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Home , Alixandra Fazzina, Alma Lavenson, Anna Gaskell, Anouk Kruithof, Artur Walther, Blake Andrews

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8888

8888 Basic in 180 Days XVIII Prizes and Organizations Editor: Ramon . aeroramon.com Contents

1 Day 1 1 1.1 Group f/64 ...... 1 1.1.1 Background ...... 2 1.1.2 Formation and participants ...... 2 1.1.3 Name and purpose ...... 4 1.1.4 Manifesto ...... 4 1.1.5 Aesthetics ...... 5 1.1.6 History ...... 5 1.1.7 Notes ...... 5 1.1.8 Sources ...... 6 1.2 ...... 6 1.2.1 Founding of agency ...... 6 1.2.2 Elections of new members ...... 6 1.2.3 Photographic collection ...... 8 1.2.4 Graduate Photographers Award ...... 8 1.2.5 Member list ...... 8 1.2.6 ...... 8 1.2.7 See also ...... 9 1.2.8 References ...... 9 1.2.9 External links ...... 12 1.3 International Center of Photography ...... 12 1.3.1 History ...... 12 1.3.2 School at ICP ...... 12 1.3.3 Infinity Awards ...... 13 1.3.4 Permanent collection ...... 22 1.3.5 Publications ...... 23 1.3.6 The ICP Library ...... 23 1.3.7 The GEH–ICP Alliance ...... 24 1.3.8 See also ...... 24 1.3.9 References ...... 24 1.3.10 External links ...... 24 1.4 ...... 24

i ii CONTENTS

1.4.1 Emergency Fund Grant ...... 24 1.4.2 Human Rights Fellowship ...... 27 1.4.3 Magnum Foundation Fellowship ...... 28 1.4.4 References ...... 29 1.5 Deutsche Börse Photography Prize ...... 29 1.5.1 History ...... 30 1.5.2 Winners and shortlisted artists ...... 30 1.5.3 References ...... 31 1.5.4 External links ...... 32

2 Day 2 33 2.1 Pulitzer Prize for Breaking News Photography ...... 33 2.1.1 List of winners for Pulitzer Prize for Spot News Photography ...... 33 2.1.2 List of winners for Pulitzer Prize for Breaking News Photography ...... 35 2.1.3 See also ...... 35 2.1.4 Notes ...... 36 2.1.5 References ...... 36 2.2 Press Photo of the Year ...... 36 2.2.1 List of Press Photos of the Year ...... 36 2.2.2 References ...... 36 2.2.3 External links ...... 36 2.3 Hasselblad Foundation ...... 36 2.3.1 Photography stipends ...... 37 2.3.2 Science ...... 37 2.3.3 See also ...... 37 2.3.4 References ...... 37 2.3.5 External links ...... 38 2.4 Hasselblad Masters Award ...... 38 2.4.1 Overview ...... 38 2.4.2 Book and exhibition ...... 38 2.4.3 Hasselblad Masters Award recipients ...... 39 2.4.4 Sources ...... 39 2.4.5 References ...... 39 2.4.6 External links ...... 39 2.5 Gold Medal ...... 39 2.5.1 Winners ...... 39 2.5.2 References ...... 39 2.5.3 Bibliography ...... 42 2.5.4 External links ...... 42 2.6 Pulitzer Prize for Feature Photography ...... 42 2.6.1 Winners and citations ...... 42 2.6.2 References ...... 45 CONTENTS iii

2.6.3 External links ...... 46 2.7 Food Photographer of the Year ...... 46 2.7.1 Format ...... 46 2.7.2 See also ...... 46 2.7.3 References ...... 47 2.7.4 External links ...... 47 2.8 Fogtdal Photographers Award ...... 47 2.8.1 Fogtdal Honorary Award laureates ...... 47 2.8.2 Fogtdal Award laureates ...... 47 2.8.3 See also ...... 48 2.8.4 External links ...... 48 2.8.5 References ...... 48 2.9 ...... 48 2.9.1 Winners ...... 48 2.9.2 References ...... 50 2.9.3 External links ...... 51 2.10 Hamdan International Photography Award ...... 51 2.10.1 Award categories ...... 52 2.10.2 Winners ...... 52 2.10.3 References ...... 52 2.10.4 External links ...... 52

3 Day 3 53 3.1 24h.com ...... 53 3.1.1 References ...... 53 3.1.2 External links ...... 53 3.2 Agence Vu ...... 54 3.2.1 History ...... 54 3.2.2 Members ...... 54 3.2.3 Gallery VU' ...... 55 3.2.4 Publications ...... 55 3.2.5 References ...... 56 3.2.6 External links ...... 56 3.3 Allsport ...... 57 3.3.1 1970s ...... 57 3.3.2 1980s ...... 57 3.3.3 References ...... 57 3.4 Arab Images Foundation ...... 57 3.4.1 References ...... 58 3.4.2 External links ...... 58 3.5 Azerbaijan Photographers Union ...... 58 3.5.1 External links ...... 58 iv CONTENTS

3.6 Bangladeshi Photographers ...... 59 3.6.1 Background ...... 59 3.6.2 Annual events ...... 59 3.6.3 Regular online events ...... 59 3.6.4 Photowalks and member meet-ups ...... 60 3.6.5 Other exhibitions ...... 60 3.6.6 References ...... 60 3.7 Black Star (photo agency) ...... 60 3.7.1 History ...... 61 3.7.2 References ...... 61 3.7.3 Further reading ...... 62 3.7.4 External links ...... 62 3.8 British Institute of Professional Photography ...... 62 3.8.1 References ...... 62 3.8.2 External links ...... 62 3.9 Coca Braun ...... 63 3.9.1 Founding of Agency ...... 63 3.9.2 Election of new members ...... 63 3.9.3 Exhibition Policy ...... 63 3.9.4 Pingo Magazine ...... 63 3.9.5 See also ...... 63 3.9.6 References ...... 63 3.10 Contact Press Images ...... 64 3.10.1 Books by Contact Press Images ...... 64 3.10.2 Selected monographs by Contact Press Images Photographers ...... 64 3.10.3 References ...... 64 3.10.4 External links ...... 65 3.11 Creative Court ...... 65 3.11.1 And now I am here...... 65 3.11.2 Post-Conflict Mind Check ...... 67 3.11.3 Rooms of Humanity ...... 68 3.11.4 Africans and Hague Justice ...... 71 3.11.5 20 Years: Portraits of Reconciliation ...... 73 3.11.6 Partners and Funding ...... 77 3.11.7 References ...... 77

4 Day 4 83 4.1 Danish Union of Press Photographers ...... 83 4.1.1 History ...... 83 4.1.2 The union today ...... 83 4.1.3 See also ...... 83 4.1.4 References ...... 83 CONTENTS v

4.1.5 External links ...... 83 4.2 Deca (journalism collective) ...... 83 4.2.1 History ...... 84 4.2.2 Election of new members ...... 84 4.2.3 And The City Swallowed Them ...... 84 4.2.4 Homelands ...... 84 4.2.5 Come See the Mountain ...... 84 4.2.6 The Wreck of the Kulluk ...... 85 4.2.7 13 Men ...... 85 4.2.8 The Wizard and the Volcano ...... 85 4.2.9 Godfathers and Thieves ...... 85 4.2.10 The Calypso Killing ...... 86 4.2.11 Member list ...... 86 4.2.12 Criticism ...... 86 4.2.13 References ...... 86 4.2.14 External links ...... 86 4.3 Developing Lives ...... 87 4.3.1 History ...... 87 4.3.2 Developing Lives as Photography ...... 87 4.3.3 The Program ...... 88 4.3.4 References ...... 88 4.4 Dundalk Photographic Society ...... 88 4.4.1 References ...... 89 4.4.2 External links ...... 89 4.5 Edinburgh Photographic Society ...... 89 4.5.1 References ...... 89 4.5.2 External links ...... 89 4.6 European Pressphoto Agency ...... 89 4.6.1 The epa service ...... 90 4.6.2 The epa archive ...... 90 4.6.3 History ...... 90 4.6.4 Photojournalists ...... 91 4.6.5 See also ...... 91 4.6.6 References ...... 91 4.6.7 External links ...... 91 4.7 European Society for the History of Photography ...... 92 4.7.1 History ...... 92 4.7.2 The aims of the ESHPh ...... 92 4.7.3 ESHPh Board (as of 2011) ...... 92 4.7.4 Activities ...... 93 4.7.5 Symposia ...... 93 vi CONTENTS

4.7.6 Publications ...... 95 4.7.7 Current President and Vice President ...... 96 4.7.8 Past Presidents ...... 96 4.7.9 Membership ...... 97 4.7.10 References ...... 97 4.7.11 External links ...... 97 4.8 Fatamorgana (photo school) ...... 97 4.8.1 History ...... 98 4.8.2 References ...... 98 4.9 Fédération Internationale de l'Art Photographique ...... 98 4.9.1 Biennials ...... 98 4.9.2 References ...... 98 4.9.3 External links ...... 98 4.10 Federation of European Professional Photographers ...... 98 4.10.1 Core principles ...... 99 4.10.2 History ...... 99 4.10.3 Professional qualifications ...... 99 4.10.4 Competitions ...... 99 4.10.5 Member associations list ...... 100 4.10.6 External links ...... 100 4.11 Federation of Indian Photography ...... 100 4.11.1 References ...... 100 4.12 Fotoform ...... 101 4.12.1 References ...... 101 4.13 Fotografisk Center ...... 101 4.13.1 History ...... 101 4.13.2 Exhibitions ...... 102 4.13.3 Other facilities ...... 103 4.13.4 Publications ...... 103 4.13.5 See also ...... 103 4.13.6 References ...... 103 4.13.7 External links ...... 103 4.14 (agency) ...... 103 4.14.1 See also ...... 104 4.14.2 References ...... 104

5 Day 5 105 5.1 Immagine ...... 105 5.1.1 Managing Committee ...... 105 5.1.2 Activities ...... 105 5.1.3 India Weaved in Frames (IWIF) ...... 106 5.1.4 References ...... 106 CONTENTS vii

5.1.5 External links ...... 106 5.2 In-Public ...... 106 5.2.1 Manifesto ...... 106 5.2.2 Members ...... 107 5.2.3 Publications ...... 108 5.2.4 Film ...... 109 5.2.5 Exhibitions ...... 109 5.2.6 Collections ...... 110 5.2.7 Notes ...... 110 5.2.8 References ...... 110 5.2.9 External links ...... 111 5.3 Institute for Artist Management ...... 112 5.3.1 References ...... 112 5.4 International Association of Panoramic Photographers ...... 112 5.4.1 References ...... 112 5.4.2 External links ...... 112 5.5 International Environment Photographers Association ...... 112 5.5.1 References ...... 112 5.5.2 External links ...... 112 5.6 International Imaging Industry Association ...... 112 5.6.1 External links ...... 113 5.6.2 References ...... 113 5.7 International League of Conservation Photographers ...... 113 5.7.1 List of ILCP Photographers ...... 114 5.7.2 See also ...... 115 5.7.3 References ...... 115 5.7.4 External links ...... 115 5.8 International Stereoscopic Union ...... 116 5.8.1 External links ...... 116 5.9 Irish Professional Photographers Association ...... 116 5.9.1 Management Council ...... 116 5.9.2 Award qualifications ...... 116 5.9.3 Charity work ...... 116 5.9.4 Member of ...... 117 5.9.5 References ...... 117 5.9.6 External links ...... 117 5.10 iStabilizer ...... 117 5.10.1 Products and design ...... 117 5.10.2 External links ...... 118 5.10.3 References ...... 118

6 Day 6 119 viii CONTENTS

6.1 Kameraseura ...... 119 6.1.1 External links ...... 119 6.2 LensCulture ...... 119 6.2.1 Management ...... 119 6.2.2 Awards and grants ...... 119 6.2.3 Photography portfolio reviews ...... 120 6.2.4 References ...... 120 6.2.5 External links ...... 121 6.3 Magnum In Motion ...... 121 6.3.1 See also ...... 121 6.3.2 External links ...... 121 6.4 National Association of Photoshop Professionals ...... 121 6.4.1 Photoshop User Magazine ...... 121 6.4.2 Photoshop User TV ...... 122 6.4.3 External links ...... 122 6.5 NOOR photo agency ...... 122 6.5.1 History ...... 122 6.5.2 Photographers ...... 122 6.5.3 Climate Change by NOOR ...... 122 6.5.4 Urban Survivors by NOOR ...... 123 6.5.5 The New Brazil by NOOR ...... 123 6.5.6 Za'atari by NOOR ...... 123 6.5.7 References ...... 123 6.5.8 External links ...... 124

7 Day 7 125 7.1 Panos Pictures ...... 125 7.1.1 Details ...... 125 7.1.2 Photographers who have been affiliated with Panos ...... 125 7.1.3 Publications ...... 129 7.1.4 Exhibitions ...... 129 7.1.5 See also ...... 129 7.1.6 References ...... 129 7.1.7 External links ...... 130 7.2 Photographic and Imaging Manufacturers Association ...... 130 7.3 Photography Centre of ...... 130 7.4 Photography is Not a Crime ...... 130 7.4.1 Origin ...... 130 7.4.2 First Amendment issues ...... 130 7.4.3 Media recognition ...... 131 7.4.4 Footnotes ...... 131 7.4.5 References ...... 131 CONTENTS ix

7.4.6 External links ...... 132 7.5 RA Photo Club ...... 132 7.5.1 Competitions and Rank ...... 133 7.5.2 History ...... 133 7.5.3 Recent Activity ...... 134 7.5.4 External links ...... 134 7.6 (agency) ...... 138 7.6.1 Notes ...... 138 7.6.2 References ...... 138 7.7 Rawiya ...... 138 7.7.1 References ...... 138 7.7.2 External links ...... 139

8 Day 8 140 8.1 The Society of International Photographers ...... 140 8.1.1 References ...... 140 8.1.2 External links ...... 140 8.2 Stock Artists Alliance ...... 140 8.2.1 External links ...... 141 8.2.2 References ...... 141 8.3 Stockland Martel ...... 141 8.3.1 References ...... 142 8.3.2 External links ...... 142 8.4 The Camera Circle ...... 142 8.4.1 History ...... 142 8.4.2 Membership ...... 142 8.4.3 Selected Exhibitions ...... 145 8.4.4 References ...... 145 8.4.5 External links ...... 145 8.5 Technical Image Press Association ...... 145 8.5.1 History ...... 145 8.5.2 Activities ...... 146 8.5.3 Member magazines ...... 146 8.5.4 Administration ...... 147 8.5.5 See also ...... 147 8.5.6 References ...... 147 8.5.7 External links ...... 147 8.6 This Place ...... 147 8.6.1 History ...... 147 8.6.2 Exhibitions ...... 148 8.6.3 Participating photographers ...... 148 8.6.4 References ...... 148 x CONTENTS

8.6.5 External links ...... 148 8.7 Transphotographiques ...... 148 8.7.1 Activities ...... 148 8.7.2 Partnerships ...... 149 8.7.3 Notes ...... 150 8.7.4 References ...... 150 8.7.5 External links ...... 152

9 Day 9 153 9.1 Ukrainian Association of Professional Photographers ...... 153 9.1.1 External links ...... 153 9.2 Unframe ...... 153 9.2.1 Documented events ...... 154 9.2.2 Issues ...... 154 9.2.3 References ...... 154 9.2.4 External links ...... 154 9.3 VII Photo Agency ...... 154 9.3.1 History ...... 154 9.3.2 Member list ...... 155 9.3.3 People who have been involved with the VII Mentor Program ...... 155 9.3.4 Projects ...... 155 9.3.5 References ...... 156 9.3.6 External links ...... 156 9.4 The ...... 156 9.4.1 Background and architecture ...... 156 9.4.2 Exhibitions ...... 157 9.4.3 Project Space ...... 157 9.4.4 Further reading ...... 158 9.4.5 References ...... 158 9.4.6 External links ...... 159

10 Day 10 160 10.1 Wellington Arts Centre ...... 160 10.1.1 External links ...... 160 10.1.2 External links: Organizations based at Wellington Arts Centre ...... 161 10.2 World Photography Organisation ...... 161 10.2.1 World Photography Awards ...... 161 10.2.2 Focus programme ...... 161 10.2.3 World Photographic Academy ...... 162 10.2.4 Sources ...... 163 10.2.5 References ...... 163 10.2.6 External links ...... 164 CONTENTS xi

10.3 World ...... 164 10.3.1 World Street Photography Awards ...... 164 10.3.2 Exhibitions ...... 164 10.3.3 Charitable donations ...... 164 10.3.4 References ...... 164 10.3.5 External links ...... 165 10.4 Youth in Focus ...... 165 10.4.1 History ...... 165 10.4.2 Mission Statement ...... 165 10.4.3 Accomplishments ...... 166 10.4.4 References ...... 166 10.4.5 External links ...... 166

11 Text and image sources, contributors, and licenses 167 11.1 Text ...... 167 11.2 Images ...... 171 11.3 Content license ...... 176 Chapter 1

Day 1

1.1 Group f/64

Ansel Adams: Half Dome, Apple Orchard, Yosemite trees with snow on branches, April 1933

Group f/64 was a group founded by seven 20th-century photographers who shared a common photo- graphic style characterized by sharp-focused and carefully framed images seen through a particularly Western (U.S.) viewpoint. In part, they formed in opposition to the pictorialist photographic style that had dominated much of the early 20th century, but moreover they wanted to promote a new modernist aesthetic that was based on precisely exposed images of natural forms and found objects.[1]

1 2 CHAPTER 1. DAY 1

1.1.1 Background

The late 1920s and early 1930s were a time of substantial social and economic unrest in the .[2] The United States was suffering through the Great Depression, and people were seeking some respite from their everyday hardships. The American West was seen as the base for future economic recovery because of massive public works projects like the Hoover Dam.[3] The public sought out news and images of the West because it represented a land of hope in an otherwise bleak time. They were increasingly attracted to the work of such photographers as , whose strikingly detailed photographs of the American West were seen as “pictorial testimony…of inspiration and redemptive power.”[1] At the same time, workers throughout the country were beginning to organize for better wages and working conditions. There was a growing movement among the economically oppressed to band together for solidarity and bargaining strength, and photographers were directly participating in these activities. Shortly before Group f/64 was formed, went to a meeting of the John Reed Club, which was founded to support Marxist artists and writers.[4] These circumstances not only helped set up the situation in which a group of like-minded friends decided to come together around a common interest, but they played a significant role in how they thought about their effort. Group f/64 was more than a club of artists; they described themselves as engaged in a battle against a “tide of oppressive ” and purposely called their defining proclamation a manifesto, with all the political overtones that the name implies.[4] While all of this social change was going on, photographers were struggling to redefine what their medium looked like and what it was supposed to represent. Until the 1920s the primary aesthetic standard of photography was pictorialism, championed by Alfred Stieglitz and others as the highest form of photographic art. That began to change in the early 1920s with a new generation of photographers like and , but by the end of that decade there was no clear successor to pictorialism as a common visual art form. Photographers like Weston were tired of the old way of seeing and were eager to promote their new vision.

1.1.2 Formation and participants

Group f/64 was created when photographers and Ansel Adams decided to organize some of their fellow photographers for the purposes of promoting a common aesthetic principle. Van Dyke was an apprentice to Edward Weston, and in the early 1930s he established a small photography gallery in his home at 683 Brockhurst in Oakland. He called the gallery 683 “as our way of thumbing our nose at the New York people who didn't know us”,[5] a direct reference to Stieglitz and his earlier New York gallery called 291. Van Dyke’s home/gallery became a gathering place for a close circle of photographers that eventually became the core of Group f/64. In 1931, Weston was given an exhibition at the M.H. de Young Memorial Museum in San Francisco, and because of the public’s interest in that show the photographers who gathered at Van Dyke’s home decided to put together a group exhibition of their work. They convinced the director at the de Young Museum to give them the space, and on November 15, 1932, the first exhibition of Group f/64 opened to large crowds.[6] A small poster at the exhibition said:

“Group f/64 -

• Ansel Adams • Imogen Cunningham • John Paul Edwards • • Henry Swift • Willard Van Dyke • Edward Weston

announces an exhibition of photographs at the M. H. de Young Memorial Museum.

From time to time various other photographers will be asked to display their work with Group f/64. Those invited for the first showing are:

• 1.1. GROUP F/64 3

Imogen Cunningham: a botanical photograph of a succulent plant by Imogen Cunningham, 1920. This image is thought to have been in the first Group f/64 exhibit in 1932.

• • • .”[6]

This first exhibition consisted of 80 photographs, including 10 by Adams, 9 each by Cunningham, Edwards, Noskowiak, Swift, Van Dyke and Edward Weston, and 4 each by Holder, Kanaga, Lavenson and Brett Weston. Edward Weston’s prints were priced at $15 each; all of the others were $10 each. The show ran for six weeks.[6] 4 CHAPTER 1. DAY 1

In 1934 the group posted a notice in Camera Craft magazine that said “The F:64 group includes in its membership such well known names as Edward Weston, Ansel Adams, Willard Van Dyke, John Paul Edwards, Imogene [sic] Cun- ningham, Consuela [sic] Kanaga and several others.”[6] While this announcement implies that all of the photographers in the first exhibition were “members” of Group f/64, not all of the individuals considered themselves as such. In an interview later in her life, Kanaga said “I was in that f/64 show with Edward Weston, Imogen Cunningham, Willard Van Dyke and Ansel Adams, but I wasn't in a group, nor did I belong to anything ever. I wasn't a belonger.”[7] Some photo historians view Group f/64 as an organized faction consisting of the first seven photographers, and view the other four photographers as associated with the group by virtue of their visual aesthetics.[6] However, in an inter- view in 1997[8] reported that in 1949 she was invited to join Group f/64. She also recounted that her husband Brett Weston, whom she married in 1952, also considered himself a member. This suggests that an absolute delineation of membership in historical terms is difficult to determine in light of the informality of the group’s shifting social composition during the 1930s and 1940s.

1.1.3 Name and purpose

There is some difference of opinion about how the group was named. Van Dyke recalled that he first suggested the name “US 256”, which was then the commonly used Uniform System designation for a very small aperture stop on a camera lens. According to Van Dyke, Adams thought the name would be confusing to the public, and Adams sug- gested "f/64”, which was a corresponding aperture setting for the focal system that was gaining popularity. However, in an interview in 1975 Holder recalled that he and Van Dyke thought up the name during a ferry ride from Oakland to San Francisco.[6] Regardless, the name became the now famous Group f/64. The term f/64 refers to a small aperture setting on a camera, which secures great depth of field, rendering a photograph evenly sharp from foreground to background. Such a small aperture sometimes implies a long exposure and therefore a selection of relatively slow moving or motionless subject matter, such as landscapes and still life, but in the typically bright light this is less a factor in the subject matter chosen than the sheer size and clumsiness of the cameras, compared to the smaller cameras increasingly used in action and reportage photography in the 1930s. This corresponds to the ideal of which the group espoused in response to the pictorialist methods that were still in fashion at the time in California (even though they had long since died away in New York). Contemporary photographic convention denotes lens apertures with a slash, such as f/22 or f/64, but in its writings the group always used a dot or period instead (as in “f.64”).

1.1.4 Manifesto

Group f/64 displayed the following manifesto at their 1932 exhibit:

“The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group. The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.

Group f/64 is not pretending to cover the entire spectrum of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.

Group f/64 limits its members and invitational names to those workers who are striving to define pho- tography as an art form by simple and direct presentation through purely photographic methods. The Group will show no work at any time that does not conform to its standards of pure photography. Pure photography is defined as possessing no qualities of technique, composition or idea, derivative of any other art form. The production of the “Pictorialist,” on the other hand, indicates a devotion to principles of art which are directly related to and the graphic arts. 1.1. GROUP F/64 5

The members of Group f/64 believe that photography, as an art form, must develop along lines defined by the actualities and limitations of the photographic medium, and must always remain independent of ideological conventions of art and aesthetics that are reminiscent of a period and culture antedating the growth of the medium itself.

The Group will appreciate information regarding any serious work in photography that has escaped its attention, and is favorable towards establishing itself as a Forum of Modern Photography.”[6]

1.1.5 Aesthetics

Photography historian Naomi Rosenblum described Group f/64’s vision as focused on “what surrounded them in such abundance: the landscape, the flourishing organic growth and the still viable rural life. Pointing their lenses at the kind of agrarian objects that had vanished from the artistic consciousness of many eastern urbanites - fence posts, barn roofs, and rusting farm implements - they treated these objects with the same sharp scrutiny as were latches and blast furnaces in the East. However, even in California, these themes look to a vanishing way of life, and the energy contained in the images derived in many instances from formal design rather than from the kind of intense belief in the future that had motivated easterners enamored of machine culture.”[6] In 1933 Adams wrote the following for Camera Craft magazine:

“My conception of Group f/64 is this: it is an organization of serious photographers without formal ritual of procedure, incorporation, or any of the restrictions of artistic secret societies, Salons, clubs or cliques…The Group was formed as an expression of our desire to define the trend of photography as we conceive it…Our motive is not to impose a school with rigid limitations, or to present our work with belligerent scorn of other view-points, but to indicate what we consider to be reasonable statements of straight photography. Our individual tendencies are encouraged; the Group Exhibits suggest distinctive individual view-points, technical and emotional, achieved without departure from the simplest aspects of straight photographic procedure.”[6]

1.1.6 History

After their initial show in 1932, records indicate that some or all of the photographs from that show were exhibited in , , Portland, Oregon and Carmel. There are no detailed lists of the photos in those shows, so it has been impossible to say exactly which images were exhibited.[6] By 1934 the effects of the Great Depression were felt throughout California, and the Group members had a series of difficult discussions about the premises for art in those challenging economic times. The effects of the Depression, coupled with the departure of several members of the group from San Francisco (including Weston who moved to Santa Barbara to be with his son and Van Dyke who moved to New York) led to the dissolution of Group f/64 by the end of 1935. Many of its members continued to photograph and are now known as some of the most influential artists of the 20th century. The most complete collections of prints from Group f/64 photographers are now housed at the Center for Creative Photography and the San Francisco Museum of .

1.1.7 Notes

[1] Hirsch, Robert (2000). Seizing the Light: A History of Photography. McGraw-Hill. pp. 245–246. ISBN 0-697-14361-9.

[2] Encarta. “Great Depression in the United States”. Archived from the original on 2009-11-01. Retrieved 2009-02-17.

[3] James Roark; et al. (2007). The American Promise: A Compact History. II (3rd ed.). Bedford/St. Martin’s. p. 610. ISBN 0-312-44842-2.

[4] David Peeler (2002). in Original Sources: Art and Archives at the Center for Creative Photography (edited by Amy Rule and Nancy Solomon. Center for Creative Photography. pp. 107–110.

[5] Morse, Helen (June 1978). “Willard Van Dyke: A Portfolio”. Image. 21 (2): 1–2. 6 CHAPTER 1. DAY 1

[6] Heyman, Therese Thau (1992). Seeing Straight: The f.64 Revolution in Photography. Oakland Museum. pp. 20–24, back cover.

[7] Margaretta K. Mitchell (1979). Recollections: Ten Women of Photography. NY: Viking Press. pp. 158–160.

[8] “Exposures: The History of American ”. Youtube.com. 2007-01-26. Retrieved 2013-01-15.

1.1.8 Sources

• Group f / 64

• Ansel Adams, America’s Saint George of Conservation by Peter Barr, November 2000

• Group f/64 The Timeline of the History of Art, The Metropolitan Museum of Art.

• * Franz-Xaver Schlegel, Das Leben der toten Dinge - Studien zur modernen Sachfotografie in den USA 1914– 1935, 2 Bände, Stuttgart/: Art in Life 1999, ISBN 3-00-004407-8.

1.2 Magnum Photos

Magnum Photos is an international photographic cooperative owned by its photographer-members, with offices in , , and . According to co-founder Henri Cartier-Bresson, “Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.”[1]

1.2.1 Founding of agency

Robert Capa, David “Chim” Seymour, Henri Cartier-Bresson, George Rodger and (all photog- raphers), Rita Vandivert and Maria Eisner were the founding members of Magnum in Paris in 1947, based on an idea of Capa’s. Seymour, Cartier-Bresson and Rodger were all absent from the meeting at which it was founded.[2] (In response to a letter telling him that he was a member, Rodger wrote that Magnum seemed a good idea but, “It all sounded too halcyon to be true,” when Capa had told him of it and, “I rather dismissed the whole thing from my mind”.[3]) Rita Vandivert was the first President, and head of the New York office; Maria Eisner the head of the Paris office.[4] The plan was for Rodger to cover Africa and the Middle East; Cartier-Bresson to cover south and east Asia; Seymour and William Vandivert to cover and the United States, respectively; and Capa to be free to follow his curiosity and events.[4] Magnum is one of the first photographic cooperatives, owned and administered entirely by members. The staff serve a support role for the photographers, who retain all copyrights to their own work. The Magnum cooperative has included photojournalists from across the world, who have covered many historical events of the 20th century. The cooperative’s archive includes photographs depicting family life, drugs, religion, war, poverty, famine, crime, government and celebrities. Magnum In Motion is the multimedia offshoot of Magnum Photos and is based in New York City. Although it has been asserted that the name “Magnum” was chosen because the founding members always drank a bottle of champagne during the first meetings,[5] Russell Miller writes:

It was . . . presumably agreed by those present [at the first meeting] that Magnum was a fine new name for such a bold new venture, indicative as it was of greatness in its literal Latin translation, toughness in its gun connotation and celebration in its champagne mode.[6]

1.2.2 Elections of new members

In the early years of Magnum, membership had generally come about by the personal invitation of Robert Capa. However, in 1955 a three-stage membership system was set up that continues to this day[7] and is described below. Until 1953 there were also a large number of stringers who used Magnum but were not members.[8] 1.2. MAGNUM PHOTOS 7

Boy destroying piano at Pant-y-Waen, South Wales, by Philip Jones Griffiths, 1961 8 CHAPTER 1. DAY 1

Magnum’s photographers meet once a year, during the last weekend in June, in New York, Paris or London, to discuss the cooperative’s business. One day of the meeting is reserved to review potential new members’ portfolios and vote on admitting individuals. An approved applicant is invited to become a 'Nominee Member' of Magnum, a category of membership that provides a chance for members and the individual to get to know each other, but that includes no binding commitments on either side. After two years of Nominee membership, a photographer may present another portfolio if wanting to apply for 'Associate Membership'. If successful, the photographer is bound by the rules of the agency, and enjoys its facilities and worldwide representation. The difference between an Associate Member and a full Member is that an Associate is not a Director of the Company and does not have voting rights in the corporate decision-making. After two more years, an Associate wanting to be considered for full membership presents another portfolio of work for consideration by the members. Once elected as a full member, the individual is a member of Magnum for life or for as long as the photographer chooses. No member photographer of Magnum has ever been asked to leave.

1.2.3 Photographic collection

In February 2010, Magnum announced that 's venture capital firm MSD Capital had acquired a collection of nearly 200,000 original press prints of images taken by Magnum photographers. It had formed a partnership with the at The University of Texas at Austin to preserve, catalog, and make photographs available to the general public.[9][10][11] In September 2013 it was announced MSD Capital donated the collection to the Ransom Center.[12] A preliminary inventory is available for researchers who wish to use the collection.[13]

1.2.4 Graduate Photographers Award

The Graduate Photographers Award was established in 2015.[14]

1.2.5 Member list

1.2.6 Books

• America in Crisis. New York, NY: Ridge Press; Holt, Rinehart and Winston, 1969. ISBN 9780030810206. Text by Mitchel Levitas, edited by Charles Harbutt and Lee Jones, photographs by , , Bruce Davidson, , Burt Glinn, Philip Jones Griffiths, Charles Harbutt, , Constantine Manos, Donald McCullin, Dennis Stock, and possibly others.

• In Our Time: The World as Seen by Magnum Photographers. New York; London: W W Norton & Co Inc, 1989. ISBN 0-393-02767-8. By . With essays by Manchester (“Images: a Wide Angle”), Jean Lacouture (“The Founders”) and Fred Ritchin (“What is Magnum?"), and “Biographical Notes and Selected Bibliographies” and “Bibliography and Chronology of Magnum” by Stuart Alexander.

• Magnum Landscape. London: Phaidon, 1996. With a foreword by Ian Jeffrey and texts by Henri Peretz, “The Phenomenon of Landscape” and “Chronology of Landscape Photography”.

• Hardback, 1996. • Paperback, 2005. ISBN 0-7148-4522-1.

• Magnum: Fifty Years at the Front Line of History by Russell Miller. New York, NY: Grove Press, 1999. ISBN 0-8021-3653-2.

• magnum°. London: Phaidon, 2002. ISBN 978-0-7148-4356-8. Text by Michael Ignatieff, design by Julia Hasting.

• Magnum Stories by . London: Phaidon, 2004. ISBN 0-7148-4245-1.

• Our World In Focus. London: , 2004. ISBN 1-904563-22-8.

• Pop Sixties by Magnum Photos. New York, NY: Abrams, 2008. ISBN 978-0-8109-9526-0. 1.2. MAGNUM PHOTOS 9

• Reading Magnum: A Visual Archive of the Modern World, edited by Steven Hoelscher. Austin, TX: University of Texas Press, 2013. ISBN 978-0-292-74843-9.

1.2.7 See also

• Magnum In Motion

• Magnum Foundation

1.2.8 References

[1] Magnum Official Website

[2] Russell Miller, Magnum: Fifty Years at the Front Line of History (New York: Grove, 1998; ISBN 0-8021-3653-2), pp. 49–50.

[3] Miller, Magnum, p. 53

[4] Miller, Magnum, p.51.

[5] Die Leica-Geschichte, TV-Documentary, can be viewed here (YouTube).

[6] Miller, Magnum, p.49.

[7] Miller, Magnum, p.127.

[8] Miller, Magnum, pp. 70, 97, 106.

[9] Randy Kennedy (2010-02-01). “News Photos, on the Move, Make News”. . Retrieved 2016-04-03.

[10] Press Release (2010-02-02). “Historic Photo Print Archive, Featuring Iconic 20th Century Images, Has New Owner and Home”. University of Texas at Austin. Retrieved 2016-04-03.

[11] Gerald Rich (2010-02-04). “UT Receives Historical Treasure: Harry Ransom Center acquires 20th-century photography archive”. The Daily Texan. Retrieved 2010-02-09.

[12] Michael J. de la Merced (2013-09-21). “Dell-Led Trio to Donate Magnum Photo Archive to University of Texas”. The New York Times. Retrieved 2016-04-03.

[13] Harry Ransom Center. “Magnum Photos, Inc.: A Preliminary Inventory of Its Collection in the Photography Collection at the Harry Ransom Center”. University of Texas at Austin. Retrieved 2016-04-03.

[14] Graduate Photographers Award 2015 - Magnum Photos Event

[15] "", Magnum Photos. Accessed 2010-01-16.

[16] "Christopher Anderson", Magnum Photos. Accessed 2010-01-16.

[17] Chronology, Magnum Photos (London: Thames & Hudson, 2008; ISBN 978-0-500-41094-3), not paginated.

[18] "Burt Glinn", Magnum Photos. Accessed 2010-01-16.

[19] "Eve Arnold", Magnum Photos. Accessed 2010-01-16.

[20] "Olivia Arthur", Magnum Photos. Accessed 2010-01-17.

[21] "Micha Bar-Am", Magnum Photos. Accessed 2010-01-16.

[22] "Bruno Barbey", Magnum Photos. Accessed 2010-01-18.

[23] "Jonas Bendiksen", Magnum Photos. Accessed 2010-01-16.

[24] "", Magnum Photos.

[25] Manchester, William (1989). In Our Time: The World as Seen by Magnum Photographers. W W Norton & Co Inc. ISBN 0-393-02767-8.

[26] "", Magnum Photos. Accessed 2010-01-18. 10 CHAPTER 1. DAY 1

[27] “Magnum announces latest nominees”. British Journal of Photography. Apptitude Media. 162 (7839): 7. 2015.

[28] "Rene Burri", Magnum Photos. Accessed 2010-01-16.

[29] "Cornell Capa", Magnum Photos. Accessed 2010-01-18.

[30] "Chien-Chi Chang", Magnum Photos. Accessed 2010-01-16.

[31] "Antoine D'Agata", Magnum Photos. Accessed 2010-01-19.

[32] "Bruce Davidson", Magnum Photos. Accessed 2010-01-16.

[33] "Carl De Keyzer", Magnum Photos. Accessed 2010-01-16.

[34] "Raymond Depardon", Magnum Photos. Accessed 2010-01-16.

[35] “Magnum Photos Photographer Profile”. pro.magnumphotos.com. Retrieved 2016-09-03.

[36] "Thomas Dworzak", Magnum Photos. Accessed 2010-01-16.

[37] "", Magnum Photos. Accessed 2010-01-16.

[38] "Elliott Erwitt", Magnum Photos. Accessed 2010-01-19.

[39] "", Magnum Photos. Accessed 2010-01-19.

[40] "Stuart Franklin", Magnum Photos. Accessed 2010-01-19.

[41] "Leonard Freed", Magnum Photos. Accessed 2010-01-19.

[42] "Cristina García Rodero", Magnum Photos. Accessed 2010-01-19.

[43] "", Magnum Photos. Accessed 2010-01-19.

[44] "", Magnum Photos. Accessed 2010-01-19.

[45] "Burt Glinn", Magnum Photos. Accessed 2010-01-19.

[46] "", Magnum Photos. Accessed 2010-01-19.

[47] "Philip Jones Griffiths", Magnum Photos. Accessed 2010-01-16.

[48] "", Magnum Photos. Accessed 2010-01-21.

[49] "Philippe Halsman", Magnum Photos. Accessed 2010-01-21.

[50] Amanda Hopkinson (1999-03-26). “Have camera, will travel”. . Retrieved 2016-04-03.

[51] "Erich Hartmann", Magnum Photos. Accessed 2010-01-21.

[52] "", Magnum Photos. Accessed 2010-01-21.

[53] "Thomas Hoepker", Magnum Photos. Accessed 2010-01-21.

[54] "", Magnum Photos. Accessed 2010-01-21.

[55] "David Hurn", Magnum Photos. Accessed 2010-01-16.

[56] "Richard Kalvar", Magnum Photos. Accessed 2010-02-14.

[57] "", Magnum Photos. Accessed 2010-02-14.

[58] "", Magnum Photos. Accessed 2010-02-14.

[59] "Hiroji Kubota", Magnum Photos. Accessed 2010-02-14.

[60] "Sergio Larrain", Magnum Photos. Accessed 2010-02-14.

[61] "", Magnum Photos. Accessed 2010-02-17.

[62] "Erich Lessing", Magnum Photos. Accessed 2010-02-17.

[63] "Erich Lessing", Magnum Photos. Accessed 2010-01-16.

[64] "Herbert List", Magnum Photos. Accessed 2010-02-21. 1.2. MAGNUM PHOTOS 11

[65] "Alex Majoli", Magnum Photos. Accessed 2010-02-21.

[66] "Constantine Manos", Magnum Photos. Accessed 2010-02-21.

[67] Bainbridge, Simon (27 June 2016). “Magnum Photos announces two new nominee members following its 69th AGM”. British Journal of Photography. Apptitude Media Ltd. Retrieved 27 June 2016.

[68] "Peter Marlow", Magnum Photos. Accessed 2010-01-16.

[69] "http://web.me.com/fredmayer/Web-Site/fred_mayer_and_magnum.html

[70] "Steve McCurry", Magnum Photos. Accessed 2010-01-16.

[71] "", Magnum Photos. Accessed 2010-03-07.

[72] "Wayne Miller", Magnum Photos. Accessed 2010-03-07.

[73] "", Magnum Photos. Accessed 2010-03-07.

[74] "", Magnum Photos. Accessed 2010-03-20

[75] Staff writers (2011-04-19). “The photographic collection of John G Morris”. The Guardian. Retrieved 2016-04-03.

[76] "", Magnum Photos. Accessed 2010-03-20

[77] "", Magnum Photos. Accessed 2010-03-20

[78] "", Magnum Photos. Accessed 2010-03-20

[79] "", Magnum Photos. Accessed 2010-03-20

[80] "Mark Power", Magnum Photos. Accessed 2010-03-20

[81] "Miguel Rio Branco", Magnum Photos. 16 January 2009.

[82] “Moises Saman: Spanish, American. . 1974: Biography”. Magnum Photos. Retrieved 2 February 2017.

[83] "Ferdinando Scianna", Magnum Photos. Accessed 2010-01-16.

[84] Magnum Photos Announces 3 Nominees, PDN Online. July 2012.

[85] "Marilyn Silverstone", Magnum Photos. Accessed 2010-01-16.

[86] Shadow and Substance (McGraw-Hill, 1989), p. 397: "'I think it will be more interesting, and more profitable - with more work used, and uniquely used.' That was the positive view. The negative aspect is found in a draft for a letter to Magnum in which Gene tried to respond to a recent decision by Magnum’s members to censure him: 'I stand thoroughly censured, I'm broke, desperate, tired - however, the censure is right, I am guilty. I trust that the photographers of Magnum are willing to stand on their public records. I trust that the photographers of Magnum are willing that I publicly evaluate them accordingly as they have achieved. I am not interested in their excuses accordingly to their private confessions. Their blames, including Smith, will not be of my concern.'"

[87] Shadow and Substance, p. 398.

[88] "", Magnum Photos. Accessed 2010-01-16.

[89] Miller, Magnum, p,268.

[90] "Dennis Stock", Magnum Photos. Accessed 2010-01-16.

[91] http://www.burkuzzle.com

[92] “Peter van Agtmael: American/Dutch, b. 1981”. Magnum Photos. Retrieved 16 January 2015.

[93] Murg, Stephanie (9 July 2013). “Magnum Photos Adds Olivia Arthur and as Full Members”. Adweek. Retrieved 16 January 2015.

[94] Miller, Magnum, pp. 49–51.

[95] Miller, Magnum, pp. 66–67.

[96] "John Vink", Magnum Photos. Accessed 2010-01-16.

[97] "", Magnum Photos. Accessed 2010-01-16. 12 CHAPTER 1. DAY 1

1.2.9 External links

• Official website

1.3 International Center of Photography

The International Center of Photography (ICP) in , New York, consists of a museum for photography and visual culture at 250 Bowery and a photography school in Midtown.[2] It was founded in 1974. ICP is the host of the Infinity Awards, inaugurated in 1985 “to bring public attention to outstanding achievements in photography by honoring individuals with distinguished careers in the field and by identifying future luminaries”.

1.3.1 History

Since its founding in 1974 by Cornell Capa with help from Micha Bar-Am in Willard Straight House, on Fifth Avenue’s Museum Mile, ICP has presented over 500 exhibitions, bringing the work of more than 3,000 photographers and other artists to the public in one-person and group exhibitions and provided various classes and workshops for students. ICP was founded as an institution to keep the legacy of “Concerned Photography” alive. After the untimely deaths of his brother Robert Capa and his colleagues Werner Bischof, Chim (David Seymour), and Dan Weiner in the 1950s, Capa saw the need to keep their humanitarian documentary work in the public eye. In 1966 he founded the International Fund for Concerned Photography. By 1974 the Fund needed a home, and the International Center of Photography was created. In 1985, a satellite facility, ICP Midtown, was created. Plans were also made for the redesign and reconstruction of the Midtown location.[3]

Redesign and reconstruction

In 1999, the headquarters building at 1130 Fifth Avenue was sold. The expanded galleries, at 1133 Avenue of the Americas at 43rd Street, were designed by Gwathmey Siegel & Associates Architects for the display of photography and new media. The reopening of the 17,000-square-foot (1,600 m2) site, previously used as a photo gallery for Kodak,[4] in the fall of 2000 provided in one location the same gallery space as the two previous sites combined and became the headquarters of ICP’s public exhibitions programs. The new ICP also provided an expanded store and a café. The expansion of the School of the International Center of Photography in the fall of 2001 created a Midtown campus diagonally across from the Museum in the Grace Building at 1114 Avenue of the Americas. Designed by the architecture firm Gensler, the new, 27,000-square-foot (2,500 m2) school facility doubled ICP’s teaching space and allowed ICP to expand both its programming and community outreach.[5]

Move to the Bowery

In 2014, ICP’s board approved a plan to buy a building on the Bowery near the New Museum and relocate there. The center’s school, whose lease continues through 2018, will remain where it is under the current plan, but is expected to eventually move downtown to consolidate operations.[6] The midtown museum closed on January 11, 2015 when its longtime lease ended. The new ICP museum opened on June 23, 2016 at 250 Bowery.[2]

1.3.2 School at ICP

Located in Midtown Manhattan, the School at ICP serves more than 5,000 students each year, offering 400 courses in a curriculum that ranges from classes to certificate and master’s degree programs. Other educational programming includes a lecture series, seminars, symposia, workshops hosted by professional photographers, and complementary activities. Opened in 2001, the School is a 27,000-square-foot (2,500 m2) facility at 1114 Avenue of the Americas, diagonally across the street from the ICP Museum. It is also designed by Gensler. 1.3. INTERNATIONAL CENTER OF PHOTOGRAPHY 13

ICP’s educational initiatives are divided into three areas: the School, Public Programs, and Community Programs.

The School

The School offers a year-round selection of continuing education classes; three one-year Certificate programs (General Studies in Photography and Documentary Photography and and New Media Narratives); and the ICP-Bard Program in Advanced Photographic Studies, a two-year graduate program leading to a master of fine arts degree.

Public programs

Public programs address issues in photography and its relationship to art, culture, and society and promote the in- terpretation of ICP’s exhibitions and collections. The Photographers Lecture Series invites photographers to present their work while sharing ideas and concerns about the medium. Other seminars, symposia, and panel discussions feature artists, critics, scholars, and historians.

Community programs

Community programs relate to the exhibitions. Programs include interactive tours, family day events, workshops, long-term photography programs in four New York City public schools, summer photography programs in community centers, and a high school internship program designed to promote youth leadership.

1.3.3 Infinity Awards

The ICP hosts the Infinity Awards, which were inaugurated in 1985 “to bring public attention to outstanding achieve- ments in photography by honoring individuals with distinguished careers in the field and by identifying future lumi- naries”.

Winners

1985

• Master of Photography: André Kertész

• Applied/Fashion/Advertising: Sarah Moon

• Art: David Hockney

• Photojournalism: Alberto Venzago

• Publication: Photo Poche

• Young Photographer: Masaaki Miyazawa

1986

• Master of Photography:

• Lifetime Achievement: Edward K. Thompson

• Art:

• Design: Alan Richardson

• Photojournalism: Sebastião Salgado

• Publication: W. Eugene Smith, Let Truth Be the Prejudice: W. Eugene Smith, His Life and Photographs 14 CHAPTER 1. DAY 1

• Young Photographer: Anthony Suau

1987

• Master of Photography: Manuel Álvarez Bravo • Lifetime Achievement: Harold Edgerton • Applied/Fashion/Advertising: Jay Maisel • Art: • Design: Hans-Georg Pospischil • Photojournalism: Eugene Richards • Publication: , New York to Nova Scotia • Young Photographer: Paul Graham

1988

• Master of Photography: Alfred Eisenstaedt • Lifetime Achievement: Edwin H. Land • Applied/Fashion/Advertising: Guy Bourdin • Art: Georges Rousse and Joel-Peter Witkin • Design: Werner Jeker • Photojournalism: Sebastião Salgado • Publication: Richard Misrach, Desert Cantos • Writing: Peter Galassi • Young Photographer: Marc Trivier

1989

• Master of Photography: Berenice Abbott • Lifetime Achievement: • Applied/Fashion/Advertising: Joyce Tenneson • Art: Arnulf Rainer • Design: Michael Rand • Photojournalism: • Publication: Josef Koudelka, Exiles • Writing: John Szarkowski • Young Photographer: Pablo Cabado

1990

• Master of Photography: Yousuf Karsh • Lifetime Achievement: Gordon Parks 1.3. INTERNATIONAL CENTER OF PHOTOGRAPHY 15

• Applied/Fashion/Advertising: Annie Leibovitz • Art: Chuck Close • Photojournalism: Jacques Langevin • Publication: Sarah Greenough and Joel Snyder, On the Art of Fixing a Shadow: One Hundred and Fifty Years of Photography • Writing: Max Kozloff • Young Photographer: Miro Svolik

1991

• Master of Photography: Harry Callahan • Lifetime Achievement: Andreas Feininger • Applied/Fashion/Advertising: Herb Ritts • Art: Duane Michals • Design: Gran Fury • Photojournalism: Antonin Kratochvil • Publication: , Sylvia Plachy’s Unguided Tour • Writing: Anna Fárová • Young Photographer: Walter Dhladhla

1992

• Master of Photography: • Lifetime Achievement: Carl Mydans • Applied/Fashion/Advertising: Oliviero Toscani • Art: Doug and Mike Starn • Design: Gunter Rambow • Photojournalism: Christopher Morris • Publication: , Passage: A Work Record • Writing: Alan Trachtenberg • Young Photographer: Klaus Reisinger

1993

• Master of Photography: • Lifetime Achievement: Stefan Lorant • Applied/Fashion/Advertising: Geof Kern • Art: Anselm Kiefer • Design: David Carson • Photojournalism: James Nachtwey 16 CHAPTER 1. DAY 1

• Publication: Jane Livingston, The New York School: Photographs, 1936-1963

• Writing: Arthur C. Danto

• Young Photographer:

1994

• Master of Photography: Henri Cartier-Bresson

• Lifetime Achievement: Howard Chapnick

• Applied/Fashion/Advertising: Bruce Weber

• Art:

• Photojournalism: Hans-Jürgen Burkard

• Publication: Sebastião Salgado and Lelia Wanick Salgado, Workers: An Archaeology of the Industrial Age

• Writing: Maria Morris Hambourg and Pierre Apraxine

• Young Photographer: Fazal Sheikh

1995

• Master of Photography: Eve Arnold

• Lifetime Achievement: John Szarkowski

• Applied/Fashion/Advertising: Josef Astor

• Art: Clarissa Sligh

• Design:

• Photojournalism: Gilles Peress

• Publication: Eugene Richards, Americans We: Photographs and Notes

• Writing: Deborah Willis

• Young Photographer: Sean Doyle

1996

• Master of Photography: Horst P. Horst

• Lifetime Achievement: Cornell Capa

• Applied/Fashion/Advertising: Wolfgang Volz

• Art: Annette Messager

• Design: Markus Rasp

• Photojournalism: Lise Sarfati

• Publication: Gilles Peress, The Silence

• Writing: A. D. Coleman

• Young Photographer: Eva Leitolf

1997 1.3. INTERNATIONAL CENTER OF PHOTOGRAPHY 17

• Master of Photography: Helen Levitt • Lifetime Achievement: • Applied/Fashion/Advertising: David LaChapelle • Art: Christian Boltanski • Design: Chip Kidd • Photojournalism: Mary Ellen Mark • Publication: Chris Riley and Douglas Niven, The Killing Fields • Writing: Vicki Goldberg • Young Photographer: Lauren Greenfield

1998

• Master of Photography: Roy DeCarava • Lifetime Achievement: Naomi Rosenblum and Walter Rosenblum • Applied/Fashion/Advertising: Inez van Lamsweerde and Vinoodh Matadin • Art: Sigmar Polke • Design: J. Abbott Miller • Photojournalism: Steve Hart • Publication: and , Requiem: By the Photographers Who Died in and Indochina • Writing: Robert Coles • Young Photographer: Michael Ackerman

1999

• Master of Photography: Arnold Newman • Lifetime Achievement: Harold Evans • Applied/Fashion/Advertising: Julius Shulman • Art: • Design: Bart Houtman and Guido van Lier • Photojournalism: Alexandra Boulat • Publication: Charles Bowden, Juárez: The Laboratory of Our Future • Writing: John Morris • Young Photographer: Nicolai Fuglsig • Special Presentation: L. Fritz Gruber

2000

• Cornell Capa Award: Robert Frank • Lifetime Achievement: Nathan Lyons • Applied/Fashion/Advertising: Hubble Heritage Project 18 CHAPTER 1. DAY 1

• Art: Adam Fuss

• Photojournalism: James Nachtwey

• Publication: Manfred Heiting, Helmut Newton Work

• Writing: Andy Grundberg

• Young Photographer: Zach Gold

2001

• Cornell Capa Award: Mary Ellen Mark

• Lifetime Achievement: Roger Thérond

• Applied/Fashion/Advertising: Philip-Lorca diCorcia

• Art: Andreas Gursky

• Photojournalism: Luc Delahaye

• Publication: Jeff L. Rosenheim and Douglas Eklund, Unclassified: A Walker Evans Anthology

• Writing: Eugenia Parry

• Young Photographer: Elinor Carucci

2002

• Cornell Capa Award: here is new york: a democracy of photographs

• Lifetime Achievement: Michael E. Hoffman

• Applied/Fashion/Advertising: RJ Muna

• Art: Shirin Neshat

• Photojournalism: Tyler Hicks

• Publication: Robert Lebeck and Bodo von Dewitz, Kiosk: A History of Photojournalism

• Writing: Ariella Azoulay

• Young Photographer: Lynsey Addario

• Special Presentation: The New York Times “Portraits of Grief”

2003

• Cornell Capa Award:

• Lifetime Achievement:

• Applied/Fashion/Advertising: Thái Công

• Art: Zarina Bhimji

• Photojournalism: Alex Majoli

• Publication: Deirdre O'Callaghan, Hide That Can

• Writing: Sara Stevenson

• Young Photographer: Jonas Bendiksen 1.3. INTERNATIONAL CENTER OF PHOTOGRAPHY 19

2004

• Cornell Capa Award: Josef Koudelka

• Lifetime Achievement:

• Applied/Fashion/Advertising: Alison Jackson

• Art: Fiona Tan

• Photojournalism: Simon Norfolk

• Publication: and Elisabeth Sussman, : Revelations

• Writing: Susan Sontag

• Young Photographer: Tomoko Sawada

2005

• Cornell Capa Award: Susan Meiselas

• Lifetime Achievement: Bruce Weber

• Applied/Fashion/Advertising: Deborah Turbeville

• Art: Loretta Lux

• Photojournalism:

• Publication: Henryk Ross, Łódź Ghetto Album

• Writing:

• Young Photographer: Tomás Munita

2006

• Cornell Capa Award: Don McCullin

• Lifetime Achievement:

• Applied/Fashion/Advertising: Steven Meisel

• Art: Thomas Ruff

• Trustee Award:

• Photojournalism: Yuri Kozyrev

• Publication: Mary Panzer and Christian Caujolle, Things As They Are: Photojournalism in Context Since 1955

• Writing: Geoff Dyer

• Young Photographer: Ahmet Polat

2007

• Cornell Capa Award: Milton Rogovin

• Lifetime Achievement: William Klein

• Art: Tracey Moffatt

• Trustee Award: Karl Lagerfeld 20 CHAPTER 1. DAY 1

• Publication: Tendance Floue, Sommes-Nous?

