Wednesday, August 7, 2013

Stephen Wilkes' Day To Night Series Featured in Today's Newspapers



Via New York Daily News

Stunning! Timelapse photographs show city skylines in daytime and at night... all at the same time

Cities such as New York City and Shanghai get captured in unique images which show the glorious daylight and the glimmering night time lights.

CATERS NEWS
Wednesday, August 7, 2013, 7:21 AM


New York City’s Central Park during the day and at night.
Stephen Wilkes/Caters News Agency
 
These are the incredible images which show the world’s most iconic cityscapes by day and night — in just one picture.

The mesmerising images show the beautiful transition from day to night in some of the world’s most iconic cities from the Shanghai skyline to New York’s Central Park.

The unusual images were taken by photographer Stephen Wilkes who spent up to 15 hours and shot up to 1500 photos to create just one composite image.


 

Stephen Wilkes/Caters News Agency
Brooklyn’s Coney Island.

 
The collection entitled Day to Night features 15 images including works from Times Square, The Western Wall and The Capitol.

To create the images, Stephen, 55, from Connecticut, U.S.A., shoots across the entire landscape from sunrise to sunset — sometimes from locations that do not even have toilet facilities.

He then returns to his studio to blend around 50 of the best photographs to create one seamless image. Each piece takes around one month to edit.

Shanghai in day and night.
Stephen Wilkes/Caters News Agency
Shanghai in day and night.

 
Stephen said he first came up with the idea of shooting multiple images across a landscape when taking the cast picture for Baz Lurman’s blockbuster Romeo and Juliet for Life Magazine, in 1996.
But it wasn’t until he was asked to shoot the High Line for New York Magazine that Stephen used this technique to show the passing of time.

Stephen said while he is fascinated by architecture, people and the cities of the world, what he really loves to shoot is history. And he has even shot Day and Night images of President Obama’s inauguration speech as well as New Year’s Eve in Times Square.


The Flatiron building in Manhattan.
Stephen Wilkes/Caters News Agency
The Flatiron building in Manhattan.
 

There are currently 15 images in the collection but he is currently working on images from Chicago, and hope to add works from London and Paris in the near future.

Stephen wants to add as many images as possible to his collection.

He said: “I remember saying that New York was very active and busy at lunchtime and very spooky at night.


Stephen Wilkes/Caters News Agency
Capitol Hill shown in the day and at night.

 
“I like to say it’s a labour of love for you to stay 15 hours and shoot 1500 images where most of the time there is no bathroom.

“I am a street photographer by training and Day to Night is essentially all the things I love about photography; my son describes it as my symphony.

“The images are so layered; there are so many elements that I love about the medium: Street, history, people environment, narrative, and storytelling.


Stephen Wilkes/Caters News Agency
The Western Wall in Jerusalem.
 
“I’m drawn to cities that have not only fantastic architecture, but also fascinating street life.
“The human narrative is the subtext is in a lot of my photographs, so more you look at it, the more you are going to discover.

“There is a layered effect so you will discover something new whenever you view it.”


Related:


The Telegraph: Day-to-night in the city: Stephen Wilkes documents a day in one photograph

Stephen Wilkes DAY TO NIGHT  Feature On CBS News Sunday Morning Show

Huffington Post: Day To Night In The World's Most Iconic Cities

The Daily Mail: A day in the life of the city: Mesmerising photographs capture 24 hours in just one picture

Saturday, August 3, 2013

Jeff Widener shares his experience in documenting a war-torn African nation after entering the country with a humanitarian visa





Via PetaPixel
Jeff Widener · Aug 02, 2013

My Journey to Angola
 
Africa started tugging on me again last year and when an opportunity to join an NGO to Angola surfaced, I quickly seized the opportunity. Non-government agencies like the Red Cross and Amnesty International offer a way for photojournalists to see parts of the world completely closed off to the average traveler. The Chicago based RISE International, a non profit organization that builds schools in Angola allowed me to join them in July to document their work. Full article and photographs here.

Jeff Widener is a Pulitzer Prize-nominated American photojournalist who’s best known for shooting the photo “Tank Man“. He has documented wars and social issues in over 100 countries, and was the first photojournalist to send digital photos from the South Pole. You can read our recent interview with him here.

Tuesday, July 30, 2013

Heroin and The Photo Essay


"Live Through This: Documenting One Woman’s Struggle with Heroin" photo essay is featured on today's TIME LightBox.  Tony Fouhse's powerful new book captures a young woman's recovery from addition, as well as an unconventional relationship between subject and documentary photographer. In the accompanying article, Paul Moakley notes:

"Photography has witnessed other, now-classic depictions of junkies, like Bill Eppridge’s “John and Karen, Two Lives Lost to Heroin,” published in LIFE in 1965, and Larry Clark’s landmark Tulsa (1971), in which the photographer’s portraits of his friends — and himself — formed a poignant picture of lost American youth."


Bill Eppridge's incredibly vivid and moving photo essay was published in Life Magazine in 1965:



Needle Park: Karen shooting up, New York City
©Bill Eppridge


"With "Needle Park," Bill gave us one of the most powerful and memorable photographic essays Life ever published, one still highly regarded today. The story was to run in two parts, the first focusing on an addicted couple to give the nation's narcotics problem a human face, the second to explain what was being done to treat it.

Research to find the ideal subjects for the story was almost as intense as the actual shooting. Weeks spent with the detectives of New York City's Narcotics Bureau were followed by months of "hanging out" in "Needle Park," on the street corners where connections were made, and in the fleabag hotels where the heroin was shot up. That the couple, Karen and John, were white was deliberate; it was not to be a race story.

Trust, between subject, photographer and magazine, was essential. It helped that Life had a reputation for being respectful and fair. Of Karen and John, writer Jim Mills found that "intellectually, they committed themselves very quickly, but the emotion okay came gradually over a period of weeks."

Bill and Jim earned that "okay" by living the addicts' life. Bill blended into the scenery, his presence often forgotten, his photographs taken with available light – he may have missed a few, but he probably gained much more. So convincing was Bill that he was picked up by the cops who thought that he had stolen his cameras and Life credentials. He also had some explaining to do to many of the magazine's readers who believed that the photographs were too real; they must have been faked.

