Category Archives: Photography

MICHAEL SCHMIDT

Michael Schmidt

On May 24, 3 days after he received the Prix Pictet, Michael Shmdit died.. The award this year  focused on consumption. [see NY TIMES article]. The Prix Pichetet site has a great post  about him.  A quote:
Michael Schmidt once called himself a ‘blind alley’ photographer, “… that means that I stroll straight into a cul-de-sac and can’t find a way out. Then I come to terms with this as a sort of condition and at some point later on, I’m back on the outside again. (…) That is to say, failure or making mistakes is an integral part of my way of working.”

MICHAEL SCHMIDT | AMERICAN SUBURB X. has several of his series posted. [bookmark American Suburb blog – excellent resource.]

obituary from the BBC

about Selfies

[Reblogging] About Those Callous Selfies — by Michael Shaw, BagNews Notes

photo: Manu Fernandez/AP

You’ve seen them before. You’ve seen them in war zones and funerals, even. More often than not, they result in disdain — or head scratching, at least —  for the apparent soullessness and narcissism. This is just the latest I’ve seen. It appeared, in all it’s blasphemy, as the leadoff photo in The Atlantic “In Focus” Photos of the Week slideshow on Friday.  Documenting the perceived insensitivity, the caption reads:

Tourists take a “selfie” as demonstrators burn a trash container during a May Day rally in Barcelona, Spain, on May 1, 2014. Tens of thousands of workers marked May Day in European cities with a mix of anger and gloom over austerity measures imposed by leaders trying to contain the eurozone’s intractable debt crisis.

How dare these tourists (ugly Americans, perhaps?) denigrate the anger and gloom of tens of thousands of European workers?

Well, I’m not prepared to say that this photo or its innumerable cousins have any moral implications at all.  What is clear is that these types of photos need to be understood on two completely independent levels. [read rest of article]

 

Racism as Style: The Return of Blackface

Important read in BagNews Notes:
Racism as Style: The Return of Blackface — BagNews

by Stanley Wolukau-Wanambwa
(adapted from the Tumblr blog, The Great Leap Sideways)

Excerpt from essay > “On Tuesday of this week, the British creative arts website It’s Nice That published a feature on a photo-shoot by French multi-disciplinary studio Akatre entitled Tropical. The images consist of two young naked women painted entirely (and unrecognizably) black, stood in front of a brightly patterned tropically-themed seamless backdrop, or reflected in the smooth dark mirrored surface of a black table…” [ read more ]

—-

Happy to learn about thegreatleapsideways.com and greatleapsideways.tumblr.com, Stanley Wolukau-Wanambwa, editor. The sites showcase contemporary photography with small and extended surveys of work by contemporary photographers alongside extended interviews, features, videos and extracts from texts that illuminate the practise of photography and its wider context. Looks like a great resource.

Female in Gaza by Monique Jacques

Female in Gaza – NYTimes.com.
Powerful photo essay in the April 20 Sunday Review by Photography & Imaging alumnus Monique Jacques 

I have been photographing in Gaza for several years, initially to cover the conflict with Israel, but over time returning because I am mesmerized by the women, and their strength. [read more and view slideshow]

Monique Jaques is a photojournalist based in Istanbul. She has spent the past three years focused on documenting issues in the Middle East as well as Afghanistan and India. After graduating from New York University’s Photography and Imaging program she traveled extensively through the region and landed in Turkey.  See her website for many more incredible projects.

 

Teaching The Camera To See Skin Color

[Reblogging this interesting piece from Buzz Feed]

Teaching The Camera To See My Skin by Syreeta McFadden – BuzzFeed

I was 12 years old and paging through a photo album; my memories of the days seemed to fade in the photo’s recreation. In some pictures, I am a mud brown, in others I’m a blue black. Some of the pictures were taken within moments of one another. “You look like charcoal,” someone said, and giggled. I felt insulted, but I didn’t have the words for that yet. I just knew that I didn’t want to be seen as a quality of a dark black that would invite hatred on my skin.