• Writing: David Levi Strauss

• Young Photographer: Ryan McGinley

2008

• Lifetime Achievement: Malick Sidibé

• Applied/Fashion/Advertising: Craig McDean

• Art: Edward Burtynsky

• Trustee Award: Diane Keaton

• Photojournalism: Anthony Suau

• Publication: Taryn Simon, An American Index of the Hidden and Unfamiliar

• Writing: Bill Jay

• Young Photographer:

2009

• Cornell Capa Award: Letizia Battaglia

• Lifetime Achievement: Annie Leibovitz

• Applied/Fashion/Advertising: Tim Walker

• Art: Rinko Kawauchi

• Trustee Award: Gayle G. Greenhill

• Photojournalism: Geert van Kesteren

• Publication: Aglaia Konrad, Desert Cities

• Writing: Aveek Sen

• Young Photographer: Lieko Shiga

2010

• Cornell Capa Award: Peter Magubane

• Lifetime Achievement: John G. Morris

• Applied/Fashion/Advertising: Daniele Tamagni

• Art:

• Trustee Award: Gilbert C. Maurer

• Photojournalism: Reza

• Publication: Sarah Greenough, Looking In: Robert Frank’s “The Americans”

• Writing: Luc Sante

• Young Photographer: Raphaël Dallaporta

2011 1.3. INTERNATIONAL CENTER OF PHOTOGRAPHY 21

• Cornell Capa Award: Ruth Gruber • Lifetime Achievement: Elliott Erwitt • Applied/Fashion/Advertising: Viviane Sassen • Art: Abelardo Morell • Trustee Award: The Durst Family • Photojournalism: Adrees Latif • Publication: Alec Soth • Writing: • Young Photographer: Peter van Agtmael

2012

• Cornell Capa Award: • Lifetime Achievement: Daido Moriyama • Applied/Fashion/Advertising: Maurice Scheltens and Liesbeth Abbenes • Art: • Trustee Award: John “Launny” Steffens • Photojournalism: Benjamin Lowy • Publication: Museo Nacional Centro de Arte Reina Sofía, The Worker Photography Movement [1926–1939] • Writing: • Young Photographer:

2013

• Cornell Capa Lifetime Achievement: • Applied/Fashion/Advertising: Erik Madigan Heck • Art: • Trustee Award: Pat Schoenfeld • Photojournalism: David Guttenfelder • Publication: Cristina de Middel, The Afronauts • Young Photographer: Kitra Cahana • Special Presentation: Jeff Bridges

2014

• Cornell Capa Lifetime Achievement: Jürgen Schadeberg • Applied/Fashion/Advertising: Steven Klein • Art: James Welling • Photojournalism: Stephanie Sinclair and Jessica Dimmock • Publication: Adam Broomberg and Oliver Chanarin, Holy Bible 22 CHAPTER 1. DAY 1

• Young Photographer: Samuel James

2015

• Cornell Capa Lifetime Achievement:

• Art: Larry Fink

• Trustee Award: The Lean In Collection by Getty Images

• Photojournalism: Tomas van Houtryve

• Publication: LaToya Ruby Frazier, The Notion of Family

• New Media: Question Bridge: Black Males

• Young Photographer: Evgenia Arbugaeva

• Special Presentation: Mario Testino

2016

• Lifetime Achievement: David Bailey

• Art:

• Trustee Award: Artur Walther, The Walther Collection

• Documentary and Photojournalism:

• Artist’s Book: Matthew Connors, Fire in

• Critical Writing and Research: Susan Schuppli

• Online Platform and New Media: Jonathan Harris and Gregor Hochmuth for Network Effect

2017

• Lifetime Achievement: Harry Benson

• Art:

• Documentary and Photojournalism: Edmund Clark and Crofton Black, Negative Publicity

• Artist’s Book: Michael Christopher Brown, Libyan Sugar

• Critical Writing and Research: Michael Famighetti and Sarah Lewis for “Vision & Justice,” Aperture (no. 223, summer 2016)

• Online Platform and New Media: For Freedoms

• Emerging Photographer: Vasantha Yogananthan

1.3.4 Permanent collection

The permanent collection at ICP contains more than 100,000 photographs. Since its opening in 1974, ICP has ac- quired important historical and contemporary images through an acquisitions committee and through donations and bequests from photographers and collectors. The collection spans the history of photography, including daguerrotypes, gelatin silver and digital chromogenic prints. The collection is strongest in its holdings of American and European documentary photography of the 1930s to the 1990s. It comprises large bodies of work by W. Eugene Smith, Henri Cartier-Bresson, Robert Capa, the Farm Security Administration photographers, Alfred Eisenstaedt, Lisette Model, Gordon Parks, James VanDerZee, and 1.3. INTERNATIONAL CENTER OF PHOTOGRAPHY 23

Garry Winogrand. Recent purchases have included work by contemporary photographers such as Carrie Mae Weems, Justine Kurland, Katy Grannan, Vik Muniz, and Susan Meiselas. Another component of the collection is a significant group of photographically illustrated magazines, particularly those published between World War I and II, such as Vu, Regards, , Lilliput, Berliner Illustrirte Zeitung, Arbeiter-Illustrierte-Zeitung, and Life. Opened in 2015, the International Center of Photography at Mana Contemporary is a 15,000-square-foot space that houses the permanent collection, a media lab, areas for research, and a gallery.

1.3.5 Publications

In 2003 the ICP joined with the publisher Steidl of Göttingen, Germany to launch the photography imprint ICP/Steidl.

ICP/Steidl publications

• “Strangers: The First ICP Triennial of Photography and Video.” 2003.

• Young America: The of Southworth and Hawes. 2005. Edited by Grant Romer and Brian Wallis. OCLC 60805129. Received New England Historical Society's Best Book of the Year and Kraszna- Krausz Book Award’s Honorable Mention.

• “Ecotopia: The Second ICP Triennial of Photography and Video.” 2006

• Atta Kim: On Air. 2006. By Atta Kim. Received the Deutsche Börse Prize: Best Photo Book of the Year.

• Unknown . 2006. By Weegee. Received College Art Association Best Book Design, Honorable Men- tion.

• Snap Judgments: New Positions in Contemporary African Photography. 2006. Edited by . Received the PHotoEspaña: Best International Photography Book of the Year.

• Susan Meiselas: In History. 2008. Received the Rencontres d’Arles 2009 Historical Book Award.

• : The Rediscovered Spanish Civil War Negatives of Capa, Chim, and Taro. 2010. Received the AAM’s Frances Smyth-Ravenel Prize for Excellence in Publication Design and the German Photobook 2011 Prize’s Gold Award.

Other ICP publications

• Reflections in a Glass Eye. ICP/Little, Brown, 1999. Edited by Ellen Handy.

• “A Different Kind of Order: The ICP Triennial” New York: ICP/Delmonico Books Prestel, 2013.

• Roman Vishniac Rediscovered. New York: ICP/Delmonico Books Prestel, 2015. Edited by Maya Benton.

DVD

• The Decisive Moment (2007) by Henri Cartier-Bresson.

1.3.6 The ICP Library

The Library of the International Center of Photography serves more than 6,000 visitors a year. The information and bibliographic resources it provides are used by ICP staff, patrons, and researchers. As of 2008, the Library receives 75 periodicals and serials, and its collection of approximately 20,000 volumes and 2,000 files is available for on-site perusal.[7] Library materials are searchable on ICP’s online catalog. 24 CHAPTER 1. DAY 1

1.3.7 The GEH–ICP Alliance

In 2000, George Eastman House (GEH) and ICP launched the GEH–ICP Alliance, whose fundamental aim is to en- hance public understanding and appreciation of photography, through exhibitions, publications, research, scholarship, collection sharing, and the joint website Photomuse.org.[8] In this collaboration, the staffs of the International Center of Photography and George Eastman House share resources, pool their expertise, and dovetail their collections for a series of exhibitions called “New Histories of Photography”.

1.3.8 See also

• List of museums and cultural institutions in New York City

1.3.9 References

[1] “PDNPulse » ICP Appoints Mark Lubell New Executive Director”. Pdnpulse.pdnonline.com. 2013-11-19. Retrieved 2014-02-05.

[2] “ICP Expands To New Sites”. International Center of Photography. Retrieved 2015-10-20.

[3] http://www.worldcat.org/oclc/711747056

[4] Lyons, Richard D. (March 26, 1989). “43d St. Photo Gallery; Home Again on 6th Ave.”. The New York Times. Retrieved 2010-07-29.

[5] Dunlap, David W. (August 19, 2001). “Postings: International Center of Photography’s New Midtown Home; An Under- ground Minicampus”. The New York Times. Retrieved May 6, 2014.

[6] Randy Kennedy (September 24, 2014), Photography Center Leaving Midtown for the Bowery New York Times.

[7] “Library”. International Center of Photography. Retrieved May 6, 2014.

[8] “GEH-ICP Alliance”. George Eastman House. Retrieved May 6, 2014.

1.3.10 External links

• Official website

• School at ICP

• Infinity Awards

• Infinity Awards 2014 The Eye of Photography 27/02/14 (l'Oeil de la Photographie)

• Photomuse.org (Joint website with George Eastman House)

• ICP Library Catalog

1.4 Magnum Foundation

Magnum Foundation is a non-profit, photographic foundation located in New York with a mission to expand di- versity and creativity in documentary photography.

1.4.1 Emergency Fund Grant

The Emergency Fund is an annual grant awarded by Magnum Foundation through a nomination process. 1.4. MAGNUM FOUNDATION 25

2010 Emergency Fund Grantees

• Bruce Gilden, No Place Like Home[1]

• Cedric Gerbehaye, Land of Cush[2]

• Dominic Nahr, The Unhealed Rift[3]

• Kadir van Lohuizen, The Last 50,000 U.S. Soldiers[4]

• Karen Mirzoyan, Unrecognized Islands of Caucusus[5]

• Krisanne Johnson, I Love You Real Fast[6]

• , Crisis in [7]

• Saiful Huq Omi, The Disowned and The Denied[8]

• Shehab Uddin, Pavement Dwellers[9]

• Sohrab Hura, Pati[10]

• Wang Yishu, Substitute Teacher[11]

2011 Emergency Fund Grantees

• Alex Majoli

• Balzas Gardi, Cresi

• Emily Schiffer, Securing Food in Chicagoland[12]

• Ian Teh, Traces[13]

• Jonas Bendiksen, Far From Home

• Julius Mwelu, The Disintegration of the Matatus[14]

• Justin Jin, Zone of Absolute Discomfort[15]

• Stephen Ferry, The Poisoning of El Dorado[16]

• Teun Voeten, Narco Estado[17]

• Tomas van Houtryve, Borderline: In the Shadow of North Korea[18]

• Yuri Kozyrev, ’s Unfinished Revolution[19]

• Zalmai, Walking in Quicksand[20]

2012 Emergency Fund Grantees[21]

• Benjamin Lowy, iLibya: Libya’s Growing Pains[22]

• Donald Weber, War is Good*[23]

• Eric Gottesman, Baalu Girma[24]

• Evgenia Arbugaeva, Tiksi, The Far North[25]

• Justin Maxon

• Rena Effendi, We Are Here

• Sebastian Liste 26 CHAPTER 1. DAY 1

2013 Emergency Fund Grantees[26]

• Adam Nadel

• Alex Welsh, [27]

• Giulio Piscitelli, From There to Here[28]

• Mari Bastashevski

• Olga Kravets

• Philippe Dudouit

• Rafal Milach,Winners[29]

• Tanya Jabjouqa, Occupied Pleasures

• Tomoko Kikuchi

2014 Emergency Fund Grantees[30]

• Alessandro Penso, Refugees in Bulgaria

• , Invisible Bus

• Christian Werner, Depleted Uranium: The Silent Genocide

• Ed Ou, North

• Edmund Clark, Unseen Spaces of the Global War on Terror

• Kai Löeffelbein, Death Metals

• Laura Morton, Wild West Tech

• Oscar Castillo, Our War, Our Pain

• Qinggang Chen, Patients at Muli County

• Zann Huizhen Huang, Remember Shatila

2015 Emergency Fund Grantees

• Asim Rafiqui, Law & Order: A People’s History of the Law in

• Curran Hatleberg, Shadow country

• Elena Perlino, Pipeline

• Emine Gozde Sevim, Unbeknown

• Guy Martin, Parallel State

• Massimo Berruti, Epidemic

• Matt Black, The Geography of Poverty

• Nii Obodai Provencal, Big Dreams: Life Built on Gold

• Pete Muller, Wildlife Wars: The Growing Movement of Militarized Anti-Poaching

• Peter DiCampo, What Went Wrong: Perspectives on Failed Aid

• Peter van Agtmael, Untitled 1.4. MAGNUM FOUNDATION 27

1.4.2 Human Rights Fellowship

The Magnum Foundation Human Rights Fellowship provides funding for international students to attend the six week Summer program Photography and Human Rights co-organized by Magnum Foundation and NYU’s Tisch School of Arts.

2010 Human Rights Fellows

• Karen Mirzoyan, Armenia

• Sim Chi Yin,

2011 Human Rights Fellows

• Taslima Akhter, Bangladesh

• Nazik Armenakyan, Armenia

• Boniface Mwangi, Kenya

• Manca Juvan Hessabi, Slovenia

2012 Human Rights Fellows

• Poulomi Basu, India

• Arthur Bondar,

• Lie Jie, China

• Pooyan Tabatebaei,

2013 Human Rights Fellows

• Eman Helal,

• Ramin Mazur, Moldova

• Pattabi Raman, India

• Santiago Arcos, Ecuador

• Lijie Zhang, China

2014 Human Rights Fellows

• Mohammad Elshamy, Egypt

• Abbas Hajimohammadisaniabadi, Iran

• Yuyang Liu, China

• Loubna Mrie, Syria

• Pedro Silveria, Brazil

• Sumeja Tulic, Bosnia & Herezegovina 28 CHAPTER 1. DAY 1

2015 Human Rights Fellows

• Anastasia Vlasova, Ukraine

• Muyi Xiao, China

• Nour Kelze, Syria

• Chery Dieu Nalio, Haiti

• Basel Alyazouri, Palestine

• Sipho Mpongo, South Africa

• Xyza Bacani,

1.4.3 Magnum Foundation Fellowship

The Magnum Foundation Fellowship provides funding for recently graduated photography students to work on a New York City based documentary project while also working as an editorial assistant at Magnum Foundation.

2011 Magnum Foundation Fellows

• Pete Pin

2012 Magnum Foundation Fellows

• Adrian Fussell

• Alexis Lambrou

• Emine Ziyatdinov

• Mimi Schiffman

2013 Magnum Foundation Fellows

• Ruth Prieto

• Stephen Reiss

• Yeong-Ung Yang

2014 Magnum Foundation Fellows

• Brock Stoneham

• Nic Tanner

• Rahima Gambo

2015 Magnum Foundation Fellows

• Alex Scott

• Jasper Briggs

• Sara Hylton 1.5. DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE 29

1.4.4 References

[1]

[2] http://emergencyfund.magnumfoundation.org/projects/land-of-cush/

[3] http://emergencyfund.magnumfoundation.org/projects/1391/

[4] http://emergencyfund.magnumfoundation.org/projects/the-last-50000-u-s-soldiers/

[5] http://emergencyfund.magnumfoundation.org/projects/unrecognized-islands-of-caucusus/

[6] http://emergencyfund.magnumfoundation.org/projects/i-love-you-real-fast/

[7] http://emergencyfund.magnumfoundation.org/projects/crisis-in-afghanistan/

[8] http://emergencyfund.magnumfoundation.org/projects/the-disowned-and-the-denied/

[9] http://emergencyfund.magnumfoundation.org/projects/pavement-dwellers/

[10] http://emergencyfund.magnumfoundation.org/projects/pati/

[11] http://emergencyfund.magnumfoundation.org/projects/substitute-teacher/

[12] http://emergencyfund.magnumfoundation.org/projects/securing-food-in-chicagoland/

[13] http://emergencyfund.magnumfoundation.org/projects/traces/

[14] http://emergencyfund.magnumfoundation.org/projects/the-disintegration-of-the-matatus/

[15] http://emergencyfund.magnumfoundation.org/projects/zone-of-absolute-discomfort/

[16] http://emergencyfund.magnumfoundation.org/projects/the-poisoning-of-el-dorado/

[17] http://emergencyfund.magnumfoundation.org/projects/narco-estado/

[18] http://emergencyfund.magnumfoundation.org/projects/borderline/

[19] http://emergencyfund.magnumfoundation.org/projects/yemens-unfinished-revolution/

[20] http://emergencyfund.magnumfoundation.org/projects/walking-in-quicksand/

[21] http://lightbox.time.com/2012/02/01/exclusive-magnum-emergency-fund-announces-2012-grantees/#1

[22] http://emergencyfund.magnumfoundation.org/projects/ilibya-libyas-growing-pains-d/

[23] http://emergencyfund.magnumfoundation.org/projects/war-is-good/

[24] http://emergencyfund.magnumfoundation.org/projects/baalu-girma/

[25] http://emergencyfund.magnumfoundation.org/projects/tiksi-the-far-north/

[26] http://lightbox.time.com/2013/01/17/exclusive-magnum-emergency-fund-announces-2013-grantees/#1

[27] http://emergencyfund.magnumfoundation.org/projects/brownsville/ Home of the Brave

[28] http://emergencyfund.magnumfoundation.org/projects/from-there-to-here-immigrants-in--3/

[29] http://emergencyfund.magnumfoundation.org/projects/winners/

[30] Bicker, Phil (26 March 2014). “TIME Exclusive: Magnum Emergency Fund Announces 2014 Grantees”. Time (maga- zine). Retrieved 7 September 2015.

1.5 Deutsche Börse Photography Prize

The Deutsche Börse Photography Prize is a prize awarded annually by the Deutsche Börse Photography Foundation to a photographer who has made the most significant contribution to the photographic medium in Europe during the past year. 30 CHAPTER 1. DAY 1

1.5.1 History

The prize was set up in 1996 by The Photographers’ Gallery, London, with the intention of promoting the finest contemporary photography. Between 1997 and 2004, the prize was known as the Citigroup Photography Prize.[1] Deutsche Börse has sponsored the competition since 2005, with a £30,000 prize. It has been described as “the biggest of its kind in photography in Europe” and “the most prestigious”.[2]

1.5.2 Winners and shortlisted artists

Winners of the Citigroup Photography Prize (1997–2004):[1]

• 1997 winner Richard Billingham, also shortlisted Uta Barth, , Philip-Lorca diCorcia, Catherine Yass • 1998 winner Andreas Gursky, also shortlisted Thomas Demand, Paul Graham, Katia Liebmann, Hiroshi Sug- imoto • 1999 winner , also shortlisted Augusto Alves da Silva, Alex Hartley, Yinka Shonibare, Paul M. Smith • 2000 winner Anna Gaskell, also shortlisted James Casebere, Jitka Hanzlová, Tim Macmillan, Tracey Moffatt • 2001 winner Boris Mikhailov, also shortlisted Roni Horn, Hellen van Meene, Jem Southam, Hannah Starkey • 2002 winner Shirana Shahbazi, also shortlisted Roger Ballen, Elina Brotherus, Philip-Lorca diCorcia, Thomas Ruff • 2003 winner Juergen Teller, also shortlisted Jitka Hanzlová, Bertien van Manen, Simon Norfolk • 2004 winner Joel Sternfeld, also shortlisted Robert Adams, Peter Fraser, David Goldblatt

Winners and shortlisted artists of the Deutsche Börse Photography Prize (2005–present):

• 2005 winner Luc Delahaye for his exhibition Luc Delahaye–Photographs at National Museum of Photography, Film & Television, Bradford, UK. Also shortlisted were JH Engström, for the publication Trying to Dance (Journal, 2004); Jörg Sasse for his exhibition at Galerie Wilma Tolksdorf, Frankfurt; and , for the publication Uncommon Places: The Complete Works (Thames & Hudson, 2004).[3][4] • 2006 winner Robert Adams for his exhibition Turning Back, A Photographic Journal of Re-exploration at Haus der Kunst, Munich. Also shortlisted were Yto Barrada for his exhibition A Life Full of Holes – the Strait Project at Open Eye Gallery, Liverpool; Phil Collins for his exhibition yeah…..you, baby you at Milton Keynes Gallery, UK; and Alec Soth for his exhibition Sleeping by the Mississippi at Open Eye Gallery, Liverpool.[5] • 2007 winner Walid Raad for his exhibition The Atlas Group Project at Museum für Gegenwart, . Also shortlisted were Philippe Chancel for his exhibition DPRK at Les Rencontres d'Arles, ; Anders Petersen for his exhibition À propos de Gap et de Saint-Étienne at Les Rencontres d'Arles, France; and Fiona Tan for her exhibition Mirror Maker at Landesgalerie Linz, Austria.[6] • 2008 winner Esko Männikko for his exhibition Cocktails 1990–2007 at Millesgården, . Also short- listed were John Davies for his exhibition The British Landscape at National Media Museum, Bradford, UK; Jacob Holdt, for the publication Jacob Holdt, United States 1970–1975 (Steidl, 2007); and Fazal Sheikh, for the publication Ladli (Steidl, 2007).[7] • 2009 winner Paul Graham, for the publication A Shimmer of Possibility (steidlMACK, 2007). Also shortlisted were Emily Jacir for her exhibition Material For A Film at the 52nd Biennale of Art in Venice; for his exhibition Passing Through Eden: Photographs of Central Park at Michael Hoppen Gallery, London; and Taryn Simon for her project An American Index of the Hidden and Unfamiliar.[8] • 2010 winner Sophie Ristelhueber for her self-titled exhibition at Jeu de Paume, Paris. Also shortlisted were Anna Fox for her exhibition Cockroach Diaries & Other Stories at Ffotogallery, Cardiff, Wales; Zoe Leonard for her exhibition ZOE LEONARD: Photographs at Pinakothek der Moderne, Munich; and Donovan Wylie for his exhibition MAZE 2007/8 at Belfast Exposed, UK.[9][10] 1.5. DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE 31

• 2011 winner Jim Goldberg for his exhibition Open See at The Photographers’ Gallery, London. Also shortlisted were Thomas Demand for his exhibition Nationalgalerie at Neue Nationalgalerie, Berlin; Roe Ethridge for his exhibition at Les Rencontres d'Arles, France; and Elad Lassry for his self-titled exhibition at Kunsthalle Zürich.[11][12]

• 2012 winner John Stezaker for his self-titled exhibition at Whitechapel Gallery, London. Also shortlisted were , for the publication Permanent Error (Prestel, 2011); Rinko Kawauchi, for the publication Illuminance (Kehrer, 2011); and Christopher Williams for his exhibition Kapitalistischer Realismus at Dům umění České Budějovice, Budweis, Czech Republic.[13][14]

• 2013 winners Adam Broomberg & Oliver Chanarin, for the publication War Primer 2 (MACK, 2012). Also shortlisted were Chris Killip for his exhibition What Happened – Great Britain 1970–1990 at , Paris; Cristina de Middel, for her self-published photobook The Afronauts (2011); and Mishka Henner for his exhi- bition No Man’s Land at FotoGrafia. Festival internazionale di Roma, MACRO, .[15][16]

• 2014 winner Richard Mosse for his exhibition The Enclave at the 55th Biennale of Art in Venice.[17] Also shortlisted were Alberto García-Alix, for the publication Autorretrato/Selfportrait (La Fábrica, 2014); Jochen Lempert for his self-titled exhibition at Hamburger Kunsthalle, ; and Lorna Simpson for her exhibition Lorna Simpson (Retrospective) at Jeu de Paume, Paris.[18][19]

• 2015 winners Mikhael Subotzky and Patrick Waterhouse, for the publication Ponte City (Steidl, 2014).[20][21] Also shortlisted were Nikolai Bakharev for his exhibition at the 55th Biennale of Art in Venice; Zanele Muholi, for the publication Faces and Phases 2006–2014 (Steidl and The Walther Collection, 2014); and Viviane Sassen for her exhibition Umbra at Photo Museum, Rotterdam.[22][23]

• 2016 winner for his exhibition The Octopus at Frankfurter Kunstverein, Frankfurt.[24] Also shortlisted were Erik Kessels for his exhibition Unfinished Father at Fotografia Europea, Reggio Emilia, Italy; Laura El-Tantawy, for her self-published photobook In the Shadow of the Pyramids (2015); and Tobias Zielony for his exhibition The Citizen at the 56th Biennale of Art in Venice.[25][26][27]

• 2017 shortlisted artists: Sophie Calle, for her publication My All (Actes Sud, 2016); Dana Lixenberg, for her publication Imperial Courts (Roma, 2015); Awoiska van der Molen for her exhibition Blanco at Foam Fo- tografiemuseum ; and Taiyo Onorato and Nico Krebs for their exhibition EURASIA at Fotomuseum Winterthur, Switzerland.[28]

1.5.3 References

[1] “About The Photography Prize”. The Photographers’ Gallery. Retrieved 17 March 2013.

[2] Beyfus, Drusilla (22 January 2009). “Deutsche Börse Photography Prize: Paul Graham”. The Telegraph (UK). Retrieved 16 March 2013.

[3] Deutsche Börse Photography Prize 2005. Accessed 15 March 2013.

[4] Searle, Adrian (6 April 2005). “What are you doing here?". London: The Guardian. Retrieved 19 January 2017.

[5] Deutsche Börse Photography Prize 2006. Accessed 15 March 2013.

[6] Deutsche Börse Photography Prize 2007. Accessed 15 March 2013.

[7] Deutsche Börse Photography Prize 2008. Accessed 15 March 2013.

[8] Deutsche Börse Photography Prize 2009. Accessed 15 March 2013.

[9] Deutsche Börse Photography Prize 2010. Accessed 15 March 2013.

[10] O'Hagan, Sean (18 March 2010). “Has the Deutsche Börse turned into a prize?". The Guardian. Retrieved 16 March 2013.

[11] Deutsche Börse Photography Prize 2011. Accessed 15 March 2013.

[12] O'Hagan, Sean (26 April 2011). “Deutsche Börse prize for photography goes to chronicler of displaced people”. The Guardian. Retrieved 16 March 2013.

[13] Deutsche Börse Photography Prize 2012. Accessed 15 March 2013. 32 CHAPTER 1. DAY 1

[14] Brown, Mark (3 September 2012). “Deutsche Börse photography prize won by John Stezaker”. The Guardian. Retrieved 17 March 2013.

[15] Deutsche Börse Photography Prize. Accessed 15 March 2013.

[16] O'Hagan, Sean (26 November 2012). “Deutsche Börse 2013 – a shortlist that’s short of photographers”. The Guardian. Retrieved 16 March 2013.

[17] “Deutsche Börse 2014: Richard Mosse wins photography prize – in pictures”. The Guardian. 12 May 2014. Retrieved 13 May 2014.

[18] Vincent, Alice (12 May 2014). “Richard Mosse wins Deutsche Börse Photography Prize 2014”. . Retrieved 13 May 2014.

[19] “Deutsche Börse Photography Prize 2014”. The Photographers’ Gallery. 14 November 2013. Retrieved 5 June 2016.

[20] “Deutsche Börse prize 2015: winners Mikhael Subotzky and Patrick Waterhouse – in pictures”. The Guardian. 28 May 2015. Retrieved 23 April 2016.

[21] “Deutsche Börse: Deutsche Börse Photography Prize 2015”. The Photographers’ Gallery. Retrieved 23 April 2016.

[22] “DBPP 2015”. The Photographers’ Gallery. Retrieved 23 April 2016.

[23] “Deutsche Börse Photography Prize shortlist 2015”. The Daily Telegraph. 3 December 2014. Retrieved 23 April 2016.

[24] “Trevor Paglen Takes Home Deutsche Börse Photography Foundation Prize”. Artnet. 3 June 2016. Retrieved 5 June 2016.

[25] O'Hagan, Sean (5 November 2015). “Deutsche Börse photography prize shortlist: drones v the women of Tahrir”. London: The Guardian. Retrieved 27 April 2016.

[26] “Trevor Paglen wins the Deutsche Börse photography prize 2016”. British Journal of Photography. 3 June 2016. Retrieved 5 June 2016.

[27] Violet Bramley, Ellie (5 November 2015). “Trevor Paglen’s drone photography wins 2016 Deutsche Börse prize”. London: The Guardian. Retrieved 27 April 2016.

[28] http://thephotographersgallery.org.uk/deutsche-b-rse-photography-foundation-prize-2017. Missing or empty |title= (help)

1.5.4 External links

• Official website

• Deutsche Börse Photography Prize 2013 at The Photographers’ Gallery Chapter 2

Day 2

2.1 Pulitzer Prize for Breaking News Photography

The Pulitzer Prize for Breaking News Photography is one of the American Pulitzer Prizes annually awarded for journalism. From 2000 it has used the "breaking news" name but it is considered a continuation of the Pulitzer Prize for Spot News Photography, which was awarded from 1968 to 1999. Prior to 1968, a single Prize was awarded for photojournalism, the Pulitzer Prize for Photography, which was replaced in that year by Pulitzer Prize for Spot News Photography and Pulitzer Prize for Feature Photography.

2.1.1 List of winners for Pulitzer Prize for Spot News Photography

There were 33 Spot News Photography prizes awarded in 32 years including two in 1977 (for 1976 work).

• 1968: Rocco Morabito, Jacksonville Journal, for his photograph of telephone linemen, “The Kiss of Life”. • 1969: Edward T. Adams, , for his photograph,”Saigon Execution". • 1970: Steve Starr, Associated Press, for his news photo taken at Cornell University, “Campus Guns”. • 1971: John Paul Filo, Valley Daily News/Daily Dispatch, of the Pittsburgh suburbs of Tarentum and New Kensington, for his pictorial coverage of the Kent State University tragedy on May 4, 1970. • 1972: Horst Faas and Michel Laurent, Associated Press, for their picture series, “Death in Dacca”. • 1973: Huynh Cong Ut, Associated Press, for his photograph, "The Terror of War", depicting children in flight from a napalm bombing. • 1974: Anthony K. Roberts, a freelance photographer of Beverly Hills, California, for his picture series, “Fatal Hollywood Drama”, in which an alleged kidnapper was killed. • 1975: Gerald H. Gay, Seattle Times, for his photograph of four exhausted firefighters, “Lull in the Battle”. • 1976: Stanley Forman, Boston Herald-American, for his sequence of photographs of a fire in Boston on July 22, 1975. • 1977: Stanley Forman, Boston Herald-American, for his photograph The Soiling of Old Glory, which depicts Joseph Rakes attacking Theodore Landsmark — using an American flag as a lance — during a desegregation busing demonstration at Boston City Hall. • 1977: , of the Associated Press, for a series of photographs of disorder and brutality in the streets of . • 1978: John H. Blair, a special assignment photographer for United Press International, for a photograph of Tony Kiritsis holding an Indianapolis broker hostage at gunpoint. • 1979: Thomas J. Kelly III, Pottstown Mercury, Pennsylvania, for a series called “Tragedy on Sanatoga Road.”

33 34 CHAPTER 2. DAY 2

• 1980: Anonymous, Ettela'at, United Press International, for “Firing Squad in Iran”. In 2006, the photographer’s identity was revealed to be Jahangir Razmi.[1]

• 1981: Larry C. Price, Fort Worth Star-Telegram, for his photographs from Liberia.

• 1982: Ron Edmonds, Associated Press, for his coverage of the Reagan assassination attempt.

• 1983: Bill Foley, Associated Press, for his series of pictures of victims and survivors of the massacre in the Sabra Camp in .

• 1984: Stan Grossfeld, Boston Globe, for his series of photographs which reveal the effects of war on the people of .

• 1985: Photography staff, Register, Santa Ana, California, for their coverage of the Olympic Games.

• 1986: Carol Guzy and Michel duCille, Miami Herald, for their photographs of the devastation caused by the eruption of the Nevado del Ruiz volcano in .

• 1987: Kim Komenich, San Francisco Examiner, for his photographic coverage of the fall of .

• 1988: Scott Shaw, Odessa American, for his photograph of the child Jessica McClure being rescued from the well into which she had fallen.

• 1989: Ron Olshwanger, a freelance photographer, for a picture published in the St. Louis Post-Dispatch of a firefighter giving mouth-to-mouth resuscitation to a child pulled from a burning building.

• 1990: Photo staff of the Oakland Tribune, California, for their photographs of devastation caused by the Loma Prieta earthquake of October 17, 1989. The Oakland Tribune team consisted of Tom Duncan, Angela Pancrazio, Pat Greenhouse, Reginald Pearman, Matthew Lee, Gary Reyes, Michael Macor, Ron Riesterer, Paul Miller, Roy H. Williams.

• 1991: Greg Marinovich, Associated Press, for a series of photographs of supporters of South Africa’s African National Congress murdering a man they believed to be a Zulu spy.

• 1992: Staff, Associated Press, for photographs of the attempted coup in Russia and the subsequent collapse of the Communist regime.

• 1993: Ken Geiger and William Snyder, Dallas Morning News, for their photographs of the 1992 Summer Olympics in .

• 1994: Paul Watson, Star, for his photograph, published around the world, of a U.S. soldier’s body being dragged by Somalis through the streets of .

• 1995: Carol Guzy, Washington Post, for her series of photographs illustrating the crisis in Haiti and its after- math.

• 1996: Charles Porter IV, a freelancer, for his photographs taken after the Oklahoma City bombing and dis- tributed by the Associated Press, showing a one-year-old victim handed to and then cradled by a fireman.

• 1997: Annie Wells, Press Democrat, Santa Rosa, California, for her photograph of a firefighter rescuing a teenager from raging floodwaters.[2]

• 1998: Martha Rial, Pittsburgh Post-Gazette, for her portraits of survivors of the conflicts in Rwanda and Burundi.

• 1999: Staff, Associated Press, for its portfolio of images following the embassy bombing in Kenya and Tanza- nia. 2.1. PULITZER PRIZE FOR BREAKING NEWS PHOTOGRAPHY 35

2.1.2 List of winners for Pulitzer Prize for Breaking News Photography

One Breaking News Pulitzer has been awarded annually from 2000 without exception.

• 2000: Photographic staff of the Denver Rocky Mountain News, “for its photographic coverage of students following the shooting at Columbine High School near Denver.” (citation, images)

• 2001: Alan Diaz, The Associated Press, “for his photograph of federal agents removing Elián González from his uncle’s home."(citation, image)

• 2002: Staff of The New York Times, “for its coverage of the September 11 attack on the World Trade Center.” (citation, images)

• 2003: Photographic staff of the Rocky Mountain News, “for its powerful, imaginative coverage of Colorado's raging forest fires.” (citation, images)

• 2004: David Leeson and Cheryl Diaz Meyer, The Dallas Morning News, “for their eloquent photographs de- picting both the violence and poignancy of the war in .” (citation, images)

• 2005: Staff of The Associated Press, “for its stunning series of photographs of bloody yearlong combat inside Iraqi cities.” (citation, images)

• 2006: Staff of The Dallas Morning News, “for its vivid photographs depicting the chaos and pain after Hurricane Katrina engulfed .” (citation, images)

• 2007: Oded Balilty of The Associated Press, “for his powerful photograph of a lone Jewish woman defying Israeli security forces as they remove illegal settlers in the West Bank.” (citation, image)

• 2008: Adrees Latif of , “for his dramatic photograph of a Japanese videographer, sprawled on the pavement, fatally wounded during a street demonstration in .”[3] (citation, image)

• 2009: Patrick Farrell of The Miami Herald, “for his provocative, impeccably composed images of despair after Hurricane Ike and other lethal storms caused a humanitarian disaster in Haiti.” (citation, image)

• 2010: Mary Chind of The Des Moines Register, “for her photograph of the heart-stopping moment when a rescuer dangling in a makeshift harness tries to save a woman trapped in the foaming water beneath a dam.” (citation, image)

• 2011: Carol Guzy, Nikki Kahn and Ricky Carioti of , “For their up-close portrait of grief and desperation after a catastrophic earthquake struck Haiti.” (citation, images)

• 2012: Massoud Hossaini of Agence France-Presse “for his heartbreaking image of a girl crying in fear after a suicide bomber’s attack at a crowded shrine in Kabul.” (citation, images)

• 2013: The Argentinian Rodrigo Abd and his partners of The Associated Press, Narciso Contreras, Khalil Hamra, Manu Brabo and Muhammed Muheisen “for their compelling coverage of the civil war in Syria".

• 2014: Tyler Hicks of The New York Times, “for courageously documenting a deadly terrorist attack at a shopping mall.”

• 2015: St. Louis Post-Dispatch photography staff “for powerful images of the despair and anger in Ferguson, Missouri, stunning photojournalism that served the community while informing the country.”[4]

• 2016: Mauricio Lima, Sergey Ponomarev, Tyler Hicks, and Daniel Etter of The New York Times “for pho- tographs that captured the resolve of refugees, the perils of their journeys and the struggle of host countries to take them in.”[5]

2.1.3 See also

• List of prizes, medals, and awards

• Award 36 CHAPTER 2. DAY 2

2.1.4 Notes

[1] Joshua Prager, December 2, 2006. "A Photograph’s Hidden History", , Weekend Edition, New York [2] “Annie Wells of The Press Democrat, Santa Rosa, CA”. The Pulitzer Prizes. Retrieved 31 March 2016. [3] Latson, Jennifer (April 8, 2008). “Reuters photographer’s risky shot wins Pulitzer”. Houston Chronicle. Retrieved 2008- 04-24. His photograph of the fatal shooting of a fellow journalist, the Japanese videographer Kenji Nagai, won the Pulitzer Prize for breaking news photography on Monday. [4] “Breaking News Photography”. The Pulitzer Prizes. Retrieved 20 April 2015. [5] “Breaking News Photography”.

2.1.5 References

• Winners of the Pulitzer Prize for Spot News Photography. • Winners of the Pulitzer Prize for Breaking News Photography.

2.2 World Press Photo of the Year

The vote for Press Photo of the Year is taken during the World Press Photo Awards, hosted by the Dutch foundation World Press Photo. The creator of the winning entry receives €10,000 along with “the most prestigious and coveted award in photojournalism.”[1] Besides Press Photo of the Year, the 20-member jury awards three more prizes in eight categories (general news, spot news, sports, contemporary issues, daily life, portraits, nature and Long-term projects), whereby both individual images and photo series are recognised for excellence.[2] The main prize is given to the image that "... is not only the photojournalistic encapsulation of the year, but represents an issue, situation or event of great journalistic importance, and does so in a way that demonstrates an outstanding level of visual perception and creativity.”[3]

2.2.1 List of Press Photos of the Year

The following is a list of all winners of the Press Photo of the Year, and information on the respective images.

2.2.2 References

[1] Press Photo of the Year, from Stern.de. [2] About the contest, from worldpressphoto.nl. [3] World Press Photo returns to USC Annenberg

2.2.3 External links

• World Press Photo official website • Timeline of all contests and World Press Photo of the Year winners

2.3 Hasselblad Foundation

The Erna and Victor Hasselblad Foundation, established in 1979, is a fully independent, not-for-profit foundation based at Götaplatsen in Gothenburg, . The main aim of the Foundation is to promote research and academic teaching in the natural sciences and photography. The Foundation also presents an annual international award in photography to “a photographer recognized for major achievements”.[1] 2.3. HASSELBLAD FOUNDATION 37

2.3.1 Photography stipends

The Victor Fellowships

Awards continuous professional and artistic development outside the Nordic region since 2004. Two stipend winners are announced annually, one from and another one from New York.[2]

The Grez-sur-Loing stipend

Awards Scandinavian photographers, or Scandinavians working abroad, with an international environment located in Grez-sur-Loing near Fontainebleau, France. The awarded photographer will be accommodated at the Hôtel Chevil- lon, restored by the Grez-sur-Loing Foundation.[3] The Grez-sur-Loing stipends [4] has been awarded since 1994.

The San Michele stipend

Targeting Swedish photographers, the winner of this stipend [5] will follow in the footsteps of Swedish physician Axel Munthe, awarded with an international stay at Axel Munthe’s Villa San Michele [6] located on Capri, an island in the southern part of Italy.

Stipend in Nature Photography

A stipend established to encourage Nordic nature photography, based on Victor Hasselblad’s interest in nature.[7] In collaboration with Vårgårda Photo Club. First stipend to be awarded was Swedish photographer Marcus Elmerstad.[8]

Postdoctor in photography

[12]

2.3.2 Science

Science grants

[13]

Visiting professorship

[14]

Science stipends

[15]

2.3.3 See also

• Hasselblad Masters Award

• Hasselblad Award

2.3.4 References

[1] Hasselblad Foundation

[2] Hasselblad Foundation, The Victor Fellowships 38 CHAPTER 2. DAY 2

[3] Foundation Grez-sur-Loing

[4] Hasselblad Foundation, The Grez-sur-Loing stipend

[5] Hasselblad Foundation, The San Michele stipend

[6] Villa San Michele, Italy

[7] Hasselblad Foundation, Stipend in Nature Photography

[8] Kamera & Bild, 2008

[9] Marcus Elmerstad, official website, “The Pilgrim Road to Nidaros”, 2007-

[10] Nordic Photo Group, Karolina Tillman was awarded the Hasselblad Foundation’s Honourable Mention, 2008

[11] Daniel Månsson, official website

[12] “Postdoctor in Photography” Hasselblad Foundation. Accessed 24 September 2016

[13] “Grants” Hasselblad Foundation. Accessed 24 September 2016

[14] “Professor” Hasselblad Foundation. Accessed 24 September 2016

[15] “Stipends” Hasselblad Foundation. Accessed 24 September 2016

2.3.5 External links

• Official website

2.4 Hasselblad Masters Award

This article is about the Hasselblad Masters Award. For the Hasselblad Award, see Hasselblad Award.

Hasselblad Masters Award is an annual award granted by the camera company Hasselblad to selected photographers each year across various specialties in recognition of exceptional accomplishment through photography. While its sister prize, the Hasselblad Award, is managed by the Hasselblad Foundation, the Hasselblad Masters Award and its book publishing and touring exhibition projects are overseen directly by the company’s senior executive committee.

2.4.1 Overview

“The Hasselblad Masters Award is among the most prestigious in the industry, honoring the best in both established and rising photographic talent.”[1] Entries are usually invited the month of May in the previous, and the finalist as announced late in the year, subsequently the winners are announced in the month of January.[2] The jury for the award includes many of the most prominent names in photography, including photographers, editors, agents, and publishers.[3] Categories for the selected photographers include Fine Art, Nature/Landscape, Portrait, Fashion, Editorial, Product, Architecture, Social/Wedding, and General Photography.[4] Each year since 2008 the jury has also selected a “upcoming talent” for an emerging photographer who has rapidly gained the attention of the art and advertising community. Starting 2014, photographs both in medium format and 35mm-type DSLRs (minimum 16 megapixel) were allowed. new category “Underwater” was added and the former “Up & Coming” category was converted “Project/21” category, wherein amateurs, students, assistants and young professionals who are 21 years old or younger could enter.[2]

2.4.2 Book and exhibition

The winners are provided with Hasselblad equipment for their projects as a part of the Masters Book for the year.[2] The selected Hasselblad Masters each create a chapter of original images for the year’s Hasselblad Masters Book, a large-format book from TeNeues.[5] The images created for the Hasselblad Masters book are reproduced in large- format fine art prints for exhibition in cities around the world. Recent locations have included London, Hamburg, New York, Bogota, and Hong Kong.[6] 2.5. 39

2.4.3 Hasselblad Masters Award recipients

2.4.4 Sources

• 2014 Masters Jury

2.4.5 References

[1] Picture Magazine, March 2009, p. 16

[2] “Hasselblad launches the next Masters Awards Competition with a call for submissions”. Hasselblad.com. Retrieved 2014- 01-20.

[3] Hasselblad Masters Jury

[4] Digital Photo Pro Magazine, August 2007

[5] Publisher’s Listing of “Hasselblad Masters Book”

[6] Hasselblad Masters Exhibition

[7] “Hasselblad announces Masters Award 2012 winners”. Professional Photographer. January 9, 2012. Retrieved 2014-01- 20.

[8] “2012 Hasselblad Masters Awards Winners ~ Photography News”. January 9, 2012. Retrieved 2014-01-20.

[9] “Masters 2014”. Hasselblad.com. Retrieved 2014-01-20.

[10] “Masters 2015”. Hasselblad.com. Retrieved 2016-03-23.

2.4.6 External links

• Hasselblad Masters website

2.5 Robert Capa Gold Medal

The Robert Capa Gold Medal is an award for “best published photographic reporting from abroad requiring ex- ceptional courage and enterprise”.[1] It is awarded annually by the Overseas Press Club of America (OPC). It was created in honor of the war photographer Robert Capa.[1] The first Robert Capa Gold Medal was awarded in 1955 to Howard Sochurek.[2]

2.5.1 Winners

2.5.2 References

[1] “Capa, Robert”. Museum of Contemporary Photography. Retrieved 2016-06-16.

[2] Winslow, Donald R. (24 April 2014). “Tyler Hicks Awarded 2013 Robert Capa Gold Medal Award”. NPPA. Retrieved 2016-06-21. The first Capa Gold Medal was awarded in 1955 to Howard Sochurek.

[3] The year of the award is the year of the work. From 2009, the recipient is named in April of the next year.

[4] Schurk, Howard; Northup, Steve; Azzi, Robert; Sloan, Lester; Forman, Stanley (Summer 1980). “Photographic Portfolios of Nieman Alumni: Howard Sochurek Nieman Fellow 1960” (PDF). Nieman Reports. Vol. XXXIV no. 2. p. 16. Retrieved 2016-07-23. North Viet-nam (...) in 1955

[5] Robertson, Louise (13 January 2011). “Award-winning Hungarian uprising photogapher has died”. ThisIsLocalLondon. Retrieved 2016-06-21. in 1956

[6] “The 1956 Hungarian Revolution in Pictures by John Sadovy”. Hungarian Cultural Centre in London. 18 October 2016. Retrieved 2016-09-08. earning him the second ever Robert Capa Gold Medal. 40 CHAPTER 2. DAY 2

[7] Capa, Capa & Karia 1974, p. 127. 1958: "Paul Bruck"

[8] Capa, Capa & Karia 1974, p. 127. 1959: "Mario Biasetti"

[9] “Snippet view”. books.google.com. 1960. Retrieved 2016-07-17.

[10] Capa, Capa & Karia 1974, p. 127. 1960: "Yung Su Kwon"

[11] Capa, Capa & Karia 1974, p. 127. 1962: "Peter Dehmel and Klaus Dehmel"

[12] Capa, Capa & Karia 1974, pp. 127. 1963–65: ""

[13] Hunt, George P. (8 May 1964). “LIFE’s Twenty-one Award Winners”. Life. Vol. 56 no. 19. p. 3. Retrieved 2016-07-23. in Vietnam

[14] Capa, Capa & Karia 1974, p. 127. 1964: "Horst Faas"

[15] Kuhn, Annette; McAllister, Kirsten Emiko (20 December 2006). Locating Memory: Photographic Acts. Remapping cultural history. 4. Berghahn. ISBN 978-1-84545-219-3. Retrieved 2016-07-21. Yankee Papa 13

[16] “”. The Digital Journalist. November 1997. Retrieved 2016-06-20. Henri won the Robert Capa gold medal in 1967

[17] Capa, Capa & Karia 1974, p. 127. 1966-67: "Henri Huet"

[18] “Snippet view”. books.google.com. 1967. Retrieved 2016-07-16.

[19] Roth, Mitchel P.; Olson, James Stuart (22 April 1997). Historical Dictionary of War Journalism. Greenwood. p. 325. ISBN 978-0-38795-363-2. In 1967

[20] “An Interview with John Olson”. The Digital Journalist. July 2001. Retrieved 2016-06-20. in 1967, and less than a year later he had won the Robert Capa Gold Medal for his coverage of the Siege of Hue

[21] Capa, Capa & Karia 1974, p. 127. 1970: "Anonymous"

[22] Faas, Horst; Page, Tim (November 1997). “Requiem”. The Digital Journalist. Retrieved 2016-06-20. After his death in ('Died: October 28, 1970'), he received the Robert Capa Gold Medal

[23] Pomeroy, Charles (13 September 2011). Foreign Correspondents in . Tuttle. ISBN 978-1-46290-194-4. Retrieved 2016-07-19. in Vietnam

[24] Le Gall, Hervé (10 February 2011). “Hommage à Larry Burrows, photographe de guerre et homme de paix (1926-1971).” [Tribute to Larry Burrows, war photographer and man of peace (1926-1971).]. Shots.fr (in French). Retrieved 2016-07-07. Robert Capa Gold medal en 1971

[25] Kershaw 2012:"Indo-China"

[26] Capa, Capa & Karia 1974, p. 127. 1973: "Limpkin"

[27] “The Photographers Bio & Portfolios: David Burnett”. Contact Press Images. 2016. Retrieved 2016-06-16.

[28] “Raymond Depardon”. PalmeraieEtDesert.fr. Retrieved 2016-06-21. 1973

[29] “The Robert Capa Gold Medal 1973”. Overseas Press Club of America. 16 December 1973. Retrieved 2016-06-16.

[30] Desfor, Irving (25 May 1975). “Minamata pollution story told in Gene Smith Photos”. Brownwood Bulletin – via google.com indexing newspapers.com OCR extract (subscription required) . Retrieved 2016-07-06.

[31] McDarrah, Gloria S.; McDarrah, Fred W.; McDarrah, Timothy S. (1 December 1998). The Photography Encyclopedia. Schirmer. ISBN 978-0-02865-025-8. Retrieved 2016-07-22. Smith’s Minamata

[32] “, INC.”. The Digital Journalist. Retrieved 2016-06-20. In 1975, he won the Robert Capa Gold Medal

[33] Winslow, Donald R. (11 July 2006). “ Photojournalist , 60”. NPPA. Retrieved 2016-06-20. in 1976

[34] Winslow, Donald R. (18 September 2009). “Eddie Adams’ Archive Donated To University Of Texas Briscoe Center”. NPPA. Retrieved 2016-06-20. in 1977

[35] “Susan Meiselas carrying the past, forward”. Fotografie Forum Frankfurt. 9 March 2016. Retrieved 2016-06-21. (1979)

[36] “Kaveh Golestan”. IranChamber.com. Retrieved 2016-06-21. In 1979 2.5. ROBERT CAPA GOLD MEDAL 41

[37] “Still Moving: Photographs by Steve McCurry”. Palmer Museum of Art. 14 June 2016. Retrieved 2016-06-21. in 1980

[38] “Post Correspondent Wins Award for Sadat Story”. The Washington Post. 29 April 1982. Retrieved 2016-06-21. Rudi Frey of Time magazine

[39] “Snippet view”. books.google.com. 1982. Retrieved 2016-07-15.

[40] “Image, Memory and the Paradox of Peace”. The University of Texas at Austin. 17 April 2008. Retrieved 2016-06-21. In 1982

[41] “James Nachtwey leaves VIII Photo”. The Daily Telegraph. 11 April 2013. Retrieved 2016-06-19. Robert Capa Gold Medal (1983, 1984, 1986, 1994 and 1998)

[42] “Overseas Press Club awards for 1985”. UPI. 16 April 1986. Retrieved 2016-06-21. Peter Magubane, a resident of Soweto, South Africa, for pictures of life in his country

[43] “Knott wins award for haiti photos”. – via PqArchiver.com (subscription required) . 20 April 1988. p. 82. Retrieved 2016-07-05.

[44] “The Overseas Press Club Thursday awarded its top foreign...”. UPI. 11 May 1989. Retrieved 2016-06-21. Chris Steel- Perkins, Time magazine, for 'Graveside Terror.'

[45] Chapnick 1994, p. 285: "in 1990"

[46] Warren, Mathew R. (4 March 2011). “Rebuilding Lives in Former Soviet Lands”. The New York Times. Retrieved 2016- 06-16.

[47] “Overseas Press Club Gives Award to Terry Anderson”. The New York Times. 6 May 1992. Retrieved 2016-06-16. their work in 1991 during the club’s 53d annual awards dinner

[48] Richards, Roger (August 2004). “View from the Photo Desk: Luc Delahaye”. The Digital Journalist. Retrieved 2016-06- 18. he received the Overseas Press Club’s Robert Capa Gold Medal (2002 & 1993)

[49] “About Paul Watson”. ArcticStarCreativity.com. Retrieved 2016-07-04. his 1993 image

[50] Macleod, Duncan (27 February 2009). “Anthony Suau wins World Press Photo Award”. theInspirationRoom.com. Re- trieved 2016-07-03. in 1995

[51] “Overseas Press Club, New York”. American Photo. July–August 1997. p. 25. Retrieved 2016-07-02. Announced: April 1997

[52] Page, Tim (September 2005). “Separations of Neil”. The Digital Journalist. Retrieved 2016-06-20. including the 1997 Robert Capa Gold Medal Award

[53] Seno, Alexandra A. (20 December 2010). “A Photographer’s View of Balinese Rituals”. WSJ. Retrieved 2016-06-19. Robert Capa Gold Medal award in 1999

[54] “Overseas Press Club Presents 20 International Reporting Awards”. PR Newswire. 26 April 2001. Retrieved 2016-06-18. OPC’s 62nd Annual Awards Dinner

[55] DeFoore, Jay (30 April 2004). “Carolyn Cole Wins Another Major Photo Award”. Editor & Publisher. Retrieved 2016- 06-16.