The story complete, Bill, Jim and Life did what they could to find for Karen and John long-term care by a psychiatrist who specialized in drug addiction. The sensitivity that was necessary for Bill to photograph them assured that he would remain interested, but it isn't easy to keep track of addicts battling a devastating habit. And caring – about a subject, about your pictures – takes a toll.

In fact, Bill worries all the time: "They'll pay you for one day's worth of work," he says, "but it's usually about three. One to worry, one to shoot and then, one to recover."





 
 




 
 
 


 
  
Article by James Mills and photos by Bill Eppridge for Life Magazine, February 26, 1965.


 

Friday, July 26, 2013

The Georgia O’Keeffe Museum invites anyone enthusiastic about photography and art to enter the Georgia O’Keeffe Museum Photography Contest


The Georgia O’Keeffe Museum Announces 2013 Photography Competition and Landscape Theme

Amateur and professional photographers invited to submit original landscape-themed photos for second annual photography competition. Winners to receive photo publication, cash awards, and more.

Santa Fe, New Mexico (via PRWEB) July 26, 2013
 
"The Georgia O’Keeffe Museum is excited to invite photographers to submit their favorite images of landscapes,” said Robert A. Kret, Georgia O’Keeffe Museum director."
 
The Georgia O’Keeffe Museum is pleased to announce the second annual photography competition for 2013. To celebrate O’Keeffe’s enduring artistic legacy, this year’s theme honors landscapes, one of O’Keeffe’s most iconic and beloved subjects. Both amateur and professional photographers—located regionally, nationally, and internationally—are encouraged to submit their original images for a chance to win prizes and to be recognized for their talents.

The subject of her most iconic and important works, Georgia O’Keeffe depicted landscape configurations throughout her life, as if doing so put her in closer touch with the identity of a particular place. Of her time in Texas, O’Keeffe wrote to a friend saying, “I love the plains more than ever it seems – and the SKY – … you have never seen SKY – it is wonderful.” And of the beloved landscape of her future home in New Mexico, O’Keeffe explained, “When I got to New Mexico that was mine. As soon as I saw it, that was my country. I’d never seen anything like it before, but it fitted to me exactly. It’s something that’s in the air, it’s different. The sky is different, the wind is different.”

"The Georgia O’Keeffe Museum is excited to invite photographers to submit their favorite images of landscapes,” said Robert A. Kret, Georgia O’Keeffe Museum director. “It is an honor to reward their talent and creativity as a tribute to our namesake, Georgia O'Keeffe."

First, second and third place winners will be awarded in the adult category for entrants aged 21 years and older. The photography competition will also include two student competitions, one for students 18-21 years of age and a second competition for students under 18 years old. The Museum will also announce 20 honorable mentions. Photos may be submitted any time between today and the final entry deadline on Thursday, November 14, 2013, the eve of Georgia O’Keeffe’s birthday. Entrants are encouraged to submit their photos before October 15, 2013 to take advantage of reduced early entry fees.

The theme of the Georgia O’Keeffe Museum’s 2012 first annual photography competition was “flowers.” A total of 930 entrants from 17 countries submitted a grand total of 3,380 images. The winning photograph, “Dancing Tulips,” was submitted by Joanna Stoga of Wroclaw Poland; the remaining winners hailed from New Mexico.

JUDGES FOR THE 2013 PHOTOGRAPHY COMPETITION
Adult group judges: Jolene Hanson, director and curator of G2 Gallery; Eddie Soloway, photographer; and Amy Silverman, photo editor of Outside Magazine.
Student contest judge: Sarah Zurick, education and family programs manager of the Georgia O’Keeffe Museum.

WHAT THE WINNERS WILL RECEIVE:
All winning images will be published in the winter/spring issue of O’Keeffe Magazine and on the Georgia O’Keeffe Museum website beginning January 6, 2014 through May 1, 2014. Winners will receive the following awards and prizes:
1st Place Award

$500 cash-prize; a Santa Fe Photographic Workshops Intensive; a book of exhibition paintings and photographs titled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

2nd Place Award
$300 cash-prize; a book of exhibition paintings and photographs titled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

3rd Place Award
$200 cash-prize; a book of exhibition paintings and photographs titled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

Student Awards
$100 cash-prize; a book of exhibition paintings and photographs entitled O'Keeffe and New Mexico: A Sense of Place which includes essays by Barbara Buhler Lynes and by the well-known writers Lesley Poling-Kempes and Frederick W. Turner; a copy of Georgia O'Keeffe in New Mexico: Architecture, Katsinam, and the Land, an exhibition catalogue which reveals the little-known breadth of Georgia O'Keeffe's interest in northern New Mexico and illuminates her keen sensitivity and deep respect for the Native American and Hispano cultures of the region; and a select item from the O’Keeffe Museum Shop.

Honorable Mentions
Photo submissions will be posted to the Georgia O’Keeffe Museum website.
For More Information and for Contest Rules, Please Visit the Contest Website: http://www.okmphotocompetition.org

For press inquiries, contact:
Lisa Neal
JLH Media
575 635 5658
lisa(at)jlhmedia(dot)com
###

ABOUT GEORGIA O’KEEFFE MUSEUM:
The Georgia O'Keeffe Museum is dedicated to the artistic legacy of Georgia O'Keeffe, her life, American modernism, and public engagement. The Museum's collections, historic properties, exhibitions, Research Center, publications, and education programs contribute to scholarly discourse and inspire diverse audiences. Located in Santa Fe, NM, the Museum’s collections, exhibits, research center, publications and education programs contribute to scholarly discourse and serve diverse audiences. The largest single repository of the artist’s work in the world, it is the only museum in the world dedicated to an internationally known American woman artist and is the most visited art museum in New Mexico

Thursday, July 25, 2013

Save The Dates! AIPAD April 10 - 14, 2014



 



World's leading photography art galleries to exhibit at The AIPAD Photography Show New York, April 10-13, 2014.



