10th Aids Impact Conference in Santa Fe

We were very honored to host a champagne reception last night for the 400 researchers, delegates and guests from 60 countries attending the 10th AIDS Impact conference.

The conference was the first among a number of AIDS conferences to return to U.S. soil after a close to 20-year boycott over immigration restrictions for persons living with HIV that were recently lifted.

Where's Today's Dorothea Lange?

Hard times have spawned great art — but not these hard times, it seems.

September 12, 2011

By Jaime O'Neill

Economists and politicians told us that the recession was over, though some of them now worry about it taking a double dip. For those of us living farther from the ledger sheets and closer to the reality of what's happening in our towns and on our streets, this has been and remains a depression. It's hard to make the word stick, however, because we haven't developed the iconography yet. We don't have bread lines, dance marathons, guys selling apples on street corners or men jumping from high buildings because they've been wiped out in the stock market.

The pain and suffering has only been superficially covered by the news media, but it has surely not been addressed by our artists. In the 1930s, John Steinbeck chronicled the Depression as it played out in the lives of the Joads, his fictional Okies. He invented those memorable characters to vivify all the abstractions of the policymakers and to give literary voice to the suffering so many nonfictional Americans were experiencing.

There were a raft of other artists who also were telling the tale, making people see, hear and feel the pain as only the arts can do. There was Dorothea Lange taking photos and Woody Guthrie writing songs. Hollywood was doing its part too, and not only with a movie version of Steinbeck's novel. Unlike current audiences, moviegoers in the '30s were persistently reminded by what was on the screen of what awaited them when they resumed their lives outside the theater. Even "King Kong," generally conceded to be pioneering escapist fare, begins with Fay Wray in a bread line.

In our own times, when Iraq and Afghanistan war vets are suffering double-digit rates of unemployment, you can't find much mention of those veterans and their struggles in our movies. But, in 1932, "I Am a Fugitive From a Chain Gang" gave cinematic life to the kind of men who would march on Washington as part of the Bonus Army, a legion of out-of-work World War I vets who squatted in the nation's capital to bring attention to their plight — an appeal that was ultimately met not with aid but with violence.

Even musicals like "Gold Diggers of 1933" (which gave us the song "We're in the Money") is structured around the story of war heroes who were shamed by the need to seek inadequate public assistance. There also were more overtly political films in 1933, movies like "Wild Boys of the Road," a gritty portrayal of unemployed young men jumping freights to find work.

A few recent indie films have provided glimpses of what the Joads might look like in this new century — "Winter's Bone" comes most forcefully to mind — but mostly the moviemakers are far removed, in their own lives and in their products, from what the majority of Americans are living through now.

Musical artists too are looking the other way. What hit song of the last three years gives voice to our times in the way "Brother Can You Spare a Dime?" gave voice to the 1930s? Where are the songs that evoke images of vacancies in the shopping malls, people driven from their foreclosed homes and couples whose marriages are shattered by the frustrations of their hardships?

A long time ago, during an early peace march through San Francisco, I remember a young guy in an apartment a couple of floors above the street putting a speaker in his window and blasting Bob Dylan singing "The Times They Are A-Changin' " to the protesters marching by. The feeling of support and solidarity that music contributed on that day was palpable, and it came at a time when public sentiment had not yet turned against the Vietnam War.

Years later, in a none-too-brave new world, I attended a Dylan concert in the months following 9/11. The "senators and congressmen" Dylan had once referenced in his old song were then talking about taking us to war in Iraq. I hoped on that night that the protege of Woody Guthrie would say a word or two about the times we were living in. But he said nothing, having long since decided he didn't want to be an oracle, didn't want to speak except through his songs. For many fans, it would have been balm to us had Dylan used even the slimmest portion of his art to provide the sense of solace he'd given so many dissenters long ago.

A few months after seeing Dylan, I saw Jerry Seinfeld. It was a few weeks after the shoe bomber had attempted to blow up an airplane. No one goes to see Seinfeld for political commentary, but he made a joke about the shoe bomber, and it was therapeutic, allowing us to laugh at the boogeyman. It was art employed in the interest of sanity. It's been said that humor is our shield against insanity. So far, we've mostly been crazy this century, and there hasn't been much shielding us from it. The comedians, such as Jon Stewart, Will Durst and Bill Maher, have filled the vacuum the other arts have abandoned.

As much as anything, the arts define the times, sketching a portrait of a moment in the life of the nation and the world, marking a period in ways it comes to be viewed by people who live through it and by people who come after. But the tale of our times is mostly being told by our unwillingness to tell it.

Jaime O'Neill is a writer in Northern California.

Suggested - Be sure to visit Facing Change: Documenting America 

Facing Change: Documenting America is a non-profit collective of dedicated photojournalists and writers coming together to explore America and to build a forum to chart its future. Mobilizing to document the critical issues facing America, FCDA teams will create a visual resource that raises social awareness and expands public debate.    

COVER PHOTO BY MARK SHAW FOR NEW KENNEDY BOOK

Jacqueline Kennedy in April of 1961 © 2000 Mark Shaw

Jacqueline Kennedy: Historic Conversations on Life with John F. Kennedy
By Caroline Kennedy

400 pages, 8 CDs, 85 photos

$60.00 US

In 1964, Jacqueline Kennedy recorded seven historic interviews about her life with John F. Kennedy. Now, for the first time, they can be heard and read in this deluxe, illustrated book and 8-CD set.

From Hyperion Books:

Shortly after President John F. Kennedy’s assassination, with a nation deep in mourning and the world looking on in stunned disbelief, Jacqueline Kennedy found the strength to set aside her own personal grief for the sake of posterity and begin the task of documenting and preserving her husband’s legacy. In January of 1964, she and Robert F. Kennedy approved a planned oral-history project that would capture their first-hand accounts of the late President as well as the recollections of those closest to him throughout his extraordinary political career. For the rest of her life, the famously private Jacqueline Kennedy steadfastly refused to discuss her memories of those years, but beginning that March, she fulfilled her obligation to future generations of Americans by sitting down with historian Arthur Schlesinger, Jr., and recording an astonishingly detailed and unvarnished account of her experiences and impressions as the wife and confidante of John F. Kennedy. The tapes of those sessions were then sealed and later deposited in the John F. Kennedy Presidential Library and Museum upon its completion, in accordance with Mrs. Kennedy’s wishes.