[56] “ Wins The Robert Capa Gold Medal Award For Coverage Of Fallujah”. NPPA. 15 April 2005. Retrieved 2016-06-17.

[57] “IRP Fellow receives 2005 Robert Capa award for photography”. International Reporting Project. Retrieved 2016-06-17.

[58] “The Robert Capa Gold Medal Award 2006”. OPC. 16 December 2006. Retrieved 2016-06-16.

[59] “The Robert Capa Gold Medal Award 2007”. OPC. 16 December 2007. Retrieved 2016-06-16.

[60] “The Robert Capa Gold Medal Award 2008”. OPC. 16 December 2008. Retrieved 2016-06-16.

[61] “The Robert Capa Gold Medal Award 2009”. OPC. 22 April 2010. Retrieved 2016-06-16.

[62] “The Robert Capa Gold Medal Award 2010”. OPC. 27 April 2011. Retrieved 2016-06-16.

[63] “The Robert Capa Gold Medal Award 2011”. OPC. 28 April 2012. Retrieved 2016-06-16. 42 CHAPTER 2. DAY 2

[64] Wallace, Vaughn (24 April 2013). “2013 Overseas Press Club Winners Announced”. Time. Retrieved 2016-06-16.

[65] Katz, Andrew (30 April 2015). “Marcus Bleasdale Wins Robert Capa Gold Medal”. Time. Retrieved 2016-06-16.

[66] Lowry, Rachel (28 April 2016). “Bassam Khabieh Wins Robert Capa Gold Medal”. Time. Retrieved 2016-06-16.

[67] Boorstein, Tamara (28 April 2016). “77th Annual Overseas Press Club Awards”. OPC. Retrieved 2016-06-16.

2.5.3 Bibliography

• Capa, Robert; Capa, Cornell; Karia, Bhupendra (30 September 1974). Robert Capa, 1913-1954. Volume 1 of Icp Library of Photographers. Grossman. ISBN 978-0-67060-095-3.

• Chapnick, Howard (1994). Truth Needs No Ally: Inside Photojournalism. . ISBN 978- 0-82620-955-9.

• Kershaw, Alex (31 May 2012). Blood & Champagne: The Life and Times of Robert Capa. Pan Macmillan. ISBN 978-0-33049-250-8.

2.5.4 External links

• Official website

2.6 Pulitzer Prize for Feature Photography

The Pulitzer Prize for Feature Photography is one of the American Pulitzer Prizes annually awarded for journal- ism. It recognizes a distinguished example of feature photography in or color, which may consist of a photograph or photographs, a sequence or an album. The Feature Photography prize was inaugurated in 1968 when the single Pulitzer Prize for Photography was replaced by the Feature prize and “Pulitzer Prize for Spot News Photography”, renamed for "Pulitzer Prize for Breaking News Photography" in 2000.

2.6.1 Winners and citations

One Feature Photography Pulitzer has been awarded annually from 1968 without exception.[1]

• 1968: , United Press International, “for his Vietnam War combat photograph, 'Dreams of Better Times’.”

• 1969: Moneta Sleet Jr. of Ebony magazine, “for his photograph of Martin Luther King Jr.'s widow and child, taken at Dr. King’s funeral.”

• 1970: Dallas Kinney, Palm Beach Post (Florida), “for his portfolio of pictures of Florida migrant workers, 'Migration to Misery'.”

• 1971: Jack Dykinga, Chicago Sun-Times, “for his dramatic and sensitive photographs at the Lincoln and Dixon State Schools for the Retarded in Illinois.”

• 1972: , United Press International, “for his dramatic photographs of the Vietnam War in 1971.”

• 1973: Brian Lanker, Topeka Capital-Journal, “for his sequence on child birth, as exemplified by his photograph, 'Moment of Life'.”

• 1974: Slava Veder, Associated Press, “for his picture Burst of Joy, which illustrated the return of an American prisoner of war from captivity in North Vietnam.”

• 1975: Matthew Lewis, Washington Post, “for his photographs in color and black and white.” 2.6. PULITZER PRIZE FOR FEATURE PHOTOGRAPHY 43

Photojournalist Carolyn Cole, who won the award in 2004

• 1976: Photographic staff of the Louisville Courier-Journal and Times, “for a comprehensive pictorial report on busing in Louisville’s schools.”

• 1977: Robin Hood, Chattanooga News-Free Press, “for his photograph of a disabled veteran and his child at an Armed Forces Day parade.”

• 1978: J. Ross Baughman, Associated Press, “for three photographs from guerrilla areas in Rhodesia.” 44 CHAPTER 2. DAY 2

• 1979: Staff photographers of the Boston Herald American, “for photographic coverage of the blizzard of 1978.”

• 1980: Erwin H. Hagler, Dallas Times Herald, “for a series on the Western cowboy.”

• 1981: Taro Yamasaki, Detroit Free Press, “for his photographs of Jackson State Prison, Michigan.”

• 1982: John H. White, Chicago Sun-Times, “for consistently excellent work on a variety of subjects.”

• 1983: James B. Dickman, Dallas Times Herald, “for his telling photographs of life and death in El Salvador.”

• 1984: Anthony Suau, The Denver Post, “for a series of photographs which depict the tragic effects of starvation in and for a single photograph of a woman at her husband’s gravesite on Memorial Day.”

• 1985: Stan Grossfeld, Boston Globe, “for his series of photographs of the famine in Ethiopia and for his pictures of illegal aliens on the U.S.-Mexico border.”

• 1986: Tom Gralish, The Philadelphia Inquirer, “for his series of photographs of Philadelphia's homeless.”

• 1987: David C. Peterson, Des Moines Register, “for his photographs depicting the shattered dreams of Ameri- can farmers.”

• 1988: Michel duCille, Miami Herald, “for photographs portraying the decay and subsequent rehabilitation of a housing project overrun by the drug crack.”

• 1989: Manny Crisostomo, Detroit Free Press, “for his series of photographs depicting student life at Southwestern High School in Detroit.”

• 1990: David C. Turnley, Detroit Free Press, “for photographs of the political uprisings in China and .”

• 1991: William Snyder, The Dallas Morning News, “for his photographs of ill and orphaned children living in subhuman conditions in Romania.”

• 1992: John Kaplan, Block Newspapers, Toledo, Ohio, “for his photographs depicting the diverse lifestyles of seven 21-year-olds across the United States.”

• 1993: Staff of Associated Press, “for its portfolio of images drawn from the 1992 presidential campaign.”

• 1994: Kevin Carter, a free-lance photographer, “for a picture first published in The New York Times of a starving Sudanese girl who collapsed on her way to a feeding center while a vulture waited nearby.”

• 1995: Staff of Associated Press, “for its portfolio of photographs chronicling the horror and devastation in Rwanda.”[2]

• 1996: Stephanie Welsh, “a free-lancer, for her shocking sequence of photos, published by Newhouse News Service, of a female genital cutting rite in Kenya.”[3]

• 1997: Alexander Zemlianichenko, Associated Press, “for his photograph of Russian President Boris Yeltsin dancing at a rock concert during his campaign for re-election. This was originally nominated in the Spot News Photography section, but was moved by the board to Feature Photography.”[4]

• 1998: Clarence Williams, , “for his powerful images documenting the plight of young chil- dren with parents addicted to alcohol and drugs.”[5]

• 1999: Staff of Associated Press, “for its striking collection of photographs of the key players and events stem- ming from President Clinton's affair with Monica Lewinsky and the ensuing impeachment hearings.”[6]

• 2000: Carol Guzy, Michael Williamson and Lucian Perkins, Washington Post, “for their intimate and poignant images depicting the plight of the refugees.”[7]

• 2001: Matt Rainey, Star-Ledger (New Jersey), “for his emotional photographs that illustrate the care and recovery of two students critically burned in a dormitory fire at Seton Hall University.”[8]

• 2002: The New York Times staff, “for its photographs chronicling the pain and the perseverance of people enduring protracted conflict in Afghanistan and Pakistan.”[9] 2.6. PULITZER PRIZE FOR FEATURE PHOTOGRAPHY 45

• 2003: Don Bartletti, Los Angeles Times, “for his memorable portrayal of how undocumented Central American youths, often facing deadly danger, travel north to the United States.”[10] • 2004: Carolyn Cole, Los Angeles Times, “for her cohesive, behind-the-scenes look at the effects of civil war in Liberia, with special attention to innocent citizens caught in the conflict.”[11] • 2005: Deanne Fitzmaurice, San Francisco Chronicle, “for her sensitive photo essay on an Oakland hospital’s effort to mend an Iraqi boy nearly killed by an explosion.”[12] • 2006: Todd Heisler of Rocky Mountain News, “for his haunting, behind-the-scenes look at funerals for Colorado Marines who return from Iraq in caskets.”[13] • 2007: Renée C. Byer of The Sacramento Bee, “for her intimate portrayal of a single mother and her young son as he loses his battle with cancer.”[14] • 2008: Preston Gannaway of the Concord Monitor, “for her intimate chronicle of a family coping with a parent’s terminal illness.”[15] • 2009: Damon Winter of The New York Times, “for his memorable array of pictures deftly capturing multiple facets of ’s presidential campaign.”[16] • 2010: Craig F. Walker of The Denver Post, “for his intimate portrait of a teenager who joins the Army at the height of insurgent violence in Iraq, poignantly searching for meaning and manhood.”[17] • 2011: Barbara Davidson of Los Angeles Times, “For her intimate story of innocent victims trapped in the city’s crossfire of deadly gang violence.”[18][19] • 2012: Craig F. Walker of The Denver Post “for his compassionate chronicle of an honorably discharged veteran, home from Iraq and struggling with a severe case of post-traumatic stress, images that enable viewers to better grasp a national issue”.[20] • 2013: Javier Manzano “for his extraordinary picture, distributed by Agence France-Presse, of two Syrian rebel soldiers tensely guarding their position as beams of light stream through bullet holes in a nearby metal wall”.[21] • 2014: Josh Haner of The New York Times, “for his stirring portraits of the painful rehabilitation of a man badly injured in the Boston Marathon bombings". • 2015: Daniel Berehulak, freelance photographer, The New York Times “for his gripping, courageous pho- tographs of the Ebola epidemic in West Africa.”[22]

2.6.2 References

[1] “Feature Photography”. The Pulitzer Prizes. Retrieved 2013-11-13.

[2] “The Pulitzer Prizes 1995 | Works”. 1997.

[3] “The Pulitzer Prizes 1996 | Works”. 1996.

[4] “The Pulitzer Prizes 1997 | Works”. 1997.

[5] “The Pulitzer Prizes 1998 | Works”. 1998.

[6] “The Pulitzer Prizes 1999 | Works”. 1999.

[7] The Pulitzer Prizes | Works

[8] The Pulitzer Prizes | Works

[9] The Pulitzer Prizes | Works

[10] The Pulitzer Prizes | Works

[11] The Pulitzer Prizes | Works

[12] The Pulitzer Prizes | Works

[13] The Pulitzer Prizes | Works 46 CHAPTER 2. DAY 2

[14] The Pulitzer Prizes | Works

[15] The Pulitzer Prizes | Works

[16] A Vision of History - Slide Show - The New York Times

[17] “The Pulitzer Prizes 2010 | Works”. 2010. Retrieved 15 October 2015.

[18] The Pulitzer Prizes | Citation

[19] “The Pulitzer Prizes 2011 | Works”. 2011. Retrieved 11 Dec 2015.

[20] “The Pulitzer Prizes 2012 | Works”. 2012. Retrieved 15 October 2015.

[21] “The Pulitzer Prizes | Works”. Retrieved 15 October 2015.

[22] “Feature Photography”. The Pulitzer Prizes. Retrieved 20 April 2015.

2.6.3 External links

• Traveling exhibit of Pulitzer Prize winning photographs

2.7 Food Photographer of the Year

Food Photographer of the Year is a set of awards presented by The Food Awards Company and title sponsor Pink Lady Apples, given to amateur and professional photographers for excellence in food photography. The Award sup- ports Action Against Hunger, a humanitarian aid organisation specialising in saving the lives of malnourished children in the world’s poorest countries, and has also supported the Great Ormond Street Hospital Children’s Charity.[1]

2.7.1 Format

The format of the award emphasises a variety of applications of food photography, including portraiture, editorial, advertising and personal blogging. The award’s judging panel has comprised notable figures from the photographic and food industries, including Blur bassist Alex James, television presenter and Observer food critic Jay Rayner, chef James Martin as well as restau- rateurs Tom Aikens, Antonio Carluccio, Bill Granger and Prue Leith.[2] Categories include: Food and Its Place, for images celebrating food’s geographical essence; Food In the Street; Food for Celebration and commemorative cate- gories such as the Philip Harben Award for Food in Action, in memory of Philip Harben, the UK’s first TV chef.[3] The 2013 competition received over 5500 entries; the website attracted visits from 140 countries.[4][5] The Award was created by The Food Awards Company, a food industry events consultancy.[6]

Overall Winner 2013

Alexandrina Paduretu - amateur photographer from Romania. The first prize in 2013 was £5000.[7] Individual category winners receive a trophy, camera equipment and other sponsor-related items. Short-listed entrants have their work displayed at The Mall Galleries prior to the award cere- mony, in London, England.

2.7.2 See also

• List of prizes, medals, and awards

• Food photography

• Food blogging 2.8. FOGTDAL PHOTOGRAPHERS AWARD 47

2.7.3 References

[1] “The Telegraph”. Telegraph Media. Retrieved 8 May 2013.

[2] “Metro”. Food Photographer of the Year 2013. Associated Newspapers. Retrieved 8 May 2013. Alexandrina Paduretu, an amateur photographer from a remote area in Romania, was named the 2013 Pink Lady Food Photographer of the Year at a prestigious awards event held at the Mall Galleries, in London on Tuesday, 23rd April. The 2013 judging panel was chaired by Jay Rayner (journalist, food critic and regular on The One Show) and also included James Martin, Antonio Carluccio, Tom Aikens, Prue Leith and David Loftus (food photographer to Jamie Oliver). They were particularly struck by the integrity and truthfulness of Alexandrina’s image.

[3] Pili & Bry Garcia-Wilkinson. “ArtFeeder”. Food Photographer Of The Year 2012. Retrieved 8 May 2013. The award was in memory of Philip Harben, the first TV chef in the UK, who also started out as a photographer. A passionate communicator of the art of cooking, he encouraged post-war Britain to regain its enthusiasm for food and cookery. The category invited images of people cooking anywhere and everywhere, whether at home, in professional kitchens, over a campfire, or in a ship’s galley.

[4] Keeble, Andy. “Guy’s picture pips the competition”. North Devon Gazette. Archant Community Media. Retrieved 8 May 2013. The international competition, in its second year attracted more than 5,500 images from around the world.

[5] “Metro”. Food Photographer of the Year 2013. Associated Newspapers. Retrieved 8 May 2013.

[6] “Food Awards Company web site”. Retrieved 16 July 2013.

[7] “The Telegraph”. Food Photographer of the Year 2013 competition. Telegraph Media. Retrieved 8 May 2013.

2.7.4 External links

• Official website

• Head judge Jay Rayner on Klaus Einwanger’s entry

• The Food Awards Company

• Photography at DMOZ

2.8 Fogtdal Photographers Award

The Fogtdal Photographers Awards (Danish: Fogtdals Fotografpriser) is the largest awards programme dedi- cated specifically to Danish photography. It was established in 2004 by Danish publisher Palle Fogtdal. The awards programme consists of an Honorary Award, rewarded with DKK 250,000, and five other awards, each rewarded with a travel grant of DKK 50,000. Every year the winners are presented in an exhibition at Fotografisk Center in .[1]

2.8.1 Fogtdal Honorary Award laureates

2.8.2 Fogtdal Award laureates

2009

In 2009 the five winners were:[2]

• Mads Gamdrup

• Tove Kurtzweil

• Finn Larsen

• Trine Søndergaard / Nicolai Howalt

• Signe Vad 48 CHAPTER 2. DAY 2

2008

In 2008 the five winners were:[1]

• Liv Carlé Mortensen

• Torben Eskerod

• Peter Funch

• Kajsa Gullberg/Fryd Frydendahl

• Camilla Holmgren

2.8.3 See also

• Photography in

2.8.4 External links

• Fotografisk Center

2.8.5 References

[1] “Fogtdals Fotografpriser 2008”. Selskabet for Dansk Fotografi. Retrieved 2010-02-03.

[2] “Fogtdal Fotografpriser 2009”. Fotografisk Center. Retrieved 2010-02-03.

2.9 Hasselblad Award

This article is about the Hasselblad Award. For the Hasselblad Masters Award, see Hasselblad Masters Award. The Hasselblad Foundation International Award in Photography is an award granted to “a photographer rec- ognized for major achievements”. The award – and the Hasselblad Foundation – was set up from the estate of Erna and Victor Hasselblad. Victor Hasselblad was the inventor of the Hasselblad Camera System. The award includes a cash prize of SEK 1,000,000, a gold medal, diploma, and an exhibition at the Hasselblad Center in the Göteborg Museum of Art in Gothenburg, Sweden.

2.9.1 Winners

• 1980 Lennart Nilsson.[1]

• 1981 Ansel Adams.[2]

• 1982 Henri Cartier-Bresson.[3]

• 1984 Manuel Álvarez Bravo.[4]

• 1985 Irving Penn.[5]

• 1986 .[6]

• 1987 Hiroshi Hamaya.[7]

• 1988 Édouard Boubat.[8]

• 1989 Sebastião Salgado.[9] 2.9. HASSELBLAD AWARD 49

Wolfgang Tillmans, 2015

• 1990 William Klein.[10] • 1991 Richard Avedon.[11] • 1992 Josef Koudelka.[12] • 1993 .[13] • 1994 Susan Meiselas.[14] • 1995 Robert Häusser.[15] 50 CHAPTER 2. DAY 2

• 1996 Robert Frank.[16]

• 1997 Christer Strömholm.[17]

• 1998 William Eggleston.[18]

• 1999 Cindy Sherman.[19]

• 2000 Boris Mikhailov.[20]

• 2001 Hiroshi Sugimoto.[21]

• 2002 Jeff Wall.[22]

• 2003 Malick Sidibé.[23]

• 2004 Bernd and Hilla Becher.[24][25]

• 2005 Lee Friedlander.[26]

• 2006 David Goldblatt.[27]

• 2007 .[28]

• 2008 Graciela Iturbide.[29]

• 2009 Robert Adams.[30]

• 2010 Sophie Calle.[31]

• 2011 Walid Raad.[32][33]

• 2012 Paul Graham.[34][35]

• 2013 .[36]

• 2014 .[37][38]

• 2015 .[39]

• 2016 Stan Douglas

2.9.2 References

[1] “Lennart Nilsson”. Hasselblad Foundation. Retrieved 4 March 2015.

[2] “Ansel Adams”. Hasselblad Foundation. Retrieved 4 March 2015.

[3] “Henri Cartier-Bresson”. Hasselblad Foundation. Retrieved 4 March 2015.

[4] “Manuel Alvarez Bravo”. Hasselblad Foundation. Retrieved 4 March 2015.

[5] “Irving Penn”. Hasselblad Foundation. Retrieved 4 March 2015.

[6] “Ernst Haas”. Hasselblad Foundation. Retrieved 4 March 2015.

[7] “Hiroshi Hamaya”. Hasselblad Foundation. Retrieved 4 March 2015.

[8] “Edouard Boubat”. Hasselblad Foundation. Retrieved 4 March 2015.

[9] “Sebastião Salgado”. Hasselblad Foundation. Retrieved 4 March 2015.

[10] “Previous Award Winners”. Hasselblad Foundation. Retrieved 18 August 2016.

[11] “Richard Avedon”. Hasselblad Foundation. Retrieved 4 March 2015.

[12] “Josef Koudelka”. Hasselblad Foundation. Retrieved 4 March 2015.

[13] “Sune Jonsson”. Hasselblad Foundation. Retrieved 4 March 2015. 2.10. HAMDAN INTERNATIONAL PHOTOGRAPHY AWARD 51

[14] “Susan Meiselas”. Hasselblad Foundation. Retrieved 4 March 2015.

[15] “Robert Häusser”. Hasselblad Foundation. Retrieved 4 March 2015.

[16] “Robert Frank”. Hasselblad Foundation. Retrieved 4 March 2015.

[17] “Christer Strömholm”. Hasselblad Foundation. Retrieved 4 March 2015.

[18] “William Eggleston”. Hasselblad Foundation. Retrieved 4 March 2015.

[19] “Cindy Sherman”. Hasselblad Foundation. Retrieved 4 March 2015.

[20] “Boris Mikhailov”. Hasselblad Foundation. Retrieved 4 March 2015.

[21] “Hiroshi Sugimoto”. Hasselblad Foundation. Retrieved 4 March 2015.

[22] “Jeff Wall”. Hasselblad Foundation. Retrieved 4 March 2015.

[23] “Malick Sidibé". Hasselblad Foundation. Retrieved 4 March 2015.

[24] “Bernd and Hilla Becher”. Hasselblad Foundation. Retrieved 4 March 2015.

[25] Gefter, Philip (26 June 2007). “Bernd Becher, 75, Photographer of German Industrial Landscape, Dies”. The New York Times. Retrieved 4 March 2015.

[26] “Lee Friedlander”. Hasselblad Foundation. Retrieved 4 March 2015.

[27] “David Goldblatt”. Hasselblad Foundation. Retrieved 4 March 2015.

[28] “Nan Goldin”. Hasselblad Foundation. Retrieved 4 March 2015.

[29] “Graciela Iturbide”. Hasselblad Foundation. Retrieved 4 March 2015.

[30] “Robert Adams”. Hasselblad Foundation. Retrieved 4 March 2015.

[31] “Sophie Calle”. Hasselblad Foundation. Retrieved 4 March 2015.

[32] “Walid Raad – 2011 Hasselblad Award Winner”. Hasselblad Foundation. Retrieved 4 March 2015.

[33] “Alumnus Walid Raad Receives 2011 Hasselblad Award in Photography”. University of Rochester. 17 March 2011. Retrieved 4 March 2015.

[34] “Paul Graham – 2012 Hasselblad Award Winner”. Hasselblad Foundation. Retrieved 4 March 2015.

[35] O'Hagan, Sean (8 March 2012). “Photographer Paul Graham wins 2012 Hasselblad award”. The Guardian. Retrieved 4 March 2015.

[36] “Joan Fontcuberta – 2013 Hasselblad Award Winner”. Hasselblad Foundation. Retrieved 4 March 2015.

[37] “Ishiuchi Miyako – 2014 Hasselblad Award Winner”. Hasselblad Foundation. Retrieved 4 March 2015.

[38] “Hasselblad Award 2014”. Royal Photographic Society. 14 April 2014. Retrieved 5 March 2015.

[39] “Wolfgang Tillmans – 2015 Hasselblad Award Winner”. Hasselblad Foundation. Retrieved 4 March 2015.

2.9.3 External links

• Official website

2.10 Hamdan International Photography Award

Hamdan International Photography Award (HIPA) — is an international photographic award, founded in 2011 under the patronage of crown prince of Dubai sheikh Hamdan bin Rashid bin Mohammed al Maktoum.[1][2][3] The annual total prize money $400000 (US Dollars, in 2013 total prize money was $389000) — the largest monetary prize among photographic awards.[2][4][5][6][7][8] The award is open to anyone.[9] In the first season of competition, 5,600 photographers were involved from 99 countries, in the second (2012-2013) - 19 thousand people from 121 countries.[8] 52 CHAPTER 2. DAY 2

2.10.1 Award categories

2.10.2 Winners

2.10.3 References

[1] “HIPA photographic portrait prize open for entries”. British Journal of Photography. Apptitude Media Limited. 161 (7831): 7. 2014.

[2] Padley, Gemma (17 March 2014). “HIPA announces prize winners at grand ceremony”. British Journal of Photography. Retrieved 1 August 2014.

[3] Newman, Cheryl (21 October 2013). “International Photography Award: Hamdan bin Mohammed bin Rashid Al Mak- toum”. The Daily Telegraph. Retrieved 1 August 2014.

[4] Gulf News

[5] Cheryl Newman, "Creating the future of photography", The Daily Telegraph, 26 March 2014.

[6] The Daily Telegraph

[7] Daily Mail

[8] ria.ru

[9] 24horas.cl: open for professional photographers as well for amateurs

[10] Love of the Earth, PDF available from this web page of HIPA.

[11] Beauty of Light, PDF available from this web page of HIPA.

[12] brochure General

[13] brochure Black & White

[14] Creating the Future, PDF available from this web page of HIPA.

[15] brochure Street Life

2.10.4 External links

• Official website • Ceremony 2014

• Press conference Gujarat Photo Video Trade Fair Chapter 3

Day 3

3.1 24h.com

24h (24h.com) is a photography program established by the French photography magazine Photographie.com and kicked off in October 2010 commissioning photographers to document specific events around the globe.[1] During each event, selected photographers are given 24 hours to express their talent and explore and photograph whatever interests them. Selected shots are disseminated live on the 24h.com website. This experiment in “neo-media” enables a photographer’s work to be posted very quickly. Events covered by 24h.com include:

• 2 October 2010: Nuit blanche in Paris[2] • 9 October 2010: Millennium[3] • 23 April 2011: (on the occasion of the opening of the Caochangdi Photo Spring festival)[4][5][6] • 11 September 2011: 10 Year Commemoration 9-11 • 12/13 November 2011: Le Paris de la Photo

According to founder Didier de Faÿs “24h is the press experience which upsets the usual codes of journalism and tries to show people a new approach of photography. 24h usually works with local photographers and brings an authentic vision of the culture and the populations”. Photographers participating in 24h-projects include Claudius Schulze, Jane Evelyn Atwood, Jean-Christian Bourcart, Patrick Chauvel, Olivier Laban-Mattei, Reza Deghati or Manuel Rivera-Ortiz.[7]

3.1.1 References

[1] Photographie.com

[2] Riva Press

[3]

[4] The Guardian

[5] Aujourd'hui la Chine

[6] TimeOut Beijing

[7] 24h.com Photographers

3.1.2 External links

• 24h Official Website (with image galleries)

53 54 CHAPTER 3. DAY 3

3.2 Agence Vu

Agence Vu, (stylised as Agence VU and Agence VU') is a photography agency established in 1986 that has head- quarters on Rue Saint-Lazare in Paris. It works with both photojournalists and art photographers, not specialising in one field of photography.[1][2] It sells photographs, produces books, exhibitions and has a gallery called Gallery Vu (stylised as Gallery VU'). Xavier Soule is its president and director.[3]

3.2.1 History

Agence VU was established by fr:Christian Caujolle[4] and fr:Zina Rouabah[1][2] in 1986. It is named after France’s first illustrated magazine, Vu (stylised as VU), of the 1920s.[5] It was sold in 1997 to Abvent group.

3.2.2 Members

• fr:Michael Ackerman[6]

• Martina Bacigalupo[6]

• Massimo Berruti[7]

• Alain Bizos[6]

• Bruno Boudjelal[6]

• Philippe Brault[6]

• Juan Manuel Castro Prieto[6]

• Kathryn Cook[6]

• Denis Dailleux[6]

• Jean-Robert Dantou[6]

• fr:Denis Darzacq[6]

• fr:Pierre-Olivier Deschamps[6]

• Bertrand Desprez[6]

• Miquel Dewever-Plana

• Stephen Dock[6]

• Claudine Doury[6]

• Stéphane Duroy[8]

• Gilles Favier[6]

• Maia Flore[6]

• Cédric Gerbehaye[9][10]

• Stanislas Guigui[6]

• Liz Hingley[1]

• Marin Hocq[6]

• fr:Rip Hopkins[6]

• fr:Françoise Huguier[6]

• Steeve Iuncker[11] 3.2. AGENCE VU 55

• fr:Ouka Leele[6]

• José Manuel Navia[6]

• Darcy Padilla[6]

• Ian Teh[6]

• Pieter Ten Hoopen[6]

• fr:Lars Tunbjörk[12]

• Gaël Turine[6]

• Ad Van Denderen[6]

• fr:Michel Vanden Eeckhoudt[6]

• Paolo Verzone[6]

• Munem Wasif[6]

• Vanessa Winship[6]

• Hugues de Wurstemberger[6]

• Michael Zumstein[6]

3.2.3 Gallery VU'

Agence Vu has a gallery, Gallery Vu' (stylised as Gallery VU'), at the same location as the agency. It opened in 1998 and has six exhibitions each year.

3.2.4 Publications

Books

• Agence VU, 15 ans. Martinière, 2001.

• VU' à Paris. Panini, 2006. ISBN 2845387121. French text. Preface by fr:Christian Caujolle, text by Magali Jauffret, photographs by 18 Agence Vu photographers.

• VU' à Orsay. Panini; Musée d'Orsay, 2006. ISBN 2905724692. English and French text. Introduction by Serge Lemoine, text by Christian Caujolle, photographs by Gabriele Basilico, Rip Hopkins, Richard Dumas, Juan Manuel Castro-Pietro and Stanley Greene.

• 80+80 Photo_Graphisme. Paris: Filigranes; Aman Iman, 2006. ISBN 978-2-350460-69-7. With Anatome graphic design agency.

• Agence VU' Galerie. Arles, France: fr:Actes Sud, 2006. ISBN 978-2-7427-6068-8. Photo Poche No. 107.

• Circonstances particulières. Arles, France: Actes Sud, 2007. ISBN 978-2-7427-6873-8. By Christian Caujolle.

• VU MAG. Aman Iman, 2009. ISBN 978-2732429250. 56 CHAPTER 3. DAY 3

VU' Mag

• VU Mag. Paris: Filigranes, 2008. ISBN 2350461327. Text by Eric Audinet, Christian Caujolle, Naxto Checa, Catherine Coleman, Gösta Flemming, Hélène Pinet and Cédric de Veigy.

• VU Mag 2: Japon. Paris: Filigranes; Aman Iman, 2008. ISBN 2350461483. Text by Anne Biroleau, Irène Attinger, Marc Feustel, Claude Leblanc, Manfred Heiting and Antonin Potoski.

• VU Mag 3: au Cinéma. Paris: Filigranes; Aman Iman, 2009. ISBN 2953391002. Text by Serge Daney, Serge Toubiana, Dytivon, David Marcilhacy, Christian Caujolle, Benoît Rivero, Richard Dumas and Stéphane Raymond.

• VU Mag 4: émergence. Agence et Galerie VU'; Aman Iman, 2009. ISBN 2953391010. Text by Amin Maalouf, Mustapha Chérif, Yasmine Eid-Sabbagh, Atiq Rahimi, Michael Onfray, Jean-Claude Carrière and Isabelle Eshraghi.

• VU Mag 5 Collections. VU’ Editions; Aman Iman, 2010. ISBN 2953391045. Text by Pierre-Alexis Dumas, Philippe Vayssettes, Aline Pujo, Pascal Ordonneau, François Lapeyre and others.

3.2.5 References

[1] “Prestigious appointment for photography graduate”. University of Brighton. 19 December 2012. Retrieved 23 February 2015.

[2] “Une agence de photographes plus qu'une agence de photo. (Agence Vu).”. Libération. 15 December 1995. Retrieved 23 February 2015.

[3] “Lens Culture Exposure Awards 2014”. LensCulture. Retrieved 23 February 2015.

[4] Ruka, Elīna (20 August 2012). “Interview with Christian Caujolle”. Contemporary culture centre KultKom, society. Retrieved 23 February 2015.

[5] “Photographers Agency”. Agence Vu. Retrieved 24 February 2015.

[6] “Photographers”. Agence Vu. Retrieved 23 February 2015.

[7] Walt, Vivienne (18 November 2011). “Lashkars in Pakistan by Massimo Berruti”. Time. Retrieved 23 February 2015.

[8] “Chute du mur de Berlin : Stéphane Duroy, photographe à l'agence Vu, se souvient”. Euronews. 9 November 2009. Retrieved 23 February 2015.

[9] Herman, Elizabeth (23 October 2012). “Cédric Gerbehaye’s : A Country in Flux”. Time. Retrieved 23 February 2015.

[10] Gerbehaye, Cédric (10 October 2013). “Broken Hopes in the West Bank”. Time. Retrieved 23 February 2015.

[11] Iuncker, Steeve (10 April 2013). “Yakutsk: The Coldest City on Earth”. Time. Retrieved 23 February 2015.

[12] Sanburn, Josh (13 June 2013). “Cremation: The New American Way of Death”. Time. Retrieved 23 February 2015.

3.2.6 External links

• Official website

• Galerie VU'

• La Boutique VU 3.3. ALLSPORT 57

3.3 Allsport

The Allsport photography agency was started in 1968 by sports photographer Tony Duffy. It grew to become ar- guably the most highly respected sport photo agency in the world, and its photographers won numerous awards until acquisition by Getty Images in 1998. Until 1968 Tony Duffy was an accountant and part-time photographer who shot track and field athletics in his spare time. He paid for himself to go to the 1968 Olympic Games in Mexico City. At the 1968 Olympic Games, Bob Beamon broke the World Record in the Long Jump with a leap of 8m 90 or 29 ft 2½ inches. Crouched at the end of the long jump pit was Tony Duffy. Duffy took a picture which, through wide re-production, is perhaps the definitive shot of this remarkable jump.[1] The Allsport agency was founded on the strength of his photograph of Beamon.

3.3.1 1970s

Tony Duffy was joined in the 1970s by photographers John Starr, Don Morley, and in 1971, Steve Powell. Powell would go on to become Group Managing Director. Morley specialised in shooting motorsport, specifically motor- bikes, and Starr took studio shots. Adrian Murrell joined in the mid seventies and became the agency’s Cricket specialist. Duffy’s innovative feature 'Sport and the Body' brought his name and the name of the agency to a wider audience when published by the Sunday Times in 1973. The use of naked sports stars caused uproar and brought nationwide publicity.

3.3.2 1980s

The Allsport agency experienced tremendous growth throughout the 1980s, and in 1983 Tony Duffy moved to Cali- fornia to open the Allsport USA offices in Santa Monica. In 1985 he was joined by Mike Powell, the younger brother of Steve. David Cannon joined in 1982 as a general sport photographer specialising in football and golf. With Duffy working stateside, Bob Martin assumed the role of leading athletics photographer in Europe. Younger photogra- phers such as Mike King, Simon Bruty, Gray Mortimore, Mike Stahlschmidt, Jonathan Daniel and Pascal Rondeau continued to create stunning and thought-provoking sport images. In 1988 Allsport was appointed as Official Photographer to the International Olympic Committee. The first book in the Visions of Sport series was published to celebrate 20 years of Allsport, and included all of the famous images shot by Allsport photographers in its first 20 years.

3.3.3 References

[1] Rosenbaum, Mike. “An Illustrated History of the Long Jump”. Retrieved 20 April 2011.

3.4 Arab Images Foundation

Based on an idea by Samer Mohdad author and photographer, the Arab Images Foundation was officially registered in Beirut, Lebanon in 2004. The Arab Images Foundation has informally started its activities much earlier through personal involvement of its founding members. As soon as 1993, it reintroduced artistic photography in Lebanon by organizing the first post conflict photography exhibition during the first publication of the book ‘’les enfants de la guerre, Liban 1985-1992’’ (Children of war, 1985–1992). The Arab Images Foundation members’ activities have centered on creating an institutional collection of regional historical photographs in in 2000. Nowadays the main activity of the Arab Images Foundations wraps around preserving and safe keeping of the Arabic photogra- phy heritage. This purpose materialises by producing and realising books and photography exhibitions, by promoting, rehabilitating, conservation and diffusing historical and contemporary works. The Arab Images Foundation is a non-profit organization dedicated to the safeguard of modern and contemporary , that has been rendering services in the field of civil society development, by pointing the lights on the daily life of local populations in the Arab World. By using photography as a medium of communication, it aims at showing what is out of the media’s focus. 58 CHAPTER 3. DAY 3

The MES ENTENTES[1] project sets itself within the framework of AFKAR, a project led by the European Com- munity and overseen by the Office of the Minister of State for Administrative Reform (OMSAR) in collaboration with the European Delegation in Lebanon. The project is carried through by the Arab Images Foundation (AIF) and aims at analyzing the return of displaced people in the region of Mount Lebanon, more specifically in the cazas of the Chouf, Aley, Baabda and Metn.

3.4.1 References

[1] mesententes.com

3.4.2 External links

• Official site

3.5 Azerbaijan Photographers Union

Azerbaijan Photographers Union is the public, creative, non-profit organization, based on the principles of open society, voluntariness and self-government. It acts under the Constitution of the Azerbaijani Republic and Charter of the Union. The Azerbaijan Photographers Union (APU) was registered in the Ministry of Justice of the Azerbaijan Republic on the 20 November 1998 by the certificate number 1073. At the beginning of 1990 year, with the collapse the USSR, all working structures became worthless and it became apparent that there is a need of an organization in which experienced and novice photographers, professionals and amateurs, in a word all those who are devoted to photographic art would join together. At that time a serious, uniting moment in our organization’s establishing became preparation and holding of the “Pho- tographers of Azerbaijan” exhibition in France, Nantes city in November 1995, where 24 photographers’ creativity, 105 works, were presented. This exhibition’s success has exceeded all expectations – photographers have seen a keen interest in their creative work and profession, public conscience has changed and attention to this splendid profession increased. Then, after the exhibition in France, there were 3 years of debates, the charter’s complying, getting over different obstacles, and the initiative group was formed which got this job done - registered the Union officially, although actually the Union already acted from 1994 on a voluntary basis, that is without legal status. The main purposes and tasks of the APU are promotion to the national development of photo art, popularization of its achievements in the country and abroad, preservation and creative use of photographic heritage. With the purpose of promotion and development of photo art the Union organizes exhibitions, competitions, festivals, master classes, conferences and symposiums with the participation of the Azerbaijani and foreign photographers, as well as promotes the amateur movement. At the present day the Azerbaijan Photographers Union starts the new stage of its development. There is a lot of thing to be done as in organizational aspect so in the forming of the organization’s image. Partnership relations with all interested parties should be established, as well as resource base and conditions for professional and creative activity of the Union’s talented members formed. 10 years passed from the APU’s establishment. During this period of time the members of the creative union have organized and taken part in more than 100 exhibitions, including more than 30 in foreign countries (USA, Great Britain, France, , Germany, Belgium, Ukraine, , Russia, Mongolia, Uzbekistan, Kazakhstan, Georgia etc.). Chairman of Board is Mirnaib Hasanoglu

3.5.1 External links

• www.photographer.az 3.6. BANGLADESHI PHOTOGRAPHERS 59

3.6 Bangladeshi Photographers

Bangladeshi Photographers (BP) is a community of photographers from Bangladesh living at home and abroad. It was founded in September 2005 as an online group in Flickr.

3.6.1 Background

Although the primary goal was to provide a worldwide online platform for all the Bangladeshi photo artists, the group gradually evolved and adopted a cross-platform approach, providing support both as an online and a real world photography community. BP has actively organized and participated in real world exhibitions, competitions and community meet-ups. Till date, approximately 4,000 members (and increasing) have joined the group online. A large number of these members eventually meet during various events related to photography hosted by BP. The motto of BP is “We share, we care, we inspire!”. BP regularly organizes photo outings (popularly known as photowalks), workshops, exhibitions and knowledge sharing sessions.

3.6.2 Annual events

BP has two regular annual events. '60 Shots’ is an exhibition where young photographers have an opportunity to showcase their work. 'BP Challenge' is an exhibition cum competition where photographers of all ages can participate in three different age categories to win several cash prizes.

60 Shots

The name '60 Shots’ has been coined based on the fact that sixty photographs are curated for this exhibition from the images submitted by young Bangladeshi Photographers. An age limit of 28–30 is usually set. In September 2009, the first season of 60 shots was organized in 'Chhobir Haat' premises of Fine Arts Institute in the University of Dhaka. Fifty young photographers participated in the exhibition with their images depicting different aspects of their homeland.[1] The second season of '60 Shots’ took place in February 2011 in DRIK picture gallery, Dhaka. Again, this exhibition featured sixty images from sixty young photographers. This exhibition ran for five days and was inaugurated on 25 February by Bangladeshi artists Shishir Bhattacharjee and Ferdousi Priyobhashini.[2]

BP Challenge

Bangladeshi Photographers (BP) Challenge challenges photographers to compete with their best images. This juried competition is usually held in three age categories encompassing both newbies and veterans in the field of photography. The best photographs are exhibited and three photographers from different age categories are awarded with cash prizes. The first season of BP Challenge was announced in February 2010. From over 275 submissions, judges chose 50 photographs and declared three winners in different age categories. The exhibition was inaugurated on August 10, 2011 in the Dhaka Art Center. Photographers Mr. David Barikder and Mr. GMB Akash along with photojournalist Mr. Kawser Mahmud were special guests in the opening ceremony. Thirty more photographs from the veteran photographers were also exhibited along with the competing entries.[3][4] BP Challenge – season II opened on May 25, 2012 in Dhaka Art Center. The challenge presented around ninety frames which consisted of competing shots and works from prominent photographers of Bangladesh.[5][6]

3.6.3 Regular online events

BP continues several online events in its Flickr platform. Among these BP Photo Marathon, BP Photo Olympiad and Feature Photographer of the month are the most significant ones. 60 CHAPTER 3. DAY 3

3.6.4 Photowalks and member meet-ups

‘Photowalk’ is a popular term for the event where photographers in groups go to different places to capture variegated aspects of life. Although organized frequently, such walks don’t have any specific schedule. Sometimes a moderator of BP can call upon the interested photographers in an interesting location, or members can themselves organize such walks under the banner of BP.

3.6.5 Other exhibitions

While holding regular photography related activities, BP also arranges special exhibitions for good causes. For ex- ample in January 2008, an exhibition was organized in Russian Cultural Center to support the victims of Cyclone Sidr in remote parts of the country.[7] The exhibition was inaugurated by poet and novelist Syed Shamsul Haque. The revenue generated from the exhibition print sales was donated to the Sidr victims. In February, the same exhibition was continued in Fine Arts Institute of Dhaka University to aid in the treatment of poet Samudra Gupta. 'Globalization: A Bipolar Story', an exhibition bringing photographers from Bangladesh and United States was a project of BP. This was a collaborative venture with Massachusetts Institute of Technology (MIT) which consisted of two exhibitions of the same set of photographs in both Bangladesh and USA. The project was funded by Council for the Arts, MIT.[8][9][10][11] The exhibition presented a distinct yet broad picture of globalization as a phenomenon influencing the local cultures and lifestyles of two completely different countries. Young Bangladeshi photographers studying in local universities and MIT participated in this exhibition.

3.6.6 References

[1] “60 Shots: Chobir-Haat, Dhaka University”. RisingStars (The Daily Star). August 2, 2009.

[2] Sabhanaz Rashid Diya (February 4, 2011). “A Sip of Picturesque Madness”. Star Campus (The Daily Star).

[3] “Feature on BP Challenge first season in The Star Campus magazine”.

[4] “Spotlight on first season of BP Challenge in The Star Campus Magazine”.

[5] “Feature on BP Challenge season II in The Daily Star Campus”.

[6] “Feature on BP Challenge season II in The Daily Independent”.

[7] “Highlights of Sidr Aid Exhibition in bangladeshtraveller.com”.

[8] “EXHIBIT REVIEW Tradition and modernity-Globalization: A Bipolar Story in The Tech online edition”.

[9] “Spotlight on Globalization: a bipolar story in The Daily Star Campus”.

[10] “News of the exhibition “Globalization: a bipolar story” in Dhaka Art Center Website”.

[11] “Globalization: a bipolar story covered in prioy.com”.

3.7 Black Star (photo agency)

Black Star, also known as Black Star Publishing Company, was started by refugees from Germany who had established photographic agencies there in the 1920s. Today it is a New York City-based photographic agency with offices in London and in White Plains, New York. It is known for photojournalism, corporate assignment photography and services worldwide. It is noted for its contribution to the history of photojournalism in the United States.[1] It was the first privately owned picture agency in the United States, and introduced numerous new techniques in photography and illustrated journalism. The agency was closely identified with Henry Luce's magazines Life and Time.[2] 3.7. BLACK STAR (PHOTO AGENCY) 61

3.7.1 History

Black Star was formed in December 1935.[3] The three founders were Kurt Safranski, Ernest Mayer and Kurt Ko- rnfeld. In 1964, the company was sold to Howard Chapnick.[4] The three founders; Safranski, Mayer and Kornfeld were German Jews who fled Berlin during the Nazi regime. They brought with them a wealth of knowledge and some new ideas for the American press.[5] Safranski was a graphic designer and editor for the Berliner Illustrirte Zeitung (BIZ), which was part of the Ullstein publishing house. During the early 1930s, Ullstein Verlag was Germany’s largest publisher of books, newspapers and magazines. BIZ’s circulation was over one million. While an editor at BIZ, Safranski was using two or more photos placed together to create a story which surpassed the need for text. Not only was this visually appealing, but it attracted more readers as well.[6] This drew the attention of the top American mass media publishers. William Randolph Hearst, a powerful media mogul of the day, was intrigued by the European advances in photography and printing. Hearst invited Safranski over to the United States to produce a dummy magazine using photos to tell the stories. Hearst liked the proposed idea but initially didn't move forward on it.[7] Mayer then brought to idea to the experimental editorial department of Henry Luce, the largest publisher of the day, with periodicals such as Time and Fortune. Luce collaborated with Black Star to produce a new weekly magazine called Life. Life would use artistic photos in a new format. These pictures would be large and take up the majority of the page. They could capture not only a moment in time, but an emotion and story that would be paramount to the text. Prior to this, photojournalism in the U.S. was relegated to regional newspapers where text was more important than photos. Photos would sometimes be staged or posed or re-created to help a news article. But this all changed with the advent of the 35mm camera. The Leica, which was developed in Germany in 1925, was a small and easier to use camera. Advances in half-tone printing made using photographs in periodicals easier.[8] Safranski and Mayer were already familiar with photographers who used this new technology to capture more candid moments. Mayer owned the publishing company and photo agency, Mauritius, in Berlin. Forced by the Nazis to sell his business, he brought negatives, and connections to European photographers with him to the United States. The contacts included the notable photographers Dr. Paul Wolff and Fritz Goro. These contacts with European-based photographers, and the photographic negatives he brought with him, became the foundation for the new business.[3] Kornfeld was a literary agent back in his native Germany where he had a talent for bringing together authors and editors. Originally the idea for the company was to be a publishing house and a photo agency just like Mayer’s Mauritius. However, the publishing business never took off and more profit was to be found in selling photos. Even though he had no experience with photography, Kornfeld became Black Star’s best picture agent. He had a talent for creating rapport between client and artist. Therefore, Kornfeld handled their most important client, Life magazine, providing up to 200 photos a week. Although Life was the agency’s most high-profile client, Black Star also served other periodicals, newspapers, adver- tisers and publishers. Its stock of iconic photography represents a pictorial history of the 20th century beginning in the 1930s.[9] This archive was anonymously donated to Ryerson University in 2005.[10] Noted Black Star photographers include Robert Capa, Andreas Feininger, Germaine Krull, Philippe Halsman, Martin Munkácsi, W. Eugene Smith, Marion Post-Wolcott, Bill Brandt, Henri Cartier-Bresson, Charles Moore, Lee Lock- wood and Mario Giacomelli. In 2003, Black Star’s archive of 292,000 prints, created by more than 6,000 photographers was acquired by Jimmy Pattison, a Canadian businessperson. In 2005, he donated it to Ryerson University in Toronto. In 2012, the Ryerson Image Centre was opened to house the collection.[11] Corporate assignment photography has become the largest segment of Black Star’s business. The company claims to have captured more photographic images for more annual reports than any other photo agency or service.

3.7.2 References

[1] Neubauer, Hendrik (1997). Black Star: 60 years of photojournalism. Köln: Könemann. p. 6. ISBN 3-89508-250-3.

[2] C. Zoe Smith, “Black Star Picture Agency: Life’s European Connection,” Journalism History (1986), 13#1, pp. 19-25.

[3] Torosian, Michael (2013). Black Star : the Ryerson University historical print collection of the Black Star Publishing Company : portfolio selection and chronicle of a New York photo agency. Toronto: Lumiere Press. p. 39. ISBN 978-0-921542-18-6.

[4] “Howard Chapnick, 74, Photo Agency Chief”. New York Times. May 29, 1996. Retrieved September 4, 2015. 62 CHAPTER 3. DAY 3

[5] Smith, C. Zoe (2013). History of the Mass Media in the United States an Encyclopedia. Hoboken: Taylor and Francis. p. 62. ISBN 1135917426.

[6] Chapnick, Howard (1994). Truth Needs No Ally. University of Missouri Press. p. 115. ISBN 0826209556.

[7] Pizzitola, Louis (2002). Hearst Over Hollywood: Power, Passion, and Propaganda in the Movies. Columbia University Press. p. 306. ISBN 0231116462.

[8] Collins, Ross. “A Brief History of Photography and Photojournalism”. North Dakota State University. Retrieved September 4, 2015.

[9] Carlebach, Michael (2005). Encyclopedia of Twentieth-CentuPphotography. New York: Routledge. p. 62. ISBN 1579583938.

[10] Torosian, Michael (2013). Black Star : the Ryerson University historical print collection of the Black Star Publishing Company : portfolio selection and chronicle of a New York photo agency. Toronto: Lumiere Press. ISBN 978-0-921542-18-6.

[11] Maclean’s magazine, “Ryerson University wishes upon a shooting Black Star” by Sara Angel, September 27, 2012

3.7.3 Further reading

• Smith, C. Zoe. “Black Star Picture Agency: Life’s European Connection”, Journalism History (1986), 13#1, pp. 19–25.

3.7.4 External links

• Official website

• The Black Star Collection Lives On

• Ryerson University: Black Star Historical Black & White Photography Collection

• Matt Lutton, “Intern Diaries: Black Star” Sports Shooter, September 6, 2005

3.8 British Institute of Professional Photography

The British Institute of Professional Photography (BIPP) is a not-for-profit organisation for professional photographers in the United Kingdom. Members must be qualified professionals, and agree to be bound by the BIPP’s code of con- duct.[1] The Institute was formed as The Professional Photographers’ Association on 28 March 1901, at a meeting at a hotel in Fleet Street, and has since changed its name three times, including Institute of Incorporated Photographers.[2] From 100 members at its outset, the institute now has 3,000 members.

3.8.1 References

[1] “BIPP British Institute of Professional Photography”. British Institute of Professional Photography. 2012-04-25. Retrieved 2012-07-16.

[2] Hannavy, John, Images of a Century. The Centenary of the British Institute of Professional Photography 1901-2001, Ware: BIPP, 2001.

3.8.2 External links

• Official website 3.9. COCA BRAUN 63

3.9 Coca Braun

Coca Braun (stylized as coca braun) is an international photographic cooperative owned by its photographer- members, with offices located in Amsterdam, Munich and Berlin.

3.9.1 Founding of Agency

Originally, coca braun appeared as a German record label based in Munich, Bavaria. The label was founded by Lucas Hillen in 2003. Its members included Robin Thomas, Lucas Hillen and Wyn Evans (currently of aeron). Later on coca braun expanded into fashion best known for producing T-shirts and baseball caps. In September 2010, coca braun announced its formation of a photography pool.

3.9.2 Election of new members coca braun photographers meet once a year, during the second weekend in September, in Amsterdam or Berlin, to discuss coca braun affairs. One day at this meeting is set aside for considering and voting on potential new members’ portfolios.

3.9.3 Exhibition Policy

Every three month coca braun sets off billboard campaigns. 250 posters are spread all over Amsterdam and Berlin then. Most of the time, they depict artwork of one of the cooperation’s new members adding the slogan: “show your work at cocabraun.com”. The cooperative also publishes a quarterly photography magazine called PINGO, which established a reputation as a training ground for fresh talent. Photographers Mels van der Mede, Martin Fengel, Robin Thomas, Jörg Koopmann, Lucas Hillen and Joseph Trippi have produced work for PINGO.

3.9.4 Pingo Magazine

• PINGO I with Lucas Hillen, Saskia Steinmann, Robin Thomas published by coca braun press (February 2008).

• PINGO II with Susi Oestreicher, Lucas Hillen, Saskia Steinmann, Robin Thomas published by coca braun press (September 2008).

• PINGO portraits I with Mels van der Mede, Martin Fengel, Jörg Koopmann, Nora Kapfer, Lucas Hillen, Saskia Steinmann, Robin Thomas, Joseph Tripi published by coca braun press (January 2010).

• PINGO portraits II with Tommy v. Poschinger, Frederic Kastelein, Mels van der Mede, Martin Fengel, Nora Kapfer, Lucas Hillen, Annahita Kamali, Robin Thomas published by coca braun press & papa nuevo books(April, 2010).

• PINGO nature with Sara Glahn, Calypso Revillon , Maria Zillich, Thomas Helmbold, Mels van der Mede, Martin Fengel, Nora Kapfer, Lucas Hillen, Dietmar Gunne published by coca braun press & papa nuevo books (January 2011).

3.9.5 See also

• cocabraun.com

3.9.6 References

1. coca braun policy 64 CHAPTER 3. DAY 3

3.10 Contact Press Images

Contact Press Images is an international photojournalism agency founded in 1976 in New York City by French- British journalist and editor Robert Pledge and American photojournalist David Burnett, and focused on independent production on photo journalism. Annie Leibovitz joined Contact Press in 1977. In addition to producing monographs and exhibitions, some of Contact’s photographers have been awarded prizes in photojournalism, including honors from the World Press Photo, National Press Photographers Association, and Overseas Press Club organizations.