More than 80 leading photography art galleries will present a wide range of museum-quality work, including contemporary, modern and nineteenth-century photographs, as well as photo-based art, video, and new media, at the historic Park Avenue Armory in New York City's Upper East Side. For more information, visit www.aipad.com.






AIPAD Opening Night Gala :Wednesday, April 9, 2014
5:00 pm - 9:00 pm
Tickets will be available for purchase in early 2014

AIPAD Panel Discussions: Saturday, April 12, 2014
Hear from leading curators, dealers, artists, critics, and journalists .
Held in conjunction with the Show

Wednesday, July 17, 2013

Photographing war on the domestic front



Via The Annenberg Space for Photography


Nina Berman
Evidence and Fantasy: The War at Home

On Thursday, May 30th, 2013, Nina Berman was the featured speaker at The Annerberg Space's Iris Night lecture Series. The Iris Nights lecture series is a public program offered free of charge, by online reservation on a first-come, first-served basis. The series brings to life the most current exhibit with presentations by exhibit featured photographers and other notable experts and guest artists, and takes place from 6:30-8pm Thursday evenings at the Annenberg Space for Photography

Photographer, author and educator Nina Berman is known for her work photographing wounded American veterans including her 2006 “Marine Wedding” image. Presenting selections from work made since 9/11, she will explain her motivations and approaches to photographing war on the domestic front.






Related:

NPR reviews "War/Photography": What do cameras and combat have in common? Neither seem to be going away

WAR/PHOTOGRAPHY Opens Veterans Day, Sunday, November 11, 2012 in Houston

 

Monday, July 15, 2013

"What do cameras and combat have in common? Neither seem to be going away"



Via NPR The Picture Show


What Do Cameras And Combat Have In Common?

"For me it's about the impact of war as it relates on a very basic human everyday life," says New York-based photographer Nina Berman, who has been photographing wounded veterans since 2003. Her image titled "Marine Wedding," made in 2006, captures a moment between Marine Sgt. Ty Ziegel and his bride on their wedding day. Ziegel was seriously wounded by a suicide car bomber in Iraq and spent 19 months in recovery.

"In that moment I saw a shellshocked couple," says Berman. "That is what war does. It disturbs, distresses and changes the normal lovely course of life."

The image itself has had a life of its own, garnering Berman a World Press Photo Award and launching Ziegel into the national spotlight to discuss the failures of veteran care.
Years later, Berman sees the image as less about the couple and more of a symbol of the impact of war.

"I think that people can be taken aback by how [Ziegel] looks," she says, "but there are a lot of people that look like him. He wasn't a freak, an anomaly; that's what this war has done. People who would have died are surviving. That is the reality."

Berman's voice shuddered as she spoke about Ziegel's passing late last year. She says she often wonders: What does it all amount to?

If you strip war of its historical and political context, it seems, what you are left with is simply to wonder: Why has war been a constant throughout human history?

Monday, July 8, 2013

To Do in NYC Wednesday: Photojournalists On War Conversation and Book Signing

 



"Photojournalists on War: The Untold Stories from Iraq [is] required reading for anyone interested in the way news is gathered and disseminated these days ... Kamber was another one of those eyes in Baghdad, so these conversations are remarkably candid -- confidences shared among friends that we're privileged to be listening in on." -- Vince Aletti, Photograph, July/August 2013

 
COINCIDING WITH PUBLICATION OF
MICHAEL KAMBER'S ACCLAIMED NEW BOOK ON THE IRAQ WAR
BROOKLYN BREWERY
WITH WAR CORRESPONDENTS AT THE BROOKLYN BREWERY

PRESENT:

PHOTOJOURNALISTS ON WAR:
THE UNTOLD STORIES BEHIND THE HEADLINES
A CONVERSATION WITH
STEVE HINDY AND MICHAEL KAMBER
WEDNESDAY, JULY 10, 7:30 - 10:00 P.M.


Brooklyn Brewery
79 N. 11th Street
Brooklyn, New York 11249
7:30 P.M. - 10:00 P.M.

Ticket includes admission and a free Brooklyn Brewery beer.
All proceeds from event benefit RISC
( Reporters Instructed in Saving Colleagues).
Ticket price is $15.00. To purchase a ticket, go
here.
Copies of the book will be on sale and available for signing

With never-before-seen work from the world's top photographers, Michael Kamber's new book Photojournalists on War: The Untold Stories from Iraq (University of Texas Press) features a groundbreaking visual and oral history of America's nine-year conflict in the Middle East. Influenced by his own experience as a multimedia pioneer, Kamber set out to interview photojournalists from leading news organizations including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, The New York Times, Paris Match, Reuters, Time, The Times of London, VII Photo Agency, and The Washington Post. In his book, he recounts their first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam's statue, and the Haditha massacre. These hard-hitting accounts and photographs reveal the inside and untold stories behind the headlines in Iraq.

On July 10, Brooklyn Brewery founder and former AP foreign correspondent Steve Hindy will interview Kamber about his career and his mission to create the most comprehensive collection of rare eyewitness accounts of the Iraq War to date. Both men will reflect on the often shocking and sometimes heroic actions that journalists undertake in trying to cover the war, as they discuss the role of media and issues of censorship. The conversation will be followed by a book signing.


Photojournalists on War photographers are: Lynsey Addario * Christoph Bangert * Patrick Baz *
Nina Berman * Ben Brody * Andrea Bruce * Guy Calaf * Patrick Chauvel * Alan Chin * Carolyn Cole * Jerome Delay * Marco Di Lauro * Ashley Gilbertson * Stanley Greene *Todd Heisler * Tyler Hicks * Eros Hoagland * Chris Hondros * Ed Kashi * Karim Ben Khelifa * Wathiq Khuzaie * Gary Knight * Yuri Kozyrev * Rita Leistner * Benjamin Lowy * Zoriah Miller * Khalid Mohammed * John Moore * Peter Nicholls * Farah Nosh * Gilles Peress * Scott Peterson * Lucian Read * Eugene Richards * Ahmad Al-Rubaye * João Silva * Stephanie Sinclair * Bruno Stevens * Peter van Agtmael

Michael Kamber has worked as a writer and photojournalist for 25 years. Since September, he has worked primarily as a conflict photographer, covering a dozen conflicts, including Afghanistan, Somalia, Liberia, Darfur, and the Congo. Kamber worked as The New York Times' chief photographer in Baghdad in 2007, the bloodiest year of the Iraq War. He also covered Iraq for the Times in 2003, 2004, 2008, 2009, 2010 and 2011. As one of the first journalists to routinely file photography, video and written articles from overseas, Kamber helped pioneer the use of multimedia. Photojournalists on War is the result of a five-year oral history project documenting the role of photojournalism and the Iraq War. Kamber is the founder of the Bronx Documentary Center, and is the recipient of the World Press Photo, and many other awards.

