The photographer’s work provides a stark illustration of the hold that celebrity has on our culture.
“My idea of a good picture is one that’s in focus and of a famous person doing something unfamous,” the artist Andy Warhol wrote, in 1979. “It’s being in the right place at the wrong time. That’s why my favorite photographer is Ron Galella.”
He personified the paparazzi — brazen and relentless in chasing the famous, particularly Jacqueline Kennedy Onassis. But his pictures also came to be admired.
Mr. Galella was called a creep, a stalker and worse when he began shooting pictures of celebrities in the 1960s, before mass circulation magazines like People and Us made the presence of paparazzi like him ubiquitous — and a full generation before phone cameras and websites like TMZ made celebrity stalking the pastime of legions.
According to one tally, three million dollars’ worth of equipment was stolen during the past eighteen months, in forty-five separate incidents. “Somewhere, there’s a mole,” a studio owner said.
Marc Dobiecki, the C.E.O. of Commander, a film-equipment-rental company, took note. “I could kind of smell it,” he said. “I knew we were on the list, even though we’re just a couple minutes from the local police department.” Security footage from some of the burglaries appeared to show the intruders carrying firearms. Dobiecki, a former Navy corpsman, decided to sleep on site, with a gun, for “a good chunk of last year,” he said. “I invested in body armor, too, and general-protection things, to be ready for a firefight.” He added, “I had all the lights rigged where they couldn’t turn them on. I was in control of the playing field if they came in. I knew the territory.” One night, in mid-August, he wasn’t there, and thieves took a client’s monitor that was worth about five thousand dollars. “I had to pay for that the next day,” he said.
Part 1 of 2 of my conversations with presenters at the CatchLight Visual Storytelling Summit April 19-20, 2022 at the Institute of Contemporary Art San Francisco. In part 1 I speak with Mabel Jiménez and Josué Rivas about their then upcoming presentation on who gets to tell the story and how the story is made. We preview the talk and also speak about their own work and experiences in the documentary storytelling world.
As it is, newsrooms don’t necessarily prioritize sustained, nonviolent opposition in editorial decision-making. “The public eye wants violence and destruction, but turns away from our quiet resistance,” wrote Anne Spice, a Tlingit sociologist, and Denzel Sutherland-Wilson, a Gitxsan land defender, in the New Inquiry in 2019. “People are less interested in our governance systems operating as they should.”
For nearly two centuries, photography has played a role in educating the public about both the familiar and the unknown elements of our ever-changing environment — including the many species that live among us, the constant changes to our climate, and the
Photography can truly make an impact on conservation efforts and environmental advocacy. It’s one reason why every year for Earth Day, we ask our community of passionate PhotoShelter members to share their wildlife, nature and conservation photos. If not to inspire change, these photos can at least shine a light on the vast, breathtaking world around us.
This week we are featuring bodies of work are linked by this thematic lens: making the often-invisible nature of the global climate and the ecological crisis more visible using conceptual, lens-based art techniques. Each body of work speaks to a differe
Hong Kong Soup:1826’ is a series depicting waste plastic collected from over 30 different beaches in Hong Kong since 2012
I worked on this project using my secular intuition to confront my own fears and questions about religion, looking at the believers, their rituals and relics. In the end it raised more questions than answers, and I’m okay with that.
Some images will always have the power to make us confront horror.
This image of a man with both eyes open is one of the most compelling and disquieting photos to come out of Bucha. It’s an intimate and puzzling image of death, and I’ve never seen anything like it. What did this man see at the moment of his death? Whatever it was, his resolve remained.
Opening April 14 at the Bronx Documentary Center in New York, Look At The USA gathers photographs from 17 years of photographer Peter van Agtmael’s work to draw a complex picture of post 9/11 America.
Essentially, what I thought I knew about the country was soon being dismantled by what I was seeing with my own eyes. It was the feeling that something was wrong about how I perceived the United States and its place in the world, in its history and its own present. Dozens of questions turned into hundreds. They don’t necessarily get answered fully in the work, which is anyway open ended, but at least they get explored.
In this first episode of Young European Photographers, we visit Polish photographer Michalina Kuczyńska, who documents the social tensions and protests her country has experienced since the far right came to power.
Michalina Kuczyńska is the youngest member of the Archive of Public Protests (APP), a collective of eighteen photographers created in 2019 by Rafał Milach, who has collected images of Polish protests since 2015, that is, since the conservative national party Law and Justice (PiS) came to power.
Anti-mafia journalist from Palermo scoured Sicilian alleyways in 1970s and 1980s to expose brutal violence
Armed only with her Leica camera and mounted on a Vespa, Battaglia scoured the alleyways of Palermo during the 1970s and 1980s photographing the victims of mafia murders and the internal wars between rival clans. As a result she received several death threats.
The Colombian photographer Federico Rios Escobar spent a decade in the Colombian jungle with the FARC.
In his book Verde, published by Raya Editorial, Federico Rios Escobar chronologically lays out his images from his life in the jungle: “I have lost track of the number of times I hung my hammock and took it down. It was my home in the jungle for many years, whether it was cold or hot, rain or shine. I was in it when sick, and it was my refuge in moments of anxiety. Some nights, I looked toward the sky with desperation and fear. Other nights I fell asleep confident in the hope of peace.” Federico followed the guerrillas on their journeys, through moments of tension and joy; he photographed families, budding loves, mothers, and their children. He documented the daily life of these women (40% of FARC fighters were women) and men who, round the clock, lived on high alert. In particular, he took portraits of the four guerrilla fighters who survived from the creation of the movement.
She was an artist who was studying anthropology when she became an activist in the civil rights movement and a rare woman to document Black life in photos.
“I had a quest to show what the average person was doing,” she told the Southern Oral History Program in 2011, part of a collaboration with the Smithsonian National Museum of African American History & Culture. “I had a quest to show our culture in total, not just a little bit, or negative stereotypes.”
A Muntagna | Emanuele Occhipinti Mount Etna and the surrounding area is an island within an island. It’s the highest active volcano in Europe, a majestic presence that touches all of Sicily and all…
“‘A Muntagna” is a long journey around Mount Etna and the surrounding area, telling the deep bond that unites the volcano to the women and men who live there, and the extraordinary normality of lives lived in the presence of such a giant, which at any time can generate seismic events. An ambiguous relationship, halfway between the most total devotion and the constant fear for it. They say that when an eruption ends, Etna is already preparing the next one: it’s the eternal confrontation between the volcano and the human beings who have decided to rely on his benevolence.
For many photographers, the pandemic has been a time to step back and take stock of their lives and work. It’s provided opportunities to get more organized, look for inspiration and make adjustments to their businesses. For Gunther Deichmann, a PhotoShel
For Gunther Deichmann, a PhotoShelter member and photographer based in the Philippines, inspiration was waiting for him just outside of his apartment in Manila. Over the last two years, Gunther has compiled more than 18,000 images from a single location: his 10th floor balcony. “Views From My Balcony” is a body of work that turns seclusion from COVID-19 lockdown and restrictions into something magical. It stands as proof that art can be created anywhere, even in the face of monotony.
In my own teaching, I often describe photographs as gifts: they are given to you if you’re able to spot and then take them. This book is a gift. If this (or any other) article spotted it, all that’s left for you is to take it.
Philip Montgomery shares the stories behind nine images in his new photobook "American Mirror."
As Patrick Radden Keefe writes in American Mirror, “Montgomery’s photographs capture the reality of Americans in crisis, in all our flawed, tragic, ridiculous glory.” Here, we look at the stories behind nine of Montgomery’s iconic photographs.