The resulting eight and a half hours of material comprises a unique and compelling record of a tumultuous era, providing fresh insights on the many significant people and events that shaped JFK’s presidency but also shedding new light on the man behind the momentous decisions. Here are JFK’s unscripted opinions on a host of revealing subjects, including his thoughts and feelings about his brothers Robert and Ted, and his take on world leaders past and present, giving us perhaps the most informed, genuine, and immediate portrait of John Fitzgerald Kennedy we shall ever have. Mrs. Kennedy’s urbane perspective, her candor, and her flashes of wit also give us our clearest glimpse into the active mind of a remarkable First Lady.

In conjunction with the fiftieth anniversary of President Kennedy’s Inauguration, Caroline Kennedy and the Kennedy family are now releasing these beautifully restored recordings on CDs with accompanying transcripts. Introduced and annotated by renowned presidential historian Michael Beschloss, these interviews will add an exciting new dimension to our understanding and appreciation of President Kennedy and his time and make the past come alive through the words and voice of an eloquent eyewitness to history.

Click here for an exclusive look at Kennedy trivia and photos

Related: New York Times Slideshow: "She Said That?"

Photography by Stephen Wilkes

CNN - Witness to History: White House photographer Eric Draper and the images of 9/11

Via CNN


Washington (CNN) -- As the president's personal photographer and head of the White House Photo Office, Eric Draper was with President George W. Bush for nearly every day of his eight-year term, often just a few feet away.

On the morning of September 11, 2001, he was there, too.

"My job was to document the president, to follow him everywhere," Draper told CNN in an exclusive interview. "But I had no idea what stories, what events would play out ... September 11 changed everything."

Draper, a former newspaper and wire photographer who is now a freelancer based in Albuquerque, New Mexico, ended up at President Bush's side on that fateful day and made some of the most iconic and memorable images of the president as the tragedy unfolded.

He was there in the motorcade, driving to Booker Elementary School in Sarasota, Florida, when press secretary Ari Fleischer first got a "page" on his pager -- "Back then, we didn't have BlackBerrys," said Draper -- alerting the White House that a single plane had hit the World Trade Center.

Eric Draper video: 9/11 through Bush's lens

"I remember the president saying, 'What a horrible accident.' That's what everyone thought, that it was a shocking, one-time, how-could-that-ever-happen accident," recalled Draper.

Minutes later, they knew it wasn't an accident.

Draper was there, in the holding room of the elementary school, as Bush and his advisers first saw the second plane, United Airlines Flight 175, crash into the south tower, hitting it between the 77th and 85th floors.

He was there, on Air Force One, as the president flew first to Barksdale Air Force Base in Louisiana, and then to Offutt Air Force Base in Nebraska, as events continued to develop that tense day.

He was there, in the room, when President Bush saw the twin towers collapse and he was there, days later, when Bush climbed atop the rubble at ground zero in New York, holding a megaphone, and proclaimed "The whole world will hear us soon."

Draper sat down with CNN for an exclusive interview, walked us through several never-before-seen images from September 11 and the days following, and shared how one of the most significant days in American history unfolded:

President Bush reacts to live video of the burning World Trade Center at a classroom at Emma Booker Elementary School in Sarasota.

CNN: This photo of President Bush in the holding room at the elementary school in Florida, what is happening here?

Draper: This was literally just seconds after the president left the classroom. And the timing here is pretty critical because there's a clock on the wall, you can see it's around 9:10.

The president was asking questions, trying to get the timing down, what happened in New York. It was tense, it was unbelievable. And then there was the distraction of watching the burning towers on TV. Immediately, I just tried to focus on making the picture.

White House communications director Dan Bartlett alerts the room to watch the TV

...as President Bush turns to see the second plane hit the south tower of the World Trade Center.

CNN: And this frame, President Bush is on the phone...

Draper: This was the moment, when the president finally was alerted. We're watching the live screen of the towers burning in New York, and all of a sudden they start replaying the video of the second tower getting hit. ... This was the first time that everyone saw that second plane hitting the tower, the moment of the attack.

President Bush turns around for the first time and sees that image that's burned into everyone's memory.

It was just shocking to see the horrific explosion and knowing immediately that there was going to be a huge loss of life. The roller coaster of emotions really started that day. It started out with shock, then, knowing how many people were in those buildings, it turned to anger, then turned to, at least in my mind, who would do this?

Bush confers on a secure line as "the football" -- the briefcase holding the secure nuclear launch codes -- is watched by a Marine.

CNN: In this picture, I noticed the Marine in the background and the briefcase on the floor. Is that what I think it is?

Draper: Yes. That's the so-called "football" -- the nuclear launch codes -- that the military carries for the president. Right there. On the floor.

As Air Force One approaches Washington, Bush talks with Vice President Cheney while looking at the smoldering Pentagon.

White House advisers plan the route for Air Force One as Bush works in his cabin.

CNN: OK, now you're on Air Force One. What happened once the president was in the air?

Draper: We knew they wanted to get him in the air as soon as possible... I remember walking aboard the plane, and the first thing I heard was (Chief of Staff) Andy Card's voice saying, "Remove your batteries from your cell phones." because we didn't know if we were being traced. I thought, are we a target? I didn't know.

We were hearing a lot of false reports, too. There was a moment when the president came out of the cabin of Air Force One and said, "I hear that 'Angel' is the next target." Angel is the code name for Air Force One.

I also remember those first moments aboard the plane, when the president really tried to rally the staff. He walked out of his cabin and he said, "OK, boys, this is what they pay us for."

With Andy Card watching, President Bush gives the order to shoot down any aircraft that might threaten an attack on the U.S.

CNN: What's going on here? The president appears to be in intense conversation with Andy Card on Air Force One.

Draper: The timing here is pretty critical. This was around the time when the president made the decision that any aircraft that was threatening attack would be shot down.

President Bush watches the collapse of the twin towers aboard Air Force One, with Dan Bartlett and a secret service agent.

Air Force F-16s fly off the wingtips of Air Force One.

CNN: Did President Bush say much to you that day?

Draper: One time, there was a moment. That's when we're watching live TV aboard the plane. That's when the towers fell.

It was a moment of utter disbelief. It was a moment of silence. I remember the president saying, "Eric, what do you think about this?" I said, "This is unbelievable." That's all I could say.

Just moments after this, this is when we discovered the F-16s escorting Air Force One as we approached Andrews Air Force Base. Everyone was looking out the windows, trying to see them. They were right there, literally, looked like they were touching the wings of the plane. For me, it really hit home, that we were in a war. You could see the F-16s on one side of the plane, then you look out the other side of the plane and you could still see the smoke rising from the Pentagon. It was really a shocking scene.

President Bush and retired firefighter Bob Beckwith stand on the rubble of the World Trade Center.

CNN: Now here, the president is in New York, at ground zero. How did that come together?