Steve Hindy is a former journalist and became interested in homebrewing while serving as a Beirut-based Middle East Correspondent for The Associated Press. He is a co-founder of The Brooklyn Brewery.

Publisher Website: http://utpress.utexas.edu/index.php/books/kampho

Author Website: http://www.kamberphoto.com

Bronx Documentary Center: http://www.bronxdoc.org


Media Contact for Michael Kamber:
Andrea Smith, andreasmith202@gmail.com; 646-220-5950

Saturday, July 6, 2013

"The function and mission of photography is to explain man to man and man to himself"


Family of Man
Universal message … Garry Winogrand shot of Coney Island bathers, New York, 1952, from Edward Steichen's groundbreaking exhibition, The Family of Man. Photograph: Fraenkel Gallery/Garry Winogrand
 
 
 
Double exposure: photography's biggest ever show comes back to life
The Family of Man, a groundbreaking post-war exhibition seen by more than 10 million people, reopens in Luxembourg
 
Giovanna Dunmall
 
In 1955, Edward Steichen changed the world of photography forever. When the visionary curator and photographer decided to mount an exhibition to promote world peace and equality after two world wars, he was breaking the mould. He gathered 503 photographs of people from around the world, taken by 273 different (often unknown) photographers, and grouped them by theme. That exhibition, The Family of Man, opened in January 1955 at New York's Museum of Modern Art, where the Luxembourg-born Steichen was director of photography from 1947 to 1961. It went on to tour the world and become the most successful photography exhibition of all time – more than 10 million people have seen it. It will go back on show this weekend in a castle in Luxembourg, after renovation work that has taken three years.

"Family of Man changed the way we view photographs today, and how we think about exhibitions," says Anke Reitz, conservator of The Family of Man in Luxembourg, where the collection has been since 1994. "It is a milestone in the history of photography." Steichen chose images grouped by themes intended to be so universal that anyone in any culture could identify with them: birth, fathers and sons, mothers and children, education, love, work, death and religion. The images were hung in particular formations, some dangling from wires overhead or attached to poles. The birth photos were arranged inside an intimate circular structure, while theatrical lighting created further drama and atmosphere. Steichen hung the photos without captions. "The exhibition was meant to be understood around the world without the need for words," says Reitz.


Family of Man Alfred Eisenstaedt's image of a University of Michigan marching band drum major practising his high-kicking prance, followed by admirers in Ann Arbor, Michigan, 1950
 
 
Now, in its renovated setting in Luxembourg, The Family of Man is just as striking, dynamic and emotional as it must have been all those decades ago. The photographs are laid out precisely as in the original MoMA exhibition; only the lighting has been altered, for conservation reasons. Images of children playing and crying, men and women marrying, dreamily staring into space, dancing or fighting – including work by Dorothea Lange, Bill Brandt and Elliott Erwitt – are beautiful or intriguing. Others appear more as historic documents, such as the photo of crowds gathered in London for Princess Elizabeth and Prince Philip's wedding in 1947, or the image by Henri Cartier-Bresson of Gandhi lying in state in Delhi after his assassination in 1948.



Leon Levinstein, Couple in New York, 1952
Leon Levinstein, Couple in New York, USA, 1952
American anthropology … Leon Levinstein, Couple in New York, 1952 Photograph: Howard Greenberg Gallery/Leon Levinstein


Sections of the show are now dated and gendered, and there is no doubt that the main worldview being expounded was white, western and male. One theme, "household and office work", shows only women cooking and cleaning, while the predominance of the nuclear family in many photographs, themes and arrangements feels reactionary and simplistic (as if the family could conquer all – even issues such as racism or social inequality).

For Reitz, such criticisms are founded, but are "part of the history of the exhibition". The Family of Man is very much a product of its time and its creator, she says. As a contemporary viewer, it is hard to appreciate quite what an impact this anthropological photographic survey must have had, nearrly 60 years ago, when viewed in places as culturally diverse as Indonesia, Russia, Japan, Italy and Laos. "For many people, it was like seeing the world for the first time," says Reitz. "A lot of them didn't have TVs or access to magazines."


Eugene Harris, Peruvian Flute Player, from The Family of Man A world revealed … Peruvian Flute Player, Pisac, Peru, 1954, by Eugene Harris


The Family of Man has stood the test of time because of how innovative Steichen was as a curator. He displayed photos without frames and blew them up into lifesize formats; he took images away from museum walls and into the centre of rooms where visitors could interact with them. Not long before dying, Steichen said: "The function and mission of photography is to explain man to man and man to himself." That is the reason The Family of Man continues to capture our imaginations.

Friday, July 5, 2013

Exhibition explores extraordinary people who have influenced the course of modern history

Michael Rossmann, an organizer for the Free Speech Movement at UC Berkeley, Berkeley, California. 1964©Paul Fusco/Magnum Photos.

Via artdaily.org


SANTA FE, NM.- Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce “Those Who Dared”, a major exhibition of compelling and provocative photographs depicting brave, courageous, intrepid, and audacious people and personalities that celebrates the human spirit of daring, drive, and determination to make a difference. The exhibition opens with a public reception on Friday, July 5, from 5 to 7; the exhibition will continue through September 22.

“Those Who Dared” explores the characterization of extraordinary people who have influenced the course of modern history. The more than 50 photographs in the exhibit depict major personalities, historical figures, and everyday people who, through words, actions, and endeavors have made a difference; explored our world; made life-changing scientific discoveries, and inspired us all. These people broke records, broke ground, blazed trails, and suffered trials, shattering ceilings of glass and even tougher stuff. While some are obvious and some obscure, all acted to increase our liberty, safety, prosperity, and imaginations, often enduring an agonizing cycle of hope, progress, and crushing setback.