A year later, it was 1988 and the overhead kitchen light burned the dullest yellow as my mother placed four proofs on the table from an Olan Mills photo session. Each wallet-sized print contained various permutations of my little sister, my mother, father, and me. She wanted to know what we thought.

I considered each of the images. I couldn’t see my face. “Why do I look so dark?” [read more]

Mirror of Race

The Mir­ror of Race Project, a place for reflec­tion on the mean­ing of race in Amer­ica — its past, as well as its present and future.

Here you will find both a main exhi­bi­tion of early Amer­i­can pho­tographs as well as exhi­bi­tions on spe­cific top­ics.

You will also find crit­i­cal com­men­tary in var­i­ous forms, such as essays and film.

Enter

An Inside View of Arab Photography – Samer Mohdad

more from the Lens Blog:

An Inside View of Arab Photography.

Samer Mohdad was a 10-year-old boy living in the mountain village of his Druse ancestors when Lebanon’s civil war broke out in 1975. His life changed overnight: His childhood playmates were now his sworn enemies. The traumatic experience of the war, which lasted until 1990, stayed with him and, Mr. Mohdad believes, eventually led him to photography.

Basetrack: Conversation with Teru Kuwayama

Basetrack: Conversation with Teru Kuwayama – Aperture Foundation NY

In 2010, after many years of covering the war in Afghanistan, freelance photojournalist Teru Kuwayama received an invitation to embed with the First Battalion of the Eighth Marine Regiment in Helmand Province. Although it was only the start of the counterinsurgency campaign, it was the tenth year of a long and costly war that carried on at a far remove of the daily lives of Americans in the United States. Along with four other photographers, Balazs Gardi, Tivadar Domaniczky, Omar Mullick, and Rita Leistner, Kuwayama decided to approach the embed differently, and started Basetrack, a social-media reporting project conceived to connect Marines and their families and to target the social network—friends, family, and online presence—surrounding the battalion. Most of the pictures were taken with mobile phones or inexpensive consumer-grade cameras and distributed through Basetrack’s WordPress website (being rebuilt), Flickr, and Facebook, the main Basetrack channel. [read conversation]

Basetrack vimeo channel

NY Times Lens Blog article on the project 

Another article at Graffiti of War 

>> And Teru Kuwayama is Facebook’s first Photo Community Liason.

Daniel Morel

I grew up in this neighborhood everybody knew me, you know. They didn’t even see me. I just keep on working… I was not trying to get something special  …I was not looking for good photos, I was just shooting. >>>

Daniel Morel speaking about photographing in Haiti after the 2010 earthquake in a video of his photographs  on TIME magazine website. I highly recommending watching. LINK TO VIDEO

Following is a collection of the some of the many articles written about the important Daniel Morel copyright case against Agence France Presse and Getty Images.

©Daniel Morel One of the eight images by Daniel Morel of the aftermath of the January 12, 2010 Haiti earthquake that was distributed by AFP and Getty Images. – See more at: PDN online

Morel v. AFP Copyright Verdict: Defense Strategy to Devalue Photos and Vilify Photographer Backfires
November 26, 2013 by David Walker, PDN

Photographer Daniel Morel says his decisive victory in court last week against Agence France Presse (AFP) and Getty images was not only vindication for him, but a victory for all photographers trying to eke out a living in the digital age.

A federal jury awarded Morel $1.2 million in damages after determining that both agencies willfully infringed his copyrights in 2010 by distributing eight of his exclusive news images of the Haiti earthquake without permission.

“I hope the internet is going to be a little safer now for all artists, all photographers,” he told PDN the day after the jury reached its verdict. more >>

————- MORE ————–

New York Times Lens Blog article by James Estrin

Peta Pixel by DL Cade

Link to several articles at the British Journal of Photography

Editorial Photographers of UK and Ireland

Daniel Morel vs. Agence France Presse and Getty Images Facebook Page

Daniel Morel website