Image: Lori Ordover
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 National Geographic. [BY NINA STROCHLIC, RACHEL HARTIGAN,
PHOTOGRAPHS BY KIANA HAYERI]
Two recent articles in National Geographic include photos by Kiana Hayeri, as she “chronicles the Afghan city’s tension, her evacuation, and the guilt she feels for leaving people behind.”
“Photographer Kiana Hayeri has lived in Kabul for the past seven years. For National Geographic, she chronicled the changes across Afghanistan as a generation born under relative freedom faces a future under Taliban control.
Kabul is her home. But on Sunday, August 15, the day the Taliban seized Kabul and the Afghan government fell, Hayeri had to evacuate. The Iranian-Canadian journalist spoke to National Geographic about what the city was like the day it fell, how she’s trying to help Afghan friends and colleagues, and the uncertain future that women face under the Taliban.”
Cross-posted from The Art Newspaper. [By Daniel Grant]
“A string of court cases have allowed states to claim sovereign immunity when they have used images without permission, giving copyright holders cause for concern and few options for remedy”.
“According to a new report issued by the US Copyright Office today, Congress needs to craft new legislation to protect copyright holders when their creative work is infringed by state agencies or institutions. Shira Perlmutter, the director of the Copyright Office, noted in her introduction to the report that “the evidence indicates that state infringement represents a legitimate concern for copyright owners,” adding that there is ‘little justification’ for states to get away with actions “for which a private party could be held liable”.
The recommendation comes after a year-long study of the issue by the federal agency, prompted by Senators Thom Tillis (Republican, North Carolina) and Patrick Leahy (Democrat, Vermont), who wrote a letter to the Copyright Office in April of 2020 seeking an investigation of ‘the pervasiveness and prevalence of States’ infringements of copyrights’. Their concerns were raised by a 2019 opinion issued from the US Supreme Court revealing that ‘copyright owners are without remedy if a State infringes their copyright and claims State sovereign immunity’. Based on the 11th Amendment to the US Constitution a ‘state may not be sued in federal court by its own citizen or a citizen of another state, unless the state consents to’ the litigation.
Cross-posted from The Bitter Southerner. [Text and Photos by Michael O. Snyder]
“Michael O. Snyder returned to live in the mountains of his Appalachian childhood and document people carrying on traditions — some old, some new — that keep them rooted. He asked these three questions: What is changing? What remains the same? How are you adapting to the times?”
“For the past 10 years, I have been documenting “Tradition Bearers” in the Allegheny Mountains subregion of Appalachia (including West Virginia, Virginia, Maryland, and Pennsylvania).
Using photography, videography, and recorded interviews, I have worked with nearly 60 individuals who are carrying forward Appalachian traditions in our rapidly changing world. Some traditions, such as hip-hop and film projection, are relatively new. Others, like logging and dulcimer ballads, are centuries old.”
Cross-posted from The Independent Photographer. [By Isabel O’Toole]
“His relentless passion for the medium earned Haas assignments with notable magazines such as DU and Heute, and he was the first person to publish a colour photo-essay for LIFE in 1953 on Returning Prisoners of War. This photo essay enabled Haas to become entangled in the circle of celebrity photographers that was Werner Bischof, Henri Cartier Bresson and Robert Capa. Capa encouraged Haas to pursue his colour photography, at which point he began shooting with a Leica and colour film.
A twenty-four-page color photo essay of Images of New York appeared in LIFE in 1951 and was both Haas’ and LIFE’s first long color feature in print.
Though Haas was accepted in the ranks of leading documentarians of his time, he is remembered for his commercial work, having been one of the first people to shoot the Marlboro Man, but his private work really illuminates his true sensibilities.”
Cross-posted from The New Yorker Photo Booth. [By Joran Coley]
“All along the way, his eye is trained on moments of calm, locating an inherent grace, style, and sublime beauty in the Black everyday.”
“When Higgins began making photographs for magazines and newspapers, in the late nineteen-sixties, he was one of a handful of Black photographers working in mainstream media. Much of the work produced in his thirty-nine years as a staff photographer at the Times was a concerted attempt to incorporate Black America into the world’s consciousness. ‘When I arrived at The New York Times in 1975, I felt the media was immune to any real comprehension of the world I knew well,’ he wrote at the time of his retirement from the paper, in 2014. ‘I wanted to share the history and traditions of the people I grew up with.’”
Cross-posted from The New York Times. [By Kathy Ryan and Maureen Dowd. Ms. Ryan is the director of photography for The New York Times Magazine and author of the photo book “Office Romance.” Ms. Dowd is an Opinion columnist.]
“From the shadows, the office beckons, ready to come alive again.”
“Jeffrey Henson Scales, our swell photo editor in Opinion, asked Ryan to document the desolate offices, with baby pictures and sunglasses and towers of books left on desks as though they had been forsaken mid-thought, like the mud statues of Pompeii, or Elsa’s frozen kingdom.”
“Kathy’s haunting photos of the Gray Lady speak to the larger picture: deserted offices, all over the world, drained of vitality, preserved in amber, with mail piling up and computer terminals gone dark and plants dying and newspapers left on racks with old headlines like this one from the week we vacated the office in March 2020: ‘Markets Spiral as Globe Shudders Over Virus.’ (We may yet have to use that one again.)”
