An Explosive History of Shock and Censorship and How It Shaped Photography

THE BEST-DESIGNED PHOTO GEAR! page 45

SEPTEMBER/ OCTOBER 2009 $4.99 ON DISPLAY UNTIL OCTOBER 19, SPECIAL 2009 COPORTFOLIONTROVERSY AN EXPLOSIVE HISTORY OF SHOCK AND CENSORSHIP AND HOW IT SHAPED PHOTOGRAPHY

PLUS THE LEGACY OF AN ICON NAMED FARRAH JOE MCNALLY’S COOLEST LIGHTING TRICK

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November 13 – 15, 2009 © Eric Foltz

othing captures the spirit of the American West like desert sunsets, Next we’ll crank the way-back machine and give you a glimpse of the Ngeological wonders and Old West gunfights. Saddle up for a memorable Old West through the lens of the film industry. At the base of the Tucson trek through the Sonoran Desert as the Mentor Series discovers the vast beau- Mountains lies the Old Tucson Studios, where such classics as “Gunfight ty and intricate curiosities of Tucson, Arizona. From panoramic, sun-drenched at the O.K. Corral,” “3:10 to Yuma,” and “The Lone Ranger and the Lost horizons to hidden locations the sun has never reached, you’ll discover the City of Gold” were filmed. Now restored, the same sets and streets where true extremes of light and dark. such legends as John Wayne and Clint Eastwood faced off with bad guys We’ll head to Gates Pass, revered by professional photographers world- is a piece of living history. A live cast of character, complete with brilliantly wide. It offers a vantage point unmatched for dazzling images of the setting colored costumes, will recreate stunts and shootouts that will challenge your sun. If you’ve ever had a “sunset screensaver,” it’s likely that the images fea- shutter speed and your reaction times. turing dark silhouettes of cacti against a brilliant orange and yellow sky were Afterward, we’ll return to Gates Pass for another opportunity to taken at Gates Pass. We’ll help you capture amazing shots of the tranquil capture that perfect sunset shot (and perfect replacement photo for your sunlight reflected off of the desert hills, the constantly shifting clouds on the desktop’s background). horizon, and the glowing, backlit needles of the saguaro cactus. To conclude our desert journey, we’ll spend our last day at Mission San Xavier We’ll start the next day at the Sonora Desert Museum. This world- del Bac. Completed in 1797, it is one of the finest examples of mission architec- renowned zoo, natural history museum and botanical garden will bring ture in the U.S. Set against the warm browns of the distant hills, it stands like a your lens within inches of more than 1,200 types of plants and more than white beacon against the desert backdrop. Find the perfect angle to capture the 300 desert animals, 20 of which are endangered. You’ll capture desert imposing dome and the lofty towers of this graceful blend of Moorish, Byzantine life of all shapes, sizes and colors—from the imposing American Black and late-Mexican design as the morning sun graces its pristine facade. Bear to the delicate leaf-cutter ant, from a hillside of wildflowers to a No matter what path you ride on, Tucson and the Sonoran Desert offer red rock canyon. In addition, the museum possesses an extensive gem, eye-popping vistas and awesome close-ups. Sign up today and hitch a ride mineral and fossil collection—and the only significant dinosaur skeleton with the experts who will broaden your range by bringing you face-to-face ever found in southern Arizona. with a slice of America you won’t soon forget. REGISTER ONLINE AT WWW.MENTORSERIES.COM For more information, call toll-free at 888-676-6468.

AmericanPhotoMag.com © BRUCE MCBROOM contents 45 14 Volume XX Number 5 September/October 2009 57 ASCHEN BOOKS © ANTOINE VERGLAS NEIL ARMSTRONG/COURTESY T MARC GARANGER/COURTESY MUSÉE DE L