Draper: I remember, the firefighters, they were fired up. They were angry. They were sad. Some of them had tears in their eyes. They were looking to the president for leadership. You could see it in their eyes.

There was this area set aside for the president to walk over and speak. At the last minute he was handed a megaphone, and the firefighter marking the spot was there, and the president kept him there. He was just there to make sure the president got to the spot, then he was going to leave, but the president said "Stay here."

I remember the firefighter yelling in the background, "I can't hear you." I still get chills when I remember the quote, when the president said, "I can hear YOU, and the people who knocked these buildings down will hear from all of us soon."

President Bush always kept the badge worn by Port Authority Officer George Howard, who died in the trade center, in his pocket during his presidency.

CNN: This last photo, of the officer's badge, what is this?

Draper: That is the badge that was worn by a New York Port Authority officer who died on 9/11. That badge was found on his body and given to (President Bush) by his mother around the days following 9/11. The president carried it in his pocket as a reminder, he carried it every day. I felt it was very important, symbolically, to make a photograph of that badge. He would always carry it and pull it out to remind people and to remind himself about what happened that day.

Q: Looking back on 9/11, were you scared that day?

Draper: I had it easy because I had a camera to distract me. I had the technical aspects of being a photographer. But at the same time, I was scared about what was happening in Washington, because that's where my wife was, she had just moved to Washington a few days before 9/11.

So when they finally allowed staff to call from the plane later that day, my first words were "Honey, I'm gonna be a little late tonight."

She laughed.

Two of Eric Draper's photograohs from September, 2001 are featured in the exhibition "History's Big Picture" through September 25, 2011.

Related: An Evening with White House Photographer Eric Draper

9.11.01 - 9.11.11

9.11.01 - 9.11.11

Carolyn Schaefer: World Trade Center and Washington Square Arch, New York, 1998



Earlier this week, The New York Times ran an article titled  "Media Strive to Cover 9/11 Without Seeming to Exploit a Tragedy".  "There’s no precedent for something like this,” said Lawrence C. Burstein, the publisher of New York magazine. There has been debate about how the anniversary should be covered. Should it be left to great thinkers and elegant writers to define what the attacks have meant for the country? Or are Americans better served by the accounts of those who experienced the attacks first-hand?"

We relocated from New York City to Santa Fe in January, 2002. Our list of recommended posts (so far):

CNN: Witness to history: White House photographer Eric Draper and the images of 9/11

New York Times Interactive: The Reckoning: America and The World A Decade After 9/11

Wall Street Journal: A Decade After 9/11


New York Daily News: 9/11 Ten Years Later

La Lettre de la Photographie: Archives 9/11

BBC: 9/11 Ten Tears On

VII Photo Agency: 9/11Remembered

POP Photo: 9/11: The Photographers' Stories, Part 1—"Get Down Here. Now."
  
The New Yorker Photo Booth: Ten Years Later

Shutter Photo: 10 Years After 9/11: The Importance of Photojournalism

The Atlantic: September 11: A Story About the History of Digital Photography

Time LightBox: Stephane Sednaoui: 9/11 Search and Rescue

Time Light Box: Twin Towers and the Metropolis: 1970-2011

Time Light Box: Revisiting 9/11: Unpublished Photos by James Nachtwey

Time Light Box:  Flight 93 and Shanksville, Pa: The Forgotten Part of 9/11

Time Light Box: Photo Editors On 9/11: The Photographs That Moved Them Most

David Schonauer: Icons, The 9/11 Series Part One
                              Part Two
                              Part Three
                              Part Four

The Washington Times: Special Section: Sept. 11


The Telegraph: The 9/11 Picture I'll Never Forget (But Wish I Could)

The Guardian: The 9/11 Decade

CBS New York: Remembering 9/11/01 Ten Years Later
(including archive of live newsradio broadcasts)

Photographers revisit 9/11: 'It was that horrific'

Magnum: Susan Meiselas: Ground Zero Artifacts and Construction

Joe McNally: "Like many New York based shooters, I had a bit of a love fest with the World Trade Centers"

Richard Falco: September 11 - To Bear Witness

International Center of Photography: Remembering 9/11
(Including a full list of 9/11 exhibitions and events in New York with locations)

Related: The Newseum has 147 newspaper front pages from 19 countries published on September 12, 2001

Photographers revisit 9/11; 'It was that horrific'

Firefighters at Ground Zero, Sept. 11, 2001
© Bergen Record

Via msnbc Photo Blog

In his new documentary "Witness to History," photojournalist Thomas Franklin revisits 9/11 through the eyes - and lenses - of photojournalists who captured iconic photos that day.

Becky Bratu writes

When Tom Franklin, photojournalist for The Record newspaper in New Jersey, took the picture showing three firemen raising the American flag above the rubble of the World Trade Center on Sept. 11, 2001, he had no idea it would become an iconic image.

“It was something that just happened,” he said. “I shot it the best way I could and I moved on.”

Franklin said he was standing about 30 yards away from the three firefighters, and the photo was one of a series of frames he shot of them that fateful afternoon.

On the 10-year anniversary of 9/11, Franklin - now a multimedia editor for NorthJersey.com - revisits the day of the attacks in a new documentary about the iconic photos of the day and the photojournalists who captured them. Franklin says photographers played an important role in documenting the historic day.

“I hope a lot of people get to see [the documentary],” he told msnbc.com. “It’s a way of recognizing what journalists do.”

Featuring dramatic images of 9/11, the 13-minute documentary “Witness to History” looks behind the lenses of professional photographers such as David Handschuh of the New York Daily News and Aris Economopoulos of the New Jersey Star-Ledger, and accidental witnesses such as Carmen Taylor, who happened to be visiting New York from Arkansas that day.

Taylor, who was on vacation by herself, told Franklin she would have been screaming if she hadn’t been busy taking photos.

While iconic, most of the images from that day are stirring, if not shocking. Franklin argues there is real value in retelling what happened, particularly because of the horror of the events.

“9/11 was that bad,” he said. “It was that horrific.”

Watch the entire documentary here, and watch Thomas Franklin explain how he got the iconic image of the firemen raising the American flag.


Thomas Franklin's photograph of Firefighters at Ground Zero, Sept. 11, 2001 is included in the exhibition "History's Big Picture" at Monroe Gallery of Photography through September 25, 2011.

"Like many New York based shooters, I had a bit of a love fest with the World Trade Centers"

Joe McNally

A very good read:

Joe McNally Presents: A 9/11 Remembrance, In Pictures

Photogs. We’re storytellers, right? So, if you will, permit me a story. (It’s occasionally been a saga, and maybe, every once in a while, an opera.)

