ASMP NewsFeed. Keeping You in the Know.
With all that is happening in the world around us, we know that you don’t always have extra hours in your day to catch up on the latest news from the myriad of information sources available today. Curated by former ASMP National Board Member and Contributing Editor Barry Schwartz, the ASMP NewsFeed brings you current articles related to the business and art of photography published in diverse arenas in one single post, so you can peruse and read about a topic that might be of personal or professional interest to you.
Cross-posted from the Columbia Journalism Review. [By Kristen Chick] “Years of complaints from colleagues and freelancers preceded the recent departure of a New York Times photo editor.
The New York Times quietly parted ways with international picture editor David Furst in April after an investigation into his treatment of colleagues and freelancers, leaving many at the paper asking why his departure had taken so long. “
“He also developed a reputation for being controlling and verbally abusive. Conversations with nearly forty people, including Times staffers, former employees, and freelancers, revealed consistent complaints about Furst, including that he yelled at and belittled people and made unreasonable demands of freelancers, telling some that they could not work for other publications if they wanted to keep working for the New York Times. Many of the complaints about Furst came from women, some of whom say they felt he discriminated against them. Most of those interviewed for this story did not want to be named for fear of damaging their prospects with the industry’s most powerful publication.”
Cross-posted from The New York Times. [By Adam Ferguson and Anatoly Kurmanaev] “The Times photographer Adam Ferguson worked with migrants in Mexico to create a series of self-portraits as they waited to cross the border into the United States.”
“The Times photographer Adam Ferguson mounted a medium-format camera onto a tripod with a cable release and then stepped back, allowing the migrants to choose the moment to press the button.”
Cross-posted from Talking Pictures. [By Alasdair Foster] “Agnieszka Sosnowska makes images that tell stories, that speak of lives extending beyond the frame of the image and into the landscape. They create a kind of latter-day mythology that distils the essence of place into an action, a gesture, a pose or a facial expression. In many images the artist herself is the protagonist, in others she photographs her students. At the heart of these images is a quality that is closely associated with compassion: mutuality. Experiences that, however demanding, are shared. The solidarity of community. The constancy of friendship. If compassion is a sensitivity to the suffering of others and the motivation to alleviate that suffering, then mutuality is the network of compassion that binds a community together. To be a farmer in such uncertain conditions requires considerable fortitude. Agnieszka Sosnowska describes this determination as something noble that, as a woman and as an artist, she interprets in a primal and sensual way. For this is the mystery that lends to life the quality of myth, of a story liberated from the present moment to speak of an enduring landscape and the people who dwell there.”
Cross-posted from blind. [By Laure Etienne] “An avant-garde photographer and a documentary filmmaker at Walt Disney’s, Ernst A. Heiniger has fallen into obscurity. Mounting a major retrospective, the Swiss Photo Foundation in Winterthur is paying tribute to the artist.”
“Retoucher, photographer, graphic designer, cameraman, film director, Ernst A. Heiniger succeeded at every kind of camera-generated image-making. Throughout his career, from the 1930s to the 1980s, thousands, if not millions of people got to know his pictures. And you may have, too, especially if you visited the Swiss Museum of Transport in Lucerne between 1984 and 2002, where you would have seen his Circle-Vision 360° film Impressionen der Schweiz [Impressions of Switzerland], which was projected on a loop.”
Cross-posted from PetaPixel. [By David Crewe] “Wing, a division of Google’s parent company Alphabet, has launched a free app in the United States called OpenSky that is designed to help pilots fly their drones legally.
As reported by The Verge, the app initially launched in Australia in 2019 but is now available for both commercial and recreational pilots in the United States on both iOS and Android.
According to DroneLife, Wing leverages Google Maps and uses color-coded areas to show where pilots can and cannot fly. Green areas are considered safe to fly, but pilots will have to be cautious in yellow areas (permits may be required, or potential height and public area restrictions in place), and should not fly in red areas at all.
Author Geoff Dyer Has Lots of Marvelous Insights Into the History of Photography. Why Can’t Our Interviewer Remember Any of Them?
Cross-posted from Artnet News. [By Pac Pobric] “That goes hand-in-hand with one of Garry Winogrand’s observations, where he says a single photograph has no narrative ability at all. He gives the example that if you look at a picture of a woman, you can’t tell whether she’s pulling her panties up or down. But almost as a result of that, a picture has an enormous amount of narrative potential. It always invites you, I think, to speculate on what’s just happened, or what’s going to happen next. You have all kinds of incentives for storytelling. John Szarkowski said about Winogrand that his work offered not just a vast archive of documentary evidence about what was going on in the period he was photographing, but that Winogrand was providing new knowledge.”
Cross-posted from Huck. [By Niall Flynn] “After a stint in the Vietnam War, Roger Steffens dedicated himself to a free-spirited, drug-fuelled life on the fringes of society. Luckily for us, he photographed the whole thing.”
“As part of his assigned role in the US Army’s Psychological Operations unit, Roger was given an unlimited amount of film and allowed to travel freely through the country to take photos. He served for a total of 26 months – developing ‘a taste for the lens’ – before returning home and continuing to photograph relentlessly. ‘I felt I had a rather unique vantage point on America,’ he remembers.”
Cross-posted from aPhotoEditor. [By hvolpe] “Heidi: Was this the first time women were involved in UAE camel racing?
Ankita: Yes, the two all-women camel riding groups we trailed for this feature are both the frontrunners of women camel racers in the UAE: The Arabian Desert Camel Riding Centre (ADCRC) and Hamdan Bin Mohammed Heritage Center (HHC)
How were they received, smashing stereotypes doesn’t come easy.
Even though in camel racing is entrenched in Emirati culture, it has historically been male dominated. In a country where women have enrolled in the army and run for election, female representation in camel racing is a fairly recent development. Just this year in January, the first ever all-women racing team was set up and I think it’s only a reflection of the changing times in this region. Women are slowly but surely staking their claim in various aspects of Emirati culture and social norms – taking their equal place in society – which is largely encouraged and received well.”