’EYSÉE 20 portfolio departments

Pictures That Shocked The World 57 Inside American Photo 4 Public Eye 14 How French journalist The icon with extravagant Photography has been defined by Regis Le Sommier learned hair, by Vicki Goldberg. about the value of small-town a number of images that have raised American photojournalism. New Books 20 ethical and legal issues concerning A breathtaking new Editor’s Note 8 volume combines NASA fakery, censorship, artistic ownership, What is a high-impact photography with photograph? They all are, Norman Mailer’s account and exploitation. Here we examine by definition, and it of the Apollo 11 mission. 16 controversial photos that shaped pays to understand that kind of power. Art 26 the medium we know today. German photographer Inside Photography 13 Andreas Gefeller focuses How Farrah on the floor—the entire On the cover: changed photography. floor—of a Berlin building. Images from our portfolio on the world’s most controversial photos Y 77 © JOE MCNALL MACIEJ DAKOWICZ

49 © ANDREAS GEFELLER/COURESY HASTED HUNT GALLERY 82 28 TYLER HICKS/THE NEW YORK TIMES

In Print 28 Editor’s Choice 45 The Law 55 Skills 82 Antoine Verglas makes model The world’s most stylish New orphan works legislation Available light isn’t always Julie Henderson look sexy cameras, and more. isn’t necessarily bad for the right light. Photographer by making her feel sexy. And photographers, and it might Joe McNally explains there is his special light, too. Flickr Creative bring some big beneﬁts. how to get rid of it so you Showcase 49 can make your own. Witness 35 Our new feature presents big Master Class 77 How three combat photog- talents from the world’s Andreas Gefeller explains how See It Now 93 raphers got their start biggest photo community. In he creates his ultra-detailed New photo exhibitions, from shooting local news at a this issue: Maciej Dakowicz views of the world at our feet, coast to coast, as well small newspaper in Ohio. of Cardiff, Wales. and overhead. as our pick for the month.

Subscriptions American Photo (ISSN 1046-8986) POSTMASTER: Send address changes to American Photo, P.O. Box 420235, Publications Mail Agreement (USPS 526-930) is published bi-monthly (Jan/Feb, Mar/Apr, Palm Coast, FL 32164; (800) 274-4514. If the postal services alert us that Number: 40052054. Canadian Regis- May/June, July/Aug, Sept/Oct, Nov/Dec) by Bonnier Corpo- your magazine is undeliverable, we have no further obligation unless tration Number: 126018209RT0001. ration, 2 Park Ave., New York, NY 10016. Periodicals post- we receive a corrected address within one year. One-year subscription rate Return undeliverable Canadian age paid at New York, NY 10001 and at additional mailing (6 issues) for U.S. and possessions, $15; Canada (includes 5% GST) and addresses to: P.O. Box 503, RPO offices. Authorized periodicals postage by the Post Office Foreign, $29; cash orders only, payable in U.S. currency. Two years: U.S., $30; West Beaver Creek, Richmond Hill Department, Ottawa, Canada, and for payment in cash. Canada and Foreign, $53. Three years: U.S., $45; Canada and Foreign, $76. ON L4B 4R6 Canada. Writer Le Sommier (left) and photographer Vice President/Editor in Chief David Schonauer Hondros Art Director Deborah Mauro in Iraq in Executive Editor Russell Hart 2006 Associate Editor Lindsay Sakraida Copy Editor Judy Myers Assistant Art Director Andy Kropa Editor at Large Jean-Jacques Naudet

Contributing Editors: Jonathan Barkey, Vicki Goldberg, Dirck Halstead, Eliane Laffont, Jack Crager