Like many New York based shooters, I had a bit of a love fest with the World Trade Centers. What was not to like? These twin exclamation points at the southern tip of Manhattan provided a sense of place, majesty, and graphic balance to your snaps, all at once. Full post with photographs continues here via Scott Kelby's blog.


Information here about donating to the ongoing maintenance and costs of the Giant Polaroid "Faces of Ground Zero" collection.

LEE FRIEDLANDER: AMERICA BY CAR/THE NEW CARS 1964

Montana, 2008. Gelatin-Silver Print. Image: 15 x 15 in. / 38 x 38 cmSheet: 20 x 16 in. / 50.8 x 40.6 cm. (©Lee Friedlander/Courtesy Fraenkel Gallery, San Francisco).


Lee Friedlander's "America By Car/The New Cars 1964" is at the Timothy Taylor Gallery, London until 1 October 2011. Below are several article and reviews.


Wayne Ford's Blog

Sean O'Hagen in the Guardian's The Observer

Charles Darwant in The Independant

Rachel Spence in the Financial Times


Press release :

Timothy Taylor Gallery is pleased to announce an exhibition of recent work by the influential and critically acclaimed American photographer Lee Friedlander, on display for the first time in the UK. This will be Friedlanderʼs first solo exhibition in London since his 1976 show at the Photographersʼ Gallery.

Lee Friedlander: America By Car charts numerous journeys made by the photographer during the last decade across most of the fifty US states. Shot entirely from the interiors of rental cars, typically from the driver’s seat, Friedlander makes use of side and rearview mirrors, windscreens, and side windows as framing devices for a total of 192 images.

In America By Car, Friedlander uses the quintessential icons of US culture - cars and the open road - to explore contemporary America, revisiting in the process many of  the places and strategies that he has incorporated into his practice throughout his career.

Elements from car interiors such as steering wheels and dashboards, as well as leather or wood panel trim, provide an index of their own; these differing qualities of finish and contemporaneity often appear strikingly at odds with the terrains in which they are located. Presented in the square-crop format that characterizes Friedlander’s more recent work, these images complicate and invigorate the most bereft of rural scenes. His desire to collapse and flatten out the three dimensional world parallels the means of cubist painting and recalls the collaging techniques of pop art.

In a career spanning over fifty years, Friedlander is renowned for his recordings of everyday phenomena in works that he describes as ‘American social landscapes’. First coming to prominence after exhibiting alongside fellow photographers Garry Winogrand and Diane Arbus in John Szarkowski’s New Documents exhibition at MoMA, New York in 1967, Friedlander has been instrumental in the medium of photography’s acceptance as a significant 20th century art form.

Lee Friedlander: America By Car was shown in its entirety at The Whitney Museum of American Art, 4 September – 28 November 2010 and was organized by Elisabeth Sussman, the Whitney’s Curator of Photography.

Lee Friedlander was born in Aberdeen, Washington in 1934 and was introduced to photography at the age of fourteen. After shooting album cover portraits of Jazz musicians in New York and New Orleans, he began freelance commercial work in the late 1950s.

Among his numerous awards are a MacArthur Foundation Award, grants from the National Endowment for the Arts and three Guggenheim Fellowships. Friedlander  has published over twenty books beginning with the groundbreaking Self Portraits in1970, and including American Musicians (1976), Lee Friedlander at work (2002), and Sticks and Stones: Architectural America (2004). Friedlander was the subject of a major traveling exhibition organized by MoMA in 2005, as well as being the 25th Hasselblad Award Winner the same year

NEWLY DISCOVERED ERNST HAAS COLOR PHOTOGRAPHS

Ernst Haas: America, 1978

A new book of recently discovered "new" color photographs by Ernst Haas has generated a lot of interest.

Ernst Haas is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century.

Ernst Haas: New York, 1980

He is most associated with a vibrant colour photography which, for decades, was much in demand by the illustrated press. This colour work, published in the most influential magazines in Europe and America, also fed a constant stream of books, and these too enjoyed great popularity. But although his colour work earned him fame around the world, in recent decades it has often been derided by critics and curators as “overly commercial”, and too easily accessible – or in the language of curators, not sufficiently “serious”. As a result, his reputation has suffered in comparison with a younger generation of colour photographers, notably Eggleston, Shore and Meyerowitz.

Paradoxically, however, there was also a side of his work that was almost entirely hidden from view. Parallel to his commissioned work Haas constantly made images for his own interest, and these pictures show an entirely different aspect of Haas’s sensibility: they are far more edgy, loose, complex and ambiguous – in short, far more radical than the work which earned him fame. Haas never printed these pictures in his lifetime, nor did he exhibit them, probably believing that they would not be understood or appreciated. Nonetheless, these works are of great complexity, and rival (and sometimes surpass) anything done at the time by his fellow photographers

Exhibition at London's Atlas Gallery September 14 - October 22

Prints available from Monroe Gallery of Photography

LABOR DAY

Carl Mydans: Demonstrators in a Works Progress Administration (WPA) Strike, 1937 (Time Inc.)

WPA picketers protesting against nationwide layoffs and reduction of hourly wages of WPA workers in 1937 due to reduced funding from Congress.


Related: The History of Labor Day

Art Market Watch: The Market For Ansel Adams' "Moonrise, Hernandez"

 Ansel AdamsMoonrise, Hernandez, New Mexico
1941
gelatin silver print, mounted, ca. 14 x 19 in.
$609,600
Sotheby's New York
Oct. 17, 2006


Via Artnet.com

 by Daniel Grant

Driving back to Santa Fe, N.M., on Oct. 31, 1941, after what had been a disappointing day for picture-taking, photographer Ansel Adams (1902-84) brought his car to an abrupt stop, yelling to his companions to bring him his tripod, exposure meter and other photographic equipment so that he could take what would become one of the most famous images in fine art photography, Moonrise, Hernandez, New Mexico.

Continue to artnet.com for everything you need to know about Moonrise.

“This image encapsulates his career,”  Christopher Mahoney, senior vice-president in Sotheby’s photographs department, said, “and we can see in it his changing ideas and esthetic style.”

Wounded Photojournalist Joao Silva: ‘This Is What I Do. This Is All That I Know’

Via New York Times Lens


Photographs by Joao Silva are on exhibit at the Visa Pour l’Image photojournalism festival in Perpignan, France. Mr. Silva spoke at the Bronx Documentary Center on Aug. 2, during his first visit to New York since he was injured in Afghanistan. The following week, he went into surgery. He is doing well.

Full post with slide show here at New York Times Lens.