3.10.1 Books by Contact Press Images

• “Kalachnikov: L'AK47 à la conquete du monde”, by Contact Press Images, Stanislas De Haldat, Based on Photos by Contact Photojournalist J.B. Diederich, The first Westerner to visit Kalachnikov at home in Illevsk, Editions La Sirene (1993). • “Le cercle des intimes: François Mitterrand par ses proches”, by Caroline Lang, Robert Pledge, Michel Baverey, Editions La Sirene (1995), ISBN 2-84045-133-6 • “Eleven: Witnessing the World Trade Center, 1974 - 2001”, by Contact Press Images, Robert Pledge (editor), Universe Publishing (September 2002), ISBN 0-7893-0830-4 • “Pope John Paul II: His Remarkable Journey”, by Contact Press Images, Robert Pledge (editor), de.MO ( July 2005), ISBN 0-9742836-3-0

3.10.2 Selected monographs by Contact Press Images Photographers

• “Too Much Time: Women in Prison”, by Jane Evelyn Atwood, (March 2000), ISBN 0-7148- 3973-6 • “Do or Die”, by Martine Barrat, Viking Adult (October 1993), ISBN 0-670-84325-3 • “The British”, by Nick Danziger, Harper Collins UK (June 2002), ISBN 0-00-257160-9 • “Fight”, by Stephen Dupont, Edition Braus (December 2003), ISBN 3-89904-061-9 • “Des Hommes”, by Giorgia Fiorio, Marval (2003), ISBN 2-86234-341-2 • “Afterwar: Veterans from a World in Conflict”, by Lori Grinker, de.MO (April 2005), ISBN 0-9705768-7-0 • “Tango: Never Before Midnight”, by Adriana Groisman, Editions Lariviere (2004), ISBN 978-987-9395-20-2 • “Just Another War”, by Kenneth Jarecke, Exene Cervenka, Zezene Cervenka, Bedrock Press (September 1995), ISBN 0-9634784-1-9 • “A Photographer’s Life: 1990-2005”, by Annie Leibovitz, (October 2003), ISBN 0-375- 50509-1 • “Red-Color News Soldier”, by Li Zhensheng, Phaidon Press (October 2003), ISBN 0-7148-4308-3 • “Don McCullin in Africa”, by Don McCullin, Random House UK (September 2005), ISBN 0-224-07514-4 • “Sebastiao Salgado: Migrations”, by Sebastiao Salgado, Aperture (June 2005), ISBN 0-89381-891-7 • “Elvis at 21: New York to Memphis”, by Alfred Wertheimer, Insight Editions (October 2006), ISBN 1-933784- 01-6 • “Windows of the Soul: My Journeys in the Muslim World”, text and photos by Alexandra Avakian, National Geographic Books (October 2008)

3.10.3 References

• Article on Contact Press Images from The Digital Journalist 3.11. CREATIVE COURT 65

3.10.4 External links

• Official website

3.11 Creative Court

Creative Court[1] is an organisation that develops art projects and reflects on peace and justice. Creative Court is based in The Hague, the Netherlands. It was founded in November 2013. Warning: Page using Template:Infobox organization with unknown parameter “subsib” (this message is shown only in preview).

3.11.1 And now I am here.

Project Description

In 2015 two journalists, Els Duran and Evelien Vehof, conducted interviews regarding statelessness in Europe in which they came across complicated regulations, coping mechanisms and pragmatism. Creative Court developed the video installation ‘And now I am here’ based upon these findings. This video installation questions feelings of displacement from various angles through the use of interview, excerpts and quotes from literature and philosophy which are merged with the images of video artist Farah Rahman, whose work revolves around migration. This video installation was created as part of the framework of the Europe by People arts and design programme which took place during the Dutch presidency of the Council of the European Union in 2016.

Artists and Experts Involved

Video artist: Farah Rahman Research and interviews: Giselle Vegter, Els Duran, Evelien Vehof Interpretation and translations: Carlijn Teeven, Myrte Sara Huyts, Morgan Mekertichian Production: Anja Janssen Artistic and business management: Creative Court

Exhibitions

• LUX, Nijmegen

• Muziekgebouw aan ‘t IJ, Amsterdam

• Compagnietheater, Amsterdam

• The Wall, Amsterdam [2]

Recognition

Articles

• Compagnietheatre (Dutch) [3]

• Europe by People (English) [4]

• Montesquieu Instituut (English) [5]

• Nederlands Kamerkoor (Dutch) [6] 66 CHAPTER 3. DAY 3

Film screening of 'And now I am here.' ©Ernst Ruijgrok / Creative Court

Film screening of 'And now I am here.' ©Ernst Ruijgrok / Creative Court

• Nederlands Kamerkoor (English) [7]

Radio 3.11. CREATIVE COURT 67

Film screening of 'And now I am here.' ©Ernst Ruijgrok / Creative Court

• Kunst en Cultuur op Vrijdag on AmsterdamFM (Dutch) [8]

Film still of 'And now I am here.' at screening ©Ernst Ruijgrok / Creative Court

3.11.2 Post-Conflict Mind Check 68 CHAPTER 3. DAY 3

Project Description

Post-Conflict Mind Check (working title 'The Ghost of Tito') is a tongue-in-cheek prototype card game created by Creative Court and MediaLAB about culture, history, conflict, and stereotypes in the six countries that once made up the former Yugoslavia. The game aims to engage players with socially taboo topics and unconventional content. It was developed in 2015 to be used for personal reflection and critical thinking about post-war legacy in the former Yugoslavia.

Close up of prototype card game from MediaLAB and Creative Court

Artists and Experts Involved

Commissioner: Creative Court Project Mentor: Tamara Pinos Students: Jon Jonoski (MA Media Studies), Jennifer Lamphere (MA History) and Liliana Zambrano (BA Industrial Design)

Presentations

• MediaLAB, Amsterdam

Recognition

Blog

• Post-Conflict Mind Check, MediaLAB (English) [9]

3.11.3 Rooms of Humanity 3.11. CREATIVE COURT 69

Ghost of Tito

Project Description

With De Balie, a center for freedom of speech, art, politics, culture, cinema and media in Amsterdam, Creative Court produced Rooms of Humanity, a reflective programme, around (in)humanity in times of war and genocide. It debuted in The Netherlands at De Balie in Amsterdam on Saturday, 19 September 2015.[10] The theatre installation consists of the Room of Game, the Room of Propaganda, the Room of Acts for Humanity, 70 CHAPTER 3. DAY 3 and the Room of Questions and Answers and includes photographic and textual visuals, an audio installation, as well as group activities and discussions. Rooms of Humanity connects to themes such as individual and collective responsibility, exclusion, war, genocide, (in)humanity, propaganda, and the dynamic between victim – perpetrator – bystander.

19 09 2015.Rooms of Humanity: Preparation. Foto: Jan Boeve / De Balie / Creative Court

Artists and Experts Involved

Artistic directors: Ilil Land-Boss (-Germany) and Giselle Vegter (the Netherlands) Scenic design: Karin Betzler Business management: Creative Court Special guest speakers:

• Nenad Fišer, a philosopher and former employee of the International Criminal Tribunal for the former Yu- goslavia in The Hague

• Erna Rijsdijk, a university lecturer in Military Ethics at the Netherlands Defence Academy (NLDA)

• Inger Schaap, a historian and the national director of Humanity in Action in the Netherlands

• Uğur Ümit Üngör, a sociologist, political historian, and genocide researcher at the NIOD Institute for War, Holocaust, and Genocide Studies

Moderator: Markha Valenta, a professor of American Studies at Radboud University Nijmegen

Exhibitions

• Theatre installation, De Balie, Amsterdam 3.11. CREATIVE COURT 71

Nederland Amsterdam 19 september 2015.Rooms of Humanity.Foto: Jan Boeve / De Balie / Creative Court

Recognition

Articles

• What is Happening Now? (English)[11]

Radio

• Dichtbij Nederland (Dutch) [12][13]

3.11.4 Africans and Hague Justice

Project Description

Creative Court curated a selection of African cartoons that reflect on the International Criminal Court. The selection was made in the framework of the Nederlandse Vereniging voor Afrika Studies conference, ‘Africans and Hague Justice, Realities and Perceptions of the International Criminal Court in Africa’, which took place at The Hague University of Applied Sciences in May 2014.[14]

Artists Involved

The following cartoonists are represented in the collection: Alphonce ‘Ozone’ Omondi (Kenya), Brandan Reynolds (South Africa), Cuan Miles (South Africa),[15] Damien Glez (Burkina Faso/France), Mohammed ‘Dr. Meddy’ Ju- manne (Tanzania), Godfrey ‘Gado’ Mwampembwa (Tanzania), Jonathon ‘Zapiro’ Shapiro (South Africa), Khalid Al- baih (Sudan/Qatar), Khalil Bendib (Algeria/US), Popa ‘Kamtu’ Matumula (Tanzania), Roland Polman (Ivory Coast), Talal Nayer (Sudan/Tunisia), Tayo Fatunla (UK/Nigeria), and Victor Ndula (Kenya). 72 CHAPTER 3. DAY 3

19 09 2015. Rooms of Humanity.Foto: ©Jan Boeve / De Balie / Creative Court

Cartoon by Victor Ndula, Africans & Hague Justice exhibition

Exhibitions

• Post-Conflict group exhibition, Nichido Contemporary Art, Tokyo • Post-Conflict group exhibition, Kinz + Tillou Fine Art Gallery, New York [16] 3.11. CREATIVE COURT 73

• Africans and Hague Justice, African Studies Centre, University of Leiden[17] • Africans and Hague Justice, The Hague University of Applied Science

Image: Creative Court. Africans & Hague Justice exhibition, The Hague City Hall, 2014

Recognition

Articles

• Leiden University [18] • The Daily Nation [19] • ILG2 [20] • Creating Rights [21] • Coalition for the International Criminal Court#globalJUSTICE [22]

Television

• The Docket on MSNBC [23]

3.11.5 Rwanda 20 Years: Portraits of Reconciliation

Project Description

Creative Court developed a photography project that reflects on forgiveness in post-genocide Rwanda. They com- missioned South African photographer Pieter Hugo and Croatian-Dutch photographer Lana Mesić to try and capture the nature of forgiveness. The project includes photographs, interviews, and videos.[24] 74 CHAPTER 3. DAY 3

Rwanda 20 Years: Portraits of Reconciliation

Exhibitions

• Anatomy of Forgiveness, AMC Brummelkamp Galerie, Amsterdam • Art Rotterdam Prospects and Concepts Exhibition, Art Rotterdam, Rotterdam • Harry Pennings Award group exhibition, Galerie Pennings, Eindhoven • Exhibition, Organ Vida International Photography Festival 7th ed, Zagreb • Exhibition, Goethe Institut Kigali, Kigali • Post-Conflict group exhibition, Nichido Contemporary Art, Tokyo • Post-Conflict group exhibition, Kinz + Tillou Fine Art Gallery, New York [25] • Exhibition, Het Nutshuis, The Hague [26] • Outdoor mini exhibition, Central Station, The Hague • Outdoor mini exhibition, International Criminal Court, The Hague • Outdoor mini exhibition, Peace Palace, The Hague • Mini exhibition, The Hague City Hall, The Hague[27]

Recognition

Articles

• The Calvert Journal (English) [28] 3.11. CREATIVE COURT 75

• Feature Shoot (English) [29]

• New York Times (English) [30][31]

• Embassy of the Republic of Rwanda Netherlands (English + Dutch) [32]

• TIME Lightbox (English) [33]

• United States Institute of Peace Global Peacebuilding Center (English) [34]

• The Huffington Post (English) [35]

• Future TV Network (Arabic) [36]

• New Statesman (English)[37]

• Reading The Pictures (formerly BagNews) (English) [38]

• Everyday Ambassador (English) [39]

• The Hairpin (English) [40]

• Episcopal Café (English) [41]

• Glamour Paris (French) [42]

• AfriqueConnection.com (French) [43]

• EO Beam (Dutch) [44]

• IGIHE (Kinyarwanda) [45]

• Religion Factor (English) [46]

• Kontrapress (Serbian) [47]

• Blogg HD(Swedish) [48]

• Who Cares (Dutch) [49]

• Liberal Planet (English) [50]

• Common Dreams (English) [51]

• Tabnak (Farsi) [52]

• Mad House News (Russian) [53]

• Domingo El Universal (Spanish) [54]

• Los Herrajeros (Spanish) [55]

• La Nacion (Spanish) [56]

• Moscabranca (Portuguese) [57]

• Inspirulina (Spanish) [58]

• Le Vif (French) [59]

• Chatelaine (English) [60]

• RonnieArias.com (Spanish) [61]

• Nafir (Farsi) [62]

• Noor News (Farsi) [63]

• Sadkhabar (Farsi) [64] 76 CHAPTER 3. DAY 3

• Parsine (Farsi) [65]

• De Volkskrant (Dutch) [66]

• Filosofie (Dutch) [67]

• Jewish Journal (English) [68]

• Revolución 3.0, Argos media (Spanish) [69]

• Organization for Security and Co-Operation in Europe (English) [70]

• IBA Global Healing (English) [71]

• Sentidos Comunes (Spanish) [72]

• Incubadora de Artistas (Portuguese) [73]

• Para Ti Magazine (Spanish) [74]

• Fondazione Camis de Fonseca (Italian) [75]

• Memory Machine (Dutch) [76]

• Westminster Chapel (English) [77]

• Art Annual Online (Japanese) [78]

• Ousferrats (Spanish) [79]

• Inya Rwanda (Kinyarwanda) [80]

• Fuett.mx (Spanish) [81]

• 40 Cheragh (Farsi) [82]

• Beelddragers (Dutch) [83]

• Diaspora Enligne (French) [84]

• Partido Socialista (Spanish) [85]

• Acción Preferente (Spanish) [86]

• Reader’s Digest (English) [87]

• The Courier Mail (English) [88]

• RYOT News & Action (English) [89]

• Marie Claire South Africa (English) [90]

• Den Haag Direct (Dutch)[91]

• Musée Digital Magazine (English) [92]

• Dar lugar (Spanish) [93]

• MiNDFOOD (English) [94]

• Greenpeace Magazin (German) [95]

• The East African (English) [96]

• Coalition for the International Criminal Court#globalJUSTICE (English) [97][98]

• Citizens for Global Solutions (English) [99]

• A Journey into Holocaust & Genocide Education (English) [100] 3.11. CREATIVE COURT 77

• Invisible Children (English) [101] • Creating Rights (English) [102] • Human Trustees (English) [103] • NRC (Dutch) [104] • New Dawn (Dutch) [105] • A Pattern A Day (English) [106] • Index.hr (Croatian) [107]

Radio and Television

• Q on CBC Radio One in Canada (English) [108] • Schepper & Co Radio (English) [109] • The Docket on MSNBC (English) [110] • Ebony Life Television (English) [111] • Globo.tv (Portuguese) [112] • Prime 10 TV (Kinyarwanda + English) [113]

3.11.6 Partners and Funding

Association Modeste et Innocent (Rwanda), City of The Hague, Doctors Without Borders, Foundation for Democ- racy and Media, Goethe-Institut Kigali (Rwanda), Haagse Hogeschool (The Hague School of Applied Sciences), Hogeschool INHolland, Huis van Gedichten, Humanity House, International Institute of Social Studies, Justitia et Pax, Karekezi Film Productions (Rwanda), Leiden University, Liberation Festival the Hague / Bevrijdingsfestival Den Haag, Mediaridders, Mondrian Fund,[114] Mukomeze Foundation, Nederlandse Vereniging voor Afrika Studies (NVAS), NIOD Institute for War, Holocaust and Genocide Studies / Nationaal Instituut voor Oorlogs-, Holocaust- en Genocidestudies (NIOD), Nutshuis Den Haag, Prince Claus Fund, Tilburg University, High Com- missioner for Refugees (UNHCR), amongst others.

3.11.7 References

[1] Creative Court, http://www.creativecourt.org

[2] Europe by People, http://europebypeople.nl/programme/and-now-i-am-here-2/

[3] And now I am here. Creative Court, http://www.compagnietheater.nl/voorstelling/and-now-i-am-here.html

[4] And now I am here.http://europebypeople.nl/programme/and-now-i-am-here-2/

[5] And now I am here. http://www.montesquieu-instituut.nl/id/vk4jb4wiqwzj/agenda/and_now_i_am_here?ctx=vim6m2t4fzvr& v=1&tab=1&start_tab1=54

[6] Video-installatie ‘And now I am here’ http://www.nederlandskamerkoor.nl/video-installatie-and-now-i-am-here-muziekgebouw-aan-t-ij/

[7] Video-installatie ‘And now I am here’ http://www.nederlandskamerkoor.nl/en/video-installatie-and-now-i-am-here-muziekgebouw-aan-t-ij/

[8] Beitske de Jong, interview with Rabiaâ Benlahbib, Kunst en Cultuur op Vrijdag, AmsterdamFM, http://www.amsterdamfm. nl/video-installatie-and-now-i-am-here-in-het-compagnietheater/

[9] Jon Jonoski, Jennifer Lamphere and Liliana Zambrano, MediaLAB, http://medialabamsterdam.com/postconflictmindcheck/ 2015/09/15/post-conflict-mind-check/

[10] De Balie, http://www.debalie.nl/agenda/podium/rooms-of-humanity/e_9781880/p_11742451/

[11] Laurien Vastenhout & Arja Oomkens, What is Happening Now?, http://whatishappeningnow.org/event-review-rooms-of-humanity/ 78 CHAPTER 3. DAY 3

[12] Dichtbij Nederland, http://dichtbijnederland.nl/page/detail/798341/Vandaag

[13] Dichtbij Nederland, http://www.npo.nl/dichtbij-nederland/22-09-2015/RBX_NTR_1780268

[14] The Hague University of Applied Science, Africans and Hague Justice: Realities and Perceptions of the International Criminal Court in Africa, http://sites.thehagueuniversity.com/africans-and-hague-justice/home

[15] Cuan Miles, Cartoons by Miles, Creative Court Exhibition, http://cartoonsbymiles.blogspot.nl/2014/06/creative-court-exhibition. html

[16] Beyond The Hague, International Justice Meets Art through CICC’s Artist-In-Residence, http://beyondthehague.com/ 2014/11/22/international-justice-meets-art-through-ciccs-artist-in-residence/

[17] African Studies Centre Leiden, University of Leiden, Exhibition: Cartoons 'Africans and Hague Justice' by Creative Court, http://www.ascleiden.nl/news/exhibition-cartoons-africans-and-hague-justice-creative-court

[18] African Studies Centre Leiden, Leiden University, Exhibition: Cartoons 'Africans and Hague Justice' by Creative Court, http://www.ascleiden.nl/news/exhibition-cartoons-africans-and-hague-justice-creative-court

[19] Kevin J. Kelley, Daily Nation, portrait on sale in New York, http://www.nation.co.ke/news/William-Ruto-Portrait-New-York/ -/1056/2609190/-/g34rgr/-/index.html

[20] Cecilia Marcela Bailliet, Int Law Grrls, Highlights from the Conference on Africans and Hague Justice: Realities and Per- ceptions of the International Criminal Court in Africa, http://ilg2.org/2014/05/27/highlights-from-the-conference-on-africans-and-hague-justice-realities-and-perceptions-of-the-international-criminal-court-in-africa/

[21] Fiana Gantheret, Creating Rights, The Art of International Justice: The CICC Arts Initiative to End Impunity, http:// creatingrights.com/2014/12/09/the-art-of-international-justice-the-cicc-arts-initiative-to-end-impunity/

[22] Fiana Gantheret, #globalJUSTICE, Coalition for the International Criminal Court, The Art of International Justice: The CICC Arts Initiative to End Impunity, https://ciccglobaljustice.wordpress.com/2015/01/07/the-art-of-international-justice-the-cicc-arts-initiative-to-end-impunity-by-fiana-gantheret/

[23] Seema Iyer, interview with Bradley McCallum, The Docket, MSNBC, http://on.msnbc.com/15sLZCv

[24] Creative Court, Rwanda 20 Years, http://www.rwanda20years.org

[25] Beyond The Hague, International Justice Meets Art through CICC’s Artist-In-Residence, http://beyondthehague.com/ 2014/11/22/international-justice-meets-art-through-ciccs-artist-in-residence/

[26] The Hague Online, http://www.thehagueonline.com/events/arts-and-entertainment/top-events/rwanda-20-years-photo-exhibition-21-apr-15-jun-2014/ 2014-04-14

[27] Embassy of the Republic of Rwanda in the Netherlands, Commemoration Rwanda Genocide http://www.netherlands. embassy.gov.rw/uploads/media/PR-Kwibuka20-7apr.pdf

[28] Liza Premiyak, The Calvert Journal, Photo of the week: an intimate portrait of reconciliation in post-genocide Rwanda, http://calvertjournal.com/news/show/6595/photo-of-the-week-lana-mesic-rwanda-genocide-aftermath

[29] Eva Clifford, Feature Shoot, Stories of Hope, Strength and Reconciliation in Rwanda, http://www.featureshoot.com/2016/ 09/the-stories-of-hope-and-reconciliation-in-rwanda/

[30] Susan Dominus, New York Times, Portraits of Reconciliation, http://www.nytimes.com/interactive/2014/04/06/magazine/ 06-pieter-hugo-rwanda-portraits.html

[31] Holland Cotter, New York Times, Raging at Racism, From Streets to Galleries, http://www.nytimes.com/2015/01/23/arts/ smack-mellon-and-grey-art-display-art-sparked-by-politics.html

[32] Embassy of the Republic of Rwanda Netherlands, Exhibition 'Rwanda 20 Years’ in City Hall The Hague, http://www. netherlands.embassy.gov.rw/index.php?id=1685

[33] Mikko Takkunen, TIME, PJL: April 2014 (Part 1), http://time.com/3808537/pjl-april-2014-part-1/

[34] United States Institute of Peace, On the 20th Anniversary of the : Educator Resources, http://www. buildingpeace.org/rwanda-genocide-educator-resources

[35] Marina Cantacuzino, The Huffington Post, Why Rwanda Needs Healing Narratives, http://www.huffingtonpost.com/ marina-cantacuzino/why-rwanda-needs-healing-_b_5097159.html

.http://www.futuretvnetwork , مجرمو مجزرة رواندا والناجون منها في صورة واحدة لتصفية القلوب ,Future TV Network [36] com/node/84508 3.11. CREATIVE COURT 79

[37] Musa Okwonga, New Statesman, If a genocide on the scale of Rwanda happened in Europe, would we stand idly by?, http: //www.newstatesman.com/world-affairs/2014/04/if-genocide-scale-rwanda-happened-europe-would-we-stand-idly

[38] Reading The Pictures, On Pieter Hugo’s Portraits of Reconciliation from Rwanda, http://www.readingthepictures.org/ 2014/04/on-pieter-hugos-portraits-of-reconciliation-from-rwanda/

[39] Kate Otto, Everyday Ambassador, 20 Years Later, Crucial Lessons from Rwanda’s Genocide, http://everydayambassador. org/2014/04/07/20-years-later-crucial-lessons-from-rwandas-genocide/

[40] Jia Tolentino, The Hairpin, 20 Years After Genocide, Forgiveness Portraits from Rwanda, http://thehairpin.com/2014/04/ forgiveness-portraits-from-rwanda

[41] Episcopal Café, Reconciliation in Rwanda, http://www.episcopalcafe.com/reconciliation_in_rwanda/

[42] Glamour Paris, Génocide au Rwanda, 20 ans après : les victimes posent avec leurs anciens bourreaux, http://www. glamourparis.com/snacking-du-web/articles/genocide-au-rwanda-20-ans-apres-les-victimes-posent-avec-leurs-anciens-bourreaux-1226-07042014/ 22542

[43] AfriqueConnection.com, Au Rwanda, portraits de réconciliation, http://www.afriqueconnection.com/article/07-04-2014/ au-rwanda-portraits-de-r%C3%A9conciliation#sthash.0ebK5gaF.dpbs

[44] EO Beam, Twintig jaar na de volkerenmoord: verhalen van verzoening, http://www.eo.nl/beam/leven/item/twintig-jaar-na-de-volkerenmoord-verhalen-van-verzoening/

[45] Yanditswe kuya, IGIHE, Amafoto n’ubuhamya bw’abiyunze n’ababiciye muri Jenoside yakorewe Abatutsi, http://www. igihe.com/amakuru/u-rwanda/article/amafoto-n-ubuhamya-bw-abiyunze-n

[46] Religion Factor, Understanding Evil, Encouraging Forgiveness: Lessons from Rwanda 20 years on, http://religionfactor. net/2014/04/07/understanding-evil-encouraging-forgiveness-lessons-from-rwanda-20-years-on/

[47] Susan Dominus, Kontrapress, The New York Times: Dve decenije genocida u Ruandi: Portreti pomirenja, http://www. kontrapress.com/clanak.php?rub=Dru%C5%A1tvo&url=Portreti-pomirenja

[48] Sören Sommelius, Blogg HD, Offer och förövare i Rwanda, http://blogg.hd.se/kultur-blogg/2014/04/07/offer-och-forovare-i-rwanda/

[49] Jessica Numann, Who Cares, Rwanda 20 jaar later: Slachtoffers en daders samen op de foto, http://whocares.me/artikel/ rwanda-20-jaar-later-vergeven-maar-niet-vergeten

[50] I Acknowledge, Liberal Planet, Incredible Portraits of Perpetrators and Survivors of Rwanda Genocide Show Forgiveness is Possible, http://liberalplanet.com/2014/04/08/incredible-portraits-of-perpetrators-and-survivors-of-rwanda-genocide-show-forgiveness-is-possible/

[51] Abby Zimet, Common Dreams, Portraits of Reconciliation: If I Am Not Stubborn, Life Moves Forward, http://www. commondreams.org/further/2014/04/08/portraits-reconciliation-if-i-am-not-stubborn-life-moves-forward http://www.tabnak.ir/fa/news/391330/%D8%A8%D8%A7-%D9%82% ,با قاتلخانواده تان عکسمی گیرید؟ ,Tabnak [52] D8%A7%D8%AA%D9%84-%D8%AE%D8%A7%D9%86%D9%88%D8%A7%D8%AF%D9%87%E2%80%8C%D8% AA%D8%A7%D9%86-%D8%B9%DA%A9%D8%B3-%D9%85%DB%8C%E2%80%8C%DA%AF%DB%8C%D8% B1%DB%8C%D8%AF

[53] Maxim Mezentsev, Mad House News, Руанда: 20 лет спустя, пережившие геноцид позируют рядом со своими обидчиками, http://madhousenews.ru/ruanda-20-let-spustya-perezhivshie-genotsid-poziruyut-ryadom-so-svoimi-obidchikami. html

[54] Domingo El Universal, Ruanda: El Perdón Llega 20 Años Después, http://www.domingoeluniversal.mx/juguetes/detalle/ Ruanda%3A+el+perd%C3%B3n+llega+20+a%C3%B1os+despu%C3%A9s-2353

[55] Jorge Spinoza, Los Herrajeros, La Reconciliación Hutu y Tutsi en Ruanda, http://herrajeros.com/2014/la-reconciliacion-hutu-y-tutsi-en-ruanda/

[56] Raúl Eduardo Sánchez, La Nacion, Ruanda: 20 años después, http://www.lanacion.com.co/index.php/opinion/item/233008-ruanda-20-anos-despues

[57] Luiz de Queiroz, Moscabranca, Ensaio fotográfico coloca assassinos e vítimas lado a lado em Ruanda 10 anos depois da guerra civil, http://blogmoscabranca.com.br/ensaio-fotografico-coloca-assassinos-e-vitimas-lado-a-lado-em-ruanda-10-anos-depois-da-guerra-civil/

[58] Inspirulina, Ruanda como ejemplo de perdón, http://www.inspirulina.com/ruanda-como-ejemplo-de-perdon.html

[59] Quentin Noirfalisse, Le Vif, Entre Leurs Mains

[60] Flannery Dean, Chatelaine, The most touching acts of forgiveness we’ve ever seen, http://www.chatelaine.com/living/ rwandan-genocide-the-most-touching-acts-of-forgiveness-weve-ever-seen/

[61] RonnieArias.com, ¿Hasta dónde llega tu capacidad de perdón? Cuando víctimas y victimarios se sientan a charlar, http: //www.ronniearias.com/nacio-de-mi/compendio-boludeces/perdon-victimas-victimarios_39863.html 80 CHAPTER 3. DAY 3 http://www.nafir.net/?p=2217 ,تصویر عفو؛ بیست سال پس از نسل کشی ,Nafir [62] http://www.noornews.ir/fa/news/116623/%D8%A8%D8%A7-% ,با قاتل خانواده تان عکس می گیرید؟ ,Noor News [63] D9%82%D8%A7%D8%AA%D9%84-%D8%AE%D8%A7%D9%86%D9%88%D8%A7%D8%AF%D9%87%E2%80% 8C%D8%AA%D8%A7%D9%86-%D8%B9%DA%A9%D8%B3-%D9%85%DB%8C%E2%80%8C%DA%AF%DB% 8C%D8%B1%DB%8C%D8%AF http://sadkhabar.ir/fa/news/196530/%D8%A8%D8%A7-%D9% ,با قاتل خانواده تان عکس می گیرید؟ ,Sadkhabar [64] 82%D8%A7%D8%AA%D9%84-%D8%AE%D8%A7%D9%86%D9%88%D8%A7%D8%AF%D9%87%E2%80%8C% D8%AA%D8%A7%D9%86-%D8%B9%DA%A9%D8%B3-%D9%85%DB%8C%E2%80%8C%DA%AF%DB%8C% D8%B1%DB%8C%D8%AF http://www.parsine.com/fa/news/185710/%D8%A8%D8% ,با قاتل خانواده تان عکسمی گیرید؟ +تصاویر ,Parsine [65] A7-%D9%82%D8%A7%D8%AA%D9%84-%D8%AE%D8%A7%D9%86%D9%88%D8%A7%D8%AF%D9%87-% D8%AA%D8%A7%D9%86-%D8%B9%DA%A9%D8%B3-%D9%85%DB%8C%E2%80%8C%DA%AF%DB%8C% D8%B1%DB%8C%D8%AF-%D8%AA%D8%B5%D8%A7%D9%88%DB%8C%D8%B1

[66] Toine Heijmans, De Volkskrant, Momenten van vergeving in Rwanda, http://www.volkskrant.nl/dossier-archief/momenten-van-vergeving-in-rwanda~{}a3639589/

[67] Leon Heuts, Filosofie, De onmogelijkheid van vergeving, http://www.filosofie.nl/nl/artikel/40799/de-onmogelijkheid-van-vergeving. html

[68] Rabbi John Rosove, Jewish Journal, Rwanda, Bibi, Abbas, and What Comes Next? – Four Articles Worth Reading, http:// www.jewishjournal.com/rabbijohnrosovesblog/item/rwanda_bibi_abbas_and_what_comes_next_four_articles_worth_reading

[69] Waldemar Aguado Butanda, Revolución 3.0, A 20 años del genocidio en Ruanda: reconciliaciones #FOTOGALERÍA, http://michoacantrespuntocero.com/a-20-anos-del-genocidio-en-ruanda-reconciliaciones-fotogaleria/

[70] Organization for Security and Co-Operation in Europe, Conference Report: Role of Domestic Jurisdictions in the Imple- mentation of International Humanitarian Law (IHL) - Law and Practice, http://www.osce.org/odihr/142256?download= true

[71] Britt Jorgensen, IBA Global Healing, Tales from Rwanda, http://www.bodytalksystem.com/learn/news/article.cfm?id= 882

[72] Sentidos Comunes, Reconciliación en Rwanda, http://www.sentidoscomunes.cl/reconciliacion-en-rwanda-20-anos-despues/

[73] Susan Dominus, Incubadora de Artistas, Portraits of reconciliation – Retratos de Reconciliação por Pieter Hugo, http: //incubadoradeartistas.com/tag/ariane-feijo/

[74] Guadalupe Sanchez Granel, Para Ti Magazine, La Reconciliación

[75] Fondazione Camis de Fonseca, Ruanda: l’esperimento della riconciliazione tramite il perdono, http://www.fondazionecdf. it/index.php?module=site&method=article&id=2470

[76] Rabiaâ Benlahbib, Memory Machine, Imbabazi

[77] Andy Mehigan, Westminster Chapel, United in Christ by the Spirit | Spirit-Filled Life Group Series 3/6, http: //www.westminsterchapel.org.uk/united-by-the-spirit/

[78] Art Annual Online, identityXI – POST CONFLICT – curated by Bradley McCallum, http://www.art-annual.jp/news-exhibition/ news/46298/

[79] Bekaa, Ousferrats, Pieter Hugo: Revisualizar el perdón en Ruanda (y 3), http://www.ousferrats.com/2015/03/01/pieter-hugo-revisualizar-el-perdon-en-ruanda-y-3/

[80] Mutiganda Janvier, Inya Rwanda, Mu Rwanda hagiye kuba imurikwa ry’amafoto agaragaza intambwe rwagezeho mu bumwe n’ubwiyunge nyuma y’imyaka 21, http://inyarwanda.com/articles/show/OtherNews/mu-rwanda-hagiye-kuba-imurikwa-ry-63146. html

[81] Fuett.mx, “Retratos de Reconciliación” 20 años después del genocidio en Ruanda, http://www.fuett.mx/retratos-reconciliacion-20-anos-despues-genocidio-ruanda/ http://www.40cheragh.org/pages/spf53136/%D9%BE%D8%B1%D8%AA%D8%B1% ,پرتره های آشتی ,Cheragh 40 [82] D9%87-%D9%87%D8%A7%DB%8C-%D8%A2%D8%B4%D8%AA%DB%8C.html

[83] Beelddragers, Lana Mesić, http://www.beelddragers.nl/nr-23-lana-mesic/

[84] Susan Dominus, Diaspora Enligne, Portraits de la réconciliation 20 ans après le génocide au Rwanda, la réconciliation arrive encore une rencontre à la fois, http://diasporaenligne.net/portraits-de-la-reconciliation-20-ans-apres-le-genocide-au-rwanda-la-reconciliation-arrive-encore-une-rencontre-a-la-fois-photographies-de-pieter-hugo-texte-par-susan-dominus/

[85] Adriana Malvid / Susan Dominus, Partido Socialista, Ruanda, el perdón como política pública, http://www.psocialista.org/ ?p=6268 3.11. CREATIVE COURT 81

[86] Gustavo Aldunate, Acción Preferente, Retratos de reconciliación: 20 años después del genocidio de Ruanda, http://www. accionpreferente.com/mundo/retratos-de-reconciliacion-20-anos-despues-del-genocidio-de-ruanda/

[87] Jane Claire Hervey, Reader’s Digest, 10 Inspiring Stories of Extreme Forgiveness, http://www.rd.com/true-stories/inspiring/ extreme-forgiveness/

[88] Rod Chester, The Courier Mail, OPINION: Discovering the power of what happens next, http://www.couriermail.com.au/ news/opinion/opinion-discovering-the-power-of-what-happens-next/story-fnihsr9v-1226884141150?nk=251b2de69fa8eeb1dc25ceeb5e966563

[89] Ben Roffee, RYOT, Powerful Images of Rwandan Genocide Victims With Their Persecutors Redefine Forgiveness, http: //www.ryot.org/powerful-images-rwandan-genocide-victims-persecutors-redefines-forgivness/633193

[90] Marie Claire South Africa, Rwandan Portraits of Reconciliation, http://www.marieclaire.co.za/hot-topics/campaigns/ rwandan-portraits-of-reconciliation

[91] Wesley Gerritsen, Den Haag Direct, Rwanda 20 Years, http://www.denhaagdirect.nl/rwanda-20-years/

[92] Musée Magazine, Post Conflict at Kinz + Tillou Fine Art, “Archived copy”. Archived from the original on 2015-04-03. Retrieved 2015-04-20.

[93] Rabiaâ Benlahbib, Dar lugar, November 2014 Issue, Ruanda 20 años: retratos de reconciliación, http://www.oozebap.org/ darlugar/numero_02.htm

[94] MiNDFOOD, Interviews by Creative Court, Rwandan Genocide, 20 years on – Forgiveness and Redemption, http://www. mindfood.com/gallery/rwandan-genocide-20-years-on-forgiveness-and-redemption/

[95] Greenpeace Magazin Ausgabe 1.15, Die Kraft der Versöhnung, https://www.greenpeace-magazin.de/die-kraft-der-versoehnung

[96] Gilbert Mwijuket, The East African, Genocide: Portraits of reconciliation, http://www.theeastafrican.co.ke/magazine/ Genocide-Portraits-of-reconciliation-/-/434746/2674290/-/kd8wxmz/-/index.html

[97] (a) globalJUSTICE, Coalition for the International Criminal Court, Rwanda should lead global fight against impunity, https://ciccglobaljustice.wordpress.com/2014/04/09/rwanda-should-lead-global-fight-against-impunity/

[98] Fiana Gantheret, #globalJUSTICE, Coalition for the International Criminal Court, The Art of International Justice: The CICC Arts Initiative to End Impunity, https://ciccglobaljustice.wordpress.com/2015/01/07/the-art-of-international-justice-the-cicc-arts-initiative-to-end-impunity-by-fiana-gantheret/

[99] Christopher Davis, Citizens for Global Solutions, Remembering Rwanda, http://globalsolutions.org/blog/2014/04/Remembering-Rwanda# .VG3e-FfF-bM

[100] SM Leikam, A Journey into Holocaust & Genocide Education, Portraits of Reconciliation- A beautiful exhibit by photog- rapher Pieter Hugo, http://www.workingtowardneveragain.com/2014/04/portraits-of-reconciliation-beautiful.html

[101] Invisible Children, New York Times Magazine: Portraits of Reconciliation, http://invisiblechildren.com/blog/2014/04/07/ ny-times-magazine-portraits-reconciliation/

[102] Fiana Gantheret, Creating Rights, The Art of International Justice: The CICC Arts Initiative to End Impunity, http:// creatingrights.com/2014/12/09/the-art-of-international-justice-the-cicc-arts-initiative-to-end-impunity/

[103] David L Johnston, Human Trustees, Practicing Forgiveness in Rwanda, http://www.humantrustees.org/blogs/religion-and-global-society/ item/119-rwanda-forgiveness

[104] NRC, Tutsi’s die de excuses van Hutu’s voor hun misdaden accepteerden, http://www.nrc.nl/nieuws/2015/05/30/rwandese-daders-en-slachtoffers-die-berouw-voelden-en-vergaven

[105] New Dawn, Lana Mesić - Anatomy of Forgiveness, http://newdawnpaper.nl/portfolio/lana-mesic-anatomy-of-forgiveness

[106] Ana Luiza Gomes, A Pattern A Day, Why People Photograph? - Lana Mesić, http://www.anamappe.com.br/blog/2015/ 09/why-do-people-photograph/

[107] M. Bani, Index HR, Organ Vida objavio finaliste: Ovo je 10 majboljih fotografija velikog svjetskog foto-natječaja, http:// www.index.hr/black/clanak/organ-vida-objavio-finaliste-ovo-je-10-najboljih-fotografija-velikog-regionalnog-fotonatjecaja/ 829722.aspx

[108] Q Blog, Interview with Rabiaâ Benlahbib, Portraits of Forgiveness 20 years After the Rwandan Genocide, http://www.cbc. ca/player/Radio/Q/ID/2447650178/

[109] Hijlco Span, Schepper & Co Radio, Interview with Rabiaâ Benlahbib, http://schepperencoradio.ncrv.nl/ncrvgemist/29-4-2014/ schepper-en-co

[110] Seema Iyer, The Docket, MSNBC, Interview with Bradley McCallum, http://on.msnbc.com/15sLZCv 82 CHAPTER 3. DAY 3

[111] Ebony Life Television, Rwanda Story - El Report, https://www.youtube.com/watch?v=YWtls4P_yUU&feature=youtu.be

[112] Globo.tv, Exposição na Holanda lembra dos 20 anos do genocídio em Ruanda, http://globotv.globo.com/globo-news/ jornal-das-dez/t/todos-os-videos/v/exposicao-na-holanda-lembra-dos-20-anos-do-genocidio-em-ruanda/3269036/

[113] Prime 10 TV, Portraits of Reconciliation (21-26”)

[114] Mondriaan Fonds, Creative Court – Rwanda 20 years, http://www.mondriaanfonds.nl/gehonoreerd/creative-court-rwanda-20-years/ Chapter 4

Day 4

4.1 Danish Union of Press Photographers

The Danish Union of Press Photographers (Danish: Pressefotografforbundet), a trade union, is the oldest national organization for newspaper photographers in the world. Based in Copenhagen, in 2009 it had 820 members.

4.1.1 History

The union was founded in Copenhagen by six press photographers on 17 February 1912,[1] just four years after the newspaper Politiken had employed Holger Damgaard, himself one of the founders, as the first press photographer in Denmark. The other five founders and earliest members were Julius Aagaard, Rolstad, Asker Michelsen, Th. Larsen and A.W. Sandberg. In 1927, the union had its first female member and by 1941, when the membership had grown to 25, it had its first members from the provinces. In 1962 the number of members had reached 148 and in 1967 it became part of the Danish Union of Journalists (Dansk Journalistforbund). In 1987 member numbers had grown to 428.

4.1.2 The union today

As of 2009, the union has 800 members. They include Jan Grarup, Tine Harden, Nicolai Howalt, Henrik Saxgren, Trine Søndergaard and Charlotte Østervang.

4.1.3 See also

• Photography in Denmark

4.1.4 References

[1] (Danish) Pressefotografforbundet history.

4.1.5 External links

• Official website

4.2 Deca (journalism collective)

Deca is a cooperative of magazine writers co-owned and managed by its members. Their cooperative model is based on photo agencies like Magnum and NOOR. Each journalist reports and writes independently but stories are

83 84 CHAPTER 4. DAY 4 edited and promoted collectively.[1] Their writers are based all over the world, including Rome, London, Shanghai, Barcelona, Beirut, Abu Dhabi, Los Angeles, New York, Seattle, and Washington, D.C. Collectively, they have re- ported from more than 90 countries and every continent but Antarctica. Deca’s tagline is “The world, firsthand.”[1] They offer a subscription service to their stories as well as an iOS app, with an Android app in development. Readers can also purchase the stories for download as Kindle singles on Amazon.com.

4.2.1 History

Deca launched in June 2014 with the story “And The City Swallowed Them”[2] by Mara Hvistendahl[3] and a Kick- starter campaign that raised $32,627.[4]

4.2.2 Election of new members

4.2.3 And The City Swallowed Them

“And The City Swallowed Them” is Deca’s debut story, written by Mara Hvistendahl, published in June, 2014. It is a true crime nonfiction story about the murder of 22-year-old model Diana O'brien[5] in Shanghai on July 6, 2008 based on dozens of interviews with investigators, models, and both the victim’s and the convicted murderer’s families.[6] The short book touches on issues of urbanization, migration and underground economies, anchored by the narrative of the lives of the Diana O'Brien and her murderer. The Wall Street Journal, China Real Time blog wrote about the book: “And The City Swallowed Them looks at the world that brought two different kinds of newcomers together— foreigners, including young models fighting for emerging opportunities in high fashion, and China’s own migrants, including those traveling from poor villages who were willing to go to desperate measures to scrape together their own living.” Hvistendahl is the author of the Pulitzer Prize finalist book Unnatural Selection: Choosing Boys Over Girls, and the Consequences of a World Full of Men.

4.2.4 Homelands

“Homelands” is Deca’s second story, written by Stephan Faris, published in July, 2014. It was reprinted on Long- form.org and excerpted on Roads and Kingdoms. Following in the tradition of George Orwell’s “Marrakech” and, more recently, Ta-Nehisi Coates’s case for reparations in The Atlantic, “Homelands” is an essay exploring the global migration crisis and calling for open borders. It draws on the reporter’s experiences in Liberia, Kenya, Italy and South Africa while working for magazines such as Time, Bloomberg Businessweek, and The Atlantic. The narrative opens and concludes with the story of a Liberian orphan named Patience who is adopted by American parents. A large part of the essay focuses on the parallels between the global migration crisis and South Africa’s regime. It examines the economic, social and moral implications of restricting people’s movements based on where they were born. Faris is the author of Forecast: The Surprising--and Immediate--Consequences of Climate Change.

4.2.5 Come See the Mountain

“Come See the Mountain” is Deca’s third story, written by Tom Zoellner, published in December, 2014. It centers around the idea of “dark eco-tourism,” the environmental version of dark tourism, where people pay to witness environmental degradation. The short book focuses mostly on a firsthand account of visiting the popular tourist destination and extremely dangerous Cerro Rico mine in Potosí, Bolivia, where hundreds of people die in collapses and explosions every year. It also reflects on the centuries of colonial exploitation that led up to the mine becoming a tourist attraction. The book touches on other similar phenomenons of “dark eco-tourism”, including taking cruises to watch glaciers melt, flights over the Great Pacific garbage patch and bus tours through New Orlean’s Lower Ninth Ward, which was devastated by Hurricane Katrina. The story explores issues surrounding the unintended consequences of development, colonialism and waste in the Global North on the Global South. Deca’s website describes the book as a “journey into the guilty heart of progress”. Zoellner is the author of five books, including Uranium: War, Energy, and the Rock That Shaped the World. 4.2. DECA (JOURNALISM COLLECTIVE) 85

4.2.6 The Wreck of the Kulluk

“The Wreck of the Kulluk” is Deca’s fourth story, written by McKenzie Funk, published in January, 2015. An excerpt of the book was published in the New York Times Magazine on December 30, 2014. The book is an account of the wreck of the Kulluk, a drill barge that was used for oil exploration in Arctic waters by the Royal Dutch Shell oil company. As easily accessible sources of oil become few and far between, Shell has invested $6 billion to push into more remote and dangerous places in pursuit of oil, sparking debate about unnecessary environmental and human risks.[7] The story draws from dozens of interviews in Alaska and hundreds of of Coast Guard reports and oil industry documents. With a detailed account of the events leading up to the wreck and how the disaster unfolded, it explores the new frontier of energy everywhere from the cockpits of rescue helicopters in the Arctic to Washington D.C. to oil company boardrooms. Rachel Maddow called the book “riveting” in her May 15, 2015 segment on drilling in the Arctic. Funk is the author of Windfall: The Booming Business of Global Warming.

4.2.7 13 Men

“13 Men” is Deca’s fifth story, written by Sonia Faleiro, published in February, 2015. The book draws on court documents, several witness accounts and an exclusive interview with the victim of a gang-rape in a small village in West Bengal. The piece explores the intersection of violence against women and the marginalization of ethnic minorities in India. It gives a graphic account of the incident reconstructed from the victims recollection, interviews, police reports and photographs recovered during the investigation. In a detailed, narrative style it retraces the precise timeline of the circumstances surrounding the crime as well as the history of the village where it took place, exploring the complicated dynamics at play when someone is victimized by a community that has also been subjected to decades of violence, damaging stereotypes and oppression from society at large.[8] A review in Mint called it “narrative non- fiction at its most powerful” while a critical review in Himal Southasian asserts that the account “cannot possibly be true”. Faleiro is the author of Beautiful Thing: Inside the Secret World of Bombay’s Dance Bars.

4.2.8 The Wizard and the Volcano

“The Wizard and the Volcano” is Deca’s sixth book, written by Marc Herman, published in April, 2015. The book revolves around the wizard of Mount Merapi in Java, Indonesia, a mystic figure who refuses to obey an evacuation order for an impending volcanic eruption. As conditions in temporary evacuation camps become cramped and in- creasingly desperate, disaster strikes unexpectedly where only the wizard had predicted and thousands of evacuated residents begin returning to their abandoned homes and livelihoods in the danger zone of the active volcano. Through the lens of interviews with the wizard, NGO reports, local legends and firsthand reporting over the course of the erup- tion, the book explores the role of foreign aid, government, local authorities and history in shaping how a high-stakes crisis unfolds in a disaster-prone country. The book was published on the two-hundred-year anniversary of the largest volcanic blast in recorded history, Indonesia’s deadly Tambora eruption in April 1815. Herman covered the Libyan revolution for The Atlantic and is the author of The Shores of Tripoli.

4.2.9 Godfathers and Thieves

“Godfathers and Thieves” is Deca’s seventh book, written by Elizabeth Dickinson, published in September, 2015. It chronicles the efforts of members of the Syrian diaspora to “crowd-fund” the opposition fighting Bashir-al Assad in the . The story follows exiled Syrian businessman Mezyan Al Barazi and a network of compatriots over several years as they navigate the hurdles of getting money and supplies to the rebels, hoping to quickly overthrow the government. An increasingly complicated conflict that escalates quickly from protests to fighting means they must face decisions about whether or not to support armed conflict in absentia. Through dozens of interviews and other primary sources the book reveals wide, covert, sometimes foreign government-backed networks of Syrians abroad who are funding the war. It also examines the nuanced unity found for the members of these alliances, who may not have been united if they had not been living in exile during the war. Dickinson is the author of the book Who Shot Ahmed: A Mystery Unravels in Bahrain’s Botched Arab Spring. 86 CHAPTER 4. DAY 4

4.2.10 The Calypso Killing

“The Calypso Killing” is Deca’s eighth book, written by Tom Zoellner, published in March, 2016. The story centers around the island of Trinidad and Tobago, in the midst of a drug war,[9] where the assassination of star prosecutor Dana Seetahal shocked the country.[10] On May 4, 2014 at 12.05am, Seetahal was assassinated while driving her Volkswagen Touareg SUV in the vicinity of the Woodbrook Youth Club, Port of , Trinidad. She was shot 5 times. Her death raised conspiracy theories about Colombian drug cartels, Venezuelan arms smugglers and a local religious community with a secret political agenda. The story also documents the FBI’s involvement, when the murder became more than a local matter, and the hunt for Dana Seetahal’s killers became a case of misdirection and double meanings. While 11 men were charged with the crime in July, 2015 they have not yet been convicted.[11] Zoellner is the author of five books, including Uranium: War, Energy, and the Rock That Shaped the World.

4.2.11 Member list

4.2.12 Criticism

An article in the Columbia Journalism Review offered this criticism of the Deca model: “I found myself wondering if this really is a better arrangement for freelancers who feel exploited by traditional magazines. Sure, I might have to work harder to sell editors on my ideas or agree to tweak my initial pitch to their specifications, but at least I have a contract for a guaranteed amount of money that doesn’t fluctuate based on how many people read my work or purchase the magazine that week. Deca plans on publishing nonfiction stories of about 10,000 words each. For its writers to come anywhere close to earning a mainstream magazine’s per-word rate, every single one of its stories is going to have to be a massive hit. Even top-selling Kindle Singles are more useful in generating an audience for journalism than they are in generating revenue.”[12]

4.2.13 References

[1] http://www.decastories.com/concept/

[2] http://www.amazon.com/City-Swallowed-Them-Kindle-Single-ebook/dp/B00KWHZ4LQ

[3] Mara Hvistendahl

[4] https://www.kickstarter.com/projects/386476501/deca

[5] http://www.cbc.ca/news/canada/british-columbia/b-c-model-stabbed-fully-clothed-when-found-boyfriend-1.772056

[6] http://www.decastories.com/and-the-city-swallowed-them/

[7] Hackman, Rose (2015-05-12). “Letting Shell drill in Arctic could lead to catastrophic oil spill, experts warn”. the Guardian. Retrieved 2016-07-18.

[8] “Political and Economic Marginalization of the Santhal Community: A Case Study from Jhapa” (PDF).

[9] Pachico, Elyssa. “Trinidad and Tobago Declares Drug War Emergency”. www.insightcrime.org. Retrieved 2016-07-18.

[10] “T&T in shock and disbelief after fearless prosecutor Dana Seetahal gunned down - Latest News”. Jamaica Observer. Retrieved 2016-07-18.

[11] “News | The Trinidad Guardian Newspaper”. www.guardian.co.tt. Retrieved 2016-07-18.

[12] http://www.cjr.org/realtalk/deca_freelance_collective.php?utm_source=scoopinion#sthash.urN1HgNU.dpuf

4.2.14 External links

• Official website

• Nieman Storyboard: “Inside the new storytelling collective Deca”

• The Paris Review: “Journalists reporting from more than ninety countries are collaborating on a new project called Deca.” 4.3. DEVELOPING LIVES 87

• Capital New York: “Meet Deca, the latest journalism cooperative.”

• Forbes: “Is New Journalism Cooperative Deca The Future Of Digital Publishing?"

• Fast Company: “ Bets on... Journalism.”

• Gigaom: “Award-winning journalists launch a publishing co-operative called Deca, inspired by Magnum.”

• Columbia Journalism Review: “Journo-startups that appeal right to readers”

• Journalism.co.uk: “An international co-operative of award-winning journalists are working together to tell the stories they feel are most important, despite most having never met in person.”

• The Chicago Tribune: “Deca is a prime example of the freedoms digital publishing allows.”

• El País: “Taking Magnum as a model, Deca is born, an association of 9 journalists...”

• The Hindu: “Their inaugural offering...is an enthralling story. If this is the benchmark for readers, then it is a high one for publishers worldwide.”