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rench journalist Regis Le Sommier that Hondros told Regis a remarkable F has worked side by side with photo- tale—how he and two other prize- Jonas Bonnier, Chairman; journalists around the globe. Until late winning photojournalists, Tyler Hicks and Terry Snow, Chief Executive Officer; last year he was the United States bureau Spencer Platt, launched their careers at Dan Altman, Chief Operating Officer; Randall Koubek, Chief Financial Officer; chief for Paris Match, a news magazine the same small newspaper in Troy, Ohio. Bruce Miller, Vice President, Consumer Marketing; that has long championed great photog- As Le Sommier explains on page 35, Lisa Earlywine, Vice President, Production; Bill Alman, Vice President, E-Media; raphy. In December, Le Sommier returned the three noted photographers learned John Haskin, Vice President, Digital Sales & Marketing; to Paris to serve as the deputy managing their most important lessons by covering Shawn Larson, Vice President, Enterprise Systems; Cathy Hertz, Vice President, Human Resources; editor for Match, but he recently called fires and car accidents in small-town Dean Turcol, Vice President, Corporate Communications; John Miller, Brand Director; us to tell us of a story he thought would America. He wonders whether these Martin S. Walker, Publishing Consultant; be great for American Photo. Back in lessons will continue to be passed Jeremy Thompson, Corporate Counsel. COPYRIGHT © 2009, BONNIER CORPORATION AMERICAN PHOTO® 2004, while covering the U.S. presidential along, as newspapers face declining IS A REGISTERED TRADEMARK OF BONNIER CORPORATION. election campaign in Ohio, he worked readerships and budgets. Nonetheless, with a young photographer named Chris Le Sommier notes that the idea of a Hondros, and they later teamed up on talented kid emerging from a small news- Editorial contributions should be sent to American Photo, 2 Park Avenue, several other big stories. (In the photo paper and climbing to the top of the pro- 10th Floor, New York, NY 10016. Submissions must be accompanied here, you see Le Sommier and Hondros fession represents a particular American by return post age and will be handled with reasonable care; however, publisher assumes no responsibility for the safety of unsolicited original when they were covering the most notion of destiny. “America is still a place artwork, photographs, slides, or manuscripts. Customer service: violent days of the Iraq war in the city of where people believe they can do (386) 597-4375; fax (303) 604-7644. Back issues are $8.95 each ($10.95 in Canada; $15.95 other countries) in U.S. funds. Send check or money Khadamiyah.) It was around that time anything they put their minds to,” he says. order to: American Photo Back Issues, P.O. Box 50191, Boulder, CO 80322-0191; (800) 333-8546. For information on reprints and eprints contact Brian Kolb at Wright’s Reprints, (877) 652-5295 or [email protected]. American Photo, September/October 2009, Vol. XX, No. 5. Entire contents © 2009 Bonnier Corporation.

Occasionally we share our information with other reputable companies whose products and services might interest you. If you prefer not to participate in this opportunity, please call the fol- 4 INSIDE AMERICAN PHOTO lowing number and indicate that to the operator: (386) 597-4375. 5]Sfb`S[S BVS`S¸a\]bc`\W\UPOQY

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Pack up your camera gear for a weekend on the eastern shores of Long Get ready for the photographic journey of a lifetime as the Mentor Island with the Mentor Series! Join Nikon professional photographers Series heads to Egypt, a land of archaeological and cultural Reed Hoffmann & Rob Van Petten to experience the abundance of photo riches. Shoot alongside Nikon professional photographers Mark opportunities within the quaint villages of the North Fork and along the Alberhasky and Reed Hoffmann while photographing dynamic miles of beautiful, pristine beaches on the South Fork. Get ready for a truly landscapes, spectacular pyramids and the glorious Nile river. authentic view of this age-old vacationing destination while discovering Visit the three Great Pyramids of Giza near Cairo, a glorious the locations in a new light with world-class instructors by your side. A backdrop to capture camel drivers and their camels. Want to visit to a private full-service horse farm provides an exclusive tour and the see the symbol that has represented the essence of Egypt for occasion to photograph the beauty of these gentle animals. Visit charming thousands of years? Nothing can prepare you for seeing the Sag Harbor, an enchanting town that boasts its strong maritime flavor and Sphinx the first time, in its massive splendor. The photos you holds tight to its history. Experience the magnificent Peconic Estuary System take here are ones you’ll cherish for many years. From the by boat, the quiet beauty of a stunning vineyard, and beach activities deserts to the Nile, the pyramids to the temples, Egypt’s eye- which offer the chance to capture recreation and lifestyle shots as the light catching views will stimulate your senses and provide you with changes. Get ready to be enchanted by this part of America and wrap up fantastic photos. Sign up today for a memorable trek that will your summer by joining the Mentor Series when we take to Long Island bring out the adventurer in you. in September!

REGISTER ONLINE AT WWW.MENTORSERIES.COM For more information, call toll-free at 888-676-6468. FOR THE PAST 11 YEARS, the Mentor Series program has taken photo enthusiasts to destinations across the country and around the world. With top Nikon professional photographers accompanying participants every day and teaching them how and what to shoot, there’s nothing like a Mentor Series trek. You and your photography will never be the same!