Cross-posted from It’s Nice That. [By Ayla Angelos]
“The British-Igbo photographer from London talks us through her empowering practice to date.”
“Nowadays, Christina works as a director and photographer, angling her lens onto stories about representation and inclusivity. Alongside her personal endeavours, she also creates music videos, documentary photography, lifestyle among others, and has participated in various exhibitions like her most recent, a grow show at Home by Ronan Mckenzie, wherein she contributed a powerful self-portrait. She’s also worked with an array of clients such as Tiffany & Co, i-D, Virgin EMI, The Nue co, and Hunger to name a few.”
Cross-posted from blind. [By Michaël Naulin]
“After a 2020 edition held without any audience, the 33rd edition of the international photojournalism festival in Perpignan, France, opens its doors to the public again and continues to show a world in pain.”
“Obviously, some foreign photographers could not make the trip because of the sanitary measures still in force. But Perpignan vibrates again to the rhythm of the news and the upheavals of the world. The Armenian nightmare, with the precious work of Stéphane Agoudjian, the popular uprising in Burma covered by a photographer who remained anonymous for his safety, the double punishment of refugees during the health crisis by the Myop agency… All these photojournalists remind us through the strength of their images that the virus has not stopped conflicts, displacement of populations or natural disasters.”
Cross-posted from Communication Arts – Fresh.
“Through his work, this outdoor sports photographer in Annecy, France, inspires viewers to explore the wilderness themselves.”
“ Inspired by fellow outdoor photographers such as Jimmy Chin, Mathis Dumas and Seb Montaz—and fellow athletes, such as climber Alex Honnold, slackliner Tancrede Melet and climber Dean Potter—Mesnage seems to favor wide shots of his subjects, inviting viewers to marvel at both the athletes’ persistence and become enveloped in the breathtaking vistas surrounding them. Embedded in his work is a strong sense of metaphor. ‘I like the parallel we can [draw] between sport and life,’ he says. ‘Specifically in highlining, [there’s a] similarity between trying to balance on a line over the void and trying to find your balance in life. I want to make images that make sense from different perspectives.’”
Cross-posted from aPhotoEditor. [By rhaggart]
“Tell me about the images.
Like I say in the promo, cocktails are a mood and an experience to be savored. So many of us have been missing our regular social interactions for the past year-plus, whether it’s a big night out, a party at home, or just getting together with a friend or two over a tasty beverage. I guess this was my way of lifting my spirits (heh) and reminding myself that the world will become a place we recognize again.
From a practical standpoint, I’ve been a food and beverage photographer for several years, so I had quite a few drinks in my portfolio already. When northern New Jersey was locked down early last year, it made sense to lean into beverage photography because I could handle the styling on my own much more easily than I could with a full food set.”
“Do you think printed promos are effective for marketing your work?
I believe in the power of the printed photograph and a well-executed printed promo. So much of our photography exists solely in a digital space now; it’s an ephemeral, yet oddly static way of experiencing photos. Printed pieces are undeniable and demand attention — flipping through a printed magazine creates an experience you just can’t get scrolling through social media feeds. And, of course, I think there’s something magical about having a big, beautiful cocktail staring you in the face. Maybe these pieces will end up in the recycling bin, but I hope some of them have a life outside of that and leave the recipients looking forward to post-pandemic cocktail hours.”
Cross-posted from Photoshelter. [By Caitlyn Edwards]
“For Deanne Fitzmaurice, Pulitzer Prize-winning photographer, Think Tank Photo co-founder and Nikon Ambassador, luck is a state of mind. Her creative philosophy has taken her around the world, with curiosity, wonder and a knack for storytelling in her heart.
With a celebrated photo career beginning in the 1980s, Deanne Fitzmaurice has produced compelling photo stories for many clients and media outlets, including The San Francisco Chronicle, Sports Illustrated, National Geographic and ESPN.
We sat down with Deanne to walk through a wide range of personal and freelance projects to outline what makes a memorable photograph and how to use the art of storytelling to make an impact. With the right mindset, anyone can leave their mark.”
Cross-posted from Magnum.
“Abbas’ estate speaks to us about the photographer’s journey documenting the notably political boxing match between Muhammad Ali and George Foreman in Kinshasa in 1974”
“Franco-Iranian photographer Abbas was working for the magazine Jeune Afrique, who had sent him on assignment to profile the nascent Zaire for their series of books on countries of Africa. Abbas had an enduring connection with Africa. He had lived in Algeria for fifteen years as a boy, and spent many of his later years living and working in West and Central Africa. Following the end of World War II and throughout the 1960s and ‘70s, old colonial powers – including France, Belgium and Britain among others – were losing imperial control of nations across Africa. These colonial powers were often replaced by neo-colonial influences, both of former rulers, and of the newer American and Soviet superpowers. Concurrently African nationalist movements were growing in power and popularity: it was a pivotal time for much of the continent, and provided fertile ground for photojournalists to make work.”
Cross-posted from blind. [By Robert E. Gerhardt, Jr.]
“Throughout the protests of 2019, Cheng Wai Hok, Lam Yik and Alex Chan Tsz Yuk worked to photograph the event that rocked Hong Kong. Now, with the city’s National Security Law just over a year old and press freedom under attack, the three photojournalists look back on the protests and at what life in the city is like today.”