Premier International Festival of Photojournalism Visa pour l'Image Opens

Visa pour l'Image is the premier International Festival of Photojournalism held in Perpignan, France. This festival is a unique event where you can join thousands of kindred spirits who share a love and passion for photography. View the greatest photojournalist work from around the world in exhibitions across the city. Experience the evening screenings in the dramatic open air medieval enclosure of the Campo Santo. Take part in symposiums and conferences and meet the foremost photo agencies and manufacturers of photographic related equipment. Explore the web site for full details.

Contact information here. 

SCENES FROM A SHOW (FACES OF GROUND ZERO)

Via Joe McNally's Blog:

We set up the show on Tuesday night. When you need to get something done, it’s always good to have FDNY on your side. Louie Cacchioli rallied the guys, and over 25 firefighters showed up and worked tirelessly from 9pm through till 3am to get this in place for the Wednesday opening press reception. Pushing these frames around, many of which are close to 300 lbs., more than once I was like, “Why’d I have to shoot ‘em so big?”

I was just humbled, really, by the selfless way these guys, many of whom came from way out of town, just pitched in and got this done. My thanks also go out to Related, the owners of the building, which worked with me to allow this to happen. If we had to actually hire shippers and handlers to move it around, it simply would never get done because of the enormous cost. Louie, seen below, has been the face of the show since the book came out in 2002, and he ended up on the cover. I always tell people he’s firefighting’s answer to Robert DeNiro. He’s always been there to help.

It also would never have gotten done, were it not for the tireless efforts of Ellen Price, who has worked with the collection for almost 10 years. Her labors are done behind the scenes, organizing, cataloging, making sure it has been stored properly (24,000 lbs. of photography in museum quality, monitored storage!) and working with the 911 Museum to arrange for its’ eventual home. Below, Ellen works with the guys.

So it got done. It will be on floor of the Time Warner Center, free and open to the public, from 10am to 9pm every day until Sept. 12. After that, we’ll see what happens. More on that tk.

We had lots of press at the opening, and a bunch of subjects from the original project also graciously came. Below, Bill Butler speaks eloquently about the events of 911.

More than 75,000 people a day transit the TW Center. Which means that close to a million people will pass by these over the next couple of weeks. Hopefully, they’ll stop for a moment, and remember.

Interviews: Watch on You Tube

More; http://www.facesofgroundzero.com

Joe McNally prints

2011 Lucie Awards: Bill Eppridge is Honoree for Achivement in Photojournalism

The Lucie Awards is the annual gala ceremony honoring the greatest achievements in photography. The photography community from countries around the globe will pay tribute to the most outstanding photography achievements presented at the Gala Awards ceremony. Each year, the Advisory Board nominates deserving individuals across a variety of categories who will be honored during the Lucie Awards ceremony. Once the nominations have been received, the votes are tallied and an honoree in each category is identified.

The 2011 Honoree for Achievement in Photojournalism is Bill Eppridge.

Bill Eppridge already owned a Kodak Brownie Star Flash 620 camera when one day an itinerant photographer with a pony stopped by his house in Richmond, Virginia and asked to photograph Bill and his younger sister. Eppridge was only eight but it was then that he decided he wanted to be a photographer - he could have a big camera, travel, meet lots of interesting people, and have his own pony. That was just the hint of a lifelong career in photojournalism covering some of the most important people and events in history.

Born in Buenos Aires in 1938, Eppridge spent his early childhood in Virginia, and Tennessee. The family moved to Delaware when he was 14. A self-taught photographer, he began shooting for his school newspaper and yearbook, and then sports for the Wilmington Star newspaper. Eppridge was only fifteen, but this early exposure to a real newsroom gave him a taste for journalism.

Eppridge grew up during World War II looking at Life magazine. He was entranced by the work of their war photographers, and later influenced by Gordon Parks and Leonard McCombe. Their pictures looked effortless, as if they just happened in front of the camera and the photographers grabbed them. It was that style of photography that fascinated him –an entire story was told with one significant image.

In 1960 Eppridge graduated from the University of Missouri, Journalism program headed by Clif Edom who had begun the famous Missouri Photojournalism Workshop with Roy Stryker of the Farm Security Administration. While still a student, Eppridge was accepted into that workshop twice during his college years. He got a career boost when his photograph of a white horse against a tornadic sky won first prize for pictorial in the NPPA Pictures of the Year competition in 1959. He was twice named NPPA College Photographer of the Year and awarded internships at Life magazine.


Eppridge’s first professional assignment after graduation was a nine-month documentary trip around the world for National Geographic magazine. After that, he began shooting for Life. During the year 1964 while on a contract basis with the magazine, Eppridge was there when the Beatles first stepped off the plane in the United States, and chronicled their effect on this country. He spent several days photographing a young Barbra Streisand on the verge of stardom, covered Pete Seeger and Bob Dylan who was to sing at his first Newport Folk Festival, and immediately afterward he was sent to Mississippi where the bodies of slain civil rights workers Chaney, Goodman, and Schwerner had been found buried in an earthen dam. Eppridge stayed for several days and photographed the solemn funeral of James Chaney. He soon earned a place on the masthead of Life.

As a Life staff photographer for most of the 1960s, until that magazine folded in 1972, Eppridge worked alongside many of the legends he had admired while growing up – Alfred Eisenstadt, Gordon Parks, Carl Mydans, Ralph Morse, and Larry Burrows.

Eppridge’s unique style of photojournalism brought him history-making assignments - he covered Latin American revolutions, the Vietnam war, and Woodstock. Eppridge was the only photographer admitted into Marilyn Lovell’s home as her husband, Jim, orbited the moon in the crippled Apollo 13 spacecraft. His landmark photographic essay on drug use, “Needle Park- Heroin Addiction” won the National Headliner’s Award. He was given unprecedented access to the 50th anniversary of the Russian Revolution in Leningrad and photographed the entire Baltic fleet as it was assembled in the Neva River, something that no westerner had ever seen.

One of Eppridge’s most memorable and poignant essays was his coverage of Senator Robert F. Kennedy, first in 1966, and then again on the road with RFK during the 1968 presidential campaign. His photograph of the wounded Senator on the floor of the Ambassador Hotel kitchen seconds after he was shot has been described as a modern Pieta.

After Life ceased publication in 1972, Eppridge joined Sports Illustrated where he continued to use his photojournalist talent to cover both Winter and Summer Olympics; America’s Cup sailing; the environmental disasters of the Mount St. Helen’s volcanic eruption, and the devastating Exxon Valdez oil spill and aftermath. His sporting essays and wildlife photography took him around the world to the Arctic, Africa, Asia, and the Alps.

