Anatomy of an iconic photograph

(Brian Cassella, Chicago Tribune / May 20, 2012 )

A Chicago police officer throws a punch at a protester who broke a stick over another officer's head.

Via The Chicago Tribune

James Janega interviews the Tribune's Brian Cassella, who is the photographer behind the photo of a Chicago police officer punching a protester during the NATO summit.

NPPA WORKING TO RELEASE PHOTOGRAPHER ARRESTED AT NATO SUMMIT

 

 Via National Press Photographers Association

CHICAGO, IL (May 21, 2012) – At least one photographer was arrested and another struck over the head with a police baton late Sunday while covering anti-war protesters marching in opposition to the NATO summit in Chicago.

Details are sparse, but photographs posted on Twitter and other Web sites show Getty Images freelance photographer Joshua Lott being arrested on Sunday night,while another photograph shows Getty's Scott Olson with blood streaming down his face after being hit with a Chicago police baton.

Sixty heads of state gathered in Chicago for a two-day NATO meeting to discuss the war in Afghanistan and other global defense issues. Reports say more than 2,500 journalists are there to cover the thousands of protesters who converged on the NATO meeting. Chicago's police responded to the influx of protesters and reporters by deploying thousands of police clad in riot gear, not only Chicago officers but also police pulled in from departments outside of the city.

NPPA's lawyer Mickey H. Osterreicher joined forces with the Reporters Committee for Freedom of the Press to support a hotline for journalists arrested or assaulted while covering NATO protesters.

NPPA's lawyer was allowed to meet with Lott in an attorney interview room to let the photojournalist know that NPPA was there and working on his release, and Osterreicher then waited outside a Chicago police station for Lott until he was released shortly before 4 a.m. Monday morning.

Osterreicher said that for the most part, outside of Sunday night's late clash that included Lott, the Chicago police had been "very restrained" in dealing with photographers.

Calls and emails to Getty Images at the editorial picture desk in New York asking for more information have not been answered. Unconfirmed reports say that Lott's cameras were smashed by police, and that while he had been originally arrested on a more serious charge it had been reduced to a lesser charge before he was released on a personal bond.

The photograph posted on Twitter by The Toronto Star of Lott being arrested was credited to Spencer Platt.

There will be more NATO protests in Chicago on Monday.

Related: Department of Justice Warns Police Against Violating Photographers' Rights

Department of Justice Warns Police Against Violating Photographers' Rights

Via PDN
Photo District News


The Civil Rights Division of the US Department of Justice doesn't mince words in a May 14 letter to the Baltimore Police Department. Citizens have a constitutional right to record police carrying out their public duties, and it is illegal for police to seize and delete the recordings, the letter says. The DOJ goes on to give the BPD a blueprint for re-writing its policies regarding journalists or citizens recording police activities.

The letter, posted on the DOJ web site, could be a powerful tool for photographers (or citizens) who are harassed or arrested anywhere in the country for photographing police activities. It says exactly what National Press Photographers Associations, the ACLU, and others have long argued--one painstaking case at a time-- about citizens' right to record police activities.

"Private individuals have a First Amendment right to record police officers in the public discharge of their duties," the DOJ writes to the Baltimore police. The letter continues, "[O]fficers violate individuals’ Fourth and Fourteenth Amendment rights when they seize and destroy such recordings without a warrant or due process."

The letter re-iterated the arguments that the DOJ made to a federal court in Maryland earlier this year in a civil rights case involving the Baltimore Police Department. Christopher Sharp sued the BPD in 2011, alleging that police officers had seized, searched, and deleted the contents of his cell phone after he used it to record the officers arresting his friend. The incident took place at the 2010 Preakness Stakes horse race.

BPD said the claim was groundless and asked the court to throw it out. But the DOJ urged the court to rule that private citizens have a First Amendment right to record police carrying out their duties, as well as Fourth and Fourteenth amendment protections against unlawful search and seizure and deprivation of property without due process.

The court agreed, and has allowed the case to proceed. Among Sharp's allegations is that the BPD has a policy of advising its officers to to detain citizens who record police activities and to seize, search, and delete individuals’ recordings. He is seeking an injunction to force the BPD to change its policies.