4.3 Developing Lives

Developing Lives is a photography program run for residents of the New York City Housing Authority or NYCHA, a government agency that provides public housing for low and moderate residents throughout the five boroughs of New York City.[1] The program provides workshops by NYCHA using privately donated film cameras and laptops along with discounted film development.[1] Private support of NYCHA programs is welcome given an agency experiencing huge shortfalls in operating and capital funding.[2] The participants create a visual and oral history of daily life that differs from a common media portrayal of NYC housing projects,[3][4] as well as those elsewhere in the nation[5] and even across the pond,[6] as populated in part by those living outside the law. It may be that NYCHA hopes that Developing Lives can help change the image of those living in the projects.[7][8]

4.3.1 History

Developing Lives began in the Housing Authority’s Manhattanville Development in fall 2010 with a handful of participants.[7] The program has by now included residents of 15 of the agency’s 334 developments. Meanwhile, over 10,000 viewers have seen the photographs online.[9] Developing Lives was brought to NYCHA by former MTA executive George Carrano of the non-profit Seeing For Ourselves, which also arranged the private partnerships behind the program.[9][10] Carrano had served as curator of photography exhibits of war photojournalism and participatory photography that were lauded in the media as poignant[11] and not to be missed.[12] Chelsea Davis, founder of two participatory arts programs and with family roots in NYC public housing, directs the program. Lily Randall, former art instructor in St. Louis public housing, also helped run Developing Lives.[8][10]

4.3.2 Developing Lives as Photography

Developing Lives belongs to the school of participatory photography. This school turns the traditional photography paradigm on its head. Those whose normal role is limited to their function as objects of photography receive training to document their own lives. The movement originated in American efforts two decades ago to aid rural Chinese women, who had never used a camera, but now encompasses all efforts to take charge of one’s own narrative using photography.[9] Milestones include the NYC exhibit Unbroken by PhotoVoice, a group dedicated to this school of photography.[9][11] George Carrano served as the show’s curator.[8][10] 88 CHAPTER 4. DAY 4

4.3.3 The Program

Each Developing Lives session includes weekly one-hour classes that run for a twelve-week period. Each week instructors demonstrate a new photography technique (light, shadow, camera language, etc.) and introduce a well- known photographer whose work exemplifies that technical style. The one-time-use Kodak cameras are distributed at the start of every class and returned the following week. The film is then processed and photographs reviewed and returned. Participants are asked to bear in mind the new photography technique when documenting their lives throughout the week.[13] In addition to teaching technical skills, Developing Lives also helps participants become documentary photographers. The classes discuss the art of storytelling through a photograph. All photographs are paired with handwritten captions from the photographer.[13] The Developing Lives photographs were combined with a narrative explaining the challenges faced by residents, and published as Project Lives in April 2015.

4.3.4 References

[1] “Developing Lives: Studio NYCHA”. NYCHA. Retrieved 20 August 2013.

[2] Committee on Public Housing. “Testimony from NYCHA Chairman John B. Rhea” (PDF). NYC.gov. Retrieved 20 August 2013.

[3] Sandhu, Sukhdev (16 Nov 2007). “Film reviews: American Gangster and Brick Lane”. Telegraph. Retrieved 20 August 2013.

[4] Catsoulis, Jeanette. “On One Corner of America, the Violent Realities of Thug Life- 'Player Hating,' Maggie Hadleigh- West’s Documentary”. New York Times. Retrieved 20 August 2013.

[5] Rosenbaum, Jonathan. “Film Search: Candyman”. Chicago Reader. Retrieved 20 August 2013.

[6] Wilson, Beth. “Film: Harry Brown”. Trespass Magazine. Retrieved 20 August 2013.

[7] Nguyen, Tuan. “Manhattanville Houses residents give picture of their lives in photo exhibit”. NY Daily News. Retrieved 20 August 2013.

[8] “The Kodak Sponsored “Developing Lives” Photography Program”. Kodak Blog. Kodak. Retrieved 5 September 2013.

[9] “Developing Lives Brochure” (PDF). Seeing for Ourselves. Retrieved 20 August 2013.

[10] “Developing Lives: Meet the Team”. Studio NYCHA. Retrieved 20 August 2013.

[11] Salamon, Julie (July 10, 2004). “Child Photographers Show Lives of Hardship and Hope”. New York Times. Retrieved 20 August 2013.

[12] The New York Time (September 30, 2005). “Art Listings”. New York Times. Retrieved 20 August 2013.

[13] “Developing Lives Class Information”. Studio NYCHA. Retrieved 20 August 2013.

4.4 Dundalk Photographic Society

Dundalk Photographic Society is an Irish camera club based in Dundalk, County Louth. The society achieved global acclaim in its thirtieth year in December 2008 by reaching the highest level ever for an Irish body in a major amateur competition when it took 11th place in an annual event run by the International Federation of Photographic Art (FIAP). Eleven photographers put forward twenty entries, including A Winter’s Walk by David Martin, and Into the Mist by Denis Whelehan. In 2007, the society entered a competition in the , achieving sixth place in the world but this was not counted as the society was not a representative of the FIAP at the time.[1] In December 2010 Dundalk Photographic Society improved on its 2008 success by winning the 2010 FIAP Club World Cup[2] - the ultimate goal of any amateur photographic organisation and a dream come through for its members. Dundalk Photographic Society saw off competition from 123 other photography clubs from around the world to claim the title.[3] The five club members who contributed to the winning 2010 FIAP Club World Cup panel were Gabriel O'Shaughnessy, Tony McDonnell, David Martin, Brian Hopper & Ciaran deBhal. A group of approximately 15 4.5. EDINBURGH PHOTOGRAPHIC SOCIETY 89 members travelled to the FIAP headquarters in Paris, France to accept the FIAP World Cup Trophy on 12 February 2011, including veteran club members Denis Whelehan & Colm Kane. The full Dundalk Photographic Society 2010 FIAP Club World Cup winning panel can be found here . In November 2009 Dundalk Photographic Society published a limited edition book entitled “Dundalk Photographic Society, Celebrating 30 Years: The Art of Photography”.[4] The book featured over 200 images from members of the club and contained a foreword from President Mary McAleese.

4.4.1 References

[1] “Irish in photo finish for top award”. Irish Independent. 2008-12-29. Retrieved 2009-01-09.

[2] “2010 FIAP Clubs’ World Cup”. INTERNATIONAL FEDERATION OF PHOTOGRAPHIC ART (FIAP). 2010-12-13. Re- trieved 2011-02-21.

[3] “Amateurs snap up world award”. Irish Independent. 2010-12-15. Retrieved 2011-02-21.

[4] “Top photo club launches book”. Dundalk Democrat. 2009-11-18. Retrieved 2010-08-30.

4.4.2 External links

• Official Site (www.dundalkphoto.com) • General Flickr Page • Page • Facebook Page

4.5 Edinburgh Photographic Society

The Edinburgh Photographic Society is a photographic society based in Edinburgh, Scotland. It was established in 1861.[1] The society awards medals annually to photographers of excellence.[2][3]

4.5.1 References

[1] British journal of photography. Henry Greenwood & Co., Ltd. 1 July 2002. Retrieved 19 July 2012.

[2] Royal Photographic Society of Great Britain (1865). The Photographic journal. p. 69. Retrieved 19 July 2012.

[3] “Edinburgh International 2010 Awards” (PDF). Edinburgh Photographic Society. Retrieved 19 July 2012.

4.5.2 External links

• Official site • Site dealing with the society’s history

4.6 European Pressphoto Agency

European Pressphoto Agency B.V. is an international news photo agency. Images from all parts of the world covering news, politics, sports, business, finance as well as arts, culture and entertainment are provided by a global network of over 400 professional photographers and included in the epa news photo service. The epa picture service is based both on network of epa’s staff photographers all over the world and on the daily production of its member agencies, which are all market leaders in their respective countries. All photos are edited and distributed to clients and partners worldwide by the editorial headquarters in Frankfurt am Main, Germany, which is staffed 24 hours daily.[1] 90 CHAPTER 4. DAY 4

4.6.1 The epa service epa built up a reputation for reliable, independent and unique photo coverage. The international picture service of epa is used by diverse media as well as epa’s partners and shareholders worldwide. At present epa’s editorial service offers approximately 1,100 new images[2] on an average day. The service includes photographs in the areas of news; sports; arts, culture and entertainment; economy; human interest; and science.

4.6.2 The epa archive

The epa photo archive dates back to 1997 and has about three million images on stock,[3] the majority of which can be accessed online.

4.6.3 History epa was founded in 1985 by seven European news agencies. The agencies, AFP of France, ANP of the Netherlands, ANOP (now Lusa) of Portugal, ANSA of Italy, of Belgium, dpa of Germany and EFE of Spain were motivated by what they saw as a lack of alternatives to the Anglo-Saxon picture services offered at the time. Originally conceived as a vehicle to exchange the pictures of the member agencies’ domestic service; it also included the world service of AFP and other European services and suppliers. It expanded to a more independent entity as Eastern Europe opened up. The opening of these new markets, along with the war in the former Yugoslavia, led epa to employ its own photographers in those regions. Despite these developments, epa remained under the auspices of their member/owners whom it exclusively served.[4] epa shareholders and epa going global

By 1995 epa had ten members with the additions of KEYSTONE later in 1985, APA of Austria in 1986, and Lehtikuva of Finland in 1987. Pressensbild of Sweden joined in 1997 followed by Scanfoto (later Scanpix ) of Norway and Nordfoto (later Scanpix Denmark) of Denmark in 1999. pap of Poland joined epa in 2001. In early 2003 after extensive restructuring and the departure of AFP, epa successfully made its service available to the worldwide market. Later in 2003 Lehtikuva, Scanpix Denmark/Norway and Pressensbild (later Scanpix Swe- den) decided not to continue as a shareholder of epa. However, Scanpix Norway, Sweden and Denmark continued cooperation with epa under the name of Scanpix Scandinavia. ANA of Greece (now ANA-MPA) joined epa as a shareholder in 2004 followed by mti of in 2005.[5] Today epa has eleven shareholders, all being market leaders in their respective countries:

• Athens -Macedonian Press Agency (ANA-MPA) in Greece • Algemeen Nederlands Persbureau (ANP) in the Netherlands • Agenzia Nazionale Stampa Associata (ANSA) in Italy • Austria Presse Agentur (APA) in Austria • belga in Belgium • Deutsche Presse-Agentur (dpa) in Germany • Agencia EFE in Spain • KEYSTONE in Switzerland • Lusa – Agência de Notícias de Portugal in Portugal • Magyar Távirati Iroda (mti) in Hungary • Polska Agencja Prasowa (pap) in Poland 4.6. EUROPEAN PRESSPHOTO AGENCY 91

4.6.4 Photojournalists

Lucas Dolega, an epa photojournalist, was the first journalist to have been killed during the 2010-2011 Tunisian protests and the first journalist to have died during the Arab Spring uprisings.[6][7][8]

4.6.5 See also

• Associated Press

• Reuters

• Agence France-Presse

• Getty Images

4.6.6 References

[1] epa service

[2] epa service

[3] epa archive

[4] epa history

[5] epa shareholders

[6] Committee to Protect Journalists. 17 January 2011. “Lucas Mebrouk Dolega.” Retrieved 16 October 2011 CPJ.

[7] “French photographer dies from injury sustained on day of Ben Ali’s departure”, Reporters without Borders, 18 January 2011. Retrieved 23 January 2011 RSF

[8] “French photographer dies after being hit by police teargas canister in Tunisia”, The Guardian, 16 January 2011. Retrieved 23 January 2011 The Guardian.

4.6.7 External links

• epa european pressphoto agency (official website)

• epa webgate (image archive)

• -Macedonian Press Agency (ANA-MPA)

• Algemeen Nederlands Persbureau (ANP)

• Agenzia Nazionale Stampa Associata (ANSA)

• Austria Presse Agentur (APA)

• belga

• Deutsche Presse-Agentur (dpa)

• Agencia EFE

• KEYSTONE

• Lusa

• Magyar Távirati Iroda (mti)

• Polska Agencja Prasowa (pap) 92 CHAPTER 4. DAY 4

4.7 European Society for the History of Photography

The European Society for the History of Photography (ESHPh), founded in 1978, is a society concerned with the historical events within photography from a European perspective. The ESHPh publicly hosts symposia, publishes journals, and distributes the “International Letter” to its members. The ESHPh is actively chronicling the historiography of the history of photography in Europe.

4.7.1 History

The founding of the Europäischen Gesellschaft für die Geschichte der Photographie (ESHPh) [European Society for the History of Photography] took place at the first general meeting on 19 November 1978 in Leverkusen, Germany. The decision to form a society of this nature had been taken one year earlier in Antwerp, Belgium. A group of museum curators and photographic historians from six European countries - notably Laurent Roosens (of the Ster- ckshof Museum, Antwerp), Margaret Harker (the UK’s Royal Photographic Society) and Rolf Krauss (Deutsche Gesellschafte für Photographie) - came together to establish a new society dealing with the history of photography in a European context. Since 2001, the presidential headquarters are to be found in . From 1978 until 1989, those headquarters were in Antwerp; thereafter, until 2001, in Croydon, UK. It is currently based in Vienna, although the website is hosted by the Donau University Krems, Austria.[1]

4.7.2 The aims of the ESHPh

The ESHPh was founded with the primary aim of researching the historical development of photography from its origins up to the present and integrating it within a European context within the social political matrix of photography’s inherent interdisciplinary nature. Photographers, general historians and historians of photography, philosophers, sociologists, ethnologists, academics, curators and private collectors as well as many important European institutions and some from further afield all belong to the ESHPh. Alongside its research activities, the ESHPh takes part in a worldwide exchange of information. It supports both the recognition of the history of photography as an academic discipline and the establishment of chairs in the discipline at European universities. From 1981 until 2004, the society has held symposia in various locations in Europe, as evidenced by diverse publi- cations. For its 30th anniversary in 2008, the ESHPh celebrated an internationally attended photography congress at the Austrian Academy of Sciences, in Vienna, from 6–8 November 2008. This anniversary event was accompanied by an English language commemorative publication and took place as the theoretical focus of the European Month of Photography 2008 in Vienna. The ESHPh as a society was entered in the Austrian Register of Societies on 3 March 2004. However, the seat of society is connected to the presidency. The first general meeting, at which the board was elected, took place on 8 June in the WestLicht Gallery in Vienna. The new Executive Committee of the ESHPh was elected at the Society’s annual general assembly that was held in Vienna on 4 November 2010, at the invitation of the Department for Pictures at the Austrian National Library.

4.7.3 ESHPh Board (as of 2011)

• Mag. Uwe Schögl – President • Dr. Ulla Fischer-Westhauser – Vice President

International Advisory Board

• Hans Christian Adam, picture research, photo consulting (Göttingen, Germany) • Professor Anna Auer, photo historian (Vienna, Austria) • A. D. Coleman, photography critic (New York City, USA) • Professor Alistair Crawford, artist and writer (Sudbury/Suffolk, United Kingdom) 4.7. EUROPEAN SOCIETY FOR THE HISTORY OF PHOTOGRAPHY 93

• Rolf H. Krauss (Stuttgart, Germany)

• Liz Wells (Plymouth, United Kingdom)

4.7.4 Activities

The International Letter is sent to members twice a year; the letter is a summary of recent events and information of new events and symposia concerning photography across the world, and also includes exhibition notices and auctions.

4.7.5 Symposia

Since 1981, the society has brought together practitioners and specialists with the aim of discussing photography and to create contacts from a variety of disciplines relating to photography.

• 2012 Vienna (A)

• The Material and Immaterial in Photography • 2nd Congress of Photography in Vienna at the MUSA • 24 November 2012 • Felderstraße 6-8, 1010 Vienna

• 2008 Vienna (A) 22nd International Symposium

• The 30 Years Jubilee of ESHPh • 1st Congress of Photography in Vienna at the Austrian Academy of Sciences (Theatre-Hall) • 6–8 November 2008 • Sonnenfelsgasse 19, 1010 Vienna

• 2004 Stockholm (S) 21st International Symposium

• From Nordic Landscapes to North American Indians Current Trends in Nordic and International History of Photography • 9–10 September 2004 at the National Library of Sweden and Moderna Museet, Stockholm

• 2003 Mannheim (D) 20th International Symposium

• Helmut Gernsheim Reconsidered • 12 October 2003 at the Museum of Anthropology and Natural History (Reiss-Engelhorn Museen), Mannheim [2]

• 2002 Maastricht (NL) 19th International Symposium

• BOXED • 11–13 November 2002 at the Academy of Visual Art, Hogeschool Zuyd, Maastricht, Netherlands

• 2001 Vienna (A) 18th International Symposium

• Photography and Research in Austria – Vienna, the Door to the European East • 20–22 June 2001 at the Austrian National Library in Vienna [3]

• 2000 Bradford (UK) 17th International Symposium

• Retracing the Image: The Emergence of Photography in the Nineteenth Century • 16–17 June 2000 at the Museum for Photography, Film & Television, Bradford, UK

• 1999 Udine (I) 16th International Symposium

• Photography in Italy 94 CHAPTER 4. DAY 4

• 5–8 May 1999 at the University of Udine, Italy • 1998 Antwerpen (B) 15th International Symposium • 20 Years of European Society for the History of Photography • 8–11 January 1998 at the Congrescentrum‘t Elzenveld, Antwerp, Belgium • 1997 Helsinki (FIN) 14th International Symposium • Finland Shamanism and Beliefs in Europe Photography • 9–12 October 1997 at Hanasaari (The Swedish - Finnish Cultural Centre), Helsinki, Finland • 1997 (B) 13th International Symposium • Photoresearcher ESHPh • 18 April 1997 at the Free University Brussels, in collaboration with Higher Institute for Fine Arts and ESHPh Belgium, Brussels, Belgium • Essays third symposium ‘Image & University’ - Philosophy of photography • 1996 (B) 12th International Symposium • Questioning the World • 25–28 April 1996 at the Museum of Photographie, Charleroi, Belgium • 1994 (N) 11th International Symposium • 25–28 August 1994 at Lysebu Conference Centre, Oslo, Norway • 1993 Vilanova (E) 10th International Symposium • 28–30 June 1993 at the Town-Hall of Vilanova i la Geltrú, Barcelona, Spain • 1992 Edinburgh (UK) 9th International Symposium • Photography 1900 • In association of The Scottish Society for the History of Photography • 24–26 September 1992 at the National Museum of Scotland, Edinburgh • 1992 London, (UK) 8th International Symposium • The changing Role of Photography in Advertising & Fashion • 30 May 1992 at the National Portrait Gallery, London • 1991 (F) 7th International Symposium • 27–29 June 1991 at the Galerie du Château d'eau, Toulouse, France • 1989 Göteborg (SE) 6th International Symposium • 28 September – 1 October 1989 at the Department of Design and Crafts, Gothenburg, Sweden • 1989 Vevey (CH) 5th International Symposium • 150th Anniversary of the Invention of Photography • 29 June – 2 July 1989 at the Centre Doret, Vevey, Switzerland • 1988 Antwerpen (B) 4th International Symposium • 10 Years Jubilee of the ESHPh • 23–25 September 1988 at the Provinciaal Museum voor Fotografie, Antwerp, Belgium • 1985 Bradford (UK) 3rd International Symposium • 11–14 April 1985 at the Museum for Photography, Film & Television, Bradford, UK 4.7. EUROPEAN SOCIETY FOR THE HISTORY OF PHOTOGRAPHY 95

• 1982 Antwerpen (B) 2nd International Symposium • 5 June 1982 at the Crédit Communal de Belgique, Brussels • 1981 Bath (UK) 1st International Symposium • 9–12 April 1981 at the Royal York Hotel, Bath, UK

4.7.6 Publications

PhotoResearcher

The society’s printed journal, PhotoResearcher, has been published since 1990. 2010 saw the journal published three times a year by contributing authors who are internationally recognised experts in the field of photography. No. 12 onwards:

• Co-Editors: Uwe Schögl and Ulla Fischer-Westhauser

No’s. 7–11 (2004–2008)

• Co-Editors: Anna Auer, Vienna (A), Alistair Crawford, Aberystwyth (UK).

No. 6 (1994–1996)

• Editorial: Alistair Crawford, University of Wales, School of Arts, Aberystwyth (UK).

No. 5 (1993)

• Editorial: Margaret Harker Farrand, Roy Green (UK).

No’s. 1–4 (1990–1992)

• Editorial Board: Margaret Harker Farrand, Roy Green, Anthony Hamber, Sidney F. Ray (UK).

30 years of ESHPh 2008

This jubilee publication coincided with the 2008 conference in Vienna. It served to formulise the direction of the ESHPh and give an overview of the “picture” from trans-disciplinarian perspectives.

Photohistorica

Photohistorica: Serial Literature Index of the European Society for the History of Photography consisted of a biblio- graphical listing, with abstracts, of articles that had appeared in serial publications of the relevant years of publication. The first issue in May 1978 was a bibliographic listing only, but thereafter most bibliographic entries were accom- panied by a short abstract. Apart from that pioneering issue of May 1978, each issue was double-numbered (such as 02/03) and except for 1979 and 1981 two double-numbered issues appeared annually (i.e. covering 1992 the two issues were numbers 50/51 and 52/53 containing abstract No.s 6656-6963 and 8964-7229). Karel van Deuren (the editor throughout the 1980s), Dr. Laurent Roosens (inaugural President of ESHPh), and Luc Salu (librarian of the Museum voor Fotographie, Antwerp) were the first compilers of the bibliography and abstracts. The produc- tion of those twenty–seven double-numbered issues of Photohistorica of 1978-1992 made possible in Belgium by annual grants provided until 1993 by Agfa–Gevaert. From the remaining funds provided by Agfa-Gevaert, a detailed Cumulative Index was sent out to members of ESHPh in mid–1994. For some years, the office of the ESHPh (under the society’s President Prof. Margaret Harker Farrand) was based in England, and 1993-94 witnessed two years of financial insecurity for the Society, with an income apparently limited solely to the subscriptions of its members. Yet the production of a bibliography of articles on the history of 96 CHAPTER 4. DAY 4 photography from current serials had been of undoubted value and a justified function of the ESHPh. After a lapse of two years, a new volunteer - R. Derek Wood (historian of early photography) - from its members in England was found to compile and edit a renewed bibliography. Thus with Agfa-Gevaert (Belgium) making a grant to ESHPh in February 1995 to cover printing costs, another two double-numbered issues (No. 54/55 and 56/57) of a renewed Photohistorica covering the years 1993 and 1994 could be published. However, with a low membership inevitable for a specialist subject area unable to provide a strong financial base, both publications (Photohistorica and PhotoResearcher) of ESHPh could not continue in the late 1990s - except that is for ESHPh member Audrey Linkman of Manchester compiling and editing a final Photohistorica (issue 58). It provided 296 abstracts of articles on the history of photography, published in serials, mainly, but not exclusively, during the half-year January to June 1997. Unlike all the earlier issues (of a square 20x20cm format), issue 58 was printed in A4 format and a new categorisation of subjects was introduced. This account of Photohistorica is derived mainly from R. Derek Wood’s preface[4] and postscript[5] to the issues for 1993-1994.

4.7.7 Current President and Vice President

• Uwe Schögl, President of ESHPh since 2010; Vice-President of ESHPh from 2004 to 2010

• Born 1965 in Bad Ischl, Austria, and studied at the University of Salzburg and Vienna. • Since 2002: Assistant Director and Senior Curator of Photography of the Picture Archive of the Austrian National Library, Vienna. • Since 2006: visiting lecturer at the Department for Images Sciences, Danube University Krems. • Recent publications: Ferdinand Schmutzer: Photographic Works 1894-1928 (2008) and Photo Simonis: Prominente und Werbung 1960-1970 (2010)

• Dr. Ulla Fischer-Westhauser

• Born in Vienna • Studies in English language and literature and history (PhD) in Vienna • Self-employed author and curator • Exhibitions and publications about history of economics and photo history.

4.7.8 Past Presidents

• 2004-2008

• President: Anna Auer (Vienna, Austria) • Vice-President: Uwe Schögl (Assistant Director and Senior Curator of Photography at the Picture Archive of the Austrian National Library, Vienna, Austria)

• 2001-2003 (provisory committee)

• President: Anna Auer (Vienna, Austria) • Vice-President: Johan Swinnen (Antwerp/Brussels, Belgium)

• 1997-2001

• President: Margaret Harker Farrand (Croydon/Surrey, UK) • Vice-President: Karl Steinorth (President of the Deutsche Gesellschaft für Photographie, Cologne, Ger- many)

• 1993-1997

• President: Margaret Harker Farrand (Croydon/Surrey, UK) • Vice-President: Karl Steinorth (President of the Deutsche Gesellschaft für Photographie (from 1996), Cologne, Germany) 4.8. FATAMORGANA (PHOTO SCHOOL) 97

• 1989-1993

• President: Margaret Harker Farrand (Croydon/Surrey, UK) • Vice-President: Rune Hassner (Stockholm, Sweden)

• 1986-1989

• President: Margaret Harker Farrand (Egdean, UK) • Vice-President: Rune Hassner (Stockholm, Sweden)

• 1982-1986

• President: Laurent Roosens (Mortsel/Antwerp, Belgium) • Vice-President: Margaret Harker (Egdean, UK)

• 1978- 1982

• President: Laurent Roosens (Mortsel/Antwerp, Belgium) • Vice-President: Margaret Harker (Egdean, UK)

4.7.9 Membership

Membership is open to students, private individual and to contributing international museums and institutions in photography. It incorporates interested disciplinarians from the professional scientific and academic fields where photography is significant in whole or in part.

4.7.10 References

[1] Eds. Anna Auer / Uwe Schögl (2008). JUBILEE 30 Years ESHPh. Fotohof edition. p. 503. ISBN 978-3-902675-04-0.

[2] Eds. Anna Auer/Alistair Crawford: Helmut Gernsheim Reconsidered. The proceedings of the Mannheim Symposium, Klinger Verlag, Passau 2004; ISBN 3-932949-37-4

[3] Eds. Anna Auer/Uwe Schögl: Photography and Research in Austria - Vienna the Door to the European East. The pro- ceedings of the Vienna Symposium, Klinger Verlag, Passau, 2002, ISBN 3-932949-12-9

[4] R. Derek Wood, ed. (July 1995). “photohistorica 54/55 - Foreword”. European Society for the History of Photography. Retrieved 7 November 2012.

[5] R. Derek Wood (ed.). “Indexes to photohistorica, issues 54/55; 56/57 - Postscript”. European Society for the History of Photography. Retrieved 7 November 2012.

4.7.11 External links

• ESHPh website (hosted at Donau-Uni Krems)

• Chronology of the ESHPh 1977–2008 (PDF)

• Photohistorica at Midley History of Early Photography

4.8 Fatamorgana (photo school)

Fatamorgana is a Danish school of art photography in Copenhagen. Founded by Morten Bo in 1999, the school offers one-year introductory courses, divided up into two semesters, covering various aspects of documentary and conceptual photography. The school is located in the Copenhagen district of . 98 CHAPTER 4. DAY 4

4.8.1 History

Appreciating the need for a Danish institution dedicated to providing an education in art photography, Danish pho- tographer Morten Bo adopted the model used so successfully by Christer Strömholm in Stockholm since 1956.[1] The school has been awarded grants from several institutions including the Development Fund of the Danish Ministry of Culture, the National Bank’s Anniversary Fund, and the royal palace, with a grant from the Prince’s Fund “in acknowledgment of its active and efficient contribution.”[2]

4.8.2 References

[1] “Fotoskolan STHLM”. Retrieved 25 February 2010. (Swedish)

[2] “Fatamorgana the Danish School of Art Photography”. Retrieved 25 February 2010.

4.9 Fédération Internationale de l'Art Photographique

Fédération Internationale de l'Art Photographique, or FIAP (Eng. The International Federation of Pho- tographic Art), is an international organization of national associations of photography. More than 85 national associations are members, comprising nearly one million individual photographers. FIAP was founded by M. Van de Wijer of Belgium in 1946. The first members were the photographic associations from Belgium, the Netherlands, Italy, Portugal and Switzerland. In 1947, Denmark, Finland and Hungary joined. The first FIAP congress took place in , Switzerland in 1950, at which time additional national association mem- bers included Austria, Brazil, Cuba, Spain, Finland, France, Ireland, Luxembourg, Sweden, and Yugoslavia. FIAP Biennials are currently held every 2 years, in different countries, during odd numbered years for black and white and nature photography, and even numbered years for color photography. The FIAP gives a rare honorary of Master of Photography (MFIAP). The third man to have received an MFIAP was Benu Sen.

4.9.1 Biennials

• 27th Congress: , Hungary, 2004 • 28th Congress: Chengdu, China, 2006 • 29th Congress: Žilina, , 2008 • 30th Congress: Hanoï, Vietnam, 2010

4.9.2 References

• Photo FIAP 1966: The Best of FIAP 1966, Lucerne, Switzerland: C. J. Bucher Ltd., 1965 (selections from the 8th Biennial of 1964) • The International Federation of Photographic Art develops its activity world-wide since over 50 years. FIAP

4.9.3 External links

• Official website

4.10 Federation of European Professional Photographers

The Federation of European Professional Photographers or Federation of European Photographers (FEP) is a nonprofit organization that organizes national professional photographers associations in the geographic area repre- sented by the Council of Europe and has member organizations in some 29 countries. FEP is officially headquartered 4.10. FEDERATION OF EUROPEAN PROFESSIONAL PHOTOGRAPHERS 99 in Brussels. The Secretariat is in Rome. As the central reference authority for Photography in the European Union, it represents over 50.000 professional photographers in Europe. The FEP is composed of the national professional associations of the following countries: Armenia, Austria, Azerbaijan, Belarus, Belgium, Croatia, Cyprus, Czech Republic, Denmark, Finland, France, Georgia, Germany, Hungary, Ire- land, Italy, Latvia, Malta, Norway, Poland, Portugal, Russia, Serbia, Slovakia, Spain, Sweden, The Netherlands, Ukraine and United Kingdom.

4.10.1 Core principles

The FEP defends the rights of professional photographers directly and in communion with national and international organisations. about-insetIt represents the interests of member associations on a global scale on topics like education, training, professional standards, authors rights etc. The FEP cooperates in the organisation of national events of member associations and international congresses, and promotes an exchange of keynote speakers.

4.10.2 History

First FEP meeting took place in photokina in year 1992. It was decided to form an unrelated Federation of some national Associations. Ricky Stevens, from Ireland, was inaugurated as its President. For a couple of years, the association met only as a “European annexe” to the WCPP (World Council of Professional Photographers), a global organization based in United States. The President of WCPP attended FEP meetings as a guest. There were endless and tiring discussions to decide if FEP should exist as a self-governing organization. In those years, new members joined the Federation, and finally the new constitution was formally approved at the General Assembly held in Gmunden, Austria on April 4, 1997, signed by the founder members (the Associations of Professional Photographers in Austria, Belgium, Czech Republic, France, Germany, Ireland, Italy, United Kingdom and Yugoslavia). The FEP was finally registered under Belgian Law in January 1999. The main aim of the FEP was to validate the standard of qualifications of professional photographers throughout Europe. In 1998, with help of the British Institute of Professional Photography (the BIPP), the FEP instigated a European qualification called QEP. In 2011 FEP joined the UEAPME, the European craft and SME’s network and the International Photographic Council at the UN.

4.10.3 Professional qualifications

FEP offer to the Professional Photographers a system of qualifications which are recognized and accepted throughout Europe. These European qualifications which are known as EP, QEP and MQEP will complement but not replace any national qualification for Professional Photographers. The European Photographer (EP) qualification aims to recognise competence and a professional standard for those who earn their lives as Professional Photographers. It is designed to complement the lack of a specific title to uphold the professional status. The EP is a new basic quality assurance certification now available to most general Professional Photographers throughout Europe. The Qualified European Photographer (QEP) qualification aims to recognise and reward excellence in European Professional Photographers. It is designed to complement national awards systems and has created a Europe-wide network of almost 500 certified experts who share a passion and talent for professional photography. The Master Qualified European Photographer (MQEP)is the European most distinguished award for outstanding photographers Certificate is reserved for the best QEP holders. To date about 50 Top European Photographers have received a Master degree for their supreme quality. You must be a member of a FEP member association to apply for the FEP European qualifications.

4.10.4 Competitions

• Since 2008 - first FEP Professional Photographer of the Year Award run by FEP was launched. • Since 2010 - the Photo Book Award 100 CHAPTER 4. DAY 4

World Photographic Cup

• Since 2013 - the FEP Emerging Talent Award (FETA)

• Since 2013 - World Photographic Cup (in cooperation with Professional Photographers of America)- a not- for-profit organization founded as a cooperative effort by The Federation of European Photographers (FEP) and Professional Photographers of America (PPA). Its singular goal is to unite photographers in a spirit of friendship and cooperation.

4.10.5 Member associations list

4.10.6 External links

• Official website

• FEP Facebook account

4.11 Federation of Indian Photography

Federation of Indian Photography (FIP) is the Indian national body of the Fédération Internationale de l'Art Photographique (En: The International Federation of Photographic Art). The present liaison officer is Barun Sinha, Patna.[1]

4.11.1 References

[1] “Fédération Internationale de l'Art Photographique (FIAP)" Fédération Internationale de l'Art Photographique. 5 February 2012. 4.12. FOTOFORM 101

4.12 Fotoform

Fotoform was a group founded in 1949 by the photographer Otto Steinert.[1] Until 1958 it was the preeminent group of avant-garde West German photographers. Other collaborators were Peter Keetman, Ludwig Windstoßer, Toni Schneiders, Wolfgang Reisewitz, Siegfried Lauterwasser, Heinz Hajek-Halke and Christer Christian (the pseudonym of the Swedish photographer Christer Strömholm). It made photographic experiments and sought to draw attention to the creative possibilities of photography which had been extingished by Nazi cultural policy.

4.12.1 References

[1] “besprechung fotoform und toni schneider”. (in German)

4.13 Fotografisk Center

The building

Fotografisk Center is an exhibition space in Copenhagen, Denmark, dedicated to international and Danish photographic art. Since 1 February 2011 it has been based in the Tap E building in the area on the border between Vesterbro and .

4.13.1 History

The Fotografisk Centre was established in 1986 by the photographer Lars Schwander. It was originally based in the ground floor of 's building on When the building closed for a major refurbishment in mid-2008, the centre moved to a temporary address on . Faced with years of disturbance due the 102 CHAPTER 4. DAY 4

Kunstforeningen's building at Gammel Strand which housed the Fotografisk Center until 2008 upcoming construction of a station on the new of the , it was decided not to return to Gammel Strand after the renovation but instead to look for new and larger premises.[1] On 1 February 2011 the gallery re-opened in Tap E, a former bottling plant in the Carlsberg area, Carlsberg's which is under redevelopment into a new district and today houses a growing cluster of cultural institutions and businesses.[2]

4.13.2 Exhibitions

A full range of fine art photography is shown, with equal emphasis on both classical and contemporary photography by international artists as well as Danes. An annual exhibition presents the winners of the Fogtdal Photographers Awards.[3] Over the years, exhibitions have presented the works of Manuel Alvarez Bravo, Gisèle Freund, Alfred Guzzetti, Josef Koudelka, Henri Lartique, Sally Mann, Duane Michals, Inge Morath, Georg Oddner, Yoko Ono, Man Ray, Viggo 4.14. GAMMA (AGENCY) 103

Rivad, Bruce Gilden and many more.

Young Danish Photography

The Fotografisk Center’s exhibition activities include an annually recurrent exhibition entitled Young Danish Pho- tography, presenting a selection of emerging photographers. The exhibitions are accompanied by the publication of a book which documents the exhibitions.[4]

4.13.3 Other facilities

The Center also includes a well stocked bookstore that specializes in photography. It features major international publications, limited edition artists books as well as many of its own publications. Fotografisk Center has also established The Digital Room, a well equipped digital darkroom and workshop available to artists.

4.13.4 Publications

The Fotografisk Center publications extend beyond catalogues for its exhibitions with titles such as Among Danish Jews and Marianne Engberg: Photographs, both for the Danish National Museum.

4.13.5 See also

• Photography in Denmark

4.13.6 References

[1] “Metrobyggeri lukker Fotografisk Center”. AOK. Retrieved 2010-02-02.

[2] “Fotografisk Center flytter til Carlsberg”. Carlsberg. Retrieved 2010-12-01.

[3] “The Fotografisk Center”. Fotografisk Center. Retrieved 2010-02-02.

[4] “Ung Dansk Fotografi '06”. Fotografisk Center. Retrieved 2010-04-17.

[5] “Ung Dansk Fotografi '07”. DJ - Specialgruppe for Professionelle Fotografer. Retrieved 2010-04-17.

[6] “Ung Dansk Fotografi '08”. Fotografisk Center. Retrieved 2010-04-17.

[7] “Ung Dansk Fotografi '09”. Fotografisk Center. Retrieved 2010-04-17.

[8] “Young Danish Photography 2010”. Fotografisk Center. Retrieved 2010-10-03.

4.13.7 External links

• Official website

Coordinates: 55°39′56″N 12°32′05″E / 55.6656°N 12.5346°E

4.14 Gamma (agency)

For other uses, see Gamma (disambiguation).

Gamma is a French photo agency, founded in 1966 by Raymond Depardon, Hubert Henrotte, Hugues Vassal and Léonard de Raemy. joined the agency shortly after its foundation. Gamma became a prestigious 104 CHAPTER 4. DAY 4 photojournalism agency: photographers who have worked at Gamma include William Karel, Georges Merillon, , Catherine Leroy, Françoise Demulder and Emanuele Scorcelletti. In 1999, the agency was bought by Hachette Filipacchi photo group (GHFP), a division of Hachette Filipacchi Mé- dias.[1] Their name changed to the Eyedea group in March 2007,[2] amidst reports that the agency was in financial distress. It was sold again in 2007 to Green Recovery,[1] an investment fund that buys distressed companies. On 28 July 2009, the parent company sought protection from creditors after making a loss of €3 million euro.[1] In April 2010, the commercial court in Paris ruled that François Lochon, former general director of Gamma Agency, would buy the Eyedea group for 100,000 euro.[3]

4.14.1 See also

• Associated Press

• Black Star (photo agency)

• Magnum Photos • Panos Pictures

• VII Photo Agency • Zuma Press

4.14.2 References

[1] Jolly, David (August 9, 2009). “Lament for a Dying Field: Photojournalism”. New York Times.

[2] http://www.stockphototalk.com/phototalk/2007/03/x17online.html

[3] http://www.cepic.org/news/blog/2010/04/eyedea_has_found_buyer Chapter 5

Day 5

5.1 Immagine

Immagine is a registered non-profit organisation based in Kerala, India. Registered as a charitable society with the Government of Kerala, Immagine started functioning as a Facebook page on 2 June 2011 for supporting budding photographers.

5.1.1 Managing Committee

The Managing Committee is the governing body of Immagine. It consists of five office bearers and five executive members. The Managing Committee members, as of 2015 are:

• Manu MS, President

• Vishnu Manoharan, Vice President

• Athul S Raj, Secretary

• Haider Ali B, Joint Secretary

• Mishal B, Treasurer

• Executive Members: Manoj KB, Akshay Ajith, Gokul Rajenan, Indrajith R S, Ashiqua Sulthana

5.1.2 Activities

Immagine is engaged in various online and offline activities related to Photography. Online activities include pub- lishing photographs and tutorials, theme based Photography Contests, publishing interviews,[1] etc. The interviewed photographers include Mr. GMB Akash of Bangladesh, Padma Shri Pablo Bartholomew, Mr. Sangeeth Sivan, Dr. Deepak John Mathew, Miss. Cecelia Webber of United States, Mrs. Rathika Ramasamy, Mr. Swapan Mukherjee, and Mr. Ramit Batra. Offline Activities:

• Photography workshop and exhibition of selected photographs from online contests at Government Museum Auditorium, Thiruvananthapuram on 23 February 2013.[2]

• Workshop and exhibition at IMA Hall, Kottayam on 18 May 2013.[3]

• Exhibition at Lalita Kala Academy Art Gallery, Calicut from 20 to 22 September 2013.[4]

• Photography workshop at Calicut on 21 September 2013.

105 106 CHAPTER 5. DAY 5

5.1.3 India Weaved in Frames (IWIF)

It is a series of online Photography contests, one contest themed on every Indian state. The series was conducted from 14 October 2013 to 9 August 2014.Each contest was judged by a photographer who hails from or knows that state. The final winner, from the winners of 29 contests, was selected by Padma Shri and the winner was Mr. Biswajit Patra of Sikkim Contest[5] The IWIF Photography exhibition[6] was conducted at Kerala Lalithakala Akademi Durbar Hall Art Gallery Center, Ernakulam, Kerala from 5 to 9 November 2014. The exhibition[7] was inaugurated by 29 children of Don Bosco Sneha Bhavan,[8] Ernakulam, Kerala by singing the Indian National Anthem. The chief guest during the inaugural day was Mr. Balan Madhavan,[9] a member of International League of Conservation Photographers. A photo-book, titled as India Weaved in Frames,[10] was also printed featuring all the 87 photographs with description. The first edition of India Weaved in Frames has been featured in Limca Book of Records 2016 edition,[11] under the Painting section.

5.1.4 References

[1] “Interviews with Eminent Photographers”.

[2] “Workshop and Exhibition at Trivandrum”.Deccan Chronicle

[3] “Immagine Photography Workshop and Exhibition at Kottayam”.The New Indian Express

[4] “Immagine Exhibition and Workshop at Calicut”.The Hindu

[5] “India Weaved in Frames Photography Contest Series”.Smart Photography

[6] “IWIF Exhibition at Ernakulam”.The Hindu

[7] “India Weaved in Frames Exhibition”.The New Indian Express

[8] “Don Bosco Sneha Bhavan, Ernakulam”.

[9] “Balan Madhavan, Wildlife Photographer”.The Hindu

[10] “IWIF Photo Book”.Smart Photography

[11] “IWIF First Edition”.Limca Book of Records 2016 Edition

5.1.5 External links

• Official website

5.2 In-Public

In-Public (sometimes written iN-PUBLiC) is an international group of street photographers that operates as a collective.[1][2] It was established in 2000 by [3][4][5][6] with the intention of bringing together like minded photographers to hold exhibitions, produce books and conduct workshops.[7] It was the first international collective of street photographers.[5] Its geographically disparate membership is facilitated by the Internet.[7] New members are accepted but the recruitment process is “haphazard and organic”.[7]

5.2.1 Manifesto

In-Public’s website states:

Our aim is to promote Street Photography and to continue to explore its possibilities. All the pho- tographers featured here have been invited to show their work because they have the ability to see the unusual in the everyday and to capture the moment. The pictures remind us that, if we let it, over- familiarity can make us blind to what’s really going on in the world around us.[8] 5.2. IN-PUBLIC 107

5.2.2 Members

Current members

• (joined in 2006)[9]

• (joined in 2001)[9]

• (joined in 2001)[9]

• (joined in 2013)[10]

• Adrian Fisk (joined in 2001)[9]

• David Gibson (joined in 2000)[9]

• Todd Gross (joined in 2014)[11]

• Siegfried Hansen (joined in 2014)[12]

• Nils Jorgensen (joined in 2002)[9]

• Peter Kool (joined in 2017)[13] 108 CHAPTER 5. DAY 5

• Charalampos Kydonakis (joined in 2015)[14]

• Graciela Magnoni (joined in 2016)[15]

• (joined in 2001)[9]

• Andy Morley-Hall (joined in 2001)[9]

• Trent Parke (joined in 2001)[9]

• (joined in 2003)[9]

• Mark Powell (joined in 2011)[16]

• Paul Russell (joined in 2010)[9]

• David Solomons (joined in 2008)[9]

• Matt Stuart (joined in 2001)[9]

• Nick Turpin (established the collective in 2000)[9]

Past members

• (joined in 2005,[9] died in 2015[17])

• Melanie Einzig (joined in 2002,[9] left in 2016)

• Ludovic Fremaux (joined in 2000, left in 2001)

• George Kelly (joined in 2010,[9] left in 2016)

• Jeffrey Ladd (joined in 2003,[9] left in 2011)

• Jiri Makovec (joined in 2012,[18] left in 2015)

• Otto Snoek (joined in 2006,[9] left in 2016)

• Amani Willett (joined in 2003,[9] left in 2016)

5.2.3 Publications

Publications by In-Public

• 10 – 10 Years of In-Public. London: Nick Turpin, 2010. ISBN 978-0-9563322-1-9. Includes an essay by Jonathan Glancey, “Outlandish Harmony"; a foreword by Nick Turpin; and a chapter each by Nick Turpin, David Gibson, Richard Bram, Matt Stuart, Andy Morley-Hall, Trent Parke, Narelle Autio, Jesse Marlow, Adrian Fisk, Nils Jorgensen, Melanie Einzig, Jeffrey Ladd, Amani Willett, Gus Powell, Christophe Agou, Otto Snoek, Blake Andrews, David Solomons, George Kelly and Paul Russell.

Publications with significant contributions by multiple In-Public members

• Threee. London: Self-published / Hat-Trick Design, 2003. Photographs by Nick Turpin, David Gibson and Matt Stuart.

• . London: Thames & Hudson, 2010. ISBN 978-0-500-54393-1. Edited by Sophie Howarth and Stephen McLaren. Includes work by In-Public members Christophe Agou, Narelle Autio, Maciej Dakowicz, Melanie Einzig, David Gibson, Siegfried Hansen, Nils Jorgensen, Jesse Marlow, Trent Parke, Gus Powell, Mark Powell, Paul Russell, Otto Snoek, Matt Stuart, Nick Turpin and Amani Willett, and others. 5.2. IN-PUBLIC 109

• London Street Photography: 1860–2010. London: Museum of London; Stockport: Dewi Lewis, 2011. ISBN 978-1907893032. Selected from the Museum of London collection by Mike Seaborne and Anna Sparham. Includes work from In-Public members Richard Bram, Adrian Fisk, David Gibson, Nils Jorgensen, Paul Rus- sell, David Solomons, Matt Stuart and Nick Turpin, and others. Published to accompany an exhibition at the Museum of London.

• The Street Photographer’s Manual. London: Thames & Hudson, 2014. ISBN 978-0-500-29130-6. By David Gibson. Includes profiles on In-Public members Matt Stuart, Blake Andrews, Nils Jorgensen, Trent Parke, Jesse Marlow, David Solomons and Narelle Autio; also includes contributions from Paul Russell, Nick Turpin, Richard Bram, Andy Morley-Hall and Gus Powell, and others.

5.2.4 Film

• In-Sight (2011). 38 minute documentary directed and edited by Nick Turpin, commissioned by Format for the Format International Photography Festival, Derby, 2011. Includes interviews with Nick Turpin, David Gibson, David Solomons, Richard Bram, Melanie Einzig, Gus Powell, Christophe Agou, Jesse Marlow and Otto Snoek, and shows them at work.[n 1]

5.2.5 Exhibitions

• 2002: In-Public.com: Street Photography, Acute Angle Gallery, Bankside, London,[19] June / July 2002. In- cluded the work of seven members of In-Public.

• 2010: in-public @ 10, Photofusion, Brixton, London, 28 May – 9 July 2010.[20] Travelled to Les Ballades Photographiques de Seyssel, Seyssel, France, 12 – 23 July 2011, where it also included the film In-Sight (2011) and The French exhibition by Nick Turpin.[21][22] Included photographs by In-Public members Nick Turpin, David Gibson, Richard Bram, Matt Stuart, Andy Morley-Hall, Trent Parke, Narelle Autio, Adrian Fisk, Nils Jorgensen, Jesse Marlow, Melanie Einzig, Jeffrey Ladd, Amani Willett, Gus Powell, Christophe Agou, Otto Snoek, Blake Andrews, David Solomons, George Kelly and Paul Russell.

• 2011: London Street Photography: 1860–2010, Museum of London, London, 18 February – 4 September 2011.[23][24] Travelled to Museum of the City of New York, NY, 27 July – 2 December 2012.[25][26][27][28][29] Included photographs by In-Public members Richard Bram, Adrian Fisk, David Gibson, Nils Jorgensen, Paul Russell, David Solomons, Matt Stuart and Nick Turpin, and others.

• 2011: Derby Museum and Art Gallery, Format 11 Photography Festival, Derby, England, 4 March – 3 April 2011. Exhibition of photographs by In-Public members Agou, Andrews, Autio, Bram, Einzig, Fisk, Gibson, Jorgensen, Kelly, Ladd, Morley-Hall, Marlow, Parke, Gus Powell, Turpin, Russell, Snoek, Solomons, Stuart, Willett, and the film In-Sight (2011), commissioned for the festival.[3][30][31]

• 2011: From Distant Streets: Contemporary International Street Photography, Galerie Hertz, Louisville, KY, 2 October – 12 November 2011. Part of Louisville Photo Biennial. Curated by Richard Bram. Included 14 In-Public members, of the 29 photographers included.[32][33]

• 2013: iN-PUBLiC: An Exhibition of Street Photography, Creative and Design Centre, Bangkok, Thai- land, February–March 2013. In conjunction with the .[1][34][35] Photographs by In-Public mem- bers Agou, Andrews, Autio, Bram, Einzig, Fisk, Gibson, Jorgensen, Kelly, Ladd, Morley-Hall, Marlow, Parke, Gus Powell, Turpin, Russell, Snoek, Solomons, Stuart, and Willett.

• 2013: In Public, Snickarbacken 7, Stockholm, Sweden, 22 May – 26 June 2013.[36][37] An augmented version of their in-public @ 10 exhibition alongside an exhibition of five Stockholm street photographers organised by Contemporary Urban Photography (CUP). Photographs by In-Public members Agou, Andrews, Autio, Bram, Einzig, Fisk, Gibson, Jorgensen, Kelly, Ladd, Morley-Hall, Marlow, Parke, Gus Powell, Turpin, Russell, Snoek, Solomons, Stuart, and Willett.

• 2013: Miami Street Photography Festival, Miami, FL, December 2013. In-Public group exhibition along with other collectives STRATA and CALLE 35, and showing of the film In-Sight (2011).[38]

• 2014: Night of Collectives, Street Parade festival, Paris, 18 November 2014.[39] Also with Strange.rs and Burn My Eye street photography collectives. 110 CHAPTER 5. DAY 5

• 2015: The Sharp Eye. In-Public in Mexico, Foto Mexico, Cine Tonalá, Mexico City, Mexico, October– November 2015. Slideshow of photographs by Agou, Andrews, Bram, Dakowicz, Einzig, Fisk, Gibson, Gross, Siegfried Hansen, Jorgensen, Kelly, Marlow, Morley-Hall, Parke, Gus Powell, Mark Powell, Russell, Snoek, Solomons, Stuart, Turpin, and Amani Willett. Curated by Mark Powell, Carlos Álvarez Montero and Alfredo Esparza.[40]

5.2.6 Collections

The following public collection holds work by In-Public as a group:

• Museum of London, London. Holds the work included in the exhibition London Street Photography: 1860– 2010, by Richard Bram,[41] Adrian Fisk,[42] David Gibson,[43] Nils Jorgensen,[44] Paul Russell,[45] David Solomons,[46] Matt Stuart[47] and Nick Turpin.[4]

5.2.7 Notes

[1] There is a trailer for the film, and access to the full film can be bought, here at Distrify

5.2.8 References

[1] “iN-PUBLiC: An Exhibition of Street Photography”. British Council. Archived from the original on February 13, 2015. Retrieved 10 February 2015.

[2] Mora, Gilles (2009). “Que Faire de la “Street Photography"? = What is to be Done with “Street Photography"?". Zmála. Paris: Photographie & Compagnie (1): 5–15. ISBN 978-2-9534557-0-0.

[3] Battersby, Matilda (3 March 2011). “Format Festival: Street photography steals the show”. . Retrieved 11 February 2015.

[4] “Street Scene, Piccadilly, 2009”. Museum of London. Retrieved 10 February 2015.

[5] Seaborne, Mike; Sparham, Anna (2011). London Street Photography: 1860–2010. Stockport: Dewi Lewis Publishing. ISBN 978-1907893032.

[6] “In pictures: Format International Photography Festival 2011”. BBC News. 28 February 2011. Retrieved 11 February 2015. One of the highlights of the festival is the first showing of Nick Turpin’s new documentary film In-Sight, which explores the various techniques artists use to capture their photographs. Turpin set up the photography collective In-Public just over 10 years ago and is now a leading street photographer.

[7] Gibson, David (2014). The Street Photographer’s Manual. London: Thames & Hudson. pp. 29–30. ISBN 978-0-500- 29130-6.

[8] “In-Public was set up in 2000 to provide a home for Street Photographers”. In-Public. Retrieved 12 February 2015.

[9] Turpin, Nick (2010). 10 – 10 Years of In-Public. London: Nick Turpin Publishing. ISBN 978-0-9563322-1-9.

[10] “Maciej Dakowicz joins In-Public”. In-Public. 10 March 2013. Retrieved 15 February 2015.

[11] “Todd Gross joins In-Public”. In-Public. 1 July 2014. Retrieved 15 February 2015.

[12] “Siegfried Hansen joins In-Public”. In-Public. 2 June 2014. Retrieved 15 February 2015.

[13] “Peter Kool joins In-Public”. In-Public. 30 January 2017. Retrieved 30 January 2017.

[14] “Charalampos Kydonakis joins In-Public”. In-Public. 15 September 2015. Retrieved 15 September 2015.

[15] “Graciela Magnoni joins In-Public”. In-Public. 30 August 2016. Retrieved 31 August 2016.

[16] “Mark Powell joins in-public”. In-Public. 22 June 2011. Retrieved 15 February 2015.

[17] Bram, Richard (18 September 2015). “Christophe Agou, 1969–2015”. In-Public. Retrieved 18 September 2015.

[18] “Jiri Makovec joins In-Public”. In-Public. 1 July 2012. Retrieved 15 February 2015.

[19] “Richard Bram”. LensCulture. Retrieved 11 February 2015. 5.2. IN-PUBLIC 111

[20] “In-Public@10”. Photofusion. Retrieved 11 February 2015.

[21] “74 - Seyssel • Balades photographiques de Seyssel”. fr:Compétence photo. Retrieved 11 February 2015.

[22] “Les balades photographiques de Seyssel, du 12 au 23 juillet”. fr:La Tribune républicaine de Bellegarde. 7 July 2011. Retrieved 11 February 2015.

[23] “Museum of London - London Street Photography”. Archived from the original on March 22, 2011.

[24] O'Hagan, Sean (24 February 2011). “Unreal cities: Sohei Nishino’s magical photographic maps of London, Tokyo and utopia”. The Guardian. Retrieved 11 February 2015.

[25] “The streets of London and New York come to life in this exhibition and companion installation.”. Museum of the City of New York. Retrieved 12 February 2015.

[26] Schine, Cathleen. “London and New York Street Photography (1860–2010)". New York Review of Books. Retrieved 12 February 2015.