Eppridge has received some of the highest honors his profession bestows – the NPPA Joseph A. Sprague Award, and The Missouri School of Journalism Medal of Honor. He has been a respected force in training a new generation of photojournalists for more than twenty years at both the Missouri Photojournalism Workshop, and the Eddie Adams Photography Workshop. His photographs have been exhibited at the Smithsonian Museum of American History; The High Museum of Art; San Francisco Museum of Modern Art; Visa Pour L’Image, and in galleries and museums around the world.

Eppridge currently lives in Western Connecticut with his wife Adrienne and his cat "Bear". After nearly six decades as a photojournalist he is, even now, never without his camera, and is currently photographing several projects including an essay about the new American farmers - but he still doesn’t own a pony.

Several of Bill Eppridge's historic photographs are featured in the exhibition "History's Big Picture" through September 25. A major solo exhibition celebrating Eppridge's Lucie Award will feature many of his most significan photo essays, and will open at Monroe Gallery of Photography September 30 and continue through November 20, 2011.

An Evening with White House Photographer Eric Draper

Eric Draper: Emma Booker Elementary School. September 11, 2001

Eric Draper, a former Albuquerque Tribune and Associated Press photographer, who lives in Rio Rancho, was selected by President-Elect George Bush to be the White House photographer in 2000. For the next eight years, Draper had a front row seat to history: during Oval Office meetings, aboard Air Force One, and even at intimate Christmas celebrations.

Eric Draper

What: The Society of Professional Journalists, Rio Grande Chapter and Citadel Broadcasting present An Evening with Former White House Photographer Eric Draper

Date: Thursday, Sept. 1, 2011

Time: 6 pm – 9 pm

Where: Central New Mexico Community College’s Smith Brasher Hall (SW Corner of Coal and University — FREE Parking)

Reception and Silent Auction: 6 pm – 7 pm

Program: 7 pm – 8:45 pm

Tickets: The Rio Grande Chapter has a limited number of free tickets available to SPJ Rio Grande Chapter members.

Citadel Broadcasting also will be giving away some tickets through special radio and online broadcast promotions.

 Eric Draper's fine-art photographs are represented by Monroe Gallery of Photography, and two are featured in the exhibion "History's Big Picture" through September 25, 2011.

"Fields of Vision" series features 20th-century photographers Gordon Parks, Arthur Rothstein, and Carl Mydans

 

Carl Mydans: Cafe in Pikesville, Tennessee, 1936 (for the Farm Security Administration) c.Time Inc

via artdaily.com

WASHINGTON, D.C.- The more than 172,000 black-and-white and 1,600 color images that comprise the Farm Security Administration Office of War Information (FSA/OWI) Collection at the Library of Congress offer a detailed portrait of life in the United States from the years of the Great Depression through World War II.

Selected images from the works of FSA/OWI photographers Gordon Parks (1912-2006), Arthur Rothstein (1915-1985) and Carl Mydans (1907-2004) are now featured in the Library of Congress series titled "Fields of Vision."

These new titles join the first six volumes in the series, which feature the work of FSA/OWI photographers Russell Lee (1903-1987), Ben Shahn (1898-1969), Marion Post Wolcott (1910-1990), Esther Bubley (1921-1998), Jack Delano (1914-1997) and John Vachon (1914-1975).

Edited by Amy Pastan, an independent editor and book packager, and published by D Giles Ltd. in association with the Library of Congress, each volume in the series includes an introduction to the work of the featured FSA photographer by a leading author.

Headed by Roy L. Stryker, the government’s documentary project employed many relatively unknown names who later became some of the 20th century’s best-known photographers.

Gordon Parks, the only black FSA photographer, was "a Renaissance man," writes Charles Johnson in his introduction to the volume. Parks was a writer, musician, poet, composer, photojournalist and motion-picture director, with many "firsts" to his credit. "The first black director in Hollywood, he opened the door for young auteurs, such as Spike Lee and John Singleton," writes Johnson.

The youngest FSA photographer, Arthur Rothstein was "the truest child of the New Deal," writes George Packer in his introductory essay. Fresh out of Columbia University with a belief in the government’s social improvement efforts, Rothstein planned to earn money for medical school. But after joining the government project, he changed his career path. By the age of 25 he was a staff photographer for Look magazine and eventually became its director of photography. He joined Parade magazine in 1972 as director of photography and remained there until his death in 1985.

A graduate of Boston University’s School of Journalism, Carl Mydans was an experienced photographer with credits in Time magazine when he joined the documentary project in 1930. He later moved to the new magazine Life, and on to a celebrated career as a war photographer. Says author Annie Proulx, "He identified himself as a photojournalist and his interest in the massive global events of the time became his life."

Each 63-page, soft-cover volume in the series is available for $12.95 in bookstores throughout the U.S. and the UK, from D Giles Ltd. and the Library of Congress Sales Shop, Washington, D.C., 20540-4985. Credit-card orders are taken at (888) 682-3557, or shop on the Internet at www.loc.gov/shop/. Reproduction numbers are provided in the books so that reprints may be ordered through the Library’s Photoduplication Service.

Founded in 1800, the Library of Congress is the nation’s oldest federal cultural institution. The Library seeks to spark imagination and creativity and to further human understanding and wisdom by providing access to knowledge through its magnificent collections, programs and exhibitions.

45 Years Ago Today: The First Earthrise

NASA: The Lunar Orbiter I took this first ever photo of the Earth from the vicinity of the moon on August 23, 1966

 The Backstory

Via TIME LightBox
Tuesday, August 23, 2011 | By Jeffrey Kluger

Geocentrism died on August 23, 1966. Centuries had passed since human beings first dispensed with the old notion that the Earth was the hub around which the universe turned. But what we know rationally and embrace intuitively are often two different things. No matter where we stood on our home planet, after all, no matter how high we climbed into — or even above — the atmosphere, Earth’s horizon still defined the limits of our vision. We could see how out-there looked from down-here, but what we never saw was the reverse. And then, 45 years ago this month, we all at once could.

In that otherwise unremarkable summer, NASA’s Lunar Orbiter 1 arrived at the moon. As it rounded the far side on one of its early orbits, it snapped this head-turning image of the Earth — carved to a mere crescent like our own little moon — rising over the dominating arc of the lunar horizon. Our species had seen the sun rise and the moon rise, but we had never seen an Earthrise. It was both an illuminating and a humbling experience — one, some scientists hoped, that would help us appreciate the fragility of our little soap bubble world. Two generations on, that’s a hope worth recalling.

Jeffrey Kluger is a senior editor for TIME and oversees science and technology reporting. He has written or co-written more than 35 cover stories for the magazine and regularly contributes articles and commentary on science and health stories. His notable cover stories include reports on global warming, the science of appetite, the Apollo 11 anniversary, and the roots of human morality.


