Harry Benson: Berlin Kiss, Berlin, 1996
Friday, December 31, 2010
Thursday, December 30, 2010
WISHING YOU ALL THE BEST IN 2011!
To all of our dear clients, friends, followers, and fellow Photography enthusiasts, we wish you All the Very Best in 2011.
Slim Aarons: Clark Gable, Van Heflin, Gary Cooper, and James Stewart enjoy a joke at a New Year's party held at Romanoff's in Beverly Hills, 1957
Follow the official countdown to 2011 here.
Tuesday, December 28, 2010
"NO FIREARMS ALLOWED"
Via Joe McNally's Blog:
The show at the Monroe Gallery I mentioned a couple weeks ago went well. You can always tell you’re having an exhibit in New Mexico when you see one of these:
Sorta makes you wish anybody who shows up really likes your work, ya know? More tk…." --Joe McNally
Related: Holiday Book Signing and Exhibit With Joe McNally
The show at the Monroe Gallery I mentioned a couple weeks ago went well. You can always tell you’re having an exhibit in New Mexico when you see one of these:
Sorta makes you wish anybody who shows up really likes your work, ya know? More tk…." --Joe McNally
Related: Holiday Book Signing and Exhibit With Joe McNally
Monday, December 27, 2010
BEST OF 2010
Andreas Feininger: The Photojournalist, 1955
The Big Picture
The Top 20 Photos of 2010 (NY Daily News)
The Best Photographs From TIME 2010
SPIN'S Best Photographs of 2010
Yahoo's Iconic Images From 2010
Pictures Of The Year (Reuters)
Best Bloomberg Photographs of 2010: Images From Around World
2010: The Year in Pictures (New York Times)
2010 National Geographic Photography Contest
The world's best underwater photographs 2010 (The Guardian)
2010 Pictures Of The Year (Life.com)
Saturday, December 25, 2010
Friday, December 24, 2010
SANTA CLAUS COMES TONIGHT!
Martha Holmes: Dean of Santas giving a lecture at the Waldorf Astoria Santa Convention, New York, 1948
Steve Schapiro: Chicago, December, 2009
Follow Santa's journey tonight here, courtesy of Norad .
Ready For Christmas?
Thursday, December 23, 2010
BEARING WITNESS
The New York Times
By Michael Kamber
Published: December 23, 2010
TWENTY-FIVE years ago, Joao Silva was a troubled high school dropout on the streets of Johannesburg. His future looked bleak until the day a friend took him along on a photo shoot. Joao fell in love with the camera.
He was drawn to battle. Within a remarkably short time, his photos of conflict were on the front pages of newspapers around the world. His camera became a prolific instrument, helping the public understand the wars of the last two decades.
His photographs from Iraq — where he was embedded with both the American troops and the insurgents fighting against them — created, in my opinion, an unequaled record of the war: a Marine pulling a bloody comrade through the mud to safety; an Iraqi mother wailing in anguish as her dead son lay nearby; an enraged militia member firing a machine gun from a window ledge at American soldiers; a car bomb victim engulfed in flames.
The danger was extraordinary. As his colleagues were killed and wounded over the years, Joao became the last working member of the fabled Bang-Bang Club to cover conflict. A tight-knit group of South African photographers who covered the township wars near the end of apartheid, they soon branched out into photographing other conflicts. Yet even with two young children, Joao persevered, making trip after trip to Iraq, Afghanistan and other war zones.
“I’ve always somehow managed to walk away unscathed,” Joao said. “I’ve been very, very lucky.”
Joao’s luck held until Oct. 23, when he stepped on a cheap plastic land mine outside Kandahar, Afghanistan. The blast ripped his legs off. Shrapnel tore through his abdomen, causing massive internal injuries. He is currently undergoing rehabilitation at Walter Reed Army Medical Center in Washington, where he will remain for the foreseeable future.
Talented, humble and generous, Joao was the rock for many photojournalists in the field. It would be no exaggeration to call him probably the best-loved and most respected photographer working today. So his wounding has created a crisis of confidence of sorts for many photojournalists.
Like Joao, I am a contract photographer for The New York Times and have covered conflict over the years. I have taken his place in Afghanistan. In the wake of Joao’s wounding, friends ask me why I keep returning to photograph men inflicting suffering upon one another. I have asked myself and my fellow photojournalists this same question over the years.
I grew up in the 1960s, learning of Vietnam by poring over black-and-white photos in Life magazine and The Portland Press Herald. The classic images of Eddie Adams, Nick Ut and Henri Huet brought home to me the politics and drama of the war, a sense of my country’s history unfolding on the page. Photojournalists gave us a visceral understanding of the link between foreign policy and the violence done to people’s lives.
And photojournalism helped create a culture of visual literacy that was instrumental in the activism of the 1960s. It is a culture that is slowly receding into a storm of visual, aural and written white noise: the weekly wait for Life is replaced by a stream of cellphone photos, blogs and Twitter feeds. And as papers close around America, front-line photojournalism is in decline.
Still, the frustrations of photojournalists today are outweighed by many rewards. We venture into remote corners of the world to watch incredible dramas. We are often the sole objective witnesses. We find that much history would happen in a vacuum, save for our cameras.
“I get a lot of messages from people saying that we show the world what they cannot go see firsthand,” Joao told me last year.
This is the reward and the magic of photojournalism.
I know that Joao Silva’s camera has not finished its work. Once Joao finds balance on his new legs, he will venture again to the corners of the world. He loves photography like few I have known. Photojournalism remains a profession that allows a dedicated, courageous high school dropout from Johannesburg to help record the history of our times.
Wednesday, December 22, 2010
Tuesday, December 21, 2010
TAXI DRIVER: STEVE SCHAPIRO
Via La Lettre De La Photographie.com
Steve Schapiro is an American photographer whose pictures have graced the covers of Vanity Fair, Time, Sports Illustrated, Life, Look, Paris Match, and People. In Hollywood he has worked on more than 200 motion pictures; his most famous film posters are for Midnight Cowboy, Taxi Driver, Parenthood, and The Godfather Part III.
Steve Schapiro was the special photographer on the set of Martin Scorsese’s Taxi Driver, capturing the film’s most intense and violent moments from behind the scenes. "Taxi Driver, Steve Schapiro" features hundreds of unseen images selected from Schapiro’s archives, painting a chilling portrait of a deranged gunman in the angry climate of the post-Vietnam era.
Links
http://www.taschen.com/
Related: Making Movies
All Photographs © Steve Schapiro
Steve Schapiro is an American photographer whose pictures have graced the covers of Vanity Fair, Time, Sports Illustrated, Life, Look, Paris Match, and People. In Hollywood he has worked on more than 200 motion pictures; his most famous film posters are for Midnight Cowboy, Taxi Driver, Parenthood, and The Godfather Part III.
Steve Schapiro was the special photographer on the set of Martin Scorsese’s Taxi Driver, capturing the film’s most intense and violent moments from behind the scenes. "Taxi Driver, Steve Schapiro" features hundreds of unseen images selected from Schapiro’s archives, painting a chilling portrait of a deranged gunman in the angry climate of the post-Vietnam era.
Links
http://www.taschen.com/
Related: Making Movies
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