[27] Rosenberg, Karen (26 July 2012). “Glimpses of Urban Landscapes Past: 'London Street Photography' at Museum of the City of New York”. The New York Times. Retrieved 12 February 2015.

[28] "'London Street Photography' Exhibit At Museum Of The City Of New York Opens In Time For Olympics”. Huffington Post. 13 July 2012. Retrieved 12 February 2015.

[29] Iati, Marisa (6 August 2012). “Two exhibits at Museum of the City of New York look at life in both NYC and London through pictures”. Daily News (New York). Retrieved 12 February 2015.

[30] “Format Programme Announcement”. Format Festival. Retrieved 10 February 2015.

[31] “In-Public Photographers Format Festival”. Archived from the original on June 29, 2012.

[32] “Louisville Photo Biennial”. Billy Hertz Gallery. Archived from the original on 18 July 2012. Retrieved 2 September 2015.

[33] Bram, Richard (19 September 2011). “From Distant Streets”. In-Public. Retrieved 23 March 2016.

[34] “iN-PUBLiC: An Exhibition of Street Photography”. Thailand Creative and Design Centre. Retrieved 24 March 2016.

[35] “In-Public: An Exhibition of Street Photography”. Bangkok Post. Retrieved 24 March 2016.

[36] “Olympus sponsrar: CUP – Contemporary Urban Photography presents “In-Public – In Stockholm” - A Street Photography exhibition”. Olympus Corporation. 22 May 2013. Retrieved 11 February 2015.

[37] “In Public”. Snickarbacken 7. Retrieved 29 August 2015.

[38] “MSPF 2013 Schedule”. Miami Street Photography Festival. Retrieved 7 April 2016.

[39] “Projections Nuit des Collectifs”. Street Parade. Retrieved 10 February 2015.

[40] “The Sharp Eye. iN-PUBLIC in Mexico: Group Show”. Centro de la Imagen. Retrieved 10 June 2016.

[41] “Oxford Street”. Museum of London. Retrieved 10 February 2015.

[42] “It’s Pants in Walthamstow, 2002”. Museum of London. Retrieved 10 February 2015.

[43] “London, 2008”. Museum of London. Retrieved 10 February 2015.

[44] “Card Fraud, 2007”. Museum of London. Retrieved 10 February 2015.

[45] “The City”. Museum of London. Retrieved 10 February 2015.

[46] “England Rugby Team World Cup Victory Parade, Haymarket, London, 2003”. Museum of London. Retrieved 10 Febru- ary 2015.

[47] “Trafalgar Square, 2006”. Museum of London. Retrieved 10 February 2015.

5.2.9 External links

• Official website 112 CHAPTER 5. DAY 5

5.3 Institute for Artist Management

The Institute for Artist Management, branded as INSTITUTE, is an artist management company, which manages some 23 creative artists.[1] The company’s head office is in Venice, California, (United States) with another office in Bath (UK).[2] The company was started in 2010 by Frank Evers (CEO).[3]

5.3.1 References

[1] “Artists”. instituteartist.com. INSTITUTE. Retrieved 1 January 2015.

[2] “About INSTITUTE”. instituteartist.com. INSTITUTE. Retrieved 1 January 2015.

[3] “Contacts”. instituteartist.com. INSTITUTE. Retrieved 1 January 2015.

5.4 International Association of Panoramic Photographers

The International Association of Panoramic Photographers (IAPP) is an international organization concerned with public awareness and appreciation for panoramic photography and immersive imaging.[1]

5.4.1 References

[1] Mission Statement, IAPP.

5.4.2 External links

• IAPP website

• IAPP alternative website

5.5 International Environment Photographers Association

International Environment Photographers Association is an organization based in Japan focusing global environ- ment issues through photographic activities. Their goal is to make people aware about climate changes and conscious of environmental protection. They held their 1st international exhibition at Amusement Sado in Sado, Niigata, Japan from 15 to 29 November 2009.[1] Their philosophy is “Beautiful, natural landscape is deeply connected to the spiritual wealth of human beings.”

5.5.1 References

[1] http://www.theiepa.org/sado/report.html

5.5.2 External links

• Official Website

5.6 International Imaging Industry Association

The International Imaging Industry Association (I3A) was created by a merger of the PIMA and the Digital Imaging Group in 2001. It was a common forum for the industrial imaging industry. 5.7. INTERNATIONAL LEAGUE OF CONSERVATION PHOTOGRAPHERS 113

Logo of the International Imaging Industry Association.

It used to supervises standard for photography and digital imaging, such as JPEG 2000 and PTP as well as the Internet Imaging Protocol. It disbanded in October 2013 [1]

5.6.1 External links

• Official website (defunct since 2013)

5.6.2 References

[1] http://www.digitalpreservation.gov/formats/fdd/fdd000241.shtml

5.7 International League of Conservation Photographers

The International League of Conservation Photographers (iLCP)[1] is a 501(c)3 nonprofit organization dedicated to furthering environmental and cultural conservation through ethical photography. A project-driven organization, it partners with leading conservation groups, scientists, and policy makers worldwide in order to produce high-quality documentary images that depict both the beauty of the natural world and the challenges it faces. It was founded at the WiLD8 World Wilderness Congress in Alaska in 2005 by a group of conservation photographer led by Cristina Mittermeier, and since then has developed a reputation as a leading player in the world of environ- mental conservation. iLCP’s elite roster of 103 Fellows[2] (2016) includes the top nature, wildlife and conservation photographers of the world. The main office of the iLCP is located in Washington, DC, and its photographer Fellows reside and work in every corner of the globe. Since 2005, iLCP has conducted a number of photographic expeditions,[3] to locations where threats to biodiversity are imminent. During these expeditions, teams of specialized iLCP photographers, in collaboration with local and international conservation organizations, produce a comprehensive picture of an area or of a conservation issue. The images collected are then used to bring awareness to the threat and help partner organizations push forward their conservation goals. iLCP also provides image licensing services conservation groups using the images captured by these Fellows. For use in galleries, exhibits, and talks, these images provide the visual connection that help communicate a larger conservation cause. iLCP’s expeditions have contributed to a number of environmental victories worldwide, and have helped to heighten the public’s awareness of lesser known or documented environmental issues. From presentations to school children, to discussions with political leaders, and from publications in local newspapers to exhibits in the world’s most prestigious venues, iLCP works at all levels to replace environmental indifference with a new culture of stewardship and passion for our beautiful planet. WiLDspeak is a conservation communications symposium organized by the International League of Conservation Photographers (iLCP). Held on November 16, 2015, WiLDspeak has aims at becoming an annual conference for world’s leading nature and wildlife photographers, editors, funders, scientists, and conservationists. The sponsors included: Code Blue Foundation, Khaled bin Sultan Living Oceans Foundation, Wilburforce Foundation, Cognisys, 114 CHAPTER 5. DAY 5

Voltaic Systems, Nikon, Save Our Seas Foundation, The Summit Foundation, Lowepro, The Nature Conservancy, Carnegie Institution for Science, and Honest Tea

5.7.1 List of ILCP Photographers

Octavio Aburto Karine Aigner Theo Allofs Michael Aw James Balog Daniel Beltrá Tom Blagden Clay Bolt Gary Braasch Connie Bransilver Peter Cairns Luciano Candisani Peter Chadwick Paul Colangelo Claudio Contreras Koob Wade Davis Miguel Angel de la Cueva Jasper Doest David Doubilet Benjamin Drummond Jason Edwards Keith Ellenbogen Katherine Feng Eladio Fernandez Kevin Fitzpatrick Jeff Foott Michael Forsberg Jurgen Freund Laurent Geslin Daisy Gilardini Annie Griffiths Amy Gulick Morgan Heim Shawn Heinrichs Morten Hilmer Paul Hilton Ralph Lee Hopkins Jason Houston Alison Jones Beverly Joubert Sandesh Kadur Karen Kasmauski Dorothy & Leo Keeler Robert Glenn Ketchum Mattias Klum Tim Laman Frans Lanting Garth Lenz Chris Linder Balan Madhavan Thomas Mangelsen Francisco Marquez 5.7. INTERNATIONAL LEAGUE OF CONSERVATION PHOTOGRAPHERS 115

Peter Mather Ian McAllister Cristina Mittermeier Robin Moore James Morgan Juan Carlos Munoz Piotr Naskrecki Boyd Norton Neil Ever Osborne Cheryl-Samantha Owen Pete Oxford Denis Palanque Thomas Peschak Michael Ready Iñaki Relanzón Jim Richardson Joe Riis Michel Roggo Jaime Rojo Norbert Rosing Jenny E. Ross Bob Rozinski Delphin Ruché Jose Benito Ruiz Joel Sartore Krista Schlyer Florian Schulz Wendy Shattil Dave Showalter Igor Shpilenok Brian Skerry George Steinmetz Mac Stone Roy Toft Joris van Alphen Jan Vermeer Gerrit Vyn Carlton Ward Jr. Jed Weingarten Michele Westmorland Staffan Widstrand Steve Winter Art Wolfe Xi Zhinong Christian Ziegler

5.7.2 See also

• Conservation photography

5.7.3 References

5.7.4 External links

• International League of Conservation Photographers web site 116 CHAPTER 5. DAY 5

5.8 International Stereoscopic Union

The International Stereoscopic Union (ISU) was founded in May 1975 and is the only international 3D association in the world. The ISU is a club of 3D enthusiasts as well as a club of stereo clubs. The ISU’s members currently number over 1,050 and come from 41 countries. 3D-Photography, 3D Video Imaging, Computer Stereo, Holography, Virtual Reality and other stereoscopic photog- raphy techniques are used by members of the ISU. The quarterly Journal of the ISU, Stereoscopy - the publication of 3D image-makers, is circulated to members. Apart from tuition in 3D photographic techniques, the Journal carries information and articles from around the world on new equipment, literature and all manner of related subjects. Many articles are illustrated with large 3D drawings and stereo photos. Since Issue 1/2007, “Stereoscopy” has been published in full color. A major activity of the ISU is the organization of a Congress every second year in one of the major member countries. The 2007 congress was held in 2007 in Boise, Idaho, the 2009 congress was held in Gmunden, Austria, the congress 2011 was held in Egmond aan Zee, Netherlands and the 2013 congress took place in Ljubljana, Slovenia. The 20th ISU World Congress will be held from September 6th to 11th 2015 at the Busan Cinema Center in Busan, South Korea.

5.8.1 External links

• International Stereoscopic Union (ISU)

• 20th ISU World Congress, Busan, South Korea

5.9 Irish Professional Photographers Association

Irish Professional Photographers Association is a non-profit association for professional photographers. In spite of the name, membership is not limited to Ireland.

• Founded: 1949

• Membership: Over 350

5.9.1 Management Council

IPPA Management Council President: Brendan Lyon, LIPPA Regional Chairpersons North & West:Kelvin Gillmor, AIPPA South:Claire O'Rorke LIPPA East:Dermot Byrne, AIPPA Council Members: Corin Bishop, AIPPA Michael McLaughlin, AIPPA John Ryan, AIPPA Peter Gordon, AIPPA Neil Warner, FIPPA Tom Doherty, FIPPA

5.9.2 Award qualifications

• Fellowship (F.I.P.P.A)

• Associateship (A.I.P.P.A)

• Licentiateship (L.I.P.P.A)

5.9.3 Charity work

• National Portrait Day (formerly Happy Faces Day) 5.10. ISTABILIZER 117

The Irish Professional Photographers Association (IPPA) is the network for qualified professional photographers throughout Ireland, and organises “National Portrait Day” in March/April each year.[1][2] Since it first launched in 2006, National Portrait Day has raised almost €500,000 for its chosen charities. Each year, the IPPA have harnessed the goodwill and the photographic skills of its members for the benefit of Irish charities, and they have selected ISPCC as their charity of the year for 2014. You can have your picture taken at your local qualified IPPA photographer’s studio or event location for just a €25 donation

5.9.4 Member of

• Federation of European Professional Photographers

• World Council of Professional Photographers

5.9.5 References

[1] https://www.facebook.com/ippahappyfaces

[2] http://www.jackandjill.ie/tag/happy-faces-day/

5.9.6 External links

• Irish Professional Photographers Association (IPPA)

5.10 iStabilizer iStabilizer manufactures tripods, dollies, monopods, and mounts for use with smartphones, GPS units, and POV cameras.[1][2] iStabilizer’s products are designed to maximize stability and are compatible with most handheld devices.[3][4][5][6] Noah Rasheta is the company’s president.[7][8]

5.10.1 Products and design

Flex

The iStabilizer Flex is a tripod-type attachment for smartphones and small cameras.[6] The three flexible legs work to stabilize the device on the ground, and can also be used to wrap around a post or ledge.[7] The recording device is attached to the tripod using the iStabilizer Mount, which is compatible with smartphones and GPS units.[6][9] The Mount XL accommodates widescreen smartphones and tablet devices.[10] Both of the mounting devices use spring-action technology to lock devices in.[11]

Dolly iStabilizer’s Dolly is a smartphone accessory that allows a camera to be attached to an 11 inch long adjustable arm, and a set of four wheels for a mobilized, stabilized video shot.[12][13] The Dolly cradle can accommodate multiple brands of camcorders and cameras, and is not limited to mobile devices.[14] The wheel axles can be adjusted, allowing the Dolly to make tight curves or to circle the subject being shot.[15] The wheels contain ball bearings, which facilitate a smooth, rolling motion. The iStabilizer Dolly is not motorized, and requires the operator to manually move the device.[15] 118 CHAPTER 5. DAY 5

Monopod

The iStabilizer Monopod is an attachment for smartphones and small cameras which extends from 14 inches to three feet, allowing users to take pictures or video from above and around obstructions.[5][16] The Monopod utilizes the same iStabilizer Mount technology to secure the device.[16]

Glass

Utilizing the same iStabilizer Mount technology, the iStabilizer Glass is a smartphone and GPS attachment that secures the device to a car windshield.[2][3] The Glass attaches to the windshield using a suction cup, and has an adjustable arm that can pivot the screen of the device from driver to passenger.[3] A study performed by the Advance Motorists and Transport Research Laboratory recently revealed the danger of simultaneous handheld mobile device use and operation a motor vehicle.[3] By freeing the hands and positioning the mobile device at eye level, designs such as the iStabilizer Glass could potentially minimize driver distraction and maximize reaction time.[3]

5.10.2 External links

• iStabilizer.com

5.10.3 References

[1] “iStabilizer”. Max Borges Agency. Retrieved April 23, 2013.

[2] “iStabilizer”. ABC 4 News. November 12, 2012. Retrieved April 23, 2013.

[3] Mary Ann Neder (November 27, 2012). “New iStabilizer Glass Keeps Eyes Off the Smartphone and On the Road”. APPMODO. Retrieved April 23, 2013.

[4] Edwin Kee (July 13, 2012). “iStabilizer Dolly lets you capture movies in a steady manner”. Ubergizmo. Retrieved April 23, 2013.

[5] Steven Sande (September 5, 2013). “iStabilizer Monopod puts your iPhone photos above the crowd”. Tuaw. Retrieved April 23, 2013.

[6] Gregg Ellman (April 10, 2013). “Gadgets: Jabra earbuds built for durability, have great sound”. Miami Herald. Retrieved April 23, 2013.

[7] “iStabilizer Store Profile”. ApartmentTherapy.com. Retrieved April 23, 2013.

[8] “Istabilizer (noah Rasheta) imports products from Innomax Limited. in Yantian via Los Angeles, California.”. ImportGe- nius.com. Retrieved April 23, 2013.

[9] David McClelland (August 1, 2012). “How to make HD movies on your Samsung Galaxy S3”. c|net UK. Retrieved April 23, 2013.

[10] “Mount Any Smartphone on An Tripod, Introducing the Mount XL from iStabilizer”. Run Around Tech. Retrieved April 23, 2013.

[11] Phil Nickinson (April 17, 2013). “iStabilizer Mount XL - for the less svelte smartphone”. Android Central. Retrieved April 23, 2013.

[12] John Baichtal (August 21, 2013). “Tool Review: iStabilizer Smartphone Dolly”. Maker Media. Retrieved April 23, 2013.

[13] Judi Dash (March 7, 2013). “Roll 'em with the iStabilizer Dolly”. The Denver Post. Retrieved April 23, 2013.

[14] “iStabilizer Dolly”. PC Mag. Retrieved April 23, 2013.

[15] Jeff Carlson (April 1, 2013). “Review: iStabilizer Dolly creates smooth, stable tracking shots with your phone or camera”. Tech Hive. Retrieved April 23, 2013.

[16] Charlie Sorrel (November 1, 2012). “The iStabilizer Monopod Grips Your iPhone Tight”. Cult of Mac. Retrieved April 23, 2013. Chapter 6

Day 6

6.1 Kameraseura

Kameraseura (Finnish for "camera society”) is the largest organisation for photography in Finland. It is based in Helsinki and has over one thousand members. Kameraseura holds various kinds of photography classes and regular themed meetings, and publishes a monthly photography magazine called Kamera. The web site of Kameraseura also has a web forum.

6.1.1 External links

• Official site

6.2 LensCulture

LensCulture (or Lens Culture) is a photography network and online magazine about contemporary photography in art, media, politics, commerce and popular cultures worldwide: “a resource to keep up with the latest trends and debates in contemporary photography”.[1] In addition to its online magazine and publishing network, LensCulture has hosted international photography portfolio reviews each year in Paris since 2010 in partnership with Paris Photo.[2] LensCul- ture sponsors international photography awards and grants several times per year, as well as traveling exhibitions of award-winning photography. Will Coldwell, writing in The Independent in 2013, described LensCulture as one of the ten best photography websites, calling it a “definitive resource for anyone who wants to keep up with the latest trends and debates in contemporary photography”.[3] Critic Sean O'Hagan, writing in The Guardian in 2012, listed it among the eight best photography websites or online publications, calling it “one of the most authoritative and wide-ranging sites.”[4]

6.2.1 Management

The organization was founded in 2004 by its editor Jim Casper,[5] who moved its editorial offices to Paris[6] from Berkeley in 2005.

6.2.2 Awards and grants

LensCulture award-winning photographers are exhibited at festivals, universities and arts institutions. The 2014 Exposure Awards exhibition was held at London College of Communication, University of the Arts London.[7][8] Award-winners and other discoveries have also been screened at photography festivals, such as the Voies Off Festival in Arles in July 2014.[9]

119 120 CHAPTER 6. DAY 6

LensCulture Exposure Awards

• 2009: Portfolio Category - grand prize, Marco Vernaschi.[10] Single Image Category - grand prize, Brad Moore; second prize, Stella Johnson; third prize, Laura Pannack[11][12] • 2010: Portfolio Category - grand prize, Jessica Hines; second prize, Carolle Benitah; third prize, Louisa Marie Summer. Single Image Category - grand prize, Martine Fougeron; second prize, Albertina d’Urso; third prize, Anne Berry[13] • 2011: Portfolio Category - grand prize, Michael Marten; second prize, Rachelle Mozman; third prize, Jody Ake. Multimedia Category - grand prize, Olga Kravets, Maria Morina, and Oksana Yushko; second prize, Florence Royer; third prize, Markel Redondo.[14] Single Image Category - grand prize, Kerry Mansfield; second prize, S. Gayle Stevens; third prize, Andrey Ivanov-Eftimiopulos and Sasha Shikhova[15] • 2012: Portfolio Category - grand prize, Kyoko Hamada; second prize, Annalisa Brambilla; third prize, Matilde Gattoni. Multimedia Category - grand prize, Amanda Zackem; second prize, Ed Kashi; third prize, Elena Bulygina. Single Image Category - grand Prize, Jim Kazanjian; second prize, Michelle Sank; third prize, Andrea Stultiens[16] • 2013: Portfolio Category - first prize, David Favrod; second prize, Yijun Liao; third prize, Richard Tuschman. Single Image Category - first prize, Chee Keong Lim; second prize, Julia Gunther; third prize, Zoran Marinovic[17]

LensCulture Portrait Awards

• 2014: Portfolio Category - first prize, Marius Schultz, First There Was Nothing[18] second prize, Hossein Fatemi, Veiled Truths; third prize, Tsutomu Yamagata, 13 Orphans. Single Image Category - first prize, Clare Benson, The Shepherd’s Daughter; second prize, Marc Thirouin, Las Mujeres; third prize, Ulrik Tofte, The key is not to blink

6.2.3 Photography portfolio reviews

LensCulture has hosted international photography portfolio reviews each year in Paris since 2010 in partnership with Paris Photo.[2][19]

6.2.4 References

[1] “Photography websites of the week”. The Daily Telegraph. London. Retrieved 24 July 2014.

[2] "Call for entries - Lens Culture Fotofest", Paris Photo. Retrieved 15 July 2014.

[3] Coldwell, Will (30 January 2013). “The 10 Best Photography Sites”. The Independent. London. Retrieved 30 January 2013.

[4] O'Hagan, Sean (16 November 2012). “The best photography websites, publications and galleries”. The Guardian. Re- trieved 17 July 2014.

[5] "AskLens; an interview with Jim Casper, founder and editor-in-chief of LensCulture", Genesis Imaging, 11 October 2013.

[6] “Free Market Exposure”. Wall Street Journal. 14 September 2011.

[7] "Exhibition // LensCulture Exposure Awards celebrate best international photography", London College of Communica- tion. Retrieved 15 July 2014.

[8] "LensCulture Exposure Awards: 31 Contemporary Photographers", London Evening Standard.

[9] "Lens Culture", Voies off, Arles: l'alternative photographique.

[10] "Marco Vernaschi Awarded Top Prize in Lens Culture International Exposure Awards", on Crisis Reporting. Accessed 23 July 2014.

[11] "2009 LensCulture Exposure Awards", Lens Culture. Accessed 15 July 2014.

[12] "2009 LensCulture Exposure Awards — Single Image Awards", Lens Culture. Accessed 15 July 2014. 6.3. MAGNUM IN MOTION 121

[13] "2010 LensCulture Exposure Awards", Lens Culture. Accessed 15 July 2014.

[14] "Markel Redondo’s multimedia In God’s Hands wins Lens Culture award", Panos Pictures. Accessed 23 July 2014.

[15] "Lens Culture International Exposure Awards", . Accessed 15 July 2014.

[16] "2012 LensCulture Exposure Awards", Lens Culture. Accessed 15 July 2014.

[17] "LensCulture Exposure Awards 2013", Lens Culture. Accessed 15 July 2014.

[18] Catania, Arianna (14 April 2014). “LensCulture Portrait Award: il concorso di Lens Culture vince Marius Schultz con First There Was Nothing (FOTO)". Huffington Post. Retrieved 19 July 2014.

[19] "Portfolio Reviews", World Press Photo. Accessed 23 July 2014.

6.2.5 External links

• Official website

6.3 Magnum In Motion

Magnum In Motion is a multimedia offshoot of Magnum Photos, based in New York City. In Motion assembles interactive photo essays, podcasts and other formats for digital media, that draw upon the archives of Magnum pho- tographers. The essays reflect themes of Magnum’s photography: war, poverty, human development, and artistic identity. The essays have been featured by the popular U.S. News Magazine Slate and several other media outlets around the world. Magnum In Motion was co-founded in 2004 by Claudine Boeglin, journalist and creative director (ex-managing editor of Colors and Le Monde.fr, founder of dandyvagabonds.com) and Bjarke Myrthu (award winning journalist, author, educator) in close collaboration with director of Magnum New York, Mark Lubell. The Magnum In Motion stories are produced by a team of video and sound editors, musicians, visual artists, and journalists.

6.3.1 See also

• Magnum Photos

6.3.2 External links

• Magnum In Motion

• Magnum Photos

6.4 National Association of Photoshop Professionals

The National Association of Photoshop Professionals (NAPP) is a Kelby Media Group company founded by Scott Kelby and has more than 75,000 members worldwide. It is primarily for users of Adobe software including Photoshop as well as other programs like InDesign, Illustrator and Lightroom.

6.4.1 Photoshop User Magazine

The NAPP organization produces the Photoshop User Magazine. The National Association of Photoshop Profes- sionals (NAPP) is a trade association and a leading resource for Adobe Photoshop and Photoshop Lightroom training, news and education. A team of Photoshop experts, authors, consultants, and trainers work in this company to keep its members up-to-date on Adobe Photoshop techniques and technology. With more than 75,000 members in 106 countries, NAPP is the largest digital imaging and graphics association worldwide. 122 CHAPTER 6. DAY 6

6.4.2 Photoshop User TV

PUTV is a weekly podcast hosted by Scott Kelby, Matt Kloskowski, Corey Barker, RC Concepcion, Pete Collins and Jessica Maldonado. It usually contains several tutorials on Photoshop or related Adobe software as well as news about events or classes. Previous names have been Photoshop TV and briefly NAPP TV.

6.4.3 External links

• NAPP Website

• Photoshop World

6.5 NOOR photo agency

NOOR is an international photo agency and foundation owned and directed by the member photographers under a cooperative model. It is headquartered in Amsterdam, Netherlands, with photographers based worldwide. The agency is known for producing independent visual reports that stimulate positive social change, and impact views on human rights and other issues of global concern.

6.5.1 History

NOOR Images was launched in 2007 at Visa pour l’Image festival by the former managing director Claudia Hinterseer and member photographers Pep Bonet, Stanley Greene, Yuri Kozyrev, Kadir van Lohuizen, Francesco Zizola and former members Jan Grarup, Samantha Appleton, Philip Blenkinsop and Jodi Bieber. The agency was later enriched by the arrival of new members: Jon Lowenstein in 2008, in 2009, Alixandra Fazzina in 2010, and Andrea Bruce in 2011, Bénédicte Kurzen in 2013, Sebastián Liste and Asim Rafiqui in 2014. As of August 2015, Clément Saccomani is the new managing director of the agency. In March 2009, the NOOR Foundation launched its first masterclass in documentary photography in Lagos, inviting 15 African photojournalists hailing from seven different countries. Since then, the NOOR Foundation has organized workshops, masterclasses, seminars, lectures and other educational activities, in St Petersburg (2010), (2011) Cairo (2011), (2012), (2013), Bayeux (2013, 2015), (2014), (2015) and Amsterdam (2015). NOOR works in close collaboration with educational organizations and professional photographers, all experienced teachers and lecturers in documentary photography.

6.5.2 Photographers

6.5.3 Climate Change by NOOR

Climate Change by NOOR is a long-term group project that focuses on two issues. The first, ‘Consequences by NOOR’ is an eyewitness record of the devastating effects of climate change around the globe. Produced in the autumn of 2009, these visual reportages show not ‘what might happen’ in the future but what is happening right now, emphasizing the urgency of addressing the issues at stake. NOOR continued the project in autumn 2010, with 'Solutions’ a visual project investigating what is and what can be done to slow down or reverse climate change. This focuses on human stories about alternative power sources, renewable energies, and attempts to alleviate, adjust or cope with the rise of global temperatures, the biggest challenge our world has ever faced. 6.5. NOOR PHOTO AGENCY 123

6.5.4 Urban Survivors by NOOR

In 2011, NOOR partnered with Doctors Without Borders to raise an awareness campaign on the living conditions in the urban settlements around the world.[1] The project has been executed in Bangladesh, Guatemala, Haiti, Kenya, Pakistan, Honduras and South Africa by seven NOOR photographers with the aim of casting a light on the challenges that overpopulation is setting up for the future. The project resulted in the Urban Survivors[2] web documentary made by Darjeeling Productions featuring photo- films – the website was nominated for the 2012 Webby Awards – and a traveling photo exhibition.

6.5.5 The New Brazil by NOOR

The New Brazil[3] is a group project by NOOR photographers focusing on the fast development that Brazil is experi- encing in recent years. Through a multifaceted approach, NOOR photographers put a spotlight on this growing and complex modern society, creating an eyewitness record of the many faces of the world’s fifth largest country, both geographically and in population count, and the seventh – and fastest growing – economic power on the planet. The New Brazil has been produced by NOOR photographers in 2012 and consists of 8 different features.

6.5.6 Za'atari by NOOR

The Syrian war has created an unprecedented refugee crisis with millions of Syrians displaced. Nearly 100,000 refugees live on a stretch of land in northern at the Za’atari camp, now the second largest refugee camp in the world. Located 12 kilometers from the Syrian border, the camp opened with just 100 families in July 2012. In December 2013 – January 2014, four NOOR photographers documented life at Za’atari. Around 100 of these photographs were then printed larger than life and pasted on 120 meters of the camp’s security walls as a way to humanize the architecture and give visitors and stakeholders an immediate impression of the people and life inside. The Za’atari project was a collaboration between UNHCR, JEN, and produced by Nina Berman.

6.5.7 References

[4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14]

[1] “urban survivors | NOOR”. Noorimages.com. Retrieved 2015-10-06.

[2] “Médecins Sans Frontières”. Urban Survivors. Retrieved 2015-10-06.

[3] “the new brazil | NOOR”. Noorimages.com. 2015-02-25. Retrieved 2015-10-06.

[4] “Visa pour l'Image Perpignan 2016”. Visapourlimage.com. 2015-09-13. Retrieved 2015-10-06.

[5] “Noor, une nouvelle agence photo coopérative”. LeMonde.fr. Retrieved 2015-10-06.

[6] “awards the 2010 to Alixandra Fazzina”. UNHCR. Retrieved 2015-10-06.

[7] “Archives”. Le Monde.fr. Retrieved 2015-10-06.

[8] “Le cri des exilés”. Polka Magazine. 2013-03-01. Retrieved 2015-10-06.

[9] “The Katrina Story on Wheels - Video”. TIME.com. Retrieved 2015-10-06.

[10] “Photojournalist haunted by documenting African famine - Photos”. Photoblog.nbcnews.com. 2011-08-10. Retrieved 2015-10-06.

[11] “Festival/photojournalisme: les Visas d'or”. Lefigaro.fr. Retrieved 2015-10-06.

[12] “Visa d'or pour Kadir van Lohuizen”. LeMonde.fr. Retrieved 2015-10-06.

[13] “Scenes from Yemen - Photo Essays”. TIME. 2011-03-01. Retrieved 2015-10-06.

[14] “El lente a las migraciones en América”. Elespectador.Com. Retrieved 2015-10-06. 124 CHAPTER 6. DAY 6

6.5.8 External links

• NOOR Photo Agency • NOOR Foundation Chapter 7

Day 7

7.1 Panos Pictures

Panos Pictures is a photo agency based in London and founded in 1986. It specialises in stories about global social issues[1] for international media and NGOs[2][3] using photography and video. It also produces exhibitions and long- term documentary projects. As of September 2015, Adrian Evans is its director and has a controlling share in the company.

7.1.1 Details

Panos Pictures began in 1986 as a small independent for-profit photo agency specialising in environmental issues.[4] It was founded and partly owned by environmental charity Panos London (the Panos Institute's London office) out of its photo archive.[5] Adrian Evans joined as director in 1990 and spent five years overseeing its expansion.[6] Panos London closed in 2013. The Panos Institute, a sister organisation of Panos Pictures, has been renamed Panos Network, a network of five member institutes. Panos Pictures has at any time a group of twenty of its photographers, called Panos Profile, whom it represents more comprehensively than its wider group of photographers, which it calls Panos Network[2][7] (this Panos Network should not be confused with the sister organisation described above).

7.1.2 Photographers who have been affiliated with Panos

• Aytunc Akad (Istanbul, Turkey)[8]

• GMB Akash (Dhaka, Bangladesh)[8]

• Kael Alford (Dallas, USA)[8]

• Christian Als (Copenhagen, Denmark)[8]

• Alfredo D'Amato (Palermo, Italy)[8]

• Samuel Aranda (Girona, Spain)[8]

• Jan Banning (Utrecht, Netherlands)[8]

• Piers Benatar (Nairobi, Kenya)[8]

• Chris de Bode (Amsterdam, Netherlands)[8]

• Stefan Boness (Berlin, Germany)[8]

• Heidi Bradner (London, UK)[8]

• Patrick Brown (Bangkok, Thailand)[8]

125 126 CHAPTER 7. DAY 7

• Petrut Calinescu (Bucharest, Romania)[8] • Alfredo Caliz (, Spain)[8] • Zackary Canepari (San Francisco, USA)[8] • Jocelyn Carlin (Auckland, New Zealand)[8] • Xavier Cervera (Barcelona, Spain)[8] • Dean Chapman (Newcastle, UK)[8] • Elena Chernyshova (, Russia)[8] • Francesco Cito (Milan, Italy)[8] • Matias Costa (Madrid, Spain)[8] • Frederic Courbet (Nairobi, Kenya)[8] • William Daniels (Paris, France)[8] • Sanjit Das (, India)[8] • Adam Dean (Beijing, China)[8] • Tim Dirven (Brussels, Belgium)[8] • Kieran Dodds (Glasgow, UK)[8] • Nic Dunlop (Bangkok, Thailand)[8] • Andrew Esiebo (Lagos, Nigeria)[8] • Julio Etchart (Singapore)[8] • Hossein Fatemi (Chicago, USA)[8] • Steve Forres (London, UK)[8] • Stuart Freedman (Delhi, India)[8] • Shiho Fukada (New York, USA)[8] • Karla Gachet (Quito, Ecuador)[8] • (London, UK)[8] • Georg Gerster (Zurich, Switzerland)[8] • Andrea Gjestvang (Berlin, Germany)[8] • Tanya Habjouqa (East Jerusalem, Palestinian Territories)[8] • Robin Hammond (Paris, France)[8] • Noriko Hayashi (Tokyo, Japan)[8] • Mark Henley (Geneva, Switzerland)[8] • Adam Hinton (London, UK)[8] • Jeremy Horner (Bangkok, Thailand)[8] • Crispin Hughes (London, UK)[8] • Rob Huibers (Utrecht, Netherlands)[8] • Jan Johannessen (Oslo, Norway)[8] • Justin Jin (Brussels, Belgium)[8] 7.1. PANOS PICTURES 127

• Rhodri Jones (Bologna, Italy)[8] • Kemal Jufri (, Indonesia)[8] • Alban Kakulya (Lausanne, Switzerland)[8] • Ivan Kashinsky (Quito, Ecuador)[8] • Chris Keulen (Maastricht, Netherlands)[8] • Kacper Kowalski (Gdynia, Poland)[8] • Suzanne Lee (, )[8] • Atul Loke (Mumbai, India)[8] • Georgios Makkas (Athens, Greece)[8] • Piotr Malecki (, Poland)[8] • Guy Martin (Istanbul, Turkey)[8] • Eduardo Martino (Rio de Janeiro, Brazil)[8] • Jenny Matthews (London, UK)[8] • Sergey Maximishin (St Petersburg, Russia)[8] • Andrew McConnell (Beirut, Lebanon)[8] • Eric Miller (Cape Town, South Africa)[8] • Lianne Milton (Rio de Janeiro, Brazil)[8] • Fernando Moleres (Barcelona, Spain)[8] • James Morgan (London, UK)[8] • Fredrik Naumann (Oslo, Norway)[8] • Heldur Netocny (Stockholm, Sweden)[8] • Mads Nissen (Copenhagen, Denmark)[8] • James Oatway (, South Africa)[8] • Jeroen Oerlemans (Amsterdam, Netherlands)[8] • George Osodi (Lagos, Nigeria)[8] • Mikkel Ostergaard (Copenhagen, Denmark)[8] • Warrick Page (Amman, Jordan)[8] • Chryssa Panoussiadou (Istanbul, Turkey)[8] • Adam Patterson (Dublin, Ireland)[8] • Tom Pilston (Oxford, UK)[8] • Giacomo Pirozzi (Florence, Italy)[8] • Ivor Prickett (Istanbul, Turkey)[8] • Nyani Quarmyne (Accra, Ghana)[8] • Espen Rasmussen (Oslo, Norway)[8] • Eric Rechsteiner (Tokyo, Japan)[8] • Markel Redondo (Bayonne, France)[8] 128 CHAPTER 7. DAY 7

• Martin Roemers (Delft, Netherlands)[8]

• David Rose (London, UK)[8]

• Marcus Rose (London, UK)[8]

• JB Russell (Paris, France)[8]

• Marc Schlossman (London, UK)[8]

• Ahikam Seri (Jerusalem, Israel)[8]

• Qilai Shen (Shanghai, China)[8]

• Marc Shoul (Johannesburg, South Africa)[8]

• Jacob Silberberg (Boston, USA)[8]

• Lana Slezic (Toronto, Canada)[8]

• Paul Smith (Medellin, Colombia)[8]

• Tim Smith (West Yorkshire, UK)[8]

• Vlad Sokhin (Chiang Mai, Thailand)[8]

• Brian Sokol (Kathmandu, Nepal)[8]

• Carlos Spottorno (Madrid, Spain)[8]

• Bjoern Steinz (Prague, Czech Republic)[8]

• Chris Stowers (, Taiwan)[8]

• Sean Sutton (Manchester, UK)[8]

• Dermot Tatlow (Washington, D.C. USA)[8]

• Ian Teh (Kuala Lumpur, Malaysia)[8]

• Dieter Telemans (Brussels, Belgium)[8]

• Andrew Testa (London, UK)[8]

• Sven Torfinn (Nairobi, Kenya)[8]

• Abbie Trayler-Smith (London, UK)[8]

• Stephan Vanfleteren (Brussels, Belgium)[8]

• Teun Voeten (Brussels, Belgium)[8]

• Aubrey Wade (London, UK)[8][9]

• Robert Wallis (London, UK)[8]

• Petterik Wiggers (, Ethiopia)[8]

• (Johannesburg, South Africa)[8]

• Iva Zimova (Prague, Czech Republic)[8] 7.1. PANOS PICTURES 129

7.1.3 Publications

• Amnesty International: Celebrating Human Dignity and Freedom: Photos by Panos Pictures. New York: Universe, 2010. ISBN 978-0789321275. Amnesty International wall calendar. • Amnesty International: 2013: Photos by Panos Pictures. New York: Universe, 2012. ISBN 978-0789325211. Amnesty International wall calendar. • Amnesty International: 2015: Photos by Panos Pictures. New York: Universe, 2014. ISBN 978-0789328151. Amnesty International wall calendar. • Agenda-Diary 2015: Photographs by Panos Pictures. ASIN B005KJJIYA. Amnesty International weekly plan- ner.

7.1.4 Exhibitions

• Coffee and Cafes, Society Café, Bath, 27 March 2012 – ?. Photographs by Panos Pictures photographers Adam Hinton, Alfredo D’Amato, Mark Henley, Ivor Prickett, Fredrik Naumann, George Georgiou, Chris Stowers, Stefan Boness, Alfredo Caliz, Stuart Freedman, Tim Dirven and Liba Taylor.[10] • Call the World Brother, Aberystwyth Arts Centre, 23 May – 14 July 2013. Photographs by Panos Pictures pho- tographers GMB Akash, Chloe Dewe Mathews, Robin Hammond, Chris Keulen, Andrew McConnell, Espen Rasmussen, Martin Roemers and Stephan Vanfleteren. Coincided with The Eye International Photography Festival and represented 25 years of Panos Pictures.[11] • #FutureofCities, Somerset House, London, 24 April – 10 May 2015.[12]

7.1.5 See also

• VII Photo Agency • Agence Vu • Black Star (photo agency) • Gamma (agency) • Magnum Photos

7.1.6 References

[1] “Panos knows the score”. British Journal of Photography. Incisive Financial Publishing Limited. 157 (7777): 9. 2012. [2] “Panos Pictures launches new look agency and website”. World Photography Organisation. 9 June 2010. Retrieved 12 September 2015. [3] “About Panos Pictures”. Sony. Retrieved 12 September 2015. [4] “Interview with Adrian Evans, Director of Panos Pictures”. Sony. Retrieved 12 September 2015. [5] Cross, Nigel (2003). Evidence for Hope: The Search for Sustainable Development. Earthscan. p. 57. ISBN 978- 1853838552. Retrieved 12 September 2015. [6] “Adrian Evans”. World Photography Organisation. Retrieved 12 September 2015. [7] “Panos Profile Voices”. London: The Daily Telegraph. 14 June 2010. Retrieved 12 September 2015. [8] “Photographers”. Panos Pictures. Retrieved 12 September 2015. [9] “Aubrey Wade”. Panos Pictures. Retrieved 31 October 2016. [10] “Panos group exhibition at the Society Cafe in Bath”. Panos Pictures. 23 March 2012. Retrieved 12 September 2015. [11] “Call the World Brother”. Aberystwyth Arts Centre. Retrieved 12 September 2015. [12] “From bees to supertrees: how modern cities are evolving – in pictures”. London: The Guardian. 23 April 2015. Retrieved 12 September 2015. 130 CHAPTER 7. DAY 7

7.1.7 External links

• Official website

• Conversations in Photography: 25 years of Panos Pictures (27 minute video)

7.2 Photographic and Imaging Manufacturers Association

The Photographic and Imaging Manufacturers Association, or PIMA, was founded in 1946 under the name National Association of Photographic Manufacturers (NAPM). In 1997 the name was changed to PIMA. In 2001 PIMA merged with the Digital Imaging Group to form the International Imaging Industry Association.

7.3 Photography Centre of Athens

The Photography Centre of Athens was an independent disinterested association which aimed to promote artistic photography in Greece. It was founded in 1979 by five Greek photographers Yiorgos Depollas, Costis Antoniadis, Nikos Panayotopoulos, Stefanos Paschos, and John Demos. Because there was almost no place totally devoted to photography, the founders decided to create a gallery which would have as a primary goal the informing of the friends of photography and the public in general.

7.4 Photography is Not a Crime

Photography is Not a Crime, abbreviated to PINAC and published under the trade names PINAC News, is an organization and news website that focuses on rights of civilians who photograph and film police misconduct and other similar activities in the United States incorporated in June 2014 as PINAC Inc. a Florida not for profit corporation. It was founded in 2007 following the arrest of its creator, Carlos Miller, a veteran news reporter and photojournalist.

7.4.1 Origin

In early 2007, Miller was on assignment for an article about the Biscayne Boulevard area of Miami, Florida. He observed five police officers interviewing an individual and began to take photographs. The officers asked Miller to move on, but he refused, informing them that he was on public property and had the right to photograph. The officers then arrested him for numerous misdemeanor offenses, including resisting arrest.[fn 1][4][5][6][7] Miller created the blog as a result of his arrest, the freedom of the press and free speech violations by the Miami Police Department, and his desire to educate the public on the issue of the right of Americans to document the activities of public officials in the performance of their duties.

7.4.2 First Amendment issues

PINAC focuses on First Amendment issues that intersect with governmental oppression of those rights, normally by police officers. It also gives civilians tips on how to interact with the police and assert their constitutionally protected rights.[8]

General arrests

A large number of police departments have harassed or made arrests of civilian photographers for charges such as obstruction[9] and making terror threats.[10][11] 7.4. PHOTOGRAPHY IS NOT A CRIME 131

Wiretapping arrests

PINAC has covered a number of cases during which police officers have misused wiretapping laws against civil- ians such as Anthony Graber in Maryland. Graber was arrested after he posted a video of a police contact on YouTube.[fn 2][14]

Homeland security

In addition, there have been numerous examples in which police or security officers have erroneously told civilians that filming or taking pictures of a particular building is unlawful and a violation, due to either national security or homeland security reasons. Examples covered in the blog include a police officer advising that photographing the National Laboratory at the University of Texas Medical Branch was prohibited,[15] and similar examples involving photographing an art exhibit in downtown Indianapolis,[16] and a train station in New York City.[17][18]

Police coverup

PINAC has documented a number of cases in which police officers seized cameras and cell phones or deleted pho- tographs or video, apparently in an effort to cover up police misconduct, such as the unjustified killing of Oscar Grant by BART police officers.[19] In some cases, police have been accused of tampering with evidence by delet- ing photographs or videos. For example, in Broward County, an off-duty deputy sheriff pulled over a motorist, and then illegally seized and destroyed her cell phone in an attempt to get rid of the video that she had taken of police misconduct.[20]

7.4.3 Media recognition

General media

The blog has been featured or discussed in a number of mainstream publications, ranging from Playboy[21][22] to the Washington Post.[14] PINAC has also been mentioned in the Boston Globe[23] and the Fort Lauderdale Sun-Sentinel,[24] among others.

Law reviews and journals

The blog has also been cited in law reviews. It has appeared in the Tennessee Law Review,[25] the Quinnipiac Law Review,[26] and the University of Pennsylvania Law Review.[27]

7.4.4 Footnotes

[1] Miller was later acquitted of all charges except the resisting arrest charge, and that charge was overturned on appeal. Miller was supported during the trial by the Society of Professional Journalists, who contributed $3,000 towards his defense.[1][2][3]

[2] The use of wiretapping laws to suppress photographers clearly violate the First Amendment, and courts have noted that public officers in a public place have no expectation of privacy.[12][13]

7.4.5 References

[1] SPJ Legal Defense Fund grant aids photographer’s defense, Press Release, Society of Professional Journalists, (March 9, 2007).

[2] SPJ leaders express disappointment in First Amendment violation in Miami, Press Release, Society of Professional Jour- nalists. (June 19, 2008).

[3] Miller v. State, No. 08-326 (Fla. Cir. Ct. 2009). via Scribd.

[4] Evan Benn, Photojournalist claims unjust arrest, Miami Herald blog (February 27, 2007, 8:16 PM).

[5] Bob Norman, Cat305 Journo Arrested, Boward-Palm Beach New Times blog (February 27, 2007, 3:08 PM). 132 CHAPTER 7. DAY 7

[6] Mark Frauenfelder, Take a picture in Miami, go to jail, Boingboing (February 28, 2007, 7:01 PM).

[7] Radley Balko, Straight Talk: Videotaping Police, FoxNews.com (June 19, 2007).

[8] How to photograph police, 43 Reason 14. (2011).

[9] Martha Nell, Constitutional Law: Supreme Court Gives Nod to Citizens Who Record Police, Amidst Reports of Multiple Arrests, ABAJournal.com (November 26, 2012).

[10] John Pacenti, Recording nets terror charge for videographer, Fulton County Daily Report, September 13, 2011, at 5.(sub- scription required)

[11] Richard Brenneman, 2008 Proved a Dismal Year for an Ailing Fourth Estate, Berkeley Daily Planet, January 8–14, 2009, at 7.

[12] Glik v. Cunniffe, 655 F.3d 78 (1st Cir. 2011)

[13] State v. Graber, No. 12-K-10-647, 2010 Md. Cir. Ct. LEXIS 7 (Md. Cir. Ct. Sept. 27, 2010).

[14] Annys Shin, From YouTube to your local court; Video of traffic stop sparks debate on whether police are twisting Md. wiretap laws, Wash. Post, June 16, 2010, at A1.

[15] Morgan Leigh Manning, Less than Picture Perfect: The Legal Relationship between Photographers’ Rights and Law Enforce- ment, 78 Tenn. L. Rev. 110-11 nn40-49 (2010).

[16] Manning, at 110-11, nn. 40-49.

[17] Manning, at 112-13 nn. 64-73.

[18] Ahnalese Rushmann, Photographers tangle with vague rules in transit hubs, 33 News Media & the Law 34 n. 2 (2009).

[19] The Substance of Truth 160 (Tolu Olorunda ed. 2011).

[20] David Smiley & Diana Moskovitz, A history of cops vs. cameras in Miami Beach, Miami Herald, June 14, 2011.

[21] Tim Mohr, No photos allowed: who will protect us from the protectors?, Playboy, Nov. 1, 2009, at 126.

[22] Carlos Miller, Guess who made this month’s Playboy Magazine? (not just Marge Simpson) Photography is Not a Crime: PINAC, Oct. 26, 2009, accessed Nov. 17, 2013.

[23] Mark Baard, Swann’s latest security device has that sinister vibe, Boston Globe, July 5, 2010, at Business 7.

[24] Ihosvani Rodriguez, Lauderdale enforcing no-photo rule at 'Rock of Ages’ filming location, Fort Lauderdale Sun-Sentinel, June 9, 2011, at 1B.

[25] Manning, at 109-114.

[26] Mario Cerame, The Right to Record Police in Connecticut, 30 Quinnipiac L. Rev 385 (2012).

[27] Seth F. Kreimer, Pervasive Image Capture and the First Amendment: Memory, Discourse, and the Right to Record, 159 U. Pa. L. Rev. 335 (2011).

7.4.6 External links

• PINAC/Photography is Not a Crime's PINAC News website.

7.5 RA Photo Club

The RA Photo Club is located in Ottawa, and is the city’s largest photo club, with over 300 members. It meets weekly at its location in the RA Centre from September to May, hosting speakers and monthly competitions. The RA Photo Club has many special interest groups, including Nature, Audio-Visual, Portrait, Figure and Glamour, Digital, Photo Critique and Urban. The club is a member of the Canadian Association for Photographic Art, a national organization promoting and encouraging the photographic arts in Canada. The club has exhibited at many area venues including the National Press Club (located in the National Press Building), and partners with local charities to provide photographic services. In 2006, these included the Tulip Festival (Ottawa), 7.5. RA PHOTO CLUB 133

RA Photo Club members photograph exodus from a Senators game

Canada Dance Festival, Ottawa Chamber Music Festival, Ottawa Bluesfest, Ottawa Dragon Boat Race Festival and Hope Volleyball. The festival partnerships resulted in several media uses of the photographs, including a spread by the Ottawa Citizen. Partnering with festivals is now limited to the Ottawa Chamber Music Festival.

7.5.1 Competitions and Rank

Photographic competitions are run throughout the year, approximately monthly. These include an annual regional inter-club competition and the Bruce Wilson Memorial Trophy (which features entries of a set of five related black- and-white prints). Special interest groups run competitions or showcases as well, including the Nature Fall Challenge and the Urban Spring Creative Challenge. Members acquire rank by consistently succeeding in the club competitions. Ranks range from Junior through Inter- mediate to Senior to Master. In the entire history of the club, there have only been two members that have attained the rank of Master. Jim Sutton and Yannis Souris.

7.5.2 History

The RA Photo Club was founded in 1939 as the “RA Camera Club”, its first chairperson being Doug White of the National Film Board of Canada and met at 30 Rideau St. near the Government Conference Centre (then Union Station). In 1951 color slides were introduced and prints began to be exhibited in local theatres and department stores. The club moved to its current location at the RA Centre in 1962. In 1970, Special interest focus groups of the club began with a Nature group in 1970. Over the years the club has added facilities, including a darkroom in 1951, a portrait studio in 1955, audio-visual capability in 1978 and a digital lab in 2002. Recorded historical membership levels include: 50 in 1958, 90 in 1965, 200 in 1999 and over 250 in 2006. 134 CHAPTER 7. DAY 7

7.5.3 Recent Activity

2007 - Peter Juranka was recently a featured artist in Ottawa Life Magazine. 2007 - Three club members, Bill Young, Peter Juranka and Mike (Binary Rhyme) Heffernan scored honorable men- tions in the Canadian Association for Photographic Art’s Canadian national digital photography competition. 2006 - One of its members, Henry Fernando, was a top three finalist in a worldwide Popular Photography Magazine “Photographer of the Year 2006 " competition. 2006 - In a strange twist, the Urban Group’s Press Release (regarding partnership with local Festivals) has been included in a text on effective media communications, offered by The Guild of Master Craftsmen.

7.5.4 External links

• RA Photo Club

• Canadian Association for Photographic Art • Ottawa Life Magazine

• Popular Photography Photographer of the Year Winner • The Guild of Master Craftsmen 7.5. RA PHOTO CLUB 135

Fortier Danse at the Canada Dance Festival 136 CHAPTER 7. DAY 7

Ottawa Tulip Festival - Tulip Ball Fashion Competition 7.5. RA PHOTO CLUB 137

University of Ottawa SITE Building. Photograph produced using the RA Photo Club darkroom. 138 CHAPTER 7. DAY 7

7.6 Rapho (agency)

The Rapho agency was founded in Paris in 1933 by Charles Rado (1899-1970), a Hungarian immigrant. Rapho, an acronym formed from Rado-Photo, is one of the oldest press agencies specializing in .[1] Rapho initially represented the small group of Hungarian friends and refugee photographers Brassaï, Nora Dumas, Ergy Landau and .[2] Forced to close the agency during World War II, Rado left for the US in 1940;[2] Rapho was reopened in 1946 by Raymond Grosset.[1] Rado opened the New York office, Rapho Guillumette Pictures (at 59 East 54th Street), with photographer Paul Guillumette. Rado and Grosset proceeded to gather a number of great photographers who they represented in varying capacities and sometimes shared: , Édouard Boubat, Denis Brihat, Jean Dieuzaide,[2] Bill Brandt, Ken Hey- man, Izis, André Kertész, Yousuf Karsh, Jacques Henri Lartigue, Janine Niépce, , Emile Savitry, Fouad Elkoury, and Sabine Weiss. In 1975, Rapho Guillumette Pictures was absorbed by Photo Researchers. Two years later, Rapho acquired the TOP agency.[2] In 2000, Rapho joined the Hachette Filipacchi Photos Group,[2] which was sold in 2007 and became the photo conglomerate EYEDEA. EYEDEA, which went bankrupt in 2010, resurfaced that year as Gamma-Rapho, and includes the image collections of Hoa-Qui, Top, Explorer, Jacana.

7.6.1 Notes

[1] Michèle and Michel Auer, Photographers Encyclopedia International, 1839 to the present (Editions Camera Obscura, Switzerland, 1985), p. 789.

[2] Robin Lenman, “Rapho"; in The Oxford Companion to the Photograph, ed. Robin Lenman (Oxford: Oxford University Press, 2005; ISBN 0-19-866271-8).