Related: Time's LightBox was cited as one of today's leading examples of photojournalism during the special event Photojournalism: A Conversation

Phoenix Art Museum Exhibition Features Many of Gordon Parks' Most Memorable Images

Gordon Parks, American, 1912–2006; Alberto Giacometti, Paris, 1951, printed 2003; gelatin silver print, 16 x 20 inches; Lent by The Capital Group Foundation, 2002.02 © 2006 The Gordon Parks Foundation

Via artdaily.com

PHOENIX, AZ.- Gordon Parks spent the majority of his professional career at the crossroads of the glamorous and the ghetto – two extremes the noted photographer knew well. Perhaps best recognized for his works chronicling the African-American experience, Parks was also an accomplished fashion photographer. Bare Witness: Photographs by Gordon Parks provides a revealing look at the diversity and breadth of Parks’s most potent imagery. Featuring 73 works specifically selected by Parks for the photographic collection of the Los Angeles-based Capital Group, Bare Witness divulges heart wrenching images, iconic moments, celebrities and slices of everyday life.

Born in 1912 in Fort Scott, Kansas, Parks, who died in 2006 at age 93, was an African American photographer who began working professionally in the 1930’s. Parks tackled the harsh truth and dignity of the black urban and rural poor in the United States. He photographed aspects of the Civil Rights movements and individuals associated with the Black Panthers and Black Muslims. For nearly 25 years, from 1948 to 1972, he served as staff photographer for Life magazine. He also established himself as a foremost fashion photographer, providing spreads for respected magazines such as Vogue.

Bare Witness features many of Parks’s most memorable images such as “American Gothic.” Taken during Parks’s brief time with the Farm Security Agency, the photograph depicts a black cleaning woman named Ella Watson standing stiffly in front of an American flag, a mop in one hand and a broom in the other. Also included in the exhibition is a series of photos from Parks’s most famous Life magazine essay about Flavio da Silva, a malnourished and asthmatic boy living in a Rio de Janerio slum. Portraits of Muhammad Ali, Duke Ellington, Alexander Calder, Ingrid Bergman, Langston Hughes and Malcolm X among others will also be on view.

“Whether photographing celebrities or common folk, children or the elderly, Harlem gang leaders or fellow artists, Parks brought his straightforward, sympathetic ear and mind to bear witness to late 20th century civilization,” commented Hilarie Faberman, the Robert M. and Ruth L. Halperin Curator of Modern and Contemporary Art at Cantor Arts Center and organizer of the exhibition. “His photographs balance the dichotomies of black and white, rich and poor, revealing his strengths and struggles as an artist and a man.”

In addition to his documentary and fashion photography, Parks was a filmmaker, author, musician and publisher. He was the first black artist to produce and direct a major Hollywood film, “The Learning Tree” in 1969, which was based on his early life experiences. He subsequently directed the popular action films “Shaft” and “Shaft’s Big Score.” He was a founder and editorial director of Essence magazine and wrote several autobiographies, novels and poems. In 1988, he received the National Medal of Arts award and throughout his lifetime was the recipient of 40 honorary doctorates from colleges and universities in the United States and England.

“Parks was a renaissance man whose career embodied the American ideal of equality and whose art was deeply personal."

Sunday Focus: Joe McNally and the Faces of Ground Zero

Via JerseyStyle Photography
Because There's Style…And Then There's JerseyStyle…

August 21, 2011 by Mark

The sky was falling and streaked with blood
I heard you calling me then you disappeared into the dust
Up the stairs, into the fire
Up the stairs, into the fire
I need your kiss, but love and duty called you someplace higher
Somewhere up the stairs into the fire….

- Into the Fire, Bruce Springsteen, from The Rising

Sometimes it’s hard to believe it happened 10 years ago already.
Sometimes it’s hard to believe it didn’t happen just yesterday.
Sometimes it’s hard to believe 9/11 even happened at all.

There are a number of things I’ll remember from that time. I was working for a pharmaceutical company back then, and living in Central New Jersey, about an hour from NYC. I remember my boss at the time coming into my office, on a beautiful early fall day, saying “A plane just hit the World Trade Center. It’s on CNN.” I remember going into his office to watch…and watching as reports broke that another plane hit the WTC.

I remember dust and rubble. I remember all of us there at work just not sure what was happening.

I remember, as I was driving home later that day, American flags flying at half mast. I remember going back to my apartment, walking my dog, still under an impossibly gorgeous sky, and then pouring myself a glass of Jack Daniels and watching the news for the rest of the night.

Fast forward a few months. I’m on the road, doing some corporate photo shoots with Joe McNally. I had known him for a couple of years at that point, and was always happy to get to work with him again (though my passion for photography hadn’t broken the surfaced yet.) I remember being somewhere in the Midwest with Joe and his assistant, and him telling me about this portrait project he did in the days right after 9/11..had something to do with a huge Polaroid camera.

Then came the first showing of the exhibit in NYC in 2002. Joe invited me to come see the opening. Joe, others, made speeches. Jewel sang. It was a big night out for me and this gal I was seeing then. I shot some crappy images with a 1.2 megapixel digital camera. (see above, regarding passion for photography item…)

NYC was rebounding.

Fast forward even further…ten years down the road… the gal I took to that opening is now my wife. People have married and divorced. Babies have been born, and children have grown up under the cloak of terrorism and war. We got Osama. NYC continues to rebound.

Joe is now blogging and tweeting. And he keeps shooting.

The portraits Joe shot soon after 9/11 continue to live on and draw inspiration. With the exhibit opening again this Wednesday, with some new portraits and video interviews included, I wanted to find out from Joe what has changed in the last 10 years, and what has stayed the same.

So, enough with this long preamble to the good stuff. Read on…
.
JSP Q: Take me back to 2001….after 9/11, how did you conceive this project and how did it all come about?

JM: In the days immediately after the attacks, I was home, with the kids. Like everyone, I was a mixture and a mess of various feelings and sensations – sorrow, shock, anger, confusion. Being a photog, there was also that part of me that was screaming to get the cameras and just go there. But I didn’t. I couldn’t have added much at all to the immediate photographic record that was being compiled by the hundreds of photographers already on the streets of lower Manhattan. I stayed at home and tried to come up with some way of making a contribution, and harked back to this camera I had used once, a very singular, one of kind camera that made huge, instant photos – the world’s only giant Polaroid camera the brainchild of Dr. Land himself.
Fortuitously, it was located in a studio not too far from Ground Zero, and very near several FDNY firehouses that had suffered losses. I had the notion that this particular camera, which renders people life size, with a great deal of formality and stature, might be an appropriate instrument to use to document the people whose lives had intersected with 9/11 in dramatic fashion. I secured funding almost immediately, from Time-Life. We moved into the camera within about 10 days of the event, and started to work. All the shooting was completed within a month or so. During that month, I lived at the studio, sleeping in a loft bed over the camera, rarely straying more than a few blocks from it. We were taking crews from the pit at 2 a.m., 12 noon, late at night, you name it. We told everyone – if you come to the studio, we will take your picture.