Photographs depict people "who have dared", including: Amelia Earhart, Ann San Suu Kyi, Charles Lindbergh, Gandhi, Malcolm X, Martin Luther King, Nelson Mandela, Rosa Parks, Al Weiwei, Robert F. Kennedy, Eleanor Roosevelt, Indira Gandhi, Anwar Sadat, a lone protester stopping tanks at Tiananmen Square in Beijing, 1989, protesters in Tahir Square in 2011; Nobel Laureate Dr. James Watson, co-discoverer of the DNA molecule, Jonas Salk, discoverer of the first successful polio vaccine, astronauts; Albert Einstein, Simone de Beauvoir, Jean Paul Sartre, Muhammad Ali, Jackie Robinson, Cesar Chavez, Simon Wiesenthal, and many others.

Photographers in the exhibition include world-renowned photojournalists such as Eddie Adams, Harry Benson, Bill Eppridge, Paul Fusco, Margaret Bourke White, Robert Capa, John Dominis, Alfred Eisenstaedt, Burt Glinn, Yuri Kozyrev, Carl Mydans, Martin Parr, Ken Reagan, Steve Schapiro, Jeff Weidner, and others.

Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe. Building on more than four decades of collective experience, the gallery specializes in classic black & white photography with an emphasis on humanist and photojournalist imagery. The gallery also represents a select group of contemporary and emerging photographers.



Apple Co-Founder Steve Jobs, California, 1982© Charles O'Rear/NGS.




Wednesday, July 3, 2013

July Fourth: Pancakes, and Photography

Photo  © www.sfreporter.com
 

2013 Pancakes on the Plaza

Santa Fe’s Favorite Local Event

It's almost automatic. When locals think Fourth of July in Santa Fe, Pancakes On The Plaza comes to mind first. From the deliciousness of the pancakes to the cool cars on display ... from the toe-tapping music to the unique art show, Pancakes On The Plaza has something for everyone. And as it brings the communities of Santa Fe and Northern New Mexico together to celebrate our nation's birthday, the proceeds generated from Pancakes on the Plaza make a big difference in the lives of people in need.

Details here.


Then, stop in for an advance look at the exhibition "Those Who Dared" at Monroe Gallery of Photography. The gallery will be open until 3 PM on July Fourth, and please join us Friday from 5 - 7 for the opening reception.






Friday, June 28, 2013

One Life: Martin Luther King Jr.




Martin Luther King Jr. and Ralph Abernathy ride the first integrated bus in Montgomery, Alabama
Ernest Withers (1922–2007)

Gelatin silver print, 1956 (printed later) King proved to be the ideal choice to orchestrate and sustain the Montgomery bus boycott. As a relative newcomer to Montgomery, he was able to bring together all factions of the black community without regard to past rivalries. Through inspirational addresses delivered at mass meetings in Montgomery’s black churches, King galvanized support for the boycott and clearly articulated the case for nonviolent action, declaring, “We must meet the forces of hate with the power of love; we must meet physical force with soul force.” He found a strong ally in fellow Montgomery minister Ralph Abernathy, and during the course of the boycott the two men forged a strong working relationship and a deep friendship. Continuing for an unprecedented 381 days, the bus boycott ended only after the United States Supreme Court ruled bus segregation unconstitutional. When the first integrated bus rolled through Montgomery on December 21, 1956, King and Abernathy sat side by side.




June 28, 2013 through June 1, 2014


Selected Portraits / Curator's Statement
As we mark the fiftieth anniversary of the 1963 March on Washington for Jobs and Freedom and Martin Luther King Jr.’s iconic “I Have a Dream” speech, I believe it is important to remember King not merely as a dreamer but as a doer. In his thirteen years of public life as an advocate for civil rights, economic opportunity, and world peace, King motivated others not only by communicating his vision for a brighter future but by acting boldly to challenge injustice. Despite enormous odds and the ever-present risk of failure, King led by example, exhibiting courage and character as he maintained his steadfast commitment to nonviolent resistance and direct action. Anyone can dream of a better and more just world. Martin Luther King Jr. dedicated his life to making that dream a reality.
—Ann M. Shumard, Senior Curator of Photographs



 
Martin Luther King Marching for Voting Rights with John Lewis, Reverend Jesse Douglas, James Forman and Ralph Abernathy, Selma, 1965


This exhibition has been funded by the Guenther and Siewchin Yong Sommer Endowment Fund and an anonymous donor.


http://npg.si.edu/exhibit/MLK/portraits.html

The Washington Post: Martin Luther King Jr. exhibit is brief but powerful

INTERACTIVE PHOTOGRAPHY PROJECT AT GEORGIA O"KEEFFE MUSEUM



Will Wilson, Self Portrait, Critical Indigenous Photographic Exchange (CIPX), 2012


INTERACTIVE PHOTOGRAPHY PROJECT
MON.–FRI. JULY 8–19 10 AM–4 PM

EXHIBITION
MON.–FRI. JULY 15–19, 10 AM–NOON & 1–4 PM
PHOTOGRAPHIC PORTRAIT SESSIONS
The Critical Indigenous Photographic Exchange (CIPX) is a photographic inquiry and exchange of artist Will Wilson (Diné) and his subjects as he creates studio portraits that engage participants in dialogue and a portrait session using the wet-plate collodion process. Wilson re-creates and re-enacts this performative ritual, which is intensified and refined by his use of a large-format (8 by 10 in.) camera to create a tintype for the sitter. This beautifully alchemic photographic process dramatically contributed to the collective understanding of Native American people and, in so doing, the American identity, demonstrating how an understanding of our world can be acquired through fabricated methods.

Museum visitors can register to be photographed. Each portrait takes approximately 30 minutes. An exhibition of digitally printed portraits from the CIPX series will be on view at the Education Annex July 8—19.

LOCATION: O’Keeffe Education Annex, 123 Grant Avenue.
COST: FREE

Register at Georgia O'Keeffe Museum front desk.