Grab your camera and join the Mentor Series as we head to the NEW MASTER CLASS: LIGHTING Great Smoky Mountains, a renowned mountain range rising along the Tennessee–North Carolina border. Let our team help you capture Philadelphia will provide the perfect backdrop to learn the rewards of these stunning shots as you explore this magnificent National Park in using light to create an intentional effect in your photos, as well as autumn. At 6,643 feet, Clingmans Dome is the highest point in the explore the history and culture this city has to offer. This trek includes Great Smoky Mountains national park. The observation tower on the a Master Class on Lighting, providing an exclusive opportunity to summit offers a remarkable 360° lookout of the Smokies where, on determine how luminosity can shape the mood and color of the a clear day, the view expands over 100 miles and into seven states, photographs you create. Visit the stunning Longwood Gardens, one making for a spectacular, unmatched perspective. In contrast, you’ll of the world’s premier horticultural display gardens. Travel on to the fill your frame as the sun rises at Cades Cove, a lush valley with infamous Eastern State Penitentiary, and explore what lighting is best preserved homesteads, scenic mountain vistas and an abundant display suited to subject and scene as we shoot models and further practice of wildlife. Journey back to the beautiful Clingmans Dome at sunrise learned techniques “on location.” Later, photograph along a tour of to photograph the dramatic vistas. Everywhere you go in the Great Philadelphia’s remarkable landmarks from the top of our own double- Smoky Mountains, you’ll find exceptional prospects. Don’t miss this decker bus. Everywhere you go in Philadelphia, you’ll find a piece opportunity to expand your horizons and your portfolio in the Great of America’s past and continually discover the chance to utilize the Smoky Mountains with expert photographers by your side. lighting techniques you’ve learned to capture these historic landmarks.

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® EDITOR’ S NOTE

HIGH IMPACT WHAT MAKES A PICTURE POWERFUL?

hat is high-impact photography? In from McBroom, who helped create glamour W a general sense, most photography photography history that day in L.A. is, by definition. Still images create indeli- Our special portfolio comes from an ble memories in a way that no other exhibition that debuted earlier this year at medium can. Words enhance pictures and the Musée de l’Elysée in Lausanne, Switzer- fill in the information that photos cannot land. Titled Controverses, the show (which supply. Motion photography’s power has also been re-created as a French- comes from its narrative possibilities. But language book) considers the ethical and photographs go to the heart of an issue, cap- legal issues raised by a number of images— ture something essential in a face, surprise issues of fakery, censorship, ownership, and us with the detail of a scene, and create exploitation. In other words, the very issues popular icons that can define an age. photographers must come to grips with In this issue we explore just how still today. Reviewing the exhibition in the New imagery makes its impact. And we start York Times, critic Michael Kimmelman with a beautiful blonde in a red one-piece wrote, “By virtue of its economy and prolif- swimming suit. The blonde, of course, is eration, photography has been one of the Farrah Fawcett, who changed the cultural most convenient weapons of the powerless landscape when she posed for photogra- even while it serves the powers that be.” I pher Bruce McBroom one afternoon in Los think you’ll find our portfolio to be a fasci- Angeles in 1976. The poster they produced nating look at the power of photography. has, as of today, sold over 12 million cop- I’m also sure you’ll find the imagery ies, still a record, though it’s been boot- of Andreas Gefeller (page 26) to be spec- legged billions of times all over the globe. It tacular, and confusing (in a good way). has decorated the dorm walls of countless Gefeller uses a digital SLR in a unique young men and populated the dreams of way to explore what lies below us—floors, © BRUCE MCBROOM many more. What accounts for its enduring beaches, park meadows. You’ll see the appeal? American Photo contributing world in a new way, which is another def- editor Vicki Goldberg looks for an answer in inition of high-impact photography. By our special feature on page 14. You’ll also the way, Gefeller leads an American Photo find outtakes from the shoot and a memoir Master Class on page 77.

Above: Outtakes from Bruce McBroom’s 1976 session with Farrah Fawcett.

David Schonauer, EDITOR IN CHIEF

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This hybrid digital camera that can shoot Panasonic’s Versatile Line both video and still images is perfect for the photographer who needs the added Offers a High-Performing flexibility of an 18x optical zoom but also wants more than still photography.