Ladder Nine, Engine 33 was the first firehouse to come by. Word of mouth spread pretty rapidly about this project, and this giant camera. Ultimately the effort came to be known as Faces of Ground Zero, and it became a book and a traveling exhibit that assisted in the raising of nearly $2 million dollars for the relief effort. This is the core of the show that will be on the floor of the Time Warner Center, 10 years later.

JSP Q: You’re including a number of new portraits and interviews for the new showing of the Faces of Ground Zero. I know you’ve kept in touch with some of your Faces portraits subjects, like Louie Cacchioli, over the past 10 years. Have you kept in touch with others?

JM: Yes, quite a number. I’m a “friend of the house” at a couple NYC firehouses, and I do photography for them when they have things like medal days etc. I’m close with a few people, and families. Doing this update 10 years later has been a welcome excuse to reach out to all these people again. They’re an amazing, resilient group of folks.

JSP Q: What were some of your biggest challenges working on the project back then and what were some of the challenges this time around?

JM: A big challenge back then was simply trying to not sound like an unhinged lunatic on the phone with people. I mean, imagine getting a call during this highly emotional, stressed time period from someone you don’t know, trying to convince you to come to some outlandish, giant camera on the lower east side of NY. People were in shock, people had experienced grievous losses. The idea of coming to pose for a photo sounded ridiculous, even to me. But I think what overrode other feelings was people’s need at the time to be part of something, to tell their story, and to have a voice. The project gave them a dignified way of doing that.

So our success rate of persuading people to come to the camera was very high, indeed. The cumbersome nature of the giant Polaroid actually played in my favor here. Every sheet I used cost $300. So when people asked those familiar questions, “How long will this take? How many pictures are you going to shoot?” I could honestly say that it wouldn’t take long at all, because I would only make one picture. And that proved to be true, most of the time.

Challenges this time around involved updating the show with a series of photos that have power and clarity all on their own, and speak to the person’s life now, ten years later. Additionally, we did video interviews as well, so there’s an additional component to the visual reporting that we have done. The new photos have to compete with their very large counterparts, all these years later, in terms of interest and pictorial power. That was a big challenge.

JSP Q: Any surprises this time around?

JM: No real surprises, I would say, maybe more of a refreshing feeling of relief. I knew right from the get go, from back in 2001, that these were very strong people. And sure enough, here they are 10 years on, still strong, still doing their jobs, still being who they are. They were not crushed by 9/11. There’s an enormous sense of the positive they exude. Ten years of raising kids, fighting fires, doing their work, helping other people – the power of life ongoing is very strong. I remain in awe of the whole bunch.

JSP Q: It seems as though you have special connection with the people that you shot for this project. Do you expect to continue shooting portraits to for this project?

JM: Yes, I hope to. We will continue, and also continue our efforts to raise money for the support of the collection as it makes its’ transition to the 9/11 Memorial Museum, where it will reside in perpetuity.

It has been a bit of a saga, for me, as a lone freelance photographer, to shepherd this project for the last decade. But, it is a part of me, and I owe a great deal to the subjects of the project to safeguard their images, and to continue.

I guess to me, photographs have always been, very importantly, about memory, and the preservation thereof. Hence I continue to preserve these pictures and add to it as time goes on.

JSP Q: What’s next for Joe McNally?
JM: I would imagine, the next picture, the same way it has been for the last 35 years.
******************************************************************

Joe McNally and I have known each other for over 10 years now – first as business associates, then as friends. I’ve never asked him to be part of the my little Sunday Focus’. While he’s given me equal parts encouragement and inspiration towards my passion for photography, I never wanted to intrude on his time or play off that friendship for one of these posts.

But this one is a little different. I want to try to help get the word out about the new Faces of Ground Zero exhibit, so I asked Joe if he’d do this interview. I appreciate Joe taking the time to answer these questions in such a thoughtful manner. It was more than I expected, frankly, but then again, Joe doesn’t do anything halfway.

Nikon Inc. is the exclusive photographic equipment sponsor of the Faces of Ground Zero – 10 Years Later exhibit at the Time Warner Center. The free exhibit will take place from August 24 to September 12, 2011, and is open from 10:00 a.m. to 9:00 p.m. Monday – Saturday and from 11:00 a.m. to 7:00 p.m. on Sunday.

Adorama, Johnson & Johnson, JP Morgan Chase & Co. and others are also sponsors.
If you’re in the city and you get to see the exhibit, stop back here to let us know what you thought about it. Or if you Tweet about it, hashtag it #FGZ so that we can find it. It’s going to be powerful, I’m sure.

To find out more about the exhibit, or any of Joe’s work, follow him on Twitter and/or subscribe to his blog.

© Mark V. Krajnak 2011 | JerseyStyle Photography | All rights Reserved
Unless otherwise noted, images captured with a Canon 50D, SanDisk digital film, finished with PS4 or PSE6 and Nik Software.

FACES OF GROUND ZERO: TEN YEARS ON

Faces of Ground Zero: Louie Cacchioli, Firefighter, Engine 47, FDNY

 

"Faces of Ground Zero" on Display at Time Warner Center 8/24 - 9/12 in New York City

Starts Wednesday, Aug 24 10:00a to 9:00p

at Time Warner Center at Columbus Circle, New York, NY

Marking the 10th Anniversary of Sept. 11 Time Warner Center Presents Joe McNally's "Faces of Ground Zero, Portraits of the Hereos of Sept 11, 2011."
This special exhibition will feature the original life-size Polaroid’s, along with new digital images and exclusive video interviews shot with Nikon D-SLR cameras revealing where the subjects are today and how 9/11 affected their lives. read more

Price: Free

Marking the 10th Anniversary of Sept. 11 Time Warner Center Presents Joe McNally's "Faces of Ground Zero, Portraits of the Hereos of Sept 11, 2011."

This special exhibition will feature the original life-size Polaroids, along with new digital images and exclusive video interviews shot with Nikon D-SLR cameras revealing where the subjects are today and how 9/11 affected their lives.

Exhibit will run daily from 8/24 - 9/12 and is FREE

Event Website

Read more: Ten Years On via Joe McNally's blog

Related: Joe McNally: Faces of Ground Zero