In an effort to pre-empt that part of Sharp's claim, the BPD made public in February a general order titled "Video Recording of Police Activity" directing its police officers how to handle the recording of their activities. The order says citizens have the "absolute right to photograph and/or video record the enforcement actions of any Police Officer" as long as they don't "interfere."

The DOJ has reviewed that BPD order, and concluded that it doesn't adequately protect citizen's First, Fourth, and Fourteenth Amendment rights. In support of Sharp, the DOJ is now urging the court to order the BPD to amend the general order as part of the resolution of Sharp's lawsuit.

For instance, the DOJ says, the policy does not explicitly state that citizens have a First Amendment right to record police activity. "Given the numerous publicized reports over the past several years alleging that BPD officers violated individuals’ First Amendment rights, BPD should include a specific recitation of the First Amendment rights at issue," the DOJ says.

The letter goes on to provide what amounts to a prescription for a new policy that protects citizens rights. Among the recommendations:

• BPD should clarify that the right to record public officials is not limited to streets and sidewalks – it includes areas where individuals have a legal right to be present, including an individual’s home or business, and common areas of public and private facilities and buildings.
• [P]olicies should instruct officers that, except under limited circumstances, officers must not search or seize a camera or recording device without a warrant.
• Officers should be advised not to threaten, intimidate, or otherwise discourage an individual from recording police officer enforcement activities or intentionally block or obstruct cameras or recording devices.
• Policies should prohibit officers from destroying recording devices or cameras and deleting recordings or photographs under any circumstances.
• If a general order permits individuals to record the police unless their actions interfere with police activity, the order should define what it means for an individual to interfere with police activity and, when possible, provide specific examples.

(With regard to the issue of interference, The DOJ also notes, "an individual’s recording of police activity from a safe distance without any attendant action intended to obstruct the activity or threaten the safety of others does not amount to interference. Nor does an individual’s conduct amount to interference if he or she expresses criticism of the police or the police activity being observed.")

• [The order] must set forth with specificity the narrow circumstances in which a recording individual’s interference with police activity could subject the individual to arrest.
• [The order] should encourage officers to provide ways in which individuals can continue to exercise their First Amendment rights as officers perform their duties, rather than encourage officers to look for potential violations of the law in order to restrict the individual’s recording.
• A supervisor’s presence at the scene should be required before an officer takes any significant action involving cameras or recording devices, including a warrantless search or seizure.
• A general order should provide officers with guidance on how to lawfully seek an individual’s consent to review photographs or recordings...[and] [p]olicies should include language to ensure that consent is not coerced, implicitly or explicitly.

The case of Sharp v. Baltimore City Police Department is currently in the discovery phase. The next hearing in the case is scheduled for May 30.

50 YEARS AGO: The Night Marilyn Sang to JFK

 

Marilyn Monroe Singing "Happy Birthday" to President John F. Kennedy,

Madison Square Garden, NY, 1962

©Bill Ray

On May 19, 1962 - half-century ago, on a spring night in New York City, 35 year-old screen goddess Marilyn Monroe — literally sewn into a sparkling, jaw-droppingly sheer dress — sauntered onto the stage of New York's Madison Square Garden and, with one breathless performance, forever linked sex and politics in the American consciousness. For the 15,000 spectators there that night, including LIFE photographer Bill Ray, Marilyn's "Happy Birthday" to President John F. Kennedy amplified the buzz about an affair between the two. But beyond the titillation, the moment Ray captured in this, his most iconic shot, went on to play a major role in both Marilyn's and JFK's biographies, coming as it did near the end of their short lives. As the 48th anniversary of that legendary birthday party approaches, Ray sits down with LIFE.com to share his photos from that night, most of which have never been seen, and to tell the story of how he overcame countless obstacles — the cavernous setting, tricky lighting, and security "goons" eager to keep the press at bay — to get The Shot. --- Life.com

Watch: Bill Ray's memories

Madison Square Garden Memories

"On the evening of May 19th, 1962, the brightest stars in the Hollywood galaxy joined Hollywood’s heaviest hitters and New York’s power elite at the old Madison Square Garden to celebrate with President John F. Kennedy his 45th birthday.