By David Briganti, LUMIX Digital Camera for Senior Product Manager, Whether the FZ35 will be used on an Imaging, Panasonic Consumer outdoor adventure or to photograph the Electronics Company All Types of Photographers kids from the stands of a soccer game, the FZ35’s flexibility makes it the perfect companion for a photo enthusiast. s digital imaging technology ing camera for every type of photographer. The LUMIX ZR1, a completely new model continues to evolve, photog- Panasonic expands its popular FZ-Series for Panasonic, is a truly slim digital camera raphers benefit from having with the introduction of the DMC-FZ35, the for those who want a portable camera to A carry everyday, yet it maintains a powerful countless models from which to choose. successor to the FZ28. The LUMIX FZ35 Now the challenge is to ensure that they maintains its 18x optical zoom while adding zoom range and is packed with advanced get the features and style that best suits the ability to record AVCHD Lite high defini- features to help take great photos eas- them. Every person has different pho- tion video, which means it has double the ily. The ZR1 may be small in size, but tography needs – some more advanced, recording time in HD quality compared the ultra-compact 8x optical zoom and a while others just want to point, shoot, with the Motion JPEG format. With the 25mm wide-angle lens means it has the and capture beautiful photos and videos. ability to shoot HD video, Panasonic flexibility to shoot both far and wide. Panasonic recognizes that there are adds iA Movie to the FZ35. Panasonic’s photographers of all levels and desires, Intelligent Auto (iA) allows the camera to Available in four stylish colors, (blue, red, and that’s its latest LUMIX digital camera automatically choose the best settings black and silver) the ZR1 is 34 percent models – the DCMC-ZR1, DMC-FP8 and and these intuitive features are now slimmer than Panasonic’s popular LUMIX DMC-FZ35 – are so distinctly different from available while capturing video. The FZ35 ZS-Series of digital cameras, which are also each other in style, design and functionality. features a stereo microphone to help ensure highly regarded as a compact super-zoom. The 2009 LUMIX line offers a high-perform- high-quality audio recording with HD video. The ZR1 is the ideal camera for the person Advertisement

looking for a high-performing, everyday new scene modes are being introduced: This fall, photographers of all skill levels camera that can slip in their purse or Indoor Scene, Indoor Portrait and Indoor will find that there are many digital cam- pocket, yet is powerful enough to capture Baby. The Panasonic Sound Recognition eras with different features available, and their memories with high-quality photos. feature will be available with the LUMIX they will find the model that best suits ZR1 and FP8. In addition, Panasonic’s their needs. With the introduction of The LUMIX DMC-FP8 features a stylish Power OIS, available on all three new the LUMIX FZ35, FP8 and ZR1, Pana- design and finds the perfect balance of models, enables enhanced image stabiliza- sonic expects its extremely versatile and slim, yet still comfortable to use. The digital tion with approximately five-step hand- high-performing line will find the right camera’s flat design is possible thanks to shake compensation to help reduce blur. photographer to take advantage of its folded optics, and despite its sleek look, unique features. Panasonic’s award- the FP8 features a 4.6x optical zoom and winning line of LUMIX digital cameras 28mm wide-angle lens in black, red or Panasonic’s iA technology has the innovative features to help any silver. With an illuminated backlit control level of photographer succeed. Those panel, the FP8 has a futuristic design for offers features such as face buying a digital camera as a gift can look the photographer looking for the most detection and intelligent for features like Panasonic’s iA, which cutting-edge style and unique features. scene detection that will help take better photos, regardless of skill level. Whether you’re an With the three new LUMIX models this fall, occur automatically. experienced photographer, or a begin- Panasonic also introduces two new features: ner, find the digital camera that feels Sound Recognition and Power OIS. right and start snapping and exploring. Panasonic’s innovative Sound Recogni- (no settings needed), is available on its tion means the digital camera can listen entire 2009 line of LUMIX digital cam- to a second of recorded audio during eras, from its advanced LUMIX G System image capture and the Venus Engine can interchangeable lens cameras to the recognize whether the camera is being entry-level point-and-shoot. For con- used indoors or outdoors. By using this sumers looking for an easy and intuitive additional information, scenes can be way to capture high-quality photos and reproduced with further accuracy. And video, Panasonic’s iA makes it possible. HOW DOES REFLECTION COME INTO THE WORLD?

