“At the time, a lot of newspapers in California were writing stories about the ‘Brown Invasion’ because the immigration numbers were incredible. I realized this is one of the great stories of the twentieth century. The massive immigration would change the demographics of America.”
Midnight La Frontera - Photographs by Ken Light | Book review by Gregory Eddi Jones | LensCulture
Photographed over thirty years ago, Ken Light’s nighttime pictures of migrants captured along the US-Mexico border pose some uneasy questions
Documenting life on the US/Mexico border, from 1983-1987
With his photographs, taken during the 1980s, Ken Light wanted to reveal ‘the desperation, hardship, and struggle of people who want a better life’.
I Was Just Following My Nose and Watching What Was Going On
Ken Light’s photographs of the United States 1969–74
the spring of 1970, when Ken Light went off to photograph the rioting at Ohio State University that followed the US invasion of Cambodia, all he had with him was a Pentax K1000 SLR, a 50mm lens, some rolls of Kodak Tri-X film, a light meter and a gas mask.
Powerful Photos From America’s 1960s and ’70s
Fourth of July celebrations can honor our nation’s founding while also reflecting on darker periods of history. In 2015, David Rosenberg wrote about...
Ken Light knew he would become a photojournalist on April 28, 1970. While studying at Ohio University, Light traveled to Ohio State University, where he photographed the student riots that took place a week before the tragic events at Kent State University.
What’s Going On: America Then - Photographs and text by Ken Light | LensCulture
America in the late 60s and early 70s was an America full of fear and full of hope—a country at its worst and at its best and for all the difficulties, it was an America we should not forget
Boomers had a dream, and maybe our dream was naïve. A lot of us believed we could live our lives and build the world around two basic precepts: love and peace. We believed we were the generation that would do away with war. We believed that we would do away with greed, and in its place we'd create a world that would revolve around compassion and camaraderie, personal and political liberation.
We’ve become such a 24/7 moving world with a constant stream of news and sound and pictures,” writes Light. “And the wonderful thing of a still photograph is you get to linger, you get to stop, you get to look, you get to think, you get to react, and it is a very different experience.
PPOTR Dispatch #13: Interview with Ken Light
Execution Chamber, Walls Unit, Huntsville (1994), from Texas Death Row @Ken Light In early October, Ken Light and I sat down to discuss his project and book Texas Death Row (University Press of Mis…
In early October, Ken Light and I sat down to discuss his project and book Texas Death Row (University Press of Mississippi, 1997).
A Photographer's Trail to Appalachia
Forty years ago, Ken Light was introduced to the power of photojournalism. His journey has taken him to Appalachia and other places.
Ken Light arrived in an Appalachia whose impoverished areas had shrunk but where poverty was still deeply rooted. The people he met wanted to work but found none available.
Ken Light, the San Francisco photographer who won a judgment in February against Al Gore's cable TV network for unauthorized use of an image, now has to fight to defend his rights again.
San Francisco photographer Ken Light won a small claims judgment of $588
Worth a Look: The Valley of Shadows | dvafoto:
Newsweek’s just published a brilliant and far-reaching investigation into California’s growing economic and water crises. The Valley of Shadows, a five-part series comprising wonderful photos by Ken Light, original reporting, interactive maps, and audio, is a great example of what most journalism might look like in a few year
Jim McNay says:
After several months—or years—on the shelves of serious photographers, it’s time to take this volume down again and give it a look. For all of us who have complained about how tough things are now in these times—and who among us has not complained?—the voices in this book remind us photojournalism and documentary photography were never easy, not for those during photojournalism’s Golden Age, not even for those included in this book who are generally accepted as stars in the profession.
Ken Light, who teaches photography at the Graduate School of Journalism at the University of California, Berkeley, has five previous documentary books to his credit and also produced Witness In Our Time: Working Lives of Documentary Photographers (Smithsonian Press, October 2000). He prefers photographing with the medium format (but used 35mm for his book Texas Death Row, where he wanted the discretion and high film speed it allows). For Coal Hollow he used Mamiya 6s, a rangefinder camera with a 6 x 6 cm negative that handles like a Leica. Although working with an eye-level viewfinder, he often gets low with the camera, going eye-to-eye with a short dog or looking up at faces. His close-to-the-face portraits leave us no doubt that many of these people have had hard, damaging lives without decent medical care. All of the 82 duotones are full-square, and nearly fill their 11-inch square pages, allowing full appreciation of their rich tonality and detail. Some believe the square format is a difficult working space – the frame lacks a dominant direction, leaving a potential for static compositions. Ken is a master of the square composition and his images are alive with energy and dynamic interest. In addition to landscapes, signs, portraits, close-ups and environmentals, he records active situations including a tent revival and a wrestling match.