Wednesday, June 26, 2013

BBC: Vivian Maier: Who Took Nanny's Pictures?




Untitled, no date


Via BBC1


Duration: 1 hour, 10 minutes

The incredible story of a mysterious nanny who died in 2009 leaving behind a secret hoard - thousands of stunning photographs. Never seen in her lifetime, they were found by chance in a Chicago storage locker and auctioned off cheaply.

Now Vivian Maier has gone viral and her magical pictures sell for thousands of dollars. Vivian was a tough street photographer, a secret poet of suburbia. In life she was a recluse, a hoarder, spinning tall tales about her French roots. Presented by Alan Yentob, the film includes stories from those who knew her and those who revealed her astonishing work.


(Part One)
 
 

Related:  Vivian Maier: lost art of an urban photographer

Related: Vivian Maier Discovered




 

White House Photographer Eric Draper Live Interview on Local Radio June 27





Via The Bob Clark Show on KKOB

Eric Draper of Rio Rancho, who was the official White House Photographer for President G.W. Bush, is on our show next Thursday, June 27th, at 9 AM (Moutain Time). He will be discussing his new book, Front Row Seat. (Link to listen live here)


The new book by the University of Texas Press, “Front Row Seat: A Photographic Portrait of the Presidency of George W. Bush,” presents an extraordinary collection of images, many never before published, by former Chief White House Photographer Eric Draper. Part of the Focus on American History Series with The University of Texas at Austin’s Dolph Briscoe Center for American History, “Front Row Seat” offers a compelling, behind-the-scenes view of the entire presidency of George W. Bush, from dramatic events to relaxed, intimate moments within the Bush family.

The book’s publication this spring coincided with the opening of the new George W. Bush Presidential Library and Museum on the campus of Southern Methodist University in Dallas, Texas, on May 1.

America’s 43rd president George W. Bush presided over eight of the most dramatic years in recent history, from the 9/11 attacks early in his administration to the worldwide economic crisis of 2008. By his side, recording every event, was his personal White House photographer, Eric Draper. From a collection of nearly 1 million photographs, Draper has selected more than 100 images of Bush that portray both the public figure and the private man.

Through Draper’s lens, we follow the president through moments of crisis that called for strong leadership, such as 9/11; emotional meetings with troops in war zones, wounded soldiers at home and Katrina survivors; and happy, relaxed times.

White House Photograper Eric Draper: "Front Row Seat

Eric Draper, Front Row Seat on Time LightBox

Tuesday, June 25, 2013

50 Years Ago Today: 'Ich bin ein Berliner'




©Time Inc.


Via BBC  1963: Kennedy: 'Ich bin ein Berliner'

The US President, John F Kennedy, made a ground-breaking speech in Berlin offering American solidarity to the citizens of West Germany.

A crowd of 120,000 Berliners gathered in front of the Schöneberg Rathaus (City Hall) to hear President Kennedy speak.

They began gathering in the square long before he was due to arrive, and when he finally appeared on the podium they gave him an ovation of several minutes.

The president had just returned from a visit on foot to one of the Berlin Wall's most notorious crossing points, Checkpoint Charlie.

He was watched from the other side of the border by small groups of East Berliners unable even to wave because of the presence of large groups of the East German People's Police.

In an impassioned speech, the president told them West Berlin was a symbol of freedom in a world threatened by the Cold War.

"Two thousand years ago," he told the crowd, "the proudest boast in the world was 'civis Romanus sum'.

"Today, in the world of freedom, the proudest boast is 'Ich bin ein Berliner.'"

"Freedom has many difficulties and democracy is not perfect," he continued. "But we never had to put up a wall to keep our people in."

His speech was punctuated throughout by rapturous cheers of approval.

He ended on the theme he had begun with:

"All free men, wherever they may live, are citizens of Berlin, and therefore, as a free man, I take pride in the words, 'Ich bin ein Berliner.'"

After the speech, the mayor of West Berlin, Willi Brandt, spoke out for the citizens of East Germany, saying they would be brought out in a few days to greet the Soviet leader, Nikita Khrushchev, whether they wanted to or not.

"But they would much rather be with us, freely gathered here," he said.

"We tell them, we will not give up. Berlin is true to those behind barbed wire as to fellow countrymen in the West and friends in the whole world."

His words were followed by the tolling of the Freedom Bell from the belfry of the Rathaus in remembrance of those in East Germany.

For the first time that day, the massive crowd fell silent.

A Summer Series on "The Law and Business of ART”



Via The Albuquerque Journal

Art and the law subject of talks

A series of panel discussions on art and the law will be presented through the summer at the Santa Fe Community Gallery, 201 W. Marcy St., located in the convention center.

The free sessions are being offered by the Santa Fe Arts Commission with New Mexico Lawyers for the Arts.

The topics include:
• June 25, 6-8 p.m., “Understanding the Artist-Gallery Consignment Agreement,” a lecture by Peter Ives.

• July 16, 6-8 p.m., “The Art of the Dealer: Best Practices for the Modern Gallery/Artist Agreements: A Panel Discussion.” Panelists will be Katherine Erickson, Samantha Furgason, Pascal Pierme, Sid Monroe, Darrah Wills and Peter Ives.

• Aug. 6, 6-8 p.m., “Public Art, Censorship and the Visual Artists Rights Act: A Panel Discussion.”

Sunday, June 23, 2013

Public photography is not a crime



Police officers tackle and detain a National Post photographer while he was photographing protesters demonstrating against the G8/G20 summits June 26, 2010 in Toronto, Canada. Photo: Scott Olson/Getty Images

Via o.canada.com

PEN Canada responds to a series of arrests and other police actions aimed at deterring photography in public spaces


The June 2, 2013 arrest of Toronto Star photographer Alex Consiglio for trespassing in a Toronto railway station is the latest in a series of events that has PEN Canada’s National Affairs Committee concerned about the interpretation of certain Charter rights pertaining to public photography and filming.