It was a good time to be young. The country was “moving” again. Our fathers had voted for Eisenhower; we voted for JFK. We had the Peace Corps, were going to the moon, and the New Frontier was here. It was High Tide in America.

With Jack Benny as host, and a long list of stars that featured Maria Callas, Ella Fitzgerald, Jimmy Durante and Peggy Lee, the evening was going to be great. But the moment every one of the 17,000 guests was waiting for, was for the Queen of Hollywood, the reigning Sex Goddess, Marilyn Monroe to serenade the dashing young President.

Venus was singing to Zeus, or maybe Apollo. Their stars would cross, their worlds would collide.

I was on assignment for Life Magazine, and one of many photographers down in front of the stage.

As the show was about to start, the New York police, with directions from the Secret Service, were forcing the Press into a tight group behind a rope. I knew that all the “rope-a-dopes” would get the same shot, and that would not work for LIFE, the great American picture magazine. I squeezed between the cops and took off looking for a better place.

In addition to 2 Leicas with 35mm and 28mm lenses, and 2 Nikons with 105mm and 180mm, I brought along a new 300mm 4.5 Kilfit just for the Hell of it. I started to work my way up, one level at a time, looking for a place where I could get a shot of both MM and JFK in the same frame. An impossibility behind the rope, the 300mm telephoto was looking better and better.

It seemed that I climbed forever, feeling like Lawrence Harvey in “The Manchurian Candidate” up among the girders. When I found a pipe railing to rest the lens on, (exposure was by guess), I could see JFK through the telephoto, but the range of light level was too great. I worked with feverish intensity every second MM was on stage, but only one moment was truly magical, and perfectly exposed!

When the moment came, the Garden went black. Then all sound stopped. All that low buzz/roar that a crowd gives off stopped; total silence.

One very bright spotlight flashed on, and there was Marilyn Monroe, in the dress, the crystals sparkling and flashing. Marilyn was smiling, waiting several beats, with everyone on the edge of their seats, trying to hear the silence.

Then, in her breathy, sexy, unique voice, looking the entire time at JFK in the front row, she sang "Happy Birthday Mr. President”.

No one that night could imagine that in two and a half months, Marilyn would be dead of an overdose; in eighteen months JFK would be assassinated; Viet Nam would turn into our worst nightmare; Camelot would be gone.

Marilyn wore a dress designed by Jean Louis, that had no zippers, buttons, hooks, or snaps. The pieces were sewn together on her body. It was more or less flesh-colored, and decorated with thousands of Zwarovski crystals. Adlai Stevenson described it as “Skin and Beads”.

It was auctioned off at Christie’s in New York, October, 1999 for over 1.2 million dollars. The buyers later thought it was a steal, and said they were prepared to pay 3 million.

Though the evening was long and illustrious, and Marilyn’s song was short, the world, myself included, only remembers her, the song, the dress, and JFK’s 45th birthday.

The rest is history. " -- ©Bill Ray

President John F. Kennedy at his birthday party after Marilyn Monroe Sang "Happy Birthday", Madison Square Garden, NY, 1962 ©Bill Ray

Stephen Wilkes: Day To Night Exhibition Featured in La Lettre de la Photographie

Flatiron Building, Day To Night (2010) © Stephen Wilkes

  COURTESY MONROE GALLERY OF PHOTOGRAPHY

Via La Lettre de la Photographie

For more than two decades Stephen Wilkes has been widely recognized for his fine art, editorial, and commercial photography. With numerous awards and honors, as well as five major exhibitions in the last five years, Wilkes has made an impression on the world of photography. His most recent series features vibrant photographs of Times Square, Park Avenue, Coney Island, and Central Park, among other iconic New York locations, and capture, in a single frame, the transition from “Day to Night”. Using digital composites of images of the same site taken over a period of up to 15 hours, the photographs have a time-traveling quality, with the hustle and bustle in the afternoon sun giving way to the glow of city lights in darkening, cloud-streaked skies.