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The famous Farrah poster, shot by Bruce McBroom in 1976. 14 PUBLIC EYE

20 NEW BOOKS

26 ART

28 IN PRINT

RECONSIDERING THE IMPORTANCE OF FARRAH THE ICON WITH EXTRAVAGANT HAIR

AmericanPhotoMag.com 13 PUBLIC EYE graph that would establish Farrah as the number-one somebody HOW of the 1970s. Soon afterward, she was cast as one of three detec- FARRAH tives, all equipped with martial arts skills and dynamite bodies, SAVED THE when Charlie’s Angels pre- miered on TV. They all had long CULTURE. hair too, but gentlemen prefer blondes, and Farrah was golden. She once said, “When the ESSAY BY show was number three, I thought it was our acting. When we got VICKI to be number one, I decided it could only be because none of us GOLDBERG wears a bra.” (She later went on to be nominated three times for Emmys.) The poster went off like a rocket and became the best- selling pinup of all time, pushing Marilyn Monroe into second place. Farrah earned so much more in poster royalties than she did from Angels that she walked out on the show after a year. In 1977 NASA sent that poster into space in a time capsule on its Oblio probe, and today it hangs in the Smithsonian. Pinups have a long history, but back in the era when Betty Grable n 1976, Farrah Fawcett was in a bathing suit was big news, I just another nobody trying to society mandated a certain pre- become a somebody. Though she tense to respectability. Andre had only a few commercials and Bazin, the noted ﬁ lm critic, wrote some print advertisements on in 1946 that the pinup “is noth- her resumé, her hair was about to ing more than chewing gum for become as famous as Samson’s: the imagination. Manufactured Teenage boys were secretly snap- on the assembly line, standard- ping up women’s magazines for ized by Vargas, sterilized by cen- her picture in a shampoo ad. A sorship.” (Vargas was the Esquire poster producer smelled money magazine illustrator who drew and commissioned the photo- provocatively posed and anatom- ically impossible women who kept covered—sort of—in abbre- viated outﬁ ts that were appar- ently glued on.) Then, in 1947 PHOTOGRAPHS BY and 1953, the Kinsey Reports were published; in 1960 the Pill BRUCE MCBROOM guaranteed women a new sexual openness; and in 1963 Betty Friedan’s The Feminine Mystique

14 INSIDE PHOTOGRAPHY © BRUCE MCBROOM

One of Bruce McBroom’s contact sheets from the Farrah poster shoot

AmericanPhotoMag.com 15 © BRUCE MCBROOM (2)

16 INSIDE PHOTOGRAPHY FARRAH REWROTE THE IDEAL

sparked the feminist movement. Actors took off their clothes on stage and screen, while the girl next door doffed them in Playboy. In the early 1970s, Penthouse and Hustler gave new scope to the word explicit.

y that time feminism had Bdecreed that women could enjoy both sex and their own bodies. (See Erica Jong’s Fear of Flying, 1973.) But Farrah rewrote that ideal in capital letters. She remained tantalizing, refusing to pose nude (until 1995, when she made an issue of Playboy the best-selling issue of the decade). In the 1976 poster, her bathing suit coolly covers her, but her erect nipple turns the heat up. She radiates high-voltage good health, with a smile so large it could rival the white keys of a piano. Her extravagant hair, which inspired women all over the map to try (and fail) to match her allure, broadcasts female sexuality, as abundant hair always has. And the Indian blanket behind her, a seat cover grabbed from his car by Bruce McBroom, the photographer, tilts the image toward Opposite a symbol of the all-American and here: Two outtakes young woman—a Yankee Venus from the transplanted from Olympus to poster shoot the walls of a dorm near you. N