7.6.2 References

• “Charles Rado, 71, of Photo Agency; Developed Popular Books from Ylla’s Portfolio”, New York Times, Oc- tober 5, 1970. (Obituary; requires payment)

7.7 Rawiya meaning “female and male teller”) is a collective of documentary photographers from the, راوية :Rawi(ya) (Arabic Middle East (West Asia and North Africa). Today its members are Myriam Abdelaziz (New York City), Tamara Abdul Hadi (Beirut), Ghaith Abdul Hadad (Istanbul), Zeid Ben Romdhane (Tunis), Laura Boushnak (), Tanya Habjouqa (East Jerusalem), and Tasneem Alsultan (Jubail). It is the first cooperative of its kind with that started as an all female photographer group from the Arab world and opened up to male members in 2016.[1] got together with Tamara Abdul Hadi and Dalia Khamissy in Beirut in 2009 with the idea of the collective, thereafter Boushnak and Habjouqa joined the conversation and Rawiya was born. In August 2011, following the Egyptian revolution, Myriam Abdelaziz joined the group. The collective made its official debut at the FORMAT International Photography Festival in Derby, U.K. in March 2011, which led to international exhibitions across the Greater Middle East, Europe, and the United States. In 2016 Tasneem Alsultan became a member of Rawiya. Tasneem became Grantee of Magnum/Prince Claus/AFAC with Tanya Habjouqa as her mentor. Gaith Abdul Hadad and Zeid Ben Romdhane were invited to join in 2016, opening the collective to male members.[1]

7.7.1 References

[1] Megan Gibson (November 3, 2011). “Rawiya: Photography Collective Finds Strength in Numbers”. TIME, LightBox. Retrieved 2014-09-15.

• http://www.jadaliyya.com/pages/index/10448/she-who-tells-a-story_interview-with-the-photograp 7.7. RAWIYA 139

• http://www.bazaar-magazine.com/baz/bazaar/index.php?show=eIndex&show_filter=view&action=article&art_ id=ART00000001417 • http://mobile.nytimes.com/blogs/lens/2016/05/12/rawiya-the-hidden-stories-of-arab-women/?_r=0&referer= http://m.facebook.com

7.7.2 External links

• Rawiya, official website Chapter 8

Day 8

8.1 The Society of International Photographers

The Society of International Photographers (SIP) is a not-for-profit organisation that was founded in 1936 with the express aim of lauding the most creative photographers of the time. Over the years this has grown to include a monthly and yearly competition. Early members of the SIP include Man Ray and Henri Cartier-Bresson. Recent recipients of the annual award include Gary Pavkovich (2008) and Angela Prabhu (2011). The first competition was launched in 2008, prizes include photographic equipment and international holidays. The SIP accepts professional and non-professional members and competition entrants, and allows digital art, thus tacitly allowing digital manipulation of photographs, commonly known as photoshopping.

8.1.1 References

• Wignall, Jef, ed. “Winning Digital Photo Contests” Lark, 2009. ISBN 1600594751.

• Steve Donovan, ed. “The World’s Biggest Book of Photography Competitions, Awards, Grants and Places To Sell Your Photos Online” Theworldsbiggestbooks.com, 2008. ISBN 0955898919.

8.1.2 External links

• Official website

8.2 Stock Artists Alliance

Founded in 2001, the Stock Artists Alliance was an international trade association of photographers who produce images for stock photography. The mission of SAA was to support and protect the business interests of professional stock photographers with regard to the worldwide distribution of their intellectual property.[1] As an advocate for its members, SAA encouraged the use of fair contracts and ethical behavior at all levels of the industry. SAA monitored the stock photography industry and served as an ombudsman for its members’ interests in dealing with picture agencies and other distribution channels.[1] SAA’s first major negotiation was with Getty Images to improve the photographers’ contract. In 2008, SAA joined over 60 other art licensing businesses (including the Artists Rights Society, the Association of American Editorial Cartoonists, Society of Children’s Book Writers and Illustrators, Illustrator’s Partnership of America and the Advertising Photographers of America, among others) in opposing both The Orphan Works Act of 2008 and The Shawn Bentley Orphan Works Act of 2008.[2] Known collectively as "Artists United Against the U.S. Orphan Works Acts,” the diverse organizations joined forces to oppose the bills, which the groups believe “permits, and even encourages, wide-scale infringements while depriving creators of protections currently available under the Copyright Act.”[2]

140 8.3. STOCKLAND MARTEL 141

In October 2009 SAA formally became a member of the Alliance of Visual Artists an umbrella organization repre- senting six photographic associations and some 45,000 professional photographers (direct and affiliated members) worldwide, led by Professional Photographers of America The organization ceased operations in April 2011.[3]

8.2.1 External links

• Stock Artists Alliance website snapshot saved at Archive.org

8.2.2 References

[1] Stock Artists Alliance website: Mission Page at Archive.org

[2] Orphan Works Legislative Action Center: Groups Opposed to the Orphan Works Act

[3] http://pdnpulse.pdnonline.com/2011/03/stock-photographers-advocacy-group-saa-shutting-down.html

8.3 Stockland Martel

Stockland Martel is a photo-representation agency headquartered in New York and founded in 1983 by Bill Stock- land and Maureen Martel.[1][2] The first person they signed was legendary Sports Illustrated photographer Walter Iooss,[3] and in the years since they have developed a diverse international roster of award-winning photographers.[4] These include 2009 Prix Pictet winner Nadav Kander,[5] Timothy Greenfield-Sanders, and Lauren Greenfield.[6] Stockland Martel and its exhibition space, The Gallery @ Stockland Martel, are headquartered in the Gramercy Park neighborhood of Manhattan. Partial represented:

• Kwaku Alston

• Fulvio Bonavia

• Jim Fiscus

• Lauren Greenfield

• Timothy Greenfield-Sanders

• Tobias Hutzler

• Walter Iooss

• Nadav Kander

• Steven Lippman

• Jeff Lipsky

• Doug Menuez

• Michael Muller

• Nino Muñoz

• John Offenbach

• Matthew Rolston

• Art Streiber

• Liz Von Hoene 142 CHAPTER 8. DAY 8

8.3.1 References

[1] “Stockland Martel”. Retrieved 8 July 2009.

[2] “Altpick.com Artist Rep page”.

[3] “The Education of Walter Iooss Jr.”. Retrieved 11 December 2011.

[4] “Stockland Martel bio at PhotoPlus Expo”. Retrieved 26 October 2009.

[5] “Nadav Kander Wins the Prix Pictet”. Retrieved 26 October 2009.

[6] ""Inside the Minds of Bill Stockland and Maureen Martel,” RESOLVE: the liveBooks photo blog, January 12, 2010”.

8.3.2 External links

• Official site

• “Craig Cutler Just Keeps Shooting,” PDN, May 2012

• “Rep Office Tour Series: Stockland Martel,” Fresh Produce, July 10, 2009

• “The Education of Walter Iooss Jr., sportsillustrated.com, December 11, 2011

• “Events: Hans Gissinger’s Exploding Cakes Project,” Snap Indigo, June 4, 2009

• The New York Photo Festival 2009, “Meet the Jury,” May 2009

• Patrick McMullan photographs of Maureen Martel at Le Book Connections, Photo District News annual party, and the New York Photo Festival, 2005–2009

• “Grow or Die: Advice From Reps on Keeping Your Work Fresh,” Photo District News, March 2004, reprinted at allbusiness.com

8.4 The Sydney Camera Circle

The Sydney Camera Circle was a Pictorialist photographic society formed in 1916 in Sydney, . It was most active before World War II, and was influential on Australian photography for fifty years.

8.4.1 History

The Sydney Camera Circle was formed on 28 November 1916 at the Bostock-Little Studio, Phillip Street, Syd- ney. The founders were Cecil Bostock, , Malcolm McKinnon, James Paton, James S. Stening and William Stewart White. All six signed a manifesto, pledging to advance and promote a Pictorialist photography devoted to Australian sunlight and shadow as opposed to the greys and ‘dismal’ shadows of European styles.[1] In this ambition they shared the ideals of the Heidelberg School of Australian painters. The group was dominated by amateurs interested in photography as an art form who shared constructive criticism and support at their meetings, exhibiting their work under the name of The Sydney Camera Circle. The group continued as an entity until 1978 when membership was dwindling in competition with that of the Aus- tralian Photographic Society and the Camera Club of Sydney.

8.4.2 Membership

Dates show period of membership:

• R.G. Allman (May 1921)

• Dr Michael L. Armstrong (October 1970–1971) 8.4. THE SYDNEY CAMERA CIRCLE 143

• William Barrett (1918–1922) • H. Bedggood (1924–1928) • Robert Sidney Beverley (1962–1973) Chairman 1965–1973 • Cecil W. Bostock (1916–December 1935) Foundation Member • R.E. Donald Brown (1949–1978) Chairman 1974–1978 • William G. Bucklem (1930s–1940s) • Eric Keast Burke (1940s–1967) • Harold Cazneaux (1916–1953) Foundation Member, First President from 1922 • Dr Arthur Ernest Fraser Chaffer (1928–June 1963) • Nell Chaffer (1963–1978) • Clifford Stuart Christian (March 1957–June 1967) • Kenneth Clifford (October 1963–resigned 3 June 1968) • Dr K. Courtney (12 March 1969–) • Frank D. Collins (1940–1954) • Olive Edith Cotton (1939–*) • Dr Kevin Courtney (1969–1971) • Q. Davis (?–May 1960) • Norman Cathcart Deck, Honorary Member (October 1921–1978), Honorary Life Member (August 1972– 1978) • Robert E. Dickinson (1971) • H.D. Dircks (1940s–1961) • Arthur Eades (1918–1920) • Stanley William Eutropoe (1917–1978) • Arthur William Christopher Ford (1917–1922) Honorary Life Member (February 1964–September 1965) • D. Fraser (May 1921–1937) • A.W.W. Gale (October 1940–1969) • Harold Richard Gazzard (November 1962–August 1976) • George L. Graves (1966–1971) • Nell Griffin (1974–1978) • Laurence Le Guay (1940–1953) • Charles Haseron (1918–1921) • Kenneth Dudley Hastings (October 1949–1966) • E.B. Hawkes (February 1932–July 1936) • Douglas Raleigh Hill (November 1924–1938) • James Hoey (February 1956–1978) • Robert Holcombe (1918–1921) 144 CHAPTER 8. DAY 8

• Kiichiro Ishida (April 1921–December 1923)

• Cyril V. Jackson (1949–1973)

• Harry Powell James (1935–June 1973)

• Laurence R. James (June 1966–June 1967)

• Harold N. Jones (1928–January 1970)

• Ken Kirkness (1971 -)

• Charles Francis Laseron (1920–November 1921)

• Peter Lawrence (1925–1928)

• Ronald A. Lloyd (Joined 9 August 1967)

• Monte (Charles Robert Montague) Luke (1921–November 1962)

• J.G. McColl Associate Member (April 1923–1931)

• Roy A. MacDonell (April 1971–1973)

• Malcolm McKinnon (1916–1920) Foundation Member

• (1917–January 1967) Retail Manager–Harringtons Photographic Merchants

• J.G. McColl (1928)

• John William Metcalfe (March 1925–1955)

• Mrs A.G. (Florence) Milson (1920–1921) First ‘Lady’ Member

• William Heath Moffitt (June 1927–1938)

• George James Morris (April 1925–1938) Hon.Secretary 1925–1936

• Robert Nasmyth (1949–March 1972)

• James Paton (1916–1938) Foundation Member

• John L. Phillips (9 August 1967–1978)

• Edgar N. Poole (1917–1932)

• R.D. Roddenby (April 1971–**)

• Richard Vaughton Simpson (1928–1967)

• James S. Stening (1916–1920) Foundation Member

• Aleck Stern (March 1973–1978)

• Sydney Ure Smith, Associate Member, May 1921–1949

• Charles E. Wakeford (1917–March 1965) Honorary Life Member (March 1965–1968)

• Charles F. Walton (1940s–1950s)

• D'Arcy J. Webster (1918–1932)

• William Stewart White (1916–1932) Foundation Member

• (1971–**)

• Kurt Winkler (October 1973–1978)

• John L. Wray (1950s–1960s) 8.5. TECHNICAL IMAGE PRESS ASSOCIATION 145

8.4.3 Selected Exhibitions

• 14 to 28 February 1921: at the invitation of Henri Mallard, 115 prints were displayed at the Kodak Salon, Sydney with sales totaling £70.[2]

• February 1921: Scottish Photographic Federation Salon, Dundee included 60 prints from The Sydney Camera Circle.

• July 1921: London Salon shows 9 prints by 8 members of the Circle.

• October 1921: Arts and Crafts exhibition shows 50 photographs by the members. Kodak Mel- bourne shows the work in their windows.

• 1922: Colonial Competition 1922. Sydney Camera Circle takes first place with medals awarded to Henri Mallard and Florence Milson by the Amateur Photographer and Photography.

• 12 June to 8 July 1979: Art Gallery of New South Wales 'Australian Pictorial Photography', S.H. Ervin Gallery, Sydney.

• 14 January to 1 April 1984 Art Gallery of NSW 'The Sydney Camera Circle: The Early Years, 1916 - 1938'.

8.4.4 References

[1] Harold Cazneaux letter to , National Library of Australia Manuscript MS 5416

[2] Harringtons Photographic Journal, Tuesday 1 March 1921 Page 22: “In an exhibition of photographs opened on the 24th February at the Kodak Salon, George Street, Sydney, there are many examples of discerning selection of subject and artistic treatment in reproduction. The whole of the work is by members of the Sydney Camera Circle and includes quite a number of pictures that had been sent for exhibition to London. In pictorial photography the greatest success is achieved in the realm of repose - in capturing glimpses of city or countryside, revealing some of the more restful moments of the passing hour. Some very striking examples of artistic fidelity in this direction are to be seen at the exhibition. The pictures cover a wide field, including photographs of sea and sky, of trees, of shipping, of crowded streets, of almost deserted thoroughfares and so on. Of all these, perhaps, those photographs in which trees form a dominant part of the composition are the most satisfying to the artistic sense. “Sentinels of the Wood” and “Cameo” by Mr J.E. Paton and Mr W.S. White, are exquisite examples of what the artist photographer may accomplish. “Flower Sellers” by Mr C.W. Bostock - a picture which was reproduced in these pages some months ago - is well deserving of contemplation by amateurs, who so often are vexed by the difficulties of strong sunlight and deep shadows. It is a masterly piece of work. Among the pictures of pastoral life, one of stockmen watering their horses at a creek is a happy representation of a typical scene. The exhibitors are Messrs. C.W. Bostock, Chas. Wakeford, J.E. Paton, W.S. White, D.J. Webster, Monte Luke, H. Mallard, Arthur Ford, E.N. Poole, C. Laseron and Stanley William Eutrope.”

8.4.5 External links

• A history of The Sydney Camera Circle

8.5 Technical Image Press Association

The Technical Image Press Association (TIPA)[1] is an international, non-profit association advocating the interests of the photography and imaging magazine-publishing industry. The association represents 30 titles, published in eight European countries and seven non-European countries.

8.5.1 History

The organization was established in 1991 as an association of European photography and imaging magazines. Since 2009, members have joined from outside of Europe.[2] 146 CHAPTER 8. DAY 8

8.5.2 Activities

Each year, the editors of the member magazines vote for the best products introduced to the market during the previous twelve months, taking into account innovation, cutting-edge technology, design, ease-of-use and the price to performance ratio of the products.[3] TIPA holds its awards ceremony every second year[4] at photokina, a biennial trade fair for the photographic and imaging industries.[5]

8.5.3 Member magazines

The member magazines that form TIPA are:

• Camera – Australia

• FHOX – Brazil

• Photo Life – Canada

• Photo Solution – Canada

• Chinese Photography – China

• Fisheye – France

• Réponses Photo – France

• digit! – Germany

• Foto Hits Magazin – Germany

• INPHO Imaging and Business – Germany

• Photo Presse – Germany

• Photographie – Germany

• ProfiFoto – Germany

• Photo Business – Greece

• Photographos – Greece

• Fotó Magazin – Hungary

• Better Photography – India

• Fotografia Reflex – Italy

• FOTOgraphia – Italy

• Fotografie F+D – Netherlands

• Fotovisie – Netherlands

• P/f Professionele Fotografie – Netherlands

• PiX Magazine – South Africa

• FV / Foto-Vídeo Actualidad – Spain

• Digital Photo – United Kingdom

• Practical Photography – United Kingdom

• Professional Photo – United Kingdom 8.6. THIS PLACE 147

• pdn – United States

• Rangefinder – United States

• Shutterbug – United States

Affiliate member

• Camera Journal Press Club – Japan

8.5.4 Administration

TIPA is supported by a board of directors and a secretariat based in Madrid, Spain. The board is elected by members at a general meeting held every year.

8.5.5 See also

• Lists of magazines

8.5.6 References

[1] Technical Image Press Association.

[2] “Board Members”. Technical Image Press Association.

[3] TIPA-Awards-2011.

[4] Photo associations

[5] “Photokina.

8.5.7 External links

• tipa .com, the association’s official website

8.6 This Place

This Place is a global art project that explores the complexity of Israel and the West Bank through the eyes of twelve internationally acclaimed photographers. The participating artists are , Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, and Nick Waplington. Each photographer created highly individualized works in response to his or her own experience in the area; the result is over 500 images which will be exhibited internationally and published in a series of monographs.[1]

8.6.1 History

Initiated by Frédéric Brenner, the project follows in the tradition of historic endeavors such as the Missions Héli- ographiques in nineteenth-century France and the Farm Security Administration in the United States, which gathered artists who use photography to ask essential questions about culture, society and the inner lives of individuals.[2] Each artist spent approximately six months in residence, traveling throughout Israel and the West Bank, following his or her own line of investigation. Brenner offered the photographers initial exploratory visits, so they could decide if, and how, that wanted to be involved with the project.[3] According to TIME: “This Place is not an act of photojournalism, nor does it contain — or send – a clear, unified message.”[2] 148 CHAPTER 8. DAY 8

8.6.2 Exhibitions

The completed work has been organized into a major exhibition, curated by Charlotte Cotton, who stated that “Each artist has created a profound and personal narration of Israel and the West Bank, that, collectively, act a series of guides, leading the viewer into a deeper identification with the complexities and conflicts of the Holy Land.”[2] The exhibition will open at DOX Centre for Contemporary Art in Prague on October 24, 2014. It will then travel to the Tel Aviv Museum of Art, the Museum, the Norton Museum of Art, and other museums in Europe, the United States, and Asia.[1]

8.6.3 Participating photographers

8.6.4 References

[1] Estrin, James (9 April 2014). “Embracing Ambiguity in Israel”. The New York Times. The New York Times. Retrieved 9 April 2014.

[2] Tharoor, Ishaan (16 April 2014). “Picturing the Holy Land: 12 Photographers Chart a Region’s Complexities Read more: Picturing the Holy Land: Photographers Chart Region’s Complexities - LightBox http://lightbox.time.com/2014/04/16/ west-bank-israel-photos/#ixzz33b995k8d". Time LightBox. Time. Retrieved 16 April 2014. External link in |title= (help)

[3] Kershner, Isabel (14 December 2011). “Top Photographers Try Looking at Israel From New Angles”. The New York Times. The New York Times. Retrieved 14 December 2014.

8.6.5 External links

• Official website

8.7 Transphotographiques

Transphotographiques is a photography festival based in , France.[1][2][3] It was created in 2001 by Olivier Spillebout, and organized since 2003 by the House of Photography (Maison de la photographie).[4]

8.7.1 Activities

Every year, or biannually, Transphotographiques runs exhibitions, workshops, conferences, and educational programs in the Lille area. For each festival, the work of a special guest (invité d'honneur) – or marraine (godmother)[5][6] or parrain (godfather)[7] – “defines that year’s theme”.[8] It is chaired by Bertrand de Talhouët, managed by Olivier Spillebout and organized in partnership with the magazine Photo, and runs from mid May to mid June.

Festivals

• 2001: curated by Olivier Spillebout and with Willy Ronis as special guest.[9][10]

• 2002: curated by Olivier Spillebout and with Sabine Weiss as special guest.[11]

• 2003: curated by Olivier Spillebout[12] and with Peter Lindbergh as special guest.[13]

• 2004: Transformation, curated by Jean-Luc Monterosso[14] Sponsored by Maison européenne de la photogra- phie.[1] Included a fringe festival. With William Klein as special guest.[15]

• 2005: Hors circuits (on territory and landscape), curated by Anne de Mondenard[16] and with Raymond De- pardon as special guest.[17]

• 2006: [festival canceled][6]

• 2007: [On film] curated by Olivier Spillebout[18] and with Lucien Clergue as special guest. 8.7. TRANSPHOTOGRAPHIQUES 149

Transphotographiques exhibition at Palais Rameau, Lille, June 2009

• 2008: Mode et photographie, curated by Olivier Spillebout[19][20][21][22] and with Karl Lagerfeld as special guest.[23][24] • 2009: [L'Europe et ses frontières],[n 1] curated by Olivier Spillebout and with Stanley Greene as special guest.[25] • 2010: Une seconde nature (i.e. “a second nature”), curated by Françoise Paviot and Gabriel Bauret[26] and with Joan Fontcuberta as special guest.[27][28] • 2011: (s) (i.e. “north(s)")[29] and with Gabriele Basilico as special guest.[30][31] • 2012, 2013 [no festival][32] • 2014: Collectif (i.e. “collective”); with a major project on “France(s) Territoire liquide”, i.e. “France(s) liquid territory”).[32][33][34]

Exhibition locations

The festival is based in Lille, where these locations have been used: Tri Postal[18][29][35] - Palais Rameau[29][36] - Maisons Folies[18] - Maison de la photographie[22] - Vieille Bourse[29] - Palais Rihour[1][18] - Hôtel de ville - Lille - Église Saint-Maurice de Lille[1] - Musée de l'Hospice Comtesse[18][29] It has expanded outside Lille. The 2007 festival, for example, also had events in , Lambersart, Valenciennes, and across the border in Kortrijk.[37]

8.7.2 Partnerships

One part of the work of Transphotographiques is to promote the work of local photographers.[38] It is part of Photo Festival Union, a European network of photography festivals.[39] 150 CHAPTER 8. DAY 8

An exhibition of the 2009 festival, in Palais Rameau

A month-long exhibition in Stary Browar, Poznań in 2008, Kolekcja Transphotographiques, was a retrospective of the first seven years of Transphotographiques.[5][38]

8.7.3 Notes

[1] There seems not to have been an explicit title for the festival. “Les liens et les réseaux tissés au fil des éditions, nous ont amenés naturellement à présenter en 2009, une thématique tournée vers l’Europe et ses frontières: regards croisés de photographes russes, polonais, tchèques, roumains, hongrois, français... qui confrontent leurs visions de la frontière tant territoriale que sociétale et culturelle.” “Communiqué de presse”, "Dossier de presse" for the 2009 festival (PDF, 3.2 MB). Emphasis added.

8.7.4 References

[1] Fanchette, Frédérique (12 June 2004). “Du classique pour les Transphotographiques.”. Paris: Libération. Retrieved 22 September 2015.

[2] “International Photography Festival Round-up”. London: The Daily Telegraph. 22 July 2015. Retrieved 22 September 2015.

[3] “Les Transphotographiques”. Paris: Le Figaro. Retrieved 22 September 2015.

[4] “Maison de la Photographie”. Maison de la Photographie. Retrieved 22 September 2015.

[5] Marta Eloy Cichocka, "Entrons dans les Trans... Photographiques", Maison Photo, 2008. “L’édition suivante était dominée par la photographie féminine incarnée par sa marraine Sabine Weiss....” (Also in Polish.)

[6] L. Moniez, “2006 sans les Transphotographiques: L'événement culturel photographique est annulé", Nord Éclair, 24 Febru- ary 2006; here at transphotographiques.com. The image does not show its source; this is provided in "Revue de presse Transphotographiques 2005", Transphotographiques. 8.7. TRANSPHOTOGRAPHIQUES 151

[7] "Archives", Transphotographiques

[8] "Transphotographiques", Dutch Doc, 5 August 2010.

[9] Sabéran, Haydée (4 May 2001). “Lille (59) expo Les Transphotographiques”. Paris: Libération. Retrieved 22 September 2015.

[10] "Transphotographiques Lille 2001", Transphotographiques.

[11] Gérard Goutiere, "Transphotographiques: Le regard des femmes", La Voix du Nord, 8 May 2002; here at transpho- tographiques.com.

[12] Sabéran, Haydée (7 June 2003). “A Lille, accrochages sur la Palestine”. Paris: Libération. Retrieved 22 September 2015.

[13] Samuel Lieven, “Lille a retrouvé son festival”, La Voix du Nord, 7 May 2003; here at transphotographiques.com.

[14] “Transphotographiques”. Paris: Le Figaro. Retrieved 22 September 2015.

[15] Benjamin Cormier, “Le Regard de Klein sur Lille”, La Voix du Nord, 16 May 2004; here at transphotographiques.com.

[16] Guillot, Claire (15 June 2005). “De la nature... et de la nature de la photographie”. Paris: Le Monde. Retrieved 22 September 2015.

[17] Antoine Pecquet, “Le Nord dans l'œil d'un maître: Raymond Depardon à l'hospice comtesse de Lille”, La Gazette Nord- Pas-de-Calais, 8 June 2005; here at transphotographiques.com.

[18] Jean-Marie Wynants, "Entre nostalgie du ciné de papa et découverte d'univers singuliers", Le Soir, 30 May 2007.

[19] “Les stars à la mode”. Paris: Le Monde. 2 July 2008. Retrieved 22 September 2015.

[20] “Les Transphotographiques 2008”. Paris: Le Figaro. Retrieved 22 September 2015.

[21] “The transphotographiques exhibition in lille”. Chanel. 18 May 2008. Retrieved 22 September 2015.

[22] Albert, Marie-Douce (19 May 2008). “La mode affiche ses clichés à Lille”. Paris: Le Figaro. Retrieved 22 September 2015.

[23] Emmanuelle Latouche, “Les Transphotographiques: un vrai succès, mais quel avenir?", La Voix du Nord, 12 June 2008; here at transphotographiques.com. The image does not show its source; this is provided in "Revue de presse" for Transpho- tographiques 2008, Transphotographiques.

[24] Pierre Leduc, “Karl Lagerfeld en guest star des Transphotos”, Lille Magazine, 20 June 2008; here at transphotographiques.com. The image does not show its source; this is provided in "Revue de presse" for Transphotographiques 2008, Transpho- tographiques.

[25] “L'Europe à l'honneur aux Transphotographiques de Lille”, Le Photographe, June 2009; here at transphotographiques.com. The image does not show its source; this is provided in "Revue de presse" for Transphotographiques 2009, Transpho- tographiques.

[26] “De la nature... et de la nature de la photographie”. Paris: Le Monde. 5 June 2010. Retrieved 22 September 2015.

[27] Patrick Beaumont, "La Nature réfléchie: Les Transphotographiques 2010 à Lille" (PDF, 308 kB), La Gazette Nord-Pas- de-Calais, 21 May 2010.

[28] Olivier Tartart, “Fontcuberta, maître de l'illusion, pose son regard critique et ironique sur la photo”, La Voix du Nord, 27 May 2010; here at transphotographiques.com. The image does not show its source; this is provided in "Revue de presse" for Transphotographiques 2010, Transphotographiques.

[29] "Les Transphotographiques 2011: épisode 1", La Nenette Déchaînée, Forumophoto, 3 June 2011.

[30] “Le Festival Transphotographiques fête ses dix ans”, Lille Magazine, June 2011; here at transphotographiques.com. The im- age does not show its source; this is provided in "Revue de presse" for Transphotographiques 2011, Transphotographiques.

[31] “Lille: Les dix ans des Transphotographiques”, Réponses Photo, June 2011; here at transphotographiques.com. The image does not show its source; this is provided in "Revue de presse" for Transphotographiques 2011, Transphotographiques.

[32] Catherine Painset, "Le retour des Transphotographiques à Lille, à l’état liquide et collectif", La Voix du Nord, 26 May 2014.

[33] "Lille: France(s) territoire liquide", L'Œil de la photographie, 4 July 2014. 152 CHAPTER 8. DAY 8

[34] Yasmine Youssi, “France(s) territoire liquide: Photographie: Frédéric Delangle, Bertrand Desprez, Bernard Plossu...”, Télérama, 25 June 2014; here at transphotographiques.com.

[35] “Transphotographiques, Lille, jusqu'au 26 juin.”. Paris: Le Figaro. 28 May 2011. Retrieved 22 September 2015.

[36] "Les Transphotographiques" (PDF), Lille Catholic University.

[37] “Un festival qui se développe”, Lille Magazine, April 2007, p. 35. Available here at transphotographiques.com.

[38] Grażina Kulczyk, "Kolekcja Transphotographiques", Art Stations Foundation, Kulczyk Foundation.

[39] "Lille: Transphotographiques", Photo Festival Union.

8.7.5 External links

• Official website Chapter 9

Day 9

9.1 Ukrainian Association of Professional Photographers

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Ukrainian Association of Professional Photographers (UPAF) is a free public organization established to repre- sent professional photographers from Ukraine in the international photographic community, to protect their interests and rights at national and international level. One of the goals of the Association is also the certification of professional photographers from Ukraine in compliance with European standards for the purpose. UAPF is the official representative of the Federation of European Professional Photographers (FEP) in Ukraine. FEP - is an international organization recognized in 31 European countries, as the main representative of the offi- cial community of professional photographers in the EU. FEP acting on behalf of more than 50,000 professional photographers from European countries. UPAF serves as the official representative of its members (general and individual), as well as a mediator in the actions within the professional photographic work. Association members are winners of international competitions of professional photography (such as “Photographer of the Year-Ukraine”, “Best professional photographer in Europe”, “International Photography Award”), authors of solo exhibitions, projects and publications. At present 38 members entered the Association. UAPF partners are the Federation of European Photographers, the National Union of Photographers of Ukraine, the Creative Union “Fotoart”, "Unframe" (international group of independent documentary photographers), News Agency “Ukrainian News” and news agency “Mediaport”. UAPF activities include projects aimed at the development of Ukrainian photographic art, spread of photographic knowledge and tutoring, development of cooperation within implementation of photo projects in Ukraine.

9.1.1 External links

• Official website

• UAPF at the official web-site of the Federation of Professional European Photigraphers

9.2 Unframe

UnFrame collective is an independent resource of documentary photography exclusively managed by an international group of photographers dedicated to shining the spotlight on social, political and everyday issues that surround us. The collective was founded in February 2013 with the aim of developing and working on both long term social and

153 154 CHAPTER 9. DAY 9 political issues with a deeper perspective in addition to responding to news events as they happen anywhere in the world.

9.2.1 Documented events

In 2013, during the first year of its activity, events documented were:

• The Rana Plaza building collapse in Dhaka, Bangladesh.

• The 2013 protests in Turkey.

• The consequences on civilians of the troubled political season in Bangladesh.

• The Ukraine political crisis, the Kiev revolution (Euromaidan) and the Russian occupation of Crimea.

9.2.2 Issues

The photographers have organized a collective archive of long term issues. Amongst others are the following:

• The aftermath of the Arab Spring in North Africa and the Middle East.

• Three years of civil unrest and economic hardship in Italy.

• The social consequences of the political division of Cyprus.

• The social conditions of the Roma in Europe.

Starting from September 2013 UnFrame self manages the collectives’ growing archives in order to best facilitate the syndication of its work in the most efficient way possible. To this effect it has also partnered with key resource media outlets allowing for the distribution of its photographs including the French photo agency Cosmos.

9.2.3 References

9.2.4 External links

• Official website

• Facebook page

9.3 VII Photo Agency

VII is an international photo agency wholly owned and governed by its membership.

9.3.1 History

The cooperative agency was originally conceived by Gary Knight[1] and John Stanmeyer.[2] They were subsequently joined by Alexandra Boulat, Ron Haviv, Antonín Kratochvíl, Christopher Morris, and James Nachtwey[3][4][5] and the agency, named after the number of founding members, was launched at the Visa pour l'image Festival in Perpignan, France, in September, 2001. VII[6] was conceived to operate as a means of digital image distribution and representa- tion wholly owned and controlled by the photographers it represented in response to large corporations acquiring the small photo agencies present in the industry at the time. Today, VII represents 19 photographers who have chronicled significant global events and topics since the late 1970s. VII established its reputation for news coverage during the war in Afghanistan that followed 9/11 and during the conflict in Israel/Palestine in 2002 and the invasion and occupation of Iraq in 2003. 9.3. VII PHOTO AGENCY 155

From being principally focused on news for editorial clients, the agency has diversified into social media, live events, video, and creative partnerships with NGOs[7] / colleges / universities, exhibitions in leading museums, featured appearances at major art and photo festivals, and education. In addition to the 19 current member photographers, young photographers are mentored by full members through the VII Mentor Program and represented by the agency. As of 1 June 2015, Richard Schoenberg,[8] a Los Angeles-based businessman and former VII board member assumed the role of CEO and Chairman of the Board.

9.3.2 Member list

9.3.3 People who have been involved with the VII Mentor Program

9.3.4 Projects

Newest Americans: Stories From the Global City

Newest Americans is a three-year longitudinal study at Rutgers University–Newark that will document the lives and communities of students at the university and take an in-depth look at immigration and the idea of American identity. It is a collaborative effort involving VII, Rutger’s Center for Migration and the Global City (CMGC)[10] and the Department of Arts, Culture and Media. The project, spearheaded by Tim Raphael, director of CMGC, focuses on immigrant experiences in New Jersey with Newark as the hub where these different stories converge. Notes for My Homeland[11] was produced by Talking Eyes Media [12] and is the first professionally produced piece in the storytelling project.

Evolution Tour

For the Evolution Tour, photojournalists from VII Photo Agency, along with technical specialists from AbelCine, present an examination of the evolving business, technology and craft of visual storytelling.[13] This program is struc- tured as a combination of seminars, panel discussions, hands-on workshops and networking.

European Workshops Series

In 2015, Ed Kashi, Ron Haviv, Marcus Bleasdale, Stefano De Luigi and John Stanmeyer, all members of VII Photo Agency will lead photography workshops in 4 different European capitals: Paris, Barcelona, Amsterdam and Berlin, as part of the Eyes in Progress’s workshops program.[14]

Fatal Neglect

Through a partnership between VII, Médecins Sans Frontières (MSF, also known as Doctors Without Borders), and UNION HZ, Fatal Neglect is a multi-part documentary film project, to tell the stories of the millions of patients left behind by the global health revolution.[15] In Fatal Neglect: The Global Health Revolution’s Forgotten Patients, VII documents the impact of multidrug-resistant tuberculosis and some of the deadliest neglected tropical diseases: “kala azar,” and “sleeping sickness.” Award-winning photojournalists Ron Haviv and John Stanmeyer traveled to capture the stories of frontline health workers trying to fight diseases that affect millions of people and kill hundreds of thousands each year yet garner little attention from drug developers, policy makers or the mass media.

Starved for Attention

In 2010, Medecins Sans Frontieres (MSF) and VII Photo launched “Starved for Attention,” an international multime- dia campaign to rewrite the story of childhood malnutrition.[16] Petition signatures were collected from people around the world who joined the partnership in demanding that donor nations stop supplying nutritionally substandard food to malnourished children. 156 CHAPTER 9. DAY 9

9.3.5 References

[1] World Press Photo 2014: “We have pulled ten manipulated work”, February 14, 2014

[2] The results of the World Press Photo 2014, February 14, 2014

[3] Nachtwey leaves VII, August 2011, archived from the original on September 11, 2011

[4] James Nachtwey, Live from Hell, September 11, 2002

[5] An extensively filmed and photographed event, March 8, 2002

[6] The creation of VII boosts a photojournalism fatigue, September 9, 2001

[7] Photographers minefield, October 4, 2002

[8] VII Photo Adds Danny Wilcox Frazier and Sarker Protick, June 2, 2015

[9] Chernobyl Anniversary: Arthur Bondar Photos Document Life In The Exclusion Zone (PHOTOS), April 26, 2013

[10] Newest Americans

[11] The Power and Passion of Composer Malek Jandali

[12] Talking Eyes Media

[13] http://www.abelcine.com/event/viievolutiontour/

[14] http://www.eyesinprogress.com/7757/workshop-ronhaviv-berlin.html/

[15] http://www.doctorswithoutborders.org/news-stories/video/fatal-neglect-global-health-revolutions-forgotten-patients/

[16] http://www.starvedforattention.org/

9.3.6 External links

• VII Photo Agency

• Newest Americans

• MSF Fatal Neglect

9.4 The Walther Collection

The Walther Collection is a private non-profit organization dedicated to researching, collecting, exhibiting, and publishing modern and contemporary photography and video art. The Collection has two exhibition spaces: the Walther Collection in Neu-Ulm/Burlafingen, in Germany, and the Walther Collection Project Space in 'New York City.

9.4.1 Background and architecture

Established by German-American art collector Artur Walther, the Walther Collection opened in June 2010 in Neu- Ulm/Burlafingen, Germany.[1] The Walther Collection Project Space opened in New York City in April 2011.[2] The Walther Collection incorporates works across regions, periods, and artistic sensibilities, giving particular focus to artists and photographers working in Asia and Africa. The Walther Collection’s main exhibition venue is a four-building museum compound in Neu Ulm/Burlafingen, Ger- many. The principal buildings – the White Box, Green House, and Black House – provide gallery space for the annual exhibition program. A fourth building on the campus accommodates administrative offices and a library. Designed by the Ulm-based architectural firm Braunger Wörtz,[3] the White Box is a light-filled, three story minimalist struc- ture that houses the Walther Collection’s main galleries, and hosts thematic exhibitions and commissioned projects. The Green House, a former residential home, is used for small-format works. The Black House, a bungalow-style structure, is used for the presentation of serial, performance, and conceptual-style photography.[4] 9.4. THE WALTHER COLLECTION 157

9.4.2 Exhibitions

The Walther Collection’s inaugural exhibition, Events of the Self: Portraiture and Social Identity, opened in June 2010. Under the curatorial direction of Okwui Enwezor, the exhibition integrated the work of three generations of African artists and photographers with selections of modern and contemporary German photography. Events of the Self featured works by Sammy Baloji, Yto Barrada, Bernd and Hilla Becher, Candice Breitz, Allan deSouza, Rotimi Fani-Kayode, , David Goldblatt, Romuald Hazoumé, Pieter Hugo, Seydou Keïta, Santu Mofo- keng, Zwelethu Mthethwa, Zanele Muholi, Ingrid Mwangi, Jo Ratcliffe, August Sander, , Malick Sidibé, Mikhael Subotzky, and Guy Tillim. Chris Dercon, director of Modern, chose Events of the Self as one of the 10 best exhibitions of 2010 for Artforum Magazine.[5] Highlights from Events of the Self were featured in Paris Photo 2011.[6] The second annual exhibition of the Walther Collection, Appropriated Landscapes, opened on June 16, 2011.[7] Curated by Corinne Diserens, Appropriated Landscapes brought together photography and video exploring the effects of war, migration, energy, architecture, and memory on the landscapes of Southern Africa, featuring works by Mitch Epstein, David Goldblatt, Zanele Muholi, Jo Ratcliffe, Penny Siopis, Patrick Waterhouse, Mikhael Subotzky and Guy Tillim.[8] The third exhibition of the Walther Collection’s multi-year investigation of African photography, Distance and De- sire: Encounters with the African Archive, opened on June 8, 2013. Distance and Desire, curated by Tamar Garb, was the first major exhibition to address the dialogue between ethnographic visions of late-nineteenth and early- twentieth century African photography and engagements with the archive by contemporary African artists.[9] The exhibition included portraits, figure studies, cartes de visite, postcards, books, and album pages from southern and eastern Africa, featuring images made from the 1860s–1940s by A. M. Duggan-Cronin and numerous unidentified and unknown photographers. The historical works were presented together with photography, video, and archive projects by contemporary artists including Carrie Mae Weems, , Sue Williamson, Sammy Baloji, Guy Tillim, David Goldblatt, Zwelethu Mthethwa, Zanele Muholi, and Jo Ratcliffe. Distance and Desire was the culmination of this three-part exhibition series in 2011–2012 at the Walther Collection Project Space[10] and the international symposium Encounters with the African Archive, which took place in November 2012 at .[11] In May 2015, The Walther Collection opened The Order of Things: Photography from The Walther Collection. The exhibition, organized by Brian Wallis, examined how the formal tools of classification, particularly archives, typolo- gies, and time-based series, have opened critical challenges to the synthetic conventions of photographic realism. (A previous version was presented at Les Rencontres d'Arles in Arles, France, from July–September 2014.) The Order of Things included photographs and installations by Karl Blossfeldt, Bernd and Hilla Becher, J. D. 'Okhai Ojeikere, August Sander, Richard Avedon, Stephen Shore, Samuel Fosso, Guy Tillim, Zanele Muholi, Ai Weiwei, , Song Dong, Thomas Ruff, Thomas Struth, Ed Ruscha, Dieter Appelt, Eadweard Muybridge, Kohei Yoshiyuki, and Nobuyoshi Araki.[12]

9.4.3 New York Project Space

Located in the West Chelsea Arts Building in New York City, the Walther Collection Project Space serves to extend the Collection’s mission and program to American audiences. The space opened to the public on April 15, 2011 with an exhibition of Jo Ratcliffe’s portfolio of platinum prints from the series As Terras do Fim do Mundo (The Lands of the End of the World).[13][14] The second exhibition at the Project Space was August Sander and Seydou Keïta: Portraiture and Social Identity,[15] It exhibited Rotimi Fani-Kayode: Nothing to Lose, the first solo exhibition in New York of Fani-Kayode’s photographs.[16] The Walther Collection presented the three-part exhibition series Distance and Desire: Encounters with the African Archive[17] at the Project Space New York from September 2012 to May 2013.[18][19] Gulu Real Art Studio, an exhibition of ID photographs collected in by Martina Bacigalupo, was presented from September 2013 to February 2014.[20] Christine Meisner’s Disquieting Nature, a video installation exploring the geographies in the Mississippi Delta region where blues music originates, was presented from February 28 to June 14, 2014.[21] A mid-career survey of self-portraiture by Samuel Fosso was exhibited from September 11, 2014 to January 17, 2015. The collection presented Santu Mofokeng: A Metaphorical Biography from January 29 to June 27, 2015.[22] 158 CHAPTER 9. DAY 9

9.4.4 Further reading

• Diserens, Corinne, Appropriated Landscapes: Contemporary African Photography from the Walther Collection, Göttingen: Steidl, 2011. ISBN 978-3-86930-387-1

• Enwezor, Okwui, Events of the Self: Portraiture and Social Identity: Contemporary African Photography from the Walther Collection, Göttingen: Steidl, 2010. ISBN 978-3-86930-157-0

• Feltrin, Katia, “Les rencontres d'Artur Walther,” Connaissance des Arts Photo, November 2011 – January 2012.

• Fenkart-Njie, Claudia, and Ulrike Geist, Private Art Collections in Baden-Württemberg, Stuttgart: Fenkart-Njie, Claudia, 2011. ISBN 978-3-00-035835-7

• Garb, Tamar, Distance and Desire: Encounters with the African Archive: African Photography from the Walther Collection, Göttingen: Steidl, 2013. ISBN 978-3869306513

• Jobey, Liz, "Calm, Cool & Collected,” The Economist: Intelligent Life, Winter 2010.

• Pontbriand, Chantal, “Artur Walther: Beyond Form and History,” Mutations: Perspectives on Photography, Göttingen: Steidl, 2011. ISBN 3-86930-356-5

• Spears, Dorothy, "For Photos, Collector Casts a Global Net,” The New York Times, October 23, 2011.

9.4.5 References

[1] “Walther Collection to open international center of photography”. FlashArtonline.com. Retrieved March 29, 2011.

[2] “Walther Collection Project Space Set to Open in Chelsea”. Artforum. February 18, 2011. Retrieved March 29, 2011.

[3] “The Walther Collection”. Minimalissimo. Retrieved April 25, 2011.

[4] Enwezor, Okwui (2010). Events of the Self: Portraiture and Social Identity: Contemporary African Photography from the Walther Collection. Steidl.

[5] Dercon, Chris (December 2010). “Best of 2010”. Artforum.

[6] Spears, Dorothy (October 21, 2011). “For Photos, Collector Casts a Global Net”. The New York Times. Retrieved November 3, 2011.

[7] Angles, Daphne (June 10, 2011). "'Appropriated Landscapes’ in Ulm”. The New York Times. Retrieved June 17, 2011.

[8] “Appropriated Landscapes”. E-Flux. Retrieved June 17, 2011.

[9] Garb, Tamar (2013). Distance and Desire: Encounters with the African Archive. Göttingen: Steidl/The Walther Collection. ISBN 3869306513.

[10] Abraha, Leah. “What can these photographs tell us?". Another Africa. Retrieved July 12, 2013.

[11] Jawawardane, Neelika. “The end of the 'colonial gaze'?". Africa is a Country. Retrieved July 12, 2013.

[12] Hodgson, Francis (July 11, 2014). “Photography at the Rencontres d'Arles festival”. . Retrieved August 27, 2014.

[13] “First U.S. Solo Show of Jo Ratcliffe Inaugurates New Chelsea Venue for Walther Family”. ArtDaily. Retrieved April 19, 2011.

[14] Pollack, Barbara. “Jo Ratcliffe: Life and Death in Angola”. Artnet. Retrieved April 19, 2011.

[15] Burmeister, Don. “Portrait Masters”. The New York Photo Review. Retrieved November 3, 2011.

[16] Cotter, Holland (May 10, 2012). “Rotimi Fani-Kayode: Nothing to Lose”. The New York Times. Retrieved May 10, 2012.

[17] http://www.nytimes.com/2012/09/21/arts/design/distance-and-desire-encounters-with-the-african-archive-part-i-santu-mofokeng-and-a-m-duggan-cronin. html

[18] Cotter, Holland (January 24, 2013). “Distance and Desire: Encounters with the African Archive, Part II: Contemporary Reconfigurations”. The New York Times. Retrieved January 25, 2013. 9.4. THE WALTHER COLLECTION 159

[19] Wender, Jessie (March 28, 2013). “Distance and Desire: Encounters with the African Archive”. The New Yorker. Retrieved March 28, 2013.

[20] Lau, Maya. “What Remains”. The New York Times Magazine. Retrieved August 22, 2013.

[21] Cotter, Holland (April 17, 2014). “Christine Meisner: 'Disquieting Nature'". The New York Times. Retrieved June 14, 2014.

[22] Sefa-Boakye, Jennifer. “South African Photographer Santu Mofokeng’s “Metaphorical Biography” on Display in NYC”. okayafrica. Retrieved January 15, 2015.

9.4.6 External links

• Official website Chapter 10

Day 10

10.1 Wellington Arts Centre

The Wellington Arts Centre (61–69 Abel Smith Street, Te Aro, Wellington), is the New Zealand capital’s primary creative production facility and support complex. It was established between 2003–2005, and was formally opened by Mayor Kerry Prendergast in July 2005. For twelve years previous, the city’s arts centre had been based at the much smaller Oriental Bay Rotunda. The new complex, spread across two buildings and seven floors, has a focus on active creative production in all disciplines, and on the further advancement of cultural identity in New Zealand. It is located in the bustling and dynamic Upper Cuba Street neighbourhood of Wellington. The arts centre houses a combination of 29 artist studios, rehearsal spaces, music rooms, and administrative offices. It is home to over a dozen producers, festivals, or arts organisations, including Cuba Street Carnival, Fringe Festival NZ, Dance Aotearoa NZ, Sticky Pictures, and Arts Access Aotearoa. Other cultural concerns based at the facility include Wellington Photographic Society, Acoustic Routes, Empress Stiltdance, Shakespeare Globe Centre NZ, and Storytellers Cafe. There are nearly 40 visual artists working from the two floors of studio space, and the ground floor contains workshop space and a gallery which presents 15–20 exhibitions each year. The Wellington Arts Centre supports emerging and early-career artists and new projects, serves advanced creative people and established organisations, and offers community arts opportunities for the general public. There is a small staff based at the facility, including the city’s Arts Programmes & Services Manager, Eric Vaughn Holowacz. The team has helped engineer new initiatives and creative projects such as Drive by Art, Opening Notes, the Artsplash Festival, and Wellington’s Public Art Programme. Holowacz and staff also advise on project and audience develop- ment, collaborations and partnerships, resources and technical matters, and marketing. The Wellington Arts Centre reception desk is staffed Monday through Saturday, but the facility is in use around the clock. In July 2006, after its first successful year of operation, the Wellington Arts Center was renamed Toi Pöneke, the Māori phrase for “Art of Wellington”. As a living facility dedicated to new art ideas and cultural production, Toi Pöneke - Wellington Arts Centre is regularly used by over 100 artists, musicians, theatre people, instructors, and producers each day. In a very short time, the centre has become the primary creative facility in the New Zealand capital.

10.1.1 External links

• Official City website • Arts Centre Gallery link • Overview of facility article • Wellington Public Art Policy • Community arts programmes link • Wellington City Council Grants site • Feeling Great event and what’s on site

160 10.2. WORLD PHOTOGRAPHY ORGANISATION 161

• The No.8 Wire - Wellington Arts News and Opportunities

10.1.2 External links: New Zealand Organizations based at Wellington Arts Centre

• Acoustic Roots Folk Music

• Sticky Pictures

• Barbarian Productions

• Cuba Street Carnival

• New Zealand Fringe Festival

• Dance Aotearoa New Zealand

• Empress Stiltdance

• Arts Access Aotearoa

• Shakespeare Globe Centre New Zealand

• Wellington Photographic Society

• Wellington Storytellers Cafe

• New Zealand Society of Authors

10.2 World Photography Organisation

The World Photography Organisation (WPO) is an international organisation which manages various initiatives for amateur and professional photographers. Incorporated as World Photography Awards Limited, the organisation hosts the annual Sony World Photography Awards and the subsequent World Photography Festival, exhibiting the work of winning photographers in each category. Sponsored by Sony, the awards took place in Cannes since 2008 and moved to London in 2011. Other programmes include; the World Photography Student Focus Competition; Photo Shanghai; the World Photog- raphy Festival, the World Photography Collection and the World Photography Focus Programme.

10.2.1 World Photography Awards

The World Photography Awards are organised annually by WPO. They were launched in 2008[1] and are currently sponsored by Sony. The competition has three entry levels; Student, Open and Professional, each with a number of subcategories. The overall winner of the Professional category is awarded with the Iris d'Or, a cash prize and the title “Sony World Photographer of the Year” at the Awards ceremony which takes place in London. The award ceremony is part of the larger World Photography Festival and features exhibitions, workshops, portfolio review, student programmes and talks from World Photographic Academy members, culminating in the award ceremony. An exhibition of winners is held at Somerset House in London.[2]

10.2.2 Focus programme

The annual Focus Award, organised by the WPO, is dedicated to using photography in order to raise awareness on a particular global issue. Each year the WPO combines with a different international charity. Previous Focus Award charities have included UNICEF and the Prince’s Rainforests Project. 162 CHAPTER 10. DAY 10

10.2.3 World Photographic Academy

Formed in 2007, the World Photographic Academy members are respected industry leaders from across the world. Members of the academy endorse the World Photography Organisation, its values and objectives. The first member was photojournalist Tom Stoddart. Membership is by invitation from WPO and/or referral from existing Academy members. Academy members form the judging committees for the World Photography Awards and advise upon the future of the organisation.[3]

Notable members of the World Photographic Academy

Members include some of the world’s leading photographers, gallery owners, picture editors, photographic founda- tions, agents, managers, publishers and other respected industry members. The members form part of the judging committees each year for the World Photography Awards. Membership is granted by invitation from the organisation and/or by referral from an existing academy member.

Living members

• Amelia Troubridge (b. 1974), British portrait, commercial and documentary photographer

• Anders Petersen (b. 1944), Swedish documentary photographer

• Anton Corbijn (b. 1955), Dutch photographer

• Boris Mikhailov (b. 1938), Ukrainian (Soviet Union at the time) fine art photographer

• Bruce Davidson (b. 1933), American photographer

• Cristina García Rodero (b. 1949), Spanish photographer

• Cristina Mittermeier (b. 1966), Mexican—American photojournalist

• Daniel Beltrá, Spanish photographer

• Daniel Power, founder of powerHouse Books and powerHouse Arena

• Dr. Deborah Willis (b. 1948), American photographer, artist, curator, historian, author and educator

• Elliott Erwitt (b. 1928), Russian-American advertising and journalistic photographer

• Elliott Landy (b.1942), American photographer

• Esko Männikkö, 2008 recipient of the Deutsche Börse Photography Prize

• Gary Shenk, Chief Executive Officer of Corbis

• Gered Mankowitz (b. 1946), British photographer

• Guy Le Querrec (b. 1941), French photographer and member of Magnum Photos cooperative

• Hamish Brown (b. 1934), Sri Lankan-Scottish photographer

• (b. 1978), British artist

• Inez van Lamsweerde and Vinoodh Matadin (b. 1960s), Dutch fashion and fine art photographers

• Janette Beckman, English documentary photographer

• Jim Fiscus, American advertising and editorial photographer

• John Offenbach, British photographer specialising in advertising

• Jonathan Torgovnik, South African photographer

• Jürgen Schadeberg (b. 1931), South African photographer 10.2. WORLD PHOTOGRAPHY ORGANISATION 163

• Kevin Cummins (b. 1953), British photographer

• Lynn Goldsmith (b. 1948), American celebrity portrait photographer

• Marc Riboud (b. 1923), French photographer

• Michelle Dunn Marsh, former co—publisher of Aperture Magazine

• Nan Goldin (b. 1953), American photographer

• Neil Leifer (b. 1942), American photographer and filmmaker

• Nigel Parry, British—American celebrity photographer

• Pablo Bartholomew (b. 1955), Indian photographer and educator

• Philippe Garner (b. 1949), French art dealer and a director of Christie’s auction house

• Reza (b. 1952), Iranian-French photographer, humanitarian & founder of AÏNA

• Sarah Moon (b. 1941), French photographer

• Stuart Franklin (b. 1956), English photojournalist, former president of Magnum Photos

• Susan Meiselas (b. 1948), American documentary photographer

• Terry O'Neill (b. 1938), English photographer

• Tim Walker (b. 1970), British fashion photographer

• Tom Ang, British photographer and author of digital photography books

• Vanessa Winship (b. 1960), British photographer and Winner of 2008 SWPA L’Iris d’Or[4]

• W. M. Hunt, American photography collector, curator and consultant

Deceased or former members

• Bob Willoughby (d. 2009), American photojournalist

• Martine Franck (d. 2012), Belgian photographer

• Mary Ellen Mark (d. 2015), American photojournalist and documentarian

• Phil Stern (d. 2014), American war and celebrity photographer

10.2.4 Sources

World Photography Organisation Academy Members

10.2.5 References

[1] "About the Awards", World Photography Organisation. Accessed 27 July 2014.

