Digmon, published Fletcher’s article about a school board meeting and a subpoena seeking school board financial records from the previous year. The subpoena was issued by Escambia County District Attorney Stephen Billy.

Four months after the arrests, Billy admitted to personal and professional conflicts of interest in the cases, and removed himself as prosecutor. The state attorney general’s office dropped the charges soon after.

Now, Digmon and Fletcher, joined by a school board member and a district employee also caught up in the investigation, have filed a federal lawsuit against Billy, Sheriff Heath Jackson, and “allies” for conspiring to violate their First and Fourth amendment rights.

On the surface, the attack on Atmore News — like that on the Marion County Record — may appear limited to a few law enforcement officials abusing their power. But in both cases, a little digging reveals politically motivated multiparty schemes.

The similarities between officials’ arrest of Fletcher and Digmon and the raid on the Record are startling and informative. After the Marion raid, the response and backlash seemed to make a repeat unlikely soon. But just months later, the Atmore News found itself at the center of a similar attack on press freedom.

Full article here.

The story behind the 'iconic' Buna shot from WWII

 Via Australian Photography

By Stephen Dando-Collins | 4 December 2024

George Silk’s The Blind Soldier. Later, Silk would say there was something distinctive about the two subjects. The Papuan carrier in particular grabbed his attention: “He was helping him so tenderly,” he said. Image: Australian War Memorial

Early on Christmas Day, 1942, 26-year-old George Silk rose from his cot at battalion HQ at Soputa in northeast Papua and began walking to the Buna battlefront 10km away.

Around his neck hung his two cameras – a Rolleiflex Standard for close-ups, and a 35mm Zeiss Ikon Contax fitted with a telephoto lens for distance shots.

Silk was a New Zealand camera shop assistant who’d turned up in the Canberra office of Australian Prime Minister Robert Menzies in January 1940.

He talked Menzies into hiring him as Australia’s second government combat photographer, and after working in North Africa, Silk was reassigned by the Australian Department of Information (DOI) to the New Guinea campaign.

For close to three years Silk had striven to take the ‘great’ war picture, something to emulate or surpass Robert Capa’s famous 1937 shot from the Spanish Civil War, The Falling Soldier.

Now, with the Australians and Americans starting to gain the upper hand in the fight against the Imperial Japanese Army in Papua, Silk was anxious to get his best shot before the Battle of Buna-Gona ended.

So, on December 24 he dragged himself from his hospital bed outside Port Moresby, where he’d been laid low by malaria, and hitched a ride back to the front.

On the track to Old Strip, Silk, rounding a bend in the tall kunai grass, saw two men approaching side-by-side. One was a wounded Australian soldier, Private George ‘Dick’ Whittington.

Barefoot, walking with the aid of a long stick, his eyes were covered by a rough bandage. Guiding Whittington was volunteer Papuan carrier Raphael Oimbari, a farmer in his twenties.

It almost seemed as if Silk would be intruding if he photographed the pair. “I wanted to take the picture, but I didn’t at first,” he later recalled.

But his documentarian’s instincts kicked in. Using his Rolleiflex from the waist with the pair less than two metres away, Silk snapped a single shot without even looking down into the viewfinder.

Seemingly unaware of him, the wounded soldier and carrier passed Silk by. Hurrying after them, he obtained the soldier’s details before the pair continued on.

Later that day, Silk joined Whittington’s 2/10th Battalion. Clicking away in the thick of the fighting that afternoon, he collapsed face-down on the battlefield. Malaria had caught up with him. 

Towards sunset, an Aussie soldier found the photographer lying with the dead all around him. Evacuated to Moresby, Silk ended up in a malaria ward.

You can’t keep a good photographer down. Silk was soon back at the front. At Giropa Point on December 31 and January 1, he took what he considered his two best pictures of the war, close-ups beside Bren-gunners and Vickers-gunners with bullets whistling all around. Again, Silk collapsed with malaria, and again he ended up in hospital.

Meanwhile, another George, American Life photographer George Strock, snapped three dead American soldiers on Buna Beach.

In hospital, George Silk learned the DOI had banned his two Giropa Point photos – one showed a dead Digger, while one of the Bren-gunners had dropped down dead beside him seconds after he took his picture.

At the same time, Silk’s photo of Whittington and the ‘Fuzzy Wuzzy Angel’ was also banned for being ‘too graphic’.

Silk was incensed. So, he wined and dined a young female clerk working in the DOI’s Port Moresby office and brought her into a conspiracy.

She had prints of his three banned pictures made at the DOI’s Sydney photographic laboratory and sent to her.

She gave them to Silk, who passed them to a war correspondent friend, who had them approved by the American censor at GHQ in Brisbane. Silk then gave his prints to George Strock, who smuggled them to Life.

Strock knew the Pentagon banned publication of photos of American dead, but was appalled by apathy towards the war at home. He was determined to jolt his fellow Americans into getting behind their troops.

On March 8, 1943, Life published Silk’s The Blind Soldier, full page.

Readers hailed it the best picture of the war. A month later Silk was fired by the DOI. Parliamentary backbenchers called for him to be charged with treason. His friend Damien Parer resigned in protest at his treatment.

Meanwhile, Life management struggled for seven months to gain War Department approval to publish Strock’s Three Dead Americans.

Going all the way to the White House, they discovered that, like George Strock, President Roosevelt was determined to cement Americans behind the war effort by being honest with them. With his approval, Three Dead Americans appeared in Life on September 20, 1943, shocking America.

In 2014, Time magazine would describe it as ‘the photograph that won the war’. Two iconic images, and one amazing story. ❂

The Buna shots: The Amazing Story Behind Two Photographs that Changed the Course of World War Two, by Stephen Dando-Collins, is published by Australian Scholarly Publishing. It’s the never before told story of two arresting photographs, two courageous photographers, and the quest for truth in war. You can order a copy here: https://bit.ly/3ZQ5DpV

Images of Winter Are Frozen in Time

 Via Pasatiempo

November 29, 2024

Ida Wyman: Wrought Iron Design in Snow, New York City, 1947

In the 2023 photograph Ancestral Strength by Eugene Tapahe, four Indigenous women — Cayuse, Umatilla, Newe Sogobia, and Tséstho’e — stand side by side wearing brightly colored traditional garb, staring toward the sky behind the photographer. The stark winter beauty of the background in Wyoming’s Teton National Park further highlights the women’s projected power.

In the 1949 photograph Southern Pacific Steam Engine by John Dominis, a steam engine plows through a snowy landscape at Donner Pass, California.

Both images showcase forms of strength, but that’s not the tie that binds them. Both are part of Frozen in Time, an exhibition that Monroe Gallery of Photography describes as an “imaginative survey of compelling images.” It covers a range of human experiences, from the joy of exploration in George Silk’s 1946 shot Tourists Climb Fox Glacier in Tasman National Park, taken in New Zealand, to the ugly brutality of war in Tony Vaccaro’s White Death, Pvt. Henry Irving Tannebaum Ottre, taken in Belgium in 1945. 

It opens with a reception from 4-6 p.m. Friday, November 29. — Brian Sandford

details

Through January 19

Monroe Gallery of Photography

112 Don Gaspar Avenue

505-992-0800, monroegallery.com