"Anything one can imagine one can create. Over the last several years, photographic technology has evolved to a point where anything is possible. I imagined changing time in a single photograph. I began to explore this fascination with time in a new series of photographs called: “Day to Night”. Photographing from one camera angle continuously for up to 15 hours, capturing the fleeting moments throughout the day and night. A select group of these images are then digitally blended into one photograph, capturing the changing of time within a single frame."

"Day to Night embodies a combination of my favorite things to photograph; documentary street photography melded with epic cityscapes. The work is a personal reflection of my deep love for New York. As this series has evolved, I discovered that the photographs began to highlight a form of emergent behavior within the daily life of the city. Studying the communication between pedestrians on sidewalks, cars and cabs on the street, these individual elements become a complex life form as they flow together to create the chaotic harmony that is Manhattan."

Full post and slide show here.

NOTE: Exhibition has been extended through June 24, 2012

High Contrast: The Enduring Paradox of Native Photography

Via Georgia O'Keeffe Museum

Stark comparisons of the traditional and the modern have informed the visualization of Native Americans from colonization to the present. Early contemporary Native photographer Horace Poolaw (1906–1984) created a dialogue with modernism through his adoption of composite narratives steeped in the cosmopolitan realism of the early 20th century. Lecture by Nancy Mithlo, Assistant Professor, Art History and American Indian Studies Department, University of Wisconsin-Madison.

LOCATION: Georgia O'Keeffe Museum Education Annex, 123 Grant Avenue.
COST: $5; Members and Business Partners, FREE.

Reservations suggested: 505.946.1039 or online at www.okmuseum.org

Register here.

WORLD REMEMBERS PHOTOJOURNALIST HORST FAAS

 

Horst Faas/AP

In this March 1965 file photo by Associated Press photographer Horst Faas, hovering U.S. Army helicopters pour machine gun fire into the tree line to cover South Vietnamese ground troops advancing on a Viet Cong camp northwest of Saigon. Faas' work in Vietnam won four major photo awards, including the first of his two Pulitzers. He was severely wounded there in 1967

 "Horst Faas was a giant in the world of photojournalism whose extraordinary commitment to telling difficult stories was unique and remarkable," said Santiago Lyon, AP's global head of photography

 "Under his direction, AP photographers captured images that quickly became synonymous with the long war: among the most notable were Eddie Adams' image of the execution of a Viet Cong suspect and Nick Ut's picture of a naked Vietnamese girl fleeing a napalm attack." --BBC



 New York Times Lens: A Parting Glance: Horst Faas

The Telegraph: In Pictures, Horst Faas, Pulitzer Prize-winning Vietnam War photographer

The Guardian: Photojournalist's work in uncovering the horrors of Vietnam war helped turn mainstream opinion against US offensive 

BBC: Vietnam War photographer Horst Faas dies

The Independant: Horst Faas, the photographer whose images defined the Vietnam War, dies aged 79


MSNBC Photoblog: Horst Faas, legendary Vietnam combat photographer, dies

"Sometimes it’s not enough for a photographer to be in the right place at the right time, you have to capture the perfect moment as well"

A lone man stops a column of tanks near Tiananmen Square, 1989 Beijing, China

Jeff Widener/AP

Via PetaPixel


The Famous Tiananmen Square Tank Man Photo From Slightly Different Views

"The iconic version we’ve come to know is only one of 4 very similar photos taken that same moment.

Each photographer: AP photographer Jeff Widener, Newsweek photographer Charlie Cole, Magnum photographer Stuart Franklin, and Reuters photographer Arthur Tsang all captured almost the exact same moment from slightly different perspectives."



Jeff Widener's photograph is featured in the forthcoming exhibition: "People Get Ready: The Struggle For Human Rights" at Monroe Gallery of Photography, June 22 - September 2, 2012.


Related: JEFF WIDENER: Tiananmen Square Tank Man

Abandoned Ellis Island – And How It Can Be Saved

Via Scouting New York:

The following article was produced in participation with the Partners in Preservation program, which will be awarding $3 million in grants to historic sites across New York City based on your votes – so go vote now!

Chances are, when you think of Ellis Island, you picture just one building…

The “Main Building,” a Beaux-Arts masterpiece built in 1900, through which millions of immigrants passed until its closure in 1954. Today, it houses the Immigration Museum, and if you’ve ever visited on a school field trip, or passed through on a vacation, this is where you spent your day.