[2] Sony World Photography Awards Winners Showcased at Somerset House

[3] The World Photographic Academy

[4] “Sony World Photography Awards 2012 L'Iris d'Or and Winners Announced”. Latest News & Features. World Photography Organisation. April 26, 2012. 164 CHAPTER 10. DAY 10

10.2.6 External links

• Official website • Independent Award Coverage • Hotshoe Blog

10.3 World Street Photography

World Street Photography is an independent nonprofit organization and community created for street photographers by the non-profit Kujaja organisation. World Street Photography was founded in February 2014 by Gido Carper with the intention of giving street photographers a community and a public arena to show their street photography. Profit from its photobooks is given to charitable organizations.

10.3.1 World Street Photography Awards

The World Street Photography Awards[1] are street photography competitions divided into 8 categories representing different types of street photography: Free style, Urban Geometry, Street Portraits, Decisive Moment, Shades and Lights, Reflections, Juxtaposition and Without Humans. Winners receive an award and are included in the annual World Street Photography Photobook and/or shown in the yearly exhibition. The judges are Alex Coghe,[2] Chris Suspect, Michael Ernest Sweet, Lauren Welles, Peter Kool,[3] Tatsuo Suzuki, Setsiri Silapasuwanchai and Siegfried Hansen.[4]

Publications by World Street Photography

• World Street Photography book 2013/2014. 2014. • World Street Photography 2015. Gudberg Nerger. ISBN 978-3-945772-06-5.[5] • World Street Photography 3. Gudberg Nerger. ISBN 978-3-945772-21-8.

10.3.2 Exhibitions

• The Gudberg Nerger Gallery Exhibition, Hamburg, Germany, 24 June 2015 – 15 August 2015.[6] • The Gudberg Nerger Gallery Exhibition, Hamburg, Germany, 21 July 2016 – 28 August 2016.[7]

10.3.3 Charitable donations

The profit of the two World Street Photography Photobooks were donated to Ashalayam.[8]

10.3.4 References

[1] “World Street Photography”. Goldstück. Retrieved 28 August 2015. [2] “WSP - World Street Photography”. Alex Coghe. Retrieved 29 August 2015. [3] “Happenings: - Curator at World Street Photography - since june 2015”. Peter Kool. Retrieved 29 August 2015. [4] Siegfried Hansen (photographer). “Workshops, Jury & Presentations: - World Streetphotography Curator”. Retrieved 29 August 2015. [5] “Die Virtuosen des Augenblicks”. . Retrieved 28 August 2015. [6] “Street Photography”. Die Zeit. Retrieved 28 August 2015. [7] “Heute in Hamburg”. Heute in Hamburg. Retrieved 21 July 2016. [8] “Buch & Ausstellung: Street Photography”. ashalayam.de. Retrieved 23 August 2015. 10.4. YOUTH IN FOCUS 165

10.3.5 External links

• Official website

10.4 Youth in Focus

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Youth in Focus is a non-profit youth photography organization in Seattle, Washington that offers photography classes for youth (13–19 years of age) in order to help young people develop skills and attitudes to overcome barriers they face and support them on their journey to a positive adulthood. Each class is limited to 11 students with one teaching artist and several adult volunteer mentors. Core classes include three levels of traditional black and white film and two levels of digital photography. Classes meet twice weekly over nine weeks for a total of 60 hours of instruction, plus time spent outside class working on assignments, and the schedule mirrors the Seattle Public Schools calendar.

10.4.1 History

Founding

Youth in Focus was founded in 1994 by retired high school teacher Walter Bodle. During his 30-year teaching career in Compton, California, Walter would ask, “What is the big difference that makes one young person become a successful orthopedic surgeon, and the one who sat next to him in class is dead or in jail before the age of 20?” The answer always was found with an adult who took time to care and support.[1] The organization started summer photography program in a borrowed darkroom, and as a result, 14 youths completed the first 10-week session of Youth in Focus. The organization was incorporated as a non-profit in 1997. Today, this nationally-recognized program has afternoon and summer sessions and serves nearly 200 participants each year. The organization offers free classes year-round in a purpose-built photography space. Youth and Focus continues to expand its service through partnerships with other local youth service agencies and by providing advice and encouragement across the country to other groups who seek to emulate our model of youth empowerment through photography. When not traveling, Walter lives in Seattle’s Madrona neighborhood with his wife, Lynne Iglitzin, and dog, Candy. Youth in Focus began working with the Raikes Foundation in 2010 to participate in the Youth Program Quality Initiative. Youth Program Quality Assessment (YPQA) scores for Youth in Focus, in the Spring of 2011 and 2012, were consistently higher than comparison scores for 780 other National Youth programs. Our scores were higher in all main categories, and significantly higher in Supportive Environment and Youth Engagement.

Recent events

Most recently, Youth and Focus was chosen by KEXP-FM, Starbucks and Seattle Theater Group as at the beneficiary of The Little Big Show #5. Working together, they raised over $14,000 for the students.

10.4.2 Mission Statement

Youth in Focus’s mission is to empower urban youth, through photography, to experience their world in new ways and to make positive choices for their lives. The organization’s goal is to put cameras in the hands of low income, at-risk youth and place them in a challenging environment surrounded by high quality talented teachers, nurturing adult volunteer mentors, and create a strong community of support.[2] Through photography, the students are able to find their voice, identity, creativity, and gain new confidence in their worth and abilities. After an interview process, accepted students are given a $1,000 scholarship, covering the total cost of instruction and equipment. Classes meet with their teaching artists and mentors twice a week for three hours over a nine-week quarter. Students submit, display and discuss their final work during our End of Quarter Show. Youth in Focus partners with other agencies to provide photography workshops in order to expand our reach and to enhance the partner’s regular 166 CHAPTER 10. DAY 10 programming. The organization has worked with community centers, schools and other youth service agencies. They are currently partnering with Friends of the Children and Youth Care, South Lake High School and Big Picture High School, among others.[3]

10.4.3 Accomplishments

The President’s Committee on the Arts and Humanities recognized Youth in Focus as a model program in the year 2000, providing “life-changing activities” to youth with limited opportunities. Our students have shown their work at the , Henry Art Gallery, Frye Art Museum, Benham Gallery and the Washington State Convention Center, and among other local venues. The prestige of these locations is a testament to both to the quality of the work the students produce, and their passion for the medium.

10.4.4 References

[1] Faculty and Board of Youth in Focus Archived October 5, 2013, at the Wayback Machine.

[2] The Seattle Foundation: Youth and Focus

[3] Youth in Focus: Changing Lives in Seattle Through Art and Photography

10.4.5 External links

• Youth in Focus website Chapter 11

Text and image sources, contributors, and licenses

11.1 Text

• Group f/64 Source: https://en.wikipedia.org/wiki/Group_f/64?oldid=756051478 Contributors: Cdegroot, Owen, Hoot, UtherSRG, David Edgar, Geni, Rich Farmbrough, Hooperbloob, Ultra megatron, Hoary, Clubmarx, Stuartyeates, Sparkit, Peter G Werner, KnightRider~enwiki, Hmains, Chris the speller, Bluebot, RDBrown, Racklever, Binaryrhyme, Gregbard, Cydebot, Fluxbot, JAnDbot, Dsp13, Magioladi- tis, Websterwebfoot, Swpb, Wmjaeger, Michalkun, Bot-Schafter, Jmrowland, TheMindsEye, Mercurywoodrose, Misssupergirl, Michael Frind, SieBot, Milnivri, Hertz1888, Yerpo, Denisarona, Randy Kryn, ClueBot, Nocowardsoulismine, Lexaxis7, Addbot, Nanzilla, Tide rolls, Yobot, Citation bot, WebCiteBOT, Ubub92, CaroClick, Lotje, Kaykayrodgers, RjwilmsiBot, Lopifalko, ClueBot NG, Helpful Pixie Bot, Backstrand, Monkbot, Bender the Bot and Anonymous: 46 • Magnum Photos Source: https://en.wikipedia.org/wiki/Magnum_Photos?oldid=763364358 Contributors: Rbrwr, Lquilter, Ugen64, Harvester, Lommer, DJ Clayworth, AaronSw, Spinster, RickDikeman, Lupo, SimonMayer, Fewerflatlands, Chepry, Rich Farmbrough, NrDg, Luís Humberto Teixeira, Triskaideka, TerraFrost, Thuresson, Andersju, Hooperbloob, Ultra megatron, Hoary, Mtiedemann, Re- cury, Prattflora~enwiki, Mahanga, GregorB, Phlebas, TNLNYC, Paxsimius, BD2412, Py13, Pinkville, Chobot, Adoniscik, YurikBot, Koffieyahoo, Orioane, Winstonwolfe, SmackBot, PiCo, Ultramandk, Bluebot, Unint, Cobain, Racklever, Nixeagle, Mosca, SteveHop- son, Morio, Gobonobo, Noah Salzman, Storm2005, Asteriks, Pmussler, Binaryrhyme, Ipeirotis, DonCalo, Max sang, Inoculatedcities, PKT, JamesAM, Jmg38, Fluxbot, PJMcGivney, Aureliano, Escarbot, Gcm, MER-C, Tmcupcake, Joeyszy, KConWiki, Indon, John- packlambert, Greyer, Sonical, Hugo999, VolkovBot, TheMindsEye, Upaphoto, TXiKiBoT, Bonifacio Barrio Hijosa, Blueswalk, Madacs, Clivemacd, General11, Zuckerberg, Parkwells, Kromium, Alexbot, El bot de la dieta, Oxvox1, Nemhun, Addbot, H92Bot, Aussiecheetos, Tassedethe, Lightbot, BookReviewer, Yobot, Rubinbot, Xqbot, TinucherianBot II, Mohamedifm, Sionk, Omnipaedista, FrescoBot, Gire 3pich2005, Just a guy from the KP, Lopifalko, Vismatarchivist, Helpful Pixie Bot, BG19bot, AvocatoBot, Die buch, Spbear eng, JYBot, Svoboman, Kahtar, Espresso.powered, Biobee, TheGlassFox, KasparBot, Youreadme, 20Panorama15, Hamish595, Bender the Bot, III-lll and Anonymous: 80 • International Center of Photography Source: https://en.wikipedia.org/wiki/International_Center_of_Photography?oldid=762320213 Contributors: Zoicon5, Postdlf, Dmadeo, DocWatson42, Plasma east, Bender235, Giraffedata, Hoary, Daniel Case, Jleon, BD2412, Rjwilmsi, Zbxgscqf, Commander, Doc glasgow, Pinkville, YurikBot, Danielk212, Jpbowen, Fram, Bobet, Canuck85, Ariiise, Usgnus, Cy- debot, PKT, TonyTheTiger, Cjs2111, Mfrphoto, Postmoderator, Jllm06, The Anomebot2, Jim.henderson, FANSTARbot, Andy March- banks, Funandtrvl, Hugo999, VolkovBot, TheMindsEye, TXiKiBoT, Softlavender, TheNobGoblin, StAnselm, Flyer22 Reborn, Light- mouse, Vendeka, Joseph.ketner, XLinkBot, Lexaxis7, Addbot, Transpoman, Lightbot, Yobot, Yngvadottir, ArtPhotoLover, ArthurBot, Tomwsulcer, Keeyoung, Ɱ, Alkacenter, Lopifalko, EmausBot, Peaceray, ZéroBot, H3llBot, Gray eyes, Vismatarchivist, ConcernedPho- tographer, FallingGravity, Hexatekin, Kahtar, Ded.dungha, Mestrich, Bgeijer, KasparBot, Ebkilroy, Karlfonza, JJMC89 bot, Karentiger and Anonymous: 12 • Magnum Foundation Source: https://en.wikipedia.org/wiki/Magnum_Foundation?oldid=761808945 Contributors: Hoary, BD2412, PKT, Nick Number, Magioladitis, Curoi, Lopifalko, BG19bot, Ymblanter, SFK2, Benhoste and Anonymous: 5 • Deutsche Börse Photography Prize Source: https://en.wikipedia.org/wiki/Deutsche_B%C3%B6rse_Photography_Prize?oldid=760869092 Contributors: Hoary, Welsh, SmackBot, Ser Amantio di Nicolao, Ariiise, Finne, CorenSearchBot, Tassedethe, ArtPhotoLover, Ulric1313, Lopifalko, John of Reading, Artiquities, Proscribe, ChrisGualtieri, Bender the Bot, Karentiger and Anonymous: 3 • Pulitzer Prize for Breaking News Photography Source: https://en.wikipedia.org/wiki/Pulitzer_Prize_for_Breaking_News_Photography? oldid=761599163 Contributors: Bryan Derksen, Danny, TUF-KAT, Vanished user 5zariu3jisj0j4irj, Grendelkhan, RadicalBender, Jacko- fOz, Seth Ilys, Gamaliel, DO'Neil, Sohailstyle, Abu badali, Neutrality, Rich Farmbrough, Maurreen, Anonymous Cow, Hoary, BanyanTree, Evil Monkey, Alai, Lyuokdea, Bkkbrad, Carcharoth, Hbdragon88, Keoki, MZMcBride, Vegaswikian, Erkcan, Koveras, RussBot, Azu- car~enwiki, ALoopingIcon, Spike Wilbury, Welsh, Howcheng, Speedoflight, Onion Terror, Marketdiamond, SmackBot, TCashion, Gilliam, Rakela, Colonies Chris, Lewi9486, Battamer, Ser Amantio di Nicolao, Gobonobo, Breno, RMHED, DougHill, JayHenry, Honghu, Fly- meoutofhere, Thijs!bot, Rusty23, P64, KConWiki, Cgingold, W like wiki, Reedy Bot, Pawnkingthree, Niceguyedc, Ktr101, Another Believer, Willking1979, Lightbot, Legobot, Pohick2, Xqbot, Omnipaedista, Mandries, Acsian88, Lopifalko, Angrytoast, Vjhamilton, Maipuense~enwiki, Ymblanter, Crtew, Jeremy112233, AldezD, Epicgenius, Goodyntox, Monart, NancyAndrews, JodiMFarrell and Anonymous: 21 • World Press Photo of the Year Source: https://en.wikipedia.org/wiki/World_Press_Photo_of_the_Year?oldid=737879539 Contribu- tors: Netsnipe, Cherkash, Coren, Ezhiki, Baruneju, Mdd, Pinar, Rd232, Hoary, Woohookitty, GregorB, Vegaswikian, NiTenIchiRyu,

167 168 CHAPTER 11. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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Contributors: DragonflySixtyseven, Hoary, Spiral Staircase, Yobot, Lopifalko, BG19bot, Ayub407, Leshavskaya, Hmdoelz and Bender the Bot • 24h.com Source: https://en.wikipedia.org/wiki/24h.com?oldid=546218389 Contributors: Bentogoa, Addbot, Luckas-bot, Concerned- Photographer and Anonymous: 3 • Agence Vu Source: https://en.wikipedia.org/wiki/Agence_Vu?oldid=695360810 Contributors: Lopifalko, Crtew and BattyBot • Allsport Source: https://en.wikipedia.org/wiki/Allsport?oldid=689864991 Contributors: Chowbok, Rich Farmbrough, RadioFan, Mal- colma, SmackBot, ShelfSkewed, Nick Number, Mikessp, Neilloft, BG19bot, Hop on Bananas and Anonymous: 2 • Arab Images Foundation Source: https://en.wikipedia.org/wiki/Arab_Images_Foundation?oldid=641292181 Contributors: RJFJR, Mal- colma, JLaTondre, TLSuda, SmackBot, Alaibot, Propaniac, Magioladitis, Fabrictramp, Michhof~enwiki, Yobot, Yenimsay, CaroleHen- son and Anonymous: 2 • Azerbaijan Photographers Union Source: https://en.wikipedia.org/wiki/Azerbaijan_Photographers_Union?oldid=601837560 Contrib- utors: Bearcat, Malcolma, SmackBot, DutchTreat, MatthewVanitas, Addbot, Yobot, Cekli829, EmausBot, GoingBatty, T.salahov, Habib Muradov and MerlIwBot • Bangladeshi Photographers Source: https://en.wikipedia.org/wiki/Bangladeshi_Photographers?oldid=760737439 Contributors: Russ- Bot, Rathfelder, Thetrick, CommonsDelinker, Brenont, XLinkBot, MatthewVanitas, Razr Nation, Worldbruce, SwisterTwister, AnomieBOT, Sionk, FrescoBot, Jubair1985, BG19bot, AdventurousSquirrel, Monir utr, KSRazu, Bender the Bot and Anonymous: 3 • Black Star (photo agency) Source: https://en.wikipedia.org/wiki/Black_Star_(photo_agency)?oldid=747669351 Contributors: Hoary, Recury, Sbaradell, Carcharoth, Ground Zero, Rjensen, SmackBot, CmdrObot, RedRollerskate, Biruitorul, Bongomatic, ClueBot, Niceguyedc, Fonzy484, WernR, Yobot, I dream of horses, Lopifalko, Proscribe, BG19bot, Flowergirl61, InternetArchiveBot and Anonymous: 3 • British Institute of Professional Photography Source: https://en.wikipedia.org/wiki/British_Institute_of_Professional_Photography? oldid=620501109 Contributors: Timrollpickering, Hoary, RichardWeiss, Tim!, Cydebot, Theroadislong, TimofKingsland, Jarry1250, Mikeyp3, Mild Bill Hiccup, Addbot, Luckas-bot, AnomieBOT, Lotje, Photographer at the BIPP and Anonymous: 2 • Coca Braun Source: https://en.wikipedia.org/wiki/Coca_Braun?oldid=699904656 Contributors: Hmains, PKT, R'n'B, CommonsDelinker, Dthomsen8, Lucapalin, Psemmler and Anonymous: 3 • Contact Press Images Source: https://en.wikipedia.org/wiki/Contact_Press_Images?oldid=695702480 Contributors: Coren, Chase me ladies, I'm the Cavalry, SmackBot, YellowMonkey, Hmains, ShelfSkewed, Toohool, Magioladitis, FisherQueen, R'n'B, Discpad, JarWiki, Damiens.rf, Samanthabox0817, Lopifalko, Helpful Pixie Bot, Execupix1 and Anonymous: 3 • Creative Court Source: https://en.wikipedia.org/wiki/Creative_Court?oldid=752603398 Contributors: Vsmith, RussBot, Rathfelder, Amakuru, CommonsDelinker, Funandtrvl, ImageRemovalBot, Ironholds, Yobot, GoingBatty, Davey2010, BG19bot, Mogybear, Re- flection1, InternetArchiveBot and Anonymous: 6 11.1. 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• Danish Union of Press Photographers Source: https://en.wikipedia.org/wiki/Danish_Union_of_Press_Photographers?oldid=616551802 Contributors: Tim!, Bellerophon5685, Ipigott, Addbot and Ramblersen • Deca (journalism collective) Source: https://en.wikipedia.org/wiki/Deca_(journalism_collective)?oldid=754205124 Contributors: Graeme Bartlett, DragonflySixtyseven, BD2412, Hullaballoo Wolfowitz, CommonsDelinker, Aspects, MatthewVanitas, Fgnievinski, Yobot, Fres- coBot, Lopifalko, GoingBatty, BG19bot, Zkmckay, BD2412bot, Bender the Bot and Anonymous: 4 • Developing Lives Source: https://en.wikipedia.org/wiki/Developing_Lives?oldid=764131066 Contributors: Jllm06, Nocowardsoulis- mine, Narutolovehinata5, Yobot, GoingBatty, ConcreteFancy, TardyMarmot and Bender the Bot • Dundalk Photographic Society Source: https://en.wikipedia.org/wiki/Dundalk_Photographic_Society?oldid=760763522 Contributors: O'Dea, Hooperbloob, Ww2censor, Dl2000, CLWE, XLinkBot, Cunard, Yobot, Niallmcentegart, Jorgenev, BattyBot and Bender the Bot • Edinburgh Photographic Society Source: https://en.wikipedia.org/wiki/Edinburgh_Photographic_Society?oldid=743754797 Contrib- utors: Tim!, Mais oui!, Cydebot, Dr. Blofeld, Sionk, Ryan Vesey, DoctorKubla, Nimetapoeg, Bender the Bot and Anonymous: 1 • European Pressphoto Agency Source: https://en.wikipedia.org/wiki/European_Pressphoto_Agency?oldid=755284226 Contributors: Woohookitty, BD2412, SmackBot, Joseph Solis in Australia, AndrewHowse, Nick Number, Leinad, CommonsDelinker, TouristPhiloso- pher, Gzdavidwong, AlleborgoBot, Alexbot, TheRedPenOfDoom, S19991002, MystBot, Felix Folio Secundus, Addbot, Vejvančický, AkhtaBot, Numbo3-bot, Lightbot, Luckas-bot, Bunnyhop11, Takubo~enwiki, Xqbot, TechBot, JmS, Erik9bot, D'ohBot, LittleWink, MastiBot, FoxBot, TobeBot, Penultimo97~enwiki, Mudanzas2009, Lopifalko, EmausBot, Cruks, Crtew, ChrisGualtieri, YFdyh-bot, Bender the Bot and Anonymous: 8 • European Society for the History of Photography Source: https://en.wikipedia.org/wiki/European_Society_for_the_History_of_Photography? oldid=749111685 Contributors: Andrewman327, Bearcat, Tabletop, BD2412, Jpbowen, Dl2000, Cydebot, Flowerpotman, Katharineamy, Rising*From*Ashes, Wilhelmina Will, Yobot, Sionk, John of Reading, WoodLooker, BG19bot, Alistairfuller, StarryGrandma, Doc- torKubla, Gomez09023, Lindafotograaf and Anonymous: 5 • Fatamorgana (photo school) Source: https://en.wikipedia.org/wiki/Fatamorgana_(photo_school)?oldid=757081476 Contributors: The Anome, Ipigott, Addbot, Dawynn, Eumolpo, Ramblersen and Entranced98 • Fédération Internationale de l'Art Photographique Source: https://en.wikipedia.org/wiki/F%C3%A9d%C3%A9ration_Internationale_ de_l'Art_Photographique?oldid=741099654 Contributors: The Anome, Pearle, RJFJR, FlaBot, YurikBot, BirgitteSB, Pegship, Kgyt, SmackBot, Lexlex, Slimejs, Fuhghettaboutit, Wikibd, CmdrObot, Zarex, Binaryrhyme, Thijs!bot, Fluxbot, Rodparkes, DerHexer, Kyle the bot, Mercurywoodrose, AlleborgoBot, Randy Kryn, BOTarate, Addbot, ArthurBot, Xqbot, TremaineC, Louperibot, Nightsturm, DrilBot, MastiBot, Dinamik-bot, Lopifalko, ChuispastonBot, Ripon Sarker, ChrisGualtieri, Jonny1926, YiFeiBot and Anonymous: 4 • Federation of European Professional Photographers Source: https://en.wikipedia.org/wiki/Federation_of_European_Professional_ Photographers?oldid=734095250 Contributors: Hooperbloob, Rathfelder, JustAGal, TAnthony, R'n'B, Jarry1250, Pjoef, Moonriddengirl, Addbot, Eumolpo, ArthurBot, Omnipaedista, MLauba, Foens, Jesse V., John of Reading, Krd, Matthiaspaul, BG19bot, Hmainsbot1, Mstyslav Chernov, Maria Shevchenko, Filedelinkerbot, UAPF2013 and Anonymous: 2 • Federation of Indian Photography Source: https://en.wikipedia.org/wiki/Federation_of_Indian_Photography?oldid=754156827 Con- tributors: Bearcat, Rich Farmbrough, Hoary, Shyamsunder, Cydebot, SoxBot, Good Olfactory, Materialscientist, Gangulybiswarup, Lop- ifalko, Midas02, Debaearth, ChrisGualtieri and Anonymous: 1 • Fotoform 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Turbo and ChrisGualtieri • International Imaging Industry Association Source: https://en.wikipedia.org/wiki/International_Imaging_Industry_Association?oldid= 743177666 Contributors: Caltrop, Egil, Kirun, AlistairMcMillan, MisfitToys, TonyW, Reinthal, Duk, Hooperbloob, Saga City, DanMS, Alynna Kasmira, Malcolma, Adam sk, Binaryrhyme, Cydebot, Alaibot, Harryzilber, DomBot, Lightbot, Dexbot and Anonymous: 3 • International League of Conservation Photographers Source: https://en.wikipedia.org/wiki/International_League_of_Conservation_ Photographers?oldid=713528247 Contributors: Graeme Bartlett, BD2412, Joe Decker, Wavelength, SmackBot, Cyberpuke, Auntof6, Lexaxis7, Addbot, Yobot, EmausBot, Glarussa, BG19bot, Searobin66, BattyBot, Gastonlacombe, Victoriailcp, Seandef and Anonymous: 6 • International Stereoscopic Union Source: https://en.wikipedia.org/wiki/International_Stereoscopic_Union?oldid=749488642 Contrib- utors: SoWhy, Hooperbloob, SchuminWeb, 3d-man, Binaryrhyme, DomBot, Shawn in Montreal, TubularWorld, The Thing That Should Not Be, Addbot, Cst17, Jarble, Widr, Fluffystar, Dexbot and Anonymous: 6 170 CHAPTER 11. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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https://en.wikipedia.org/wiki/Magnum_In_Motion?oldid=391383385 Contributors: SmackBot, Bwpach, Josheubank, Alaibot, Bjarkem, Myrthu and Anonymous: 6 • National Association of Photoshop Professionals Source: https://en.wikipedia.org/wiki/National_Association_of_Photoshop_Professionals? oldid=660950270 Contributors: Bearcat, Hooperbloob, Cloudbound, SmackBot, Azumanga1, Alaibot, Maximus23623, Magioladitis, Martarius, ClueBot, Addbot, Bskio, Vicki Reitta, Cactusjump, Sweet kate, Starcheerspeaksnewslostwars, Bojan Živković, Michipedian and Anonymous: 9 • NOOR photo agency Source: https://en.wikipedia.org/wiki/NOOR_photo_agency?oldid=722024288 Contributors: Bearcat, Gidonb, Mduvekot, Derek R Bullamore, Magioladitis, Arms & Hearts, WOSlinker, Yobot, LilHelpa, Lopifalko, Svajcr, Ina Desk, Arcandam, Cristinadelamaguana, Studiolowenstein, JackinTrade and Anonymous: 1 • Panos Pictures Source: https://en.wikipedia.org/wiki/Panos_Pictures?oldid=754384850 Contributors: Hoary, Niceguyedc, AnomieBOT, Meister und Margarita, Schwede66, Lopifalko, BG19bot, AlexTheWhovian and Bender the Bot • Photographic and Imaging Manufacturers Association Source: https://en.wikipedia.org/wiki/Photographic_and_Imaging_Manufacturers_ Association?oldid=305744752 Contributors: Caltrop, Egil, Kirun, Reinthal, SmackBot, Bluebot, Lenoxus, N2e, Alaibot, Lightbot, Erik9bot and Anonymous: 1 • Photography Centre of Athens Source: https://en.wikipedia.org/wiki/Photography_Centre_of_Athens?oldid=701566466 Contributors: Hoary, Rathfelder, SmackBot, Alaibot, Kounoupidi, Addbot, Luckas-bot, Yobot and Anonymous: 2 • Photography is Not a Crime Source: https://en.wikipedia.org/wiki/Photography_is_Not_a_Crime?oldid=735484868 Contributors: Ed- ward, Topbanana, Bearcat, Postdlf, BD2412, Tim!, Bubba73, Wknight94, Badboyjamie, BullRangifer, Cgingold, GregJackP, Lexein, Zellfaze, Yobot, Fraggle81, Betty Logan, Solomonfromfinland, BG19bot, Puramyun31, Jaypfeif, ChrisGualtieri, XXzoonamiXX, Mag- nolia677, Dsprc, SkyWarrior, Carlos Miller and Anonymous: 10 • RA Photo Club Source: https://en.wikipedia.org/wiki/RA_Photo_Club?oldid=763688107 Contributors: Bearcat, Romanm, Utcursch, Ylem, Rjwilmsi, Chris the speller, Bluebot, Lambiam, Andypandy.UK, Gnome (Bot), Binaryrhyme, Victoriaedwards, BigrTex, DomBot, Shikyo3, Mononation, Brett Delmage and Anonymous: 3 • Rapho (agency) Source: https://en.wikipedia.org/wiki/Rapho_(agency)?oldid=740813336 Contributors: Grutness, Hoary, Verne Equinox, Johnpacklambert, Jamesmcardle, Waverley123, Addbot, Yobot, Sisyph, FreeRangeFrog, MondalorBot, JettRink, CaroleHenson, Vla- dyreaper and Anonymous: 1 • Rawiya Source: https://en.wikipedia.org/wiki/Rawiya?oldid=751228059 Contributors: Pigsonthewing, BD2412, Iridescent, Cydebot, Ekabhishek, DGG, JL-Bot, LilHelpa, Safiel, Kopiersperre, John of Reading, Dexbot, Bibliovani, Duckduckstop, Thabjouqa and Anony- mous: 4 • The Society of International Photographers Source: https://en.wikipedia.org/wiki/The_Society_of_International_Photographers?oldid= 641077306 Contributors: Steven Walling, GrahamHardy, BG19bot, Sourov0000 and Tessie Noonoos • Stock Artists Alliance Source: https://en.wikipedia.org/wiki/Stock_Artists_Alliance?oldid=754483986 Contributors: Lquilter, Rl, Paul Klenk, Neutrality, Davidsanger, Pixpixpix, SmackBot, Nocowardsoulismine, GreatInDayton, LilHelpa, Pixeldawg, ChrisGualtieri and Anonymous: 1 • Stockland Martel Source: https://en.wikipedia.org/wiki/Stockland_Martel?oldid=639207327 Contributors: Hooperbloob, Luk, Smack- Bot, Tnxman307, Jafeluv, Yobot, Erik9bot, FrescoBot, Jerrettw, KristinaFeliciano and Anonymous: 1 • The Sydney Camera Circle Source: https://en.wikipedia.org/wiki/The_Sydney_Camera_Circle?oldid=755414045 Contributors: Dl2000, Jamesmcardle, GrahamHardy, Nocowardsoulismine, Eumolpo, ClueBot NG, OccultZone and Anonymous: 1 • Technical Image Press Association Source: https://en.wikipedia.org/wiki/Technical_Image_Press_Association?oldid=729110689 Con- tributors: Card~enwiki, Bubba73, RussBot, Cydebot, Johnpacklambert, KylieTastic, Wilhelmina Will, Niceguyedc, Addbot, Yobot, AnomieBOT, ZéroBot, AlisonDavey, KasparBot and Anonymous: 3 • This Place Source: https://en.wikipedia.org/wiki/This_Place?oldid=761173020 Contributors: Hoary, Welsh, Sionk, RjwilmsiBot, Lopi- falko, John of Reading and Tmaffucci • Transphotographiques Source: https://en.wikipedia.org/wiki/Transphotographiques?oldid=753950794 Contributors: Pascal666, Kle- men Kocjancic, Hoary, Sandstein, Chris the speller, NE Ent, Cydebot, Jllm06, Addbot, Plasticspork, Lopifalko, Carolinegazan, Northamer- ica1000 and Earflaps • Ukrainian Association of Professional Photographers Source: https://en.wikipedia.org/wiki/Ukrainian_Association_of_Professional_ Photographers?oldid=754873473 Contributors: Rpyle731, Bgwhite, Magioladitis, Nocowardsoulismine, Dthomsen8, Wgolf, Dexbot, Jamesmcmahon0, Maria Shevchenko, UAPF2013 and Anonymous: 1 • Unframe Source: https://en.wikipedia.org/wiki/Unframe?oldid=657722427 Contributors: Magioladitis, SchreiberBike, Dthomsen8, Sionk, GoingBatty and UAPF2013 • VII Photo Agency Source: https://en.wikipedia.org/wiki/VII_Photo_Agency?oldid=746499054 Contributors: Kwamikagami, Hoary, Stuartyeates, Woohookitty, Hbdragon88, BD2412, SchuminWeb, Welsh, SmackBot, SteveHopson, Kc12286, Rklawton, Gobonobo, Zepheus, Iridescent, JamesAM, BokicaK, NeilHynes, Frankevers, KylieTastic, Jevansen, TheMindsEye, Oshwah, Descrottes, Kromium, BOTarate, Addbot, Download, 5 albert square, Yobot, Takubo~enwiki, Marjorieps, Spongefrog, FrescoBot, Fonguli, OgreBot, Skyerise, AustralianMelodrama, Mishae, Rain drop 45, Ripchip Bot, Lopifalko, T3dkjn89q00vl02Cxp1kqs3x7, Theconcernedphotographer, Tan- jaWiki, Bamyers99, Merchantsofmisery, ClueBot NG, Wgolf, Helpful Pixie Bot, Legredin, Mogism, GreenC bot and Anonymous: 39 11.2. IMAGES 171

• The Walther Collection Source: https://en.wikipedia.org/wiki/The_Walther_Collection?oldid=686667306 Contributors: Hoary, Daniel Case, Wavelength, Fram, Gobonobo, Epeefleche, Cjkporter, Katharineamy, Trivialist, MatthewVanitas, Pokedigi, Sionk, RjwilmsiBot, Lopifalko, Midas02, Helpful Pixie Bot, WaltherNewYork, JamietwBot, TWC526W26, BG19bot, BWatts1984, Darylgolden, MandinN, KasparBot, Silkybadger and Anonymous: 2 • Wellington Arts Centre Source: https://en.wikipedia.org/wiki/Wellington_Arts_Centre?oldid=753963215 Contributors: HollyAm, Grut- ness, GeorgeStepanek, Woohookitty, TheRingess, BL Lacertae, Deepred6502, Holowacz, Binaryrhyme, Cydebot, Biruitorul, Jllm06, DomBot, Dawa8a8, Download, LilHelpa, DrilBot, EuroCarGT, DrainPub and Anonymous: 7 • World Photography Organisation Source: https://en.wikipedia.org/wiki/World_Photography_Organisation?oldid=724434620 Con- tributors: Ceyockey, Mindmatrix, SmackBot, Nthep, Magioladitis, Sgrayvease, Addbot, Rockypedia, Ulric1313, GrouchoBot, Omni- paedista, SunnyJem, FrescoBot, Lopifalko, GoingBatty, ZéroBot, Berone, Philafrenzy, Matthiaspaul, ConcernedPhotographer, Aisteco, ChrisGualtieri, Vh502 and Anonymous: 2 • World Street Photography Source: https://en.wikipedia.org/wiki/World_Street_Photography?oldid=738520620 Contributors: Bgwhite, DGG, Yobot, Lopifalko, BG19bot, Streetphotographers and Anonymous: 4 • Youth in Focus Source: https://en.wikipedia.org/wiki/Youth_in_Focus?oldid=749390947 Contributors: Hooperbloob, Magioladitis, Niceguyedc, Od Mishehu AWB, Lightlowemon, JSquish, Gareth Griffith-Jones, BG19bot, Khazar2, Cmcaseylaborarch, InternetArchive- Bot, GreenC bot and Anonymous: 2

11.2 Images

• File:01_wolfgang_tillmans_in_galerie_buchholz_koeln_120107.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/df/ 01_wolfgang_tillmans_in_galerie_buchholz_koeln_120107.jpg License: CC-BY-SA-3.0 Contributors: Own work Original artist: user: Hpschaefer • File:African_+_Hague_Justice,_Atrium_City_Hall,_May_24_2014.jpg Source: https://upload.wikimedia.org/wikipedia/commons/ 1/16/African_%2B_Hague_Justice%2C_Atrium_City_Hall%2C_May_24_2014.jpg License: CC BY-SA 3.0 Contributors: I took the photo at the African + Hague Justice exhibition in the Atrium of the The Hague City Hall, May 24 2014. Original artist: Reflection1 • File:Agence_Vu_logo.png Source: https://upload.wikimedia.org/wikipedia/en/3/33/Agence_Vu_logo.png License: Fair use Contribu- tors: http://www.agencevu.com/includes/menu/logo_agence_vu.png Original artist: ? • File:Ambox_important.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public do- main Contributors: Own work, based off of Image:Ambox scales.svg Original artist: Dsmurat (talk · contribs) • File:Ambox_wikify.svg Source: https://upload.wikimedia.org/wikipedia/commons/e/e1/Ambox_wikify.svg License: Public domain Contributors: Own work Original artist: penubag • File:And_now_i_am_here_candy_store_©Ernst_Ruijgrok_Creative_Court.jpg Source: https://upload.wikimedia.org/wikipedia/commons/ 7/7a/And_now_i_am_here_candy_store_%C2%A9Ernst_Ruijgrok_Creative_Court.jpg License: CC BY-SA 4.0 Contributors: commis- sioned by Creative Court Original artist: Ernst Ruijgrok / Creative Court • File:And_now_i_am_here_naked_song_©Ernst_Ruijgrok_Creative_Court.jpg Source: https://upload.wikimedia.org/wikipedia/commons/ e/e1/And_now_i_am_here_naked_song_%C2%A9Ernst_Ruijgrok_Creative_Court.jpg License: CC BY-SA 4.0 Contributors: commis- sioned by Creative Court Original artist: Ernst Ruijgrok / Creative Court • File:And_now_i_am_here_video_still_©Ernst_Ruijgrok_Creative_Court.jpg Source: https://upload.wikimedia.org/wikipedia/commons/ 0/07/And_now_i_am_here_video_still_%C2%A9Ernst_Ruijgrok_Creative_Court.jpg License: CC BY-SA 4.0 Contributors: commis- sioned by Creative Court Original artist: Ernst Ruijgrok / Creative Court • File:And_now_i_am_here_©Ernst_Ruijgrok_Creative_Court.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/71/ And_now_i_am_here_%C2%A9Ernst_Ruijgrok_Creative_Court.jpg License: CC BY-SA 4.0 Contributors: commissioned by Creative Court Original artist: Ernst Ruijgrok / Creative Court • File:Ansel_Adams-Half_Dome,_Apple_Orchard,_Yosemite.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/81/Ansel_ Adams-Half_Dome%2C_Apple_Orchard%2C_Yosemite.jpg License: Public domain Contributors: US National Archives website page on A. Adams. Original artist: Ansel Adams • File:BinaryRhyme_CDF_Fortier_Danse_2006.jpg Source: https://upload.wikimedia.org/wikipedia/en/1/11/BinaryRhyme_CDF_Fortier_ Danse_2006.jpg License: CC-BY-2.5 Contributors: Own work Original artist: Binaryrhyme (talk)(Uploads) • File:BinaryRhyme_RA_Urban_Photographers_0978_1K.jpg Source: https://upload.wikimedia.org/wikipedia/en/1/1f/BinaryRhyme_ RA_Urban_Photographers_0978_1K.jpg License: CC-BY-2.5 Contributors: ? Original artist: ? • File:BinaryRhyme_Tulip_Festival_Tulip_Ball_Fashion.jpg Source: https://upload.wikimedia.org/wikipedia/en/f/f0/BinaryRhyme_ Tulip_Festival_Tulip_Ball_Fashion.jpg License: CC-BY-2.5 Contributors: ? Original artist: ? • File:Boy_destroying_piano.jpg Source: https://upload.wikimedia.org/wikipedia/commons/4/4b/Boy_destroying_piano.jpg License: CC BY-SA 4.0 Contributors: National Library of Wales Original artist: Philip Jones Griffiths • File:Carolyn_Cole.JPG Source: https://upload.wikimedia.org/wikipedia/commons/f/f2/Carolyn_Cole.JPG License: CC BY-SA 3.0 Contributors: Own work (Ed!(talk)<ₐ ᵣₑ₌'://ₑ.ᵢᵢₑᵢₐ. ₒᵣ/ᵢᵢ/Uₑᵣ:E!/Hₐ_ₒ_Fₐₑ' ₐ₌'ₑₓᵢ' ᵢₑ₌'ₑ:Uₑᵣ:E!/Hₐ ₒ Fₐₑ'>₍Hₐ ₒ Fₐₑ₎) Original artist: Ed!(talk)<ₐ ᵣₑ₌'://ₑ.ᵢᵢₑᵢₐ.ₒᵣ/ᵢᵢ/ Uₑᵣ:E!/Hₐ_ₒ_Fₐₑ' ₐ₌'ₑₓᵢ' ᵢₑ₌'ₑ:Uₑᵣ:E!/Hₐ ₒ Fₐₑ'>₍Hₐ ₒ Fₐₑ₎. 172 CHAPTER 11. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:Coca_braun.gif Source: https://upload.wikimedia.org/wikipedia/commons/5/51/Coca_braun.gif License: CC BY-SA 3.0 Contrib- utors: Own work Original artist: Lucapalin • File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Orig- inal artist: ? • File:Crystal_Clear_app_kscreensaver.svg Source: https://upload.wikimedia.org/wikipedia/commons/e/e7/Crystal_Clear_app_kscreensaver. svg License: GFDL Contributors: File:Crystal Clear app kscreensaver.png and File:Crystal 128 konsole.svg Original artist: Ftiercel • File:Crystal_Clear_device_camera.png Source: https://upload.wikimedia.org/wikipedia/commons/9/99/Crystal_Clear_device_camera. png License: LGPL Contributors: All Crystal Clear icons were posted by the author as LGPL on kde-look; Original artist: Everaldo Coelho and YellowIcon; • File:Crystal_kchart.png Source: https://upload.wikimedia.org/wikipedia/commons/2/28/Crystal_kchart.png License: LGPL Contribu- tors: All Crystal icons were posted by the author as LGPL on kde-look Original artist: Everaldo Coelho and YellowIcon • File:Deca_journalism_logo.jpg Source: https://upload.wikimedia.org/wikipedia/en/2/27/Deca_journalism_logo.jpg License: Fair use Contributors: http://www.decastories.com/ Original artist: ? • File:Edit-clear.svg Source: https://upload.wikimedia.org/wikipedia/en/f/f2/Edit-clear.svg License: Public domain Contributors: The Tango! Desktop Project. Original artist: The people from the Tango! project. And according to the meta-data in the file, specifically: “Andreas Nilsson, and Jakub Steiner (although minimally).” • File:European_pressphoto_agency.gif Source: https://upload.wikimedia.org/wikipedia/commons/d/dc/European_pressphoto_agency. gif License: Public domain Contributors: http://www.epa.eu Original artist: European Pressphoto Agency • File:Federation_of_European_Photographers_Logo.png Source: https://upload.wikimedia.org/wikipedia/commons/e/ef/Federation_ of_European_Photographers_Logo.png License: Public domain Contributors: http://europeanphotographers.eu/ Original artist: FEP • File:Federation_of_European_Photohraphers_member_countries_as_for_2014.png Source: https://upload.wikimedia.org/wikipedia/ commons/b/b7/Federation_of_European_Photohraphers_member_countries_as_for_2014.png License: Public domain Contributors: http: //www.europeanphotographers.eu/members Original artist: Christopher Tierney • File:Flag_of_Algeria.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/77/Flag_of_Algeria.svg License: Public domain Contributors: SVG implementation of the 63-145 Algerian law "on Characteristics of the Algerian national emblem" ("Caractéristiques du Drapeau Algérien", in English). Original artist: This graphic was originaly drawn by User:SKopp. • File:Flag_of_Armenia.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/2f/Flag_of_Armenia.svg License: Public do- main Contributors: Own work Original artist: SKopp • File:Flag_of_Australia.svg Source: https://upload.wikimedia.org/wikipedia/en/b/b9/Flag_of_Australia.svg License: Public domain Con- tributors: ? Original artist: ? • File:Flag_of_Austria.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/41/Flag_of_Austria.svg License: Public domain Contributors: Own work, http://www.bmlv.gv.at/abzeichen/dekorationen.shtml Original artist: User:SKopp • File:Flag_of_Azerbaijan.svg Source: https://upload.wikimedia.org/wikipedia/commons/d/dd/Flag_of_Azerbaijan.svg License: Public domain Contributors: http://www.elibrary.az/docs/remz/pdf/remz_bayraq.pdf and http://www.meclis.gov.az/?/az/topcontent/21 Original artist: SKopp and others • File:Flag_of_Bangladesh.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/f9/Flag_of_Bangladesh.svg License: Public domain Contributors: http://www.dcaa.com.bd/Modules/CountryProfile/BangladeshFlag.aspx Original artist: User:SKopp • File:Flag_of_Belarus.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/85/Flag_of_Belarus.svg License: Public domain Contributors: http://www.tnpa.by/ViewFileText.php?UrlRid=52178&UrlOnd=%D1%D2%C1%20911-2008 Original artist: Zscout370 • File:Flag_of_Belgium_(civil).svg Source: https://upload.wikimedia.org/wikipedia/commons/9/92/Flag_of_Belgium_%28civil%29.svg License: Public domain Contributors: ? Original artist: ? • File:Flag_of_Canada.svg Source: https://upload.wikimedia.org/wikipedia/en/c/cf/Flag_of_Canada.svg License: PD Contributors: ? Original artist: ? • File:Flag_of_Chile.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/78/Flag_of_Chile.svg License: Public domain Con- tributors: Own work Original artist: SKopp • File:Flag_of_Croatia.svg Source: https://upload.wikimedia.org/wikipedia/commons/1/1b/Flag_of_Croatia.svg License: Public domain Contributors: http://www.sabor.hr/Default.aspx?sec=4317 Original artist: Nightstallion, Elephantus, Neoneo13, Denelson83, Rainman, R-41, Minestrone, Lupo, Zscout370, MaCroatian squares Ljubicic.pngGa (based on Decision of the Parliament) • File:Flag_of_Cyprus.svg Source: https://upload.wikimedia.org/wikipedia/commons/d/d4/Flag_of_Cyprus.svg License: Public domain Contributors: Own work Original artist: User:Vzb83 • File:Flag_of_Denmark.svg Source: https://upload.wikimedia.org/wikipedia/commons/9/9c/Flag_of_Denmark.svg License: Public do- main Contributors: Own work Original artist: User:Madden • File:Flag_of_Finland.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/bc/Flag_of_Finland.svg License: Public domain Contributors: http://www.finlex.fi/fi/laki/ajantasa/1978/19780380 Original artist: Drawn by User:SKopp 11.2. IMAGES 173

• File:Flag_of_France.svg Source: https://upload.wikimedia.org/wikipedia/en/c/c3/Flag_of_France.svg License: PD Contributors: ? Orig- inal artist: ? • File:Flag_of_Georgia.svg Source: https://upload.wikimedia.org/wikipedia/commons/0/0f/Flag_of_Georgia.svg License: Public domain Contributors: Own work based on File:Brdzanebuleba 31.pdf Original artist: User:SKopp • File:Flag_of_Germany.svg Source: https://upload.wikimedia.org/wikipedia/en/b/ba/Flag_of_Germany.svg License: PD Contributors: ? Original artist: ? • File:Flag_of_Greece.svg Source: https://upload.wikimedia.org/wikipedia/commons/5/5c/Flag_of_Greece.svg License: Public domain Contributors: own code Original artist: (of code) cs:User:-xfi- (talk) • File:Flag_of_Hungary.svg Source: https://upload.wikimedia.org/wikipedia/commons/c/c1/Flag_of_Hungary.svg License: Public do- main Contributors: • Flags of the World – Hungary Original artist: SKopp • File:Flag_of_India.svg Source: https://upload.wikimedia.org/wikipedia/en/4/41/Flag_of_India.svg License: Public domain Contribu- tors: ? Original artist: ? • File:Flag_of_Iraq.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/f6/Flag_of_Iraq.svg License: Public domain Con- tributors: • This image is based on the CIA Factbook, and the website of Office of the President of Iraq, vectorized by User:Militaryace Original artist: Unknown, published by Iraqi governemt, vectorized by User:Militaryace based on the work of User:Hoshie • File:Flag_of_Ireland.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/45/Flag_of_Ireland.svg License: Public domain Contributors: Drawn by User:SKopp Original artist: ? • File:Flag_of_Israel.svg Source: https://upload.wikimedia.org/wikipedia/commons/d/d4/Flag_of_Israel.svg License: Public domain Con- tributors: http://mfa.gov.il/MFA/AboutIsrael/IsraelAt50/Pages/The%20Flag%20and%20the%20Emblem.aspx Original artist: “The Pro- visional Council of State Proclamation of the Flag of the State of Israel” of 25 Tishrei 5709 (28 October 1948) provides the official specification for the design of the Israeli flag. • File:Flag_of_Italy.svg Source: https://upload.wikimedia.org/wikipedia/en/0/03/Flag_of_Italy.svg License: PD Contributors: ? Original artist: ? • File:Flag_of_Japan.svg Source: https://upload.wikimedia.org/wikipedia/en/9/9e/Flag_of_Japan.svg License: PD Contributors: ? Orig- inal artist: ? • File:Flag_of_Latvia.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/84/Flag_of_Latvia.svg License: Public domain Contributors: Own work Original artist: SKopp • File:Flag_of_Mallorca.svg Source: https://upload.wikimedia.org/wikipedia/commons/5/5c/Flag_of_Mallorca.svg License: Public do- main Contributors: This vector image was created with Inkscape. Original artist: Himasaram • File:Flag_of_Malta.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/73/Flag_of_Malta.svg License: CC0 Contributors: ? Original artist: ? • File:Flag_of_Norway.svg Source: https://upload.wikimedia.org/wikipedia/commons/d/d9/Flag_of_Norway.svg License: Public domain Contributors: Own work Original artist: Dbenbenn • File:Flag_of_Pakistan.svg Source: https://upload.wikimedia.org/wikipedia/commons/3/32/Flag_of_Pakistan.svg License: Public do- main Contributors: The drawing and the colors were based from flagspot.net. Original artist: User:Zscout370 • File:Flag_of_Poland.svg Source: https://upload.wikimedia.org/wikipedia/en/1/12/Flag_of_Poland.svg License: Public domain Contrib- utors: ? Original artist: ? • File:Flag_of_Portugal.svg Source: https://upload.wikimedia.org/wikipedia/commons/5/5c/Flag_of_Portugal.svg License: Public do- main Contributors: http://jorgesampaio.arquivo.presidencia.pt/pt/republica/simbolos/bandeiras/index.html#imgs Original artist: Colum- bano Bordalo Pinheiro (1910; generic design); Vítor Luís Rodrigues; António Martins-Tuválkin (2004; this specific vector set: see sources) • File:Flag_of_Russia.svg Source: https://upload.wikimedia.org/wikipedia/en/f/f3/Flag_of_Russia.svg License: PD Contributors: ? Orig- inal artist: ? • File:Flag_of_Scotland.svg Source: https://upload.wikimedia.org/wikipedia/commons/1/10/Flag_of_Scotland.svg License: Public do- main Contributors: http://kbolino.freeshell.org/svg/scotland.svg Original artist: none known • File:Flag_of_Serbia.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/ff/Flag_of_Serbia.svg License: Public domain Contributors: From http://www.parlament.gov.rs/content/cir/o_skupstini/simboli/simboli.asp. Original artist: sodipodi.com • File:Flag_of_Slovakia.svg Source: https://upload.wikimedia.org/wikipedia/commons/e/e6/Flag_of_Slovakia.svg License: Public do- main Contributors: Own work; here, colors Original artist: SKopp • File:Flag_of_South_Africa.svg Source: https://upload.wikimedia.org/wikipedia/commons/a/af/Flag_of_South_Africa.svg License: Pub- lic domain Contributors: Per specifications in the Constitution of South Africa, Schedule 1 - National flag Original artist: Flag design by Frederick Brownell, image by Wikimedia Commons users • File:Flag_of_South_Korea.svg Source: https://upload.wikimedia.org/wikipedia/commons/0/09/Flag_of_South_Korea.svg License: Pub- lic domain Contributors: Ordinance Act of the Law concerning the National Flag of the Republic of Korea, Construction and color guidelines (Russian/English) Original artist: Various • File:Flag_of_South_Vietnam.svg Source: https://upload.wikimedia.org/wikipedia/commons/e/e9/Flag_of_South_Vietnam.svg License: Public domain Contributors: (see history) Original artist: (many, see history) • File:Flag_of_Spain.svg Source: https://upload.wikimedia.org/wikipedia/en/9/9a/Flag_of_Spain.svg License: PD Contributors: ? Origi- nal artist: ? • File:Flag_of_Sweden.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4c/Flag_of_Sweden.svg License: PD Contributors: ? Original artist: ? 174 CHAPTER 11. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:Flag_of_Turkey.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Flag_of_Turkey.svg License: Public domain Contributors: Turkish Flag Law (Türk Bayrağı Kanunu), Law nr. 2893 of 22 September 1983. Text (in Turkish) at the website of the Turkish Historical Society (Türk Tarih Kurumu) Original artist: David Benbennick (original author) • File:Flag_of_Ukraine.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/49/Flag_of_Ukraine.svg License: Public do- main Contributors: ДСТУ 4512:2006 — Державний прапор України. 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• File:Media-cdrom.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/7a/Media-cdrom.svg License: Public domain Con- tributors: The Tango! Desktop Project Original artist: The people from the Tango! project • File:NAAPlogo.jpg Source: https://upload.wikimedia.org/wikipedia/en/c/c4/NAAPlogo.jpg License: Fair use Contributors: http://www.photoshopuser.com/members/napp-logos Original artist: ? • File:Newspaper_nicu_buculei_01.svg Source: https://upload.wikimedia.org/wikipedia/commons/0/0d/Newspaper_nicu_buculei_01. svg License: CC0 Contributors: OpenClipart Original artist: nicu buculei • File:Nuvola_apps_package_graphics.svg Source: https://upload.wikimedia.org/wikipedia/en/c/c3/Nuvola_apps_package_graphics.svg License: ? Contributors: ? 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