AmericanPhotoMag.com 17 MEMOIR ing from my car. Farrah did her tired of looking perfect.” She T he poster started Farrah’s BRUCE own hair and supplied the now- walked over and turned on the career, and when Charlie’s famous “wardrobe.” hose and drenched herself Angels debuted on TV, the com- We tried several swimsuits, with water. I ran for my camera bination of the two made her MCBROOM and, of course, she looked great and shot a sequence of her famous overnight. The success in all of them. But I felt I didn’t with mascara running and hair of the poster didn’t really help RECALLS quite have “The Poster” until dripping wet—very sexy. my career, though, because the Farrah fi nally came out of the The fi nal image for the poster publisher refused to give me a THE house wearing the red suit. I wasn’t my fi rst choice, but photo credit. It was only after looked through the camera and Farrah personally selected it. I the poster became a news story FAMOUS knew—this was the one! shot many rolls of fi lm that and cultural phenomenon that At the end of that long, hot day, and Farrah picked that one; journalists began asking, “Who LADY IN RED day, while I was packing up my her instincts about her image shot the poster?” gear, Farrah said to me, “I’m so were always correct. I have tried over the years to understand why it has attracted so much interest from so many people. No one had heard of Farrah Fawcett when Pro Arts asked McBroom me to photograph her, and at that preferred the time, the idea of charging money water shots. for a poster of a relatively anon- Farrah over- ruled him. ymous model was unheard of. Though some rock-and-roll posters of famous bands were selling, they were usually given away for free, as a form of publicity. I think the image was a lucky n a summer day in 1976, combination of this whole- O I photographed Farrah some, beautiful all-American girl Fawcett for her famous poster, looking directly at you with a which has since sold more dazzling smile and a red suit that than 12 million copies. At the covered a lot but revealed a time, I was freelancing in Los little—just enough. Angeles by photographing celeb- I have been told that Farrah rities and rock-and-roll groups and I created an “iconic” image like The Doors, The Mamas and that day, and I am proud that it the Papas, Frank Zappa, and stands tall with the classic pinups The Beatles. I had photographed of Rita Hayworth, Betty Grable, Farrah before, when she fi rst and Marilyn Monroe. In my came to Hollywood, and a few long career as a still photogra- years later, when publisher Pro pher on motion pictures, I have Arts wanted to make a poster with photographed many posters— her, she specifi cally requested featuring Eddie Murphy, Harrison that I be the photographer. Ford, Arnold Schwarzenegger, The shoot was very simple— and Clint Eastwood, to name a just Farrah and I, at the home few—but the poster that every- she shared with her husband, one remembers me for is Farrah. Lee Majors. I used a 1973 In the thirty-three years Nikon F with a 50mm lens and since I took the photo, it has Kodachrome 25 fi lm. I had no hung in museums and has artifi cial lighting, just the appeared in the background of California sun and a white bounce scenes from popular movies. card. I supplied the Indian And people continue to buy it

blanket, an impromptu set dress- © BRUCE MCBROOM on eBay—including me.

18 INSIDE PHOTOGRAPHY Make your portraits look stunning in under 5 minutes

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Fast, easy, great value for money. Finally just move sliders to get the results you want: Download the free trial from: t Slim the face and subtly improve features t Remove wrinkles and other skin www.PortraitProfessional.com defects t Beautify skin, eyes, lips, teeth & hair 10% extra discount for American Photo readers by entering the coupon AP109 when buying online. ASCHEN BOOKS (2) COURTESY T

20 INSIDE PHOTOGRAPHY Left: Buzz Aldrin on the moon, 1969, photo by Neil Armstrong. Below: New astronaut Aldrin (left) in training in 1964.

ith the heart of a novel- W ist, Norman Mailer knew that mankind was transformed in the instant that the Lunar Landing Module, nicknamed Eagle, came to rest in the Sea of Tranquility, on July 20, 1969. In his 1970 book Of a Fire on the Moon, Mailer told the tale of the Apollo 11 mission, in his own fashion. He saw the greatness of the endeavor, but was aston- ished by the corporate blandness of NASA. In Neil Armstrong, Mailer found a character whose goal was not individual glory, but a team player whose dry scientiﬁc jargon undercut the drama of the moment. Mailer understood that it would require storytellers, himself foremost, to put the grand adventure of Apollo 11 into a human context. In one respect, however, astronauts Armstrong and Buzz Aldrin did capture and communicate the astounding nature of their feat: The photographs they made on the moon 40 