In particular, we wish to state that it is not a criminal offence for individuals to photograph or film police officers as they go about their duties, and that police officers are not allowed to confiscate a person’s camera or recording equipment (including phones), force them to delete images, or otherwise prevent them from taking photographs or filming in public places. We also wish to clarify the law when it comes to taking pictures or filming on private property that is open to the public.

We are especially concerned about the way recent trends in enforcement of non-existent prohibitions on photography and filming are affecting members of the press.

This document is not intended to be an exhaustive examination of all laws as they pertain to photography and filming. The issue is complicated and depends to some extent on laws that vary from province to province and municipality to municipality.

Subject to certain very limited constraints, it is not a crime in Canada for anyone to do any of the following things, and it is a violation of their Charter rights to prevent anyone from doing so:
  • photographing or filming in any public place, or in any private place to which the public is admitted, and publishing those pictures and films,
  • taking pictures of or filming in any government site other than “restricted access areas”*
  • photographing or filming police officers in public, as long as the photographer/filmmaker does not obstruct or interfere with the execution of police duties. While everyone has a reasonable expectation of privacy in certain circumstances, police officers have no reasonable expectation of privacy as they go about their duties.
A police officer does not have the right to confiscate cameras or recording equipment (including phones), unless the person in possession of such equipment is under arrest and such equipment is necessarily relevant to the alleged offence. A police officer cannot force anyone to show, unlock or decrypt cameras or recording equipment, or to delete images, even when that person is under arrest, unless the police officer has a warrant or a court order permitting him to do so.

At no time, and under no circumstances, is anyone in Canada subject to arrest for the simple act of taking a photograph or filming, although he or she can be arrested if he or she is breaking another law in the process, such as, for example, trespassing or breaking or entering.

Other laws and legislation, including the Criminal Code, the Copyright Act, the Security of Information Act, the Youth Criminal Justice Act, and the Personal Information Protection and Electronic Documents Act, the Personal Information Protection and Electronic Documents Act (PIPEDA), must be obeyed while taking or publishing pictures.

Statement

PEN Canada affirms that the rights of people to make photographs and films in public places and in private places open to the public, and publish them, are hallmarks of a transparent democracy, and that arbitrary restrictions upon photography and filming or on the publication of photographs and films is a characteristic common to repressive governments.

The rights of people to make and publish photographs and films in public places, and in private places open to the public, are hallmarks of a transparent democracy.

Not only do all people in Canada have the right to make images and publish them, but in the age of ubiquitous photography, amateur photographs and films are proving to be an important tool in fighting crime – including crime committed under colour of authority.

We also affirm the value of photography and film in securing law enforcement officers from false accusations.

This application has already been widely recognized by law enforcement departments across the country, and it’s partly for this reason that video dashcams are now standard issue in law enforcement vehicles.

History

In the past several years, many cases have come to light in which police officers sought to confiscate cameras and delete images, even though (a) they have no legal authority to do so and (b) this may actually constitute a crime in itself. The following incidents point out the need for all citizens to be informed of their rights, and for all law enforcement officers to be aware of those rights.

The most glaring example is the case of Robert Dziekanski, a Polish man who died after being tasered by RCMP officers at the Vancouver airport in 2007. Dziekanski’s tasering and subsequent collapse was filmed by Paul Pritchard, who surrendered the video to police with the understanding that they would return it to him in 48 hours. When they did not do so, Pritchard initiated a lawsuit against them. The video was ultimately returned. Partly as a result of its existence, the RCMP eventually admitted that they had misled the public in several statements about the Dziekanski incident. They issued an official apology for their actions and agreed to a financial settlement with Dziekanski’s mother. All four officers involved were formally accused of having lied in notes and statements about what happened that day.
At no time, and under no circumstances, is anyone in Canada subject to arrest for the simple act of taking a photograph or filming
Without the existence of the Pritchard video, it is certain that the outcome of the investigation would have been different.

Last year, lawyer Karen Selick published an opinion piece in the National Post concerning an incident at the home of one of her clients. During the incident, police confiscated numerous cell phones, deleted images, and made threats of arrest to various people for photographing police activity. Selick contends that the behavior of the police was not only out of bounds but was also criminal.

Most recently, on June 2, 2013, Alex Consiglio, a Toronto Star photographer, was arrested at Toronto’s Union Station, put into a headlock by a police officer, and ticketed for trespassing. This came after Consiglio had been asked at least twice to stop taking pictures, including pictures of police officers, and to leave the premises.

Consiglio’s case is significant because photography on private property that is open to the public is not an offence and is not civilly actionable unless posted signs specifically prohibit it, or photographers are informed by security guards, owners, or other personnel that they may not take photographs. The owner of Union Station, the City of Toronto, apparently stipulates that members of the public are free to take photographs at any time, but members of the press must first sign a liability waiver. In the opinion of PEN Canada, this requirement for a waiver creates a stifling effect upon the ability of members of the press to do their work effectively, and the requirement should be rescinded by the owner of Union Station.

