Tuesday, 30 of June of 2015

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Weekly Wrap-Up

Weekly Wrap-Up

It’s Friday again. That means that another busy week in the world of photography has come to an end. Nikon, Fujifilm, and a few others have announced new lenses. Reviewers are continuing to crank out the reviews and the buyer’s guides in time for the quickly-approaching holidays. Photography magazines and publications have been compiling their “best of’s” and their “2012s” as the year winds to a close. All of these things and more have been featured on our Twitter feed. However, you’re not following us on Twitter then you might have missed out on these stories and more. Don’t worry, as always, we’ll recap the highlights from the week in photography for you below!

Also, if you’re not following us on Facebook, then you would have missed out on our latest sweepstakes: the Beach Camera Canon EOS Rebel T3 Giveaway!

That’s all for this week, folks. Have a great weekend and see you again on Monday!

— da Bird

Photojournalism and Ethics

Photojournalism and Ethics

There is an image making its way around the Internet today. It was captured by New York photographer R. Umar Abbasi and depicts a man who was shoved onto the tracks of a subway station with the train bearing down on him. The image ran as the front page image of the New York Post, a local New York paper, and controversy has ensued.

The facts in the case are simple. The victim, Ki-Suk Han, was shoved off the subway platform by an unnamed assailant. Abbasi, a photographer, began running towards Han. Abbasi claims he was using his camera’s flash to try to get the train driver’s attention and get him to stop the train before it ran into Han. He also says that many others in the station were running away from Han and that the distance between him and Han was too great for him to reach Han in time to pull him back up to the platform before the train hit him.

Many criticize Abbasi for “stopping to take photos instead of helping.” However, Abbasi claims he wasn’t try to take photos; he was hitting the camera button to activate the flash in hopes of getting the driver’s attention. Many also criticize the New York Post’s decision to run the image as the front page image with the heading of “Doomed.” Some say that Abbasi should have put the camera down and tried to help even if it was futile. And still others say that after it was all over, Abbasi should never have allowed the New York Post to run the image or sold any license to use the image to any news paper. In an interview with The New York Times, Abbasi says that he handed his camera’s memory card over to the Post (he was out on assignment for them) in hopes that they and the police could find the assailant. He claims not to have been part of the group that decided to use the image. His chief criticism is for the people at the station who were closer to Han but ran away instead of trying to help the man.

Still, the fact that the image exists and was published opens up a new chapter in ethics in photojournalism. Should Abbasi have used his camera at all? Should he have tried to capture any images of the scene before him? Should the New York Post have run the image at all? What do you think and why?

Historical Photographers: Alfred Stieglitz, Part IV

Historical Photographers: Alfred Stieglitz, Part IV

Part I, Part II, and Part III of this series were posted earlier

As his relationship with Georgia O’Keeffe deepened, Stieglitz began to resent any time spent apart from her. His marriage to Emmeline had been loveless for many years. He deeply resented Emmy not becoming his “twin” upon marriage. Now that he had found a woman with whom he had that much-longed for “twin-ness,” he did not want to be parted from her. In 1918, O’Keeffe moved to New York. Stieglitz promised to provide Georgia with a quiet studio where she could paint. From the moment she arrived in New York, the two were inseparable and, within the month of her arrival, Stieglitz had already begun to take nude photos of her. Stieglitz’s wife, Emmy, came home during one of the pair’s sessions. Emmy issued an ultimatum — either Stieglitz quit seeing O’Keeffe or they both needed to leave.

Stieglitz left. He and Georgia moved into an apartment together and he had soon filed for divorce. Emmy repented of her hasty ultimatum but, even after using all of the delaying tactics she could find, her marriage to Alfred Stieglitz was dissolved in 1924. Stieglitz married Georgia O’Keeffe four months later.

1918 – 1925 was the most prolific point of Stieglitz’s life as a photographer. In this period, he took and produced more than 350 mounted prints of O’Keeffe, capturing a wide range of moods and personality. In 1920, Mitchell Kennerly from the Anderson Galleries in New York invited Stieglitz to put together a major exhibition of his photographs. Stieglitz spent much of that year mounting some of his recent works. In 1921, he hung the first solo exhibit of his work since 1913. Out of the nearly one hundred and fifty prints he put on view, only seventeen had been seen before. In the catalog for this exhibit, Stieglitz made what would become his famous declaration: “I was born in Hoboken. I am an American. Photography is my passion. The search for Truth my obsession.”

His spirit renewed, Stieglitz began working to help organize other artists’ works into exhibits as well as beginning his own branching out into more experimental photography. A rabid perfectionist, Stieglitz would often take the same photos of the same scene over and over again until he had it “right.” He would then use only the finest papers and printing techniques to bring the image to print. He always considered his endeavors “work” because of the effort he put into them. He disdained the term “art” believing it to belong to classes of expression one had to be “taught” how to appreciate.

In 1925, the Anderson Galleries invited Stieglitz to put together an exhibition for them. Stieglitz outdid himself by putting together the Seven Americas exhibit. This exhibit featured works from Arthur G. Dove, Marsden Hartley, John Marin, Charles Demuth, Paul Strand, Georgia O’Keeffe, and Alfred Stieglitz. Soon after, Stieglitz was offered the continual use of one of the rooms from the Anderson Galleries. Dubbing it “The Room,” Stieglitz used it to showcase some of his more personal works as well as works from his friends. Between 1925 and 1929, The Room hosted sixteen events featuring the works of Marin, Dove, Hartley, O’Keeffe, and Strand and individual exhibits featuring the works of Gaston Lachaise, Oscar Bluemner, and Francis Picabia.

In 1929, Stieglitz was informed that The Room was going to be demolished. His friends, the Strands, organized money and found a place for him to recreate new exhibits. However, Stieglitz, growing older and more tired, rebuffed their gift by saying it was time for young people to start doing more of the work. In time, he did accept the gift with gratitude and grace but this marked the beginning of the end of several of Stieglitz’s friendships. On December 15, 1929, Stieglitz opened his new gallery and named it An American Place or, more simply “The Place.” He showed individual and group shows from Marin, Demuth, Hartley, Dove, and Strand with at least one major exhibit for O’Keeffe each year. The Place ran for sixteen years. In 1936, Stieglitz returned to his photographic roots by exhibiting works from Ansel Adams and Eliot Porter. In 1937, the Cleveland Museum of Art featured an exhibit of works from Stieglitz, the first major exhibition of his works in a gallery outside of his control.

The next year, 1938, Stieglitz suffered his first heart attack. After recovering, he returned to work at The Place. However, his health was in decline and he suffered five more heart attacks before dying after a stroke in 1946. He was cremated and his ashes spread near his Lake George home by his wife, Georgia O’Keeffe.