One question: while you were there, did you happen to turn around…

…and notice the row of gorgeous Belgian-style buildings across the water? The ones that seem to be totally abandoned?

Full article with numerous photograph here.

Monroe Gallery of Photography is currently exhibiting Stephen Wilkes' "Day To Night" collection.

 

Perhaps Wilkes’ most ambitious project was photographing the south side of Ellis Island (1998 – 2003). With his exclusive photographs and video work, Wilkes was able to help secure $6 million in funding to restore the south side of the island. Today all that remains of the past are Wilkes' haunting images. These photographs have appeared in The New York Times Magazine and have won numerous awards including American Photographer, The Art Directors Club, Applied Arts Magazine, Graphis and other industry awards. Wilkes continues to be involved with his passion for Ellis Island, working with the "Save Ellis Island" foundation. Wilkes received the Alfred Eisenstaedt Award for magazine photography, and in 2004 he received the Lucie Award for Fine Art Photographer Of The Year Award. His work is in the permanent collection of several important museum collections. Ellis Island: Ghosts of Freedom was published by W.W. Norton & Company in the fall of 2006, and was accompanied by a major exhibition at Monroe Gallery of Photography October 6 – January 7, 2007.

CHRISTIE'S PHOTOJOURNALISM AUCTION TO BENEFIT CHILDREN OF ANTON HAMMERL, KILLED IN LIBYA

FOR IMMEDIATE RELEASE

First-ever auction of contemporary photojournalism prints at Christie’s to be held May 15 in New York to support family of freelance photographer Anton Hammerl killed in Libya

Acclaimed photographers donate prints to honor the memory of Anton Hammerl and support his family. Christiane Amanpour of ABC News/CNN will host the evening.

New York, NY – May 7, 2012 – Non-profit Friends of Anton is organizing the first auction of contemporary photojournalism prints ever held at Christie’s, on May 15th 2012 in New York to raise funds for the three young children of freelance photojournalist Anton Hammerl who was killed by the Libyan regime last year.

On April 5, 2011 South African freelance photographer Anton Hammerl went missing after coming under fire from Gaddafi loyalists. For 44 days his family was told repeatedly by the Libyan regime that he was alive and well. The truth is he was left to die in the desert. A campaign is currently underway to locate and recover his remains.

Anton Hammerl working in Brega, 1 April 2011.
Photo: Unai Aranzadi.

2011 was one of the worst years for photojournalism with 3 deaths in addition to Anton’s, followed by yet another in 2012. Besides raising funds for 11-year-old Aurora, 7-year-old Neo and 1-year-old baby Hiro, the evening aims to highlight the sacrifices made by photographers – particularly freelancers – who assume great risks to bring back images to agencies, magazines, publishers and readers worldwide, often with little backup.

Christiane Amanpour of ABC News and CNN will host the event during which signed prints by some of the world’s leading photographers – including Sebastiao Salgado, Alec Soth, Tim Hetherington, Platon, Gilles Peress, Christopher Anderson, Ed Kashi, Yuri Kozyrev, Larry Fink, Kenneth Jarecke, Lynsey Addario, Susan Meiselas, Ron Haviv, David Burnett, Joao Silva, Bruce Davidson, Samuel Aranda, Roger Ballen and Vincent Laforet – will be auctioned off Christie’s Senior Vice President Lydia Fenet.

“The upcoming ‘Friends of Anton’ auction at Christie’s is a milestone in contemporary photojournalism”, says New York-based collector Alan L. Paris, “As a collector of photojournalism, I am particularly excited because this is the first ever auction dedicated to contemporary photojournalism. The contributors are top notch, the photos are of the highest quality, the material is fresh to the marketplace, and it is all for a very good cause.”

- Christie’s is located at 20 Rockefeller Plaza, New York, NY 10020.
- Auction: 6:30pm, May 15th, 2012.
- 501c(3) Reporters Without Borders is the fiscal sponsor of this all-volunteer evening, which is made possible by the generous assistance of Christie’s, Innovative Philanthropy and Edelman.