In the past three years there have been four other incidents that PEN believes are worthy of examination:
  • National Post photographers Brett Gundlock and Colin O’Connor were arrested during the G20 protests that took place in Toronto in 2010. These protests were notable for the police tactics used in crowd control and dispersal, including mass arrests, the apparently random arrests of innocent onlookers and passers-by, and the controversial and now-discontinued practice of kettling. Gundlock and O’Connor were attacked by police while attempting to photograph aggressive crowd dispersal tactics.They were arrested and held in a temporary detention center for 24 hours, where they were strip-searched, denied water for 12 hours, fed almost nothing, and experienced the loss of some of their camera equipment. They were never accused of any crime. Instead, they were simply accused of being “amongst violent people”. Their camera equipment and press ID should have exempted them from any police attention whatsoever, and as soon as it became clear that they were members of the press, they should have been free to go about their business.
  • On March 26, 2013, a Montreal student named Jennifer Pawluck, 20, an active protester with no criminal record, discovered some graffiti depicting police spokesman Ian Lafrenière with a bullet hole in his head. She took a picture of the image and posted it on Instagram. On April 3, Pawluck was visited at her home by police officers and arrested without incident.She was charged with uttering threats against Lafrenière. In the warrant, it was stated that she gave Lafrenière cause to fear for his safety, and one of the conditions of Pawluck’s release was that she must not come within one kilometre of police headquarters or Lafrenière’s home. It is notable that Pawluck was never accused of having created the original image, only of taking a picture and distributing it. PEN Canada considers this to be a particularly egregious violation of the Charter right to self-expression.
  • In September of 2012, 16-year-old Jakub Markiewicz was detained by security guards and arrested by police after filming the violent takedown of a man by security guards at Metrotown shopping mall in Burnaby, B.C. Markiewicz was ordered by the guards to delete his footage, but since he was using a film camera, he could not comply. Although the guards were in their right to order Markiewicz to stop filming, they were not legally authorized to order him to delete the image or to destroy the film. After Markiewicz took a second picture of arriving RCMP officers, he was physically attacked and restrained by security guards. At their request he was then handcuffed by police and taken to an RCMP cruiser, where security guards again demanded he delete the photos. RCMP officers cut Markiewicz’s backpack off with a utility knife in order to search it, and Markiewicz was ultimately arrested for causing a disturbance. He was never officially charged.
  • A Niagara police officer is facing criminal charges of assaulting a photographer outside a bar in May of 2012. Constable Paul Zarafonitis allegedly assaulted Michael Farkas after Farkas refused to stop photographing police during an incident at the Kool Kats Caribbean Restaurant in Niagara Falls. Farkas suffered a broken nose, a fractured orbital socket, and a fractured cheekbone.

In The United States

While American federal and state law differ from Canadian law in many important respects, two incidents have taken place there that we believe are worth mentioning in this context.
After the terrorist bombings in Boston last April, citizen photography played a significant role in establishing the identity of the bombers
On May 14, 2012, the United States Department of Justice wrote a letter to the Baltimore Police Department asserting that the right of people to photograph and film police officers is protected by the First, Fourth, and Fifteenth Amendments to the Constitution. The DOJ also stated that the ability to photograph and film police officers does much to enhance the appearance of transparency of law enforcement organizations and is therefore a way of building public trust and goodwill. PEN Canada believes that the DOJ is entirely right in this assertion, and we wish to uphold and adopt it as our own.

After the terrorist bombings in Boston last April, as noted in this Washington Post article, citizen photography played a hugely important role in establishing the identity of the bombers. Investigators received hundreds of still and moving images from cell phones and handheld cameras that allowed them to piece together a timeline and ultimately to find images of the suspects, resulting in the death of one and the capture of another.

Often police officers seem willing to use violence to stop photographers, as if photography itself were a form of assault instead of a right.

We believe these instances offer additional evidence that public photography should ultimately make for a more transparent, open, and free society, provided standards of privacy and decency are adhered to. It also fosters a more law-abiding culture.

Analysis and Recommendations

The incidents mentioned above show that police officers are sometimes prepared to deprive people of the rights set out above in this memo. Neither photography nor filming in and of itself constitutes obstruction. Often police officers seem willing to use violence to stop photographers, as if photography itself were a form of assault instead of a right.

This state of affairs must not be allowed to continue in Canada. PEN Canada calls upon law enforcement officials to recognize that photographing and filming in public places is in the public interest, and to ensure that their personnel are familiar with the laws concerning public photography/filming and photography/filming of police officers. We encourage people to continue to exercise their right to take photographs and make films in public, to photograph or film actions committed by law enforcement that may be worthy of concern, and to publish these images public, secure in the knowledge that they are within their rights to do so.

* Examples as currently defined by the government of Canada include Operations Zones – areas where access is limited to personnel who work there and to properly-escorted visitors, which must be indicated by a recognizable perimeter and monitored periodically; Security Zones – areas to which access is limited to authorized personnel and to authorized and properly-escorted visitors, which must be indicated by a recognizable perimeter and monitored continuously; and High Security Zones – areas to access is limited to authorized, appropriately-screened personnel and authorized and properly-escorted visitors, which must be indicated by a perimeter, monitored continuously, and to which details of access are recorded and audited.

PEN Canada is a nonpartisan organization of writers that works with others to defend freedom of expression as a basic human right, at home and abroad. PEN Canada promotes literature, fights censorship, helps free persecuted writers from prison, and assists writers living in exile in Canada. Republished with permission.
© COPYRIGHT - POSTMEDIA NEWS

Friday, June 21, 2013

"There doesn’t seem to be any stopping Jeff Widener on his continued journey in making beautiful, real photographs"



Via Peta Pixel

A chat with Jeff Weidener, the photographer behind 'Tank Man,' a photo that is widely considered one of the iconic images of the 20th century.






JW: Basically it’s a lucky shot from being in the wrong place at the right time. I had been knocked silly the night before from a stray protestor brick that hit me in the face and the Nikon F3 Titanium camera absorbed the blow sparring my life. I was also suffering from a bad case of the flu during the whole Tiananmen story so I was pretty messed up. Our Asia photo editor had been in Beijing for weeks covering Mikhail Gorbachev’s high level meetings with Chinese leaders and was anxious to return to Tokyo but unfortunately the night before the massacre. That left AP Beijing photo editor Mark Avery, New Delhi based AP photographer Liu Heung Shing and myself to cover one of the biggest stories of the 20th century. After sneaking into the Beijing Hotel with the help of an American college student named Kirk Martsen, I managed to get one fairly sharp frame of Tank Man from the 5th floor balcony of the Beijing Hotel with an 800mm focal length lens. I had run out of film and Martsen managed to find a single roll of 100 ASA from a tourist. The problem was it was 100 speed and I usually used 800. This meant that when I was eyeballing the light, I was three stops too low on the Nikon FE2 auto shutter speed. It was a miracle that the picture came out at all. It wasn’t tack sharp but good enough to front almost every newspaper in the world the next day.
I never dreamed the image would turn into a cult thing. I guess the first time I realized I had something was when David Turnley of the Detroit Free Press told me that he thought I would win a Pulitzer for the image. As fate would have it, David won it that year and I was a finalist. It’s funny because I recall being in the middle of a Bangkok slum that year and around the corner came a familiar face. It was Pulitzer Prize winner Stan Grossfeld who I had previously met. His first words were “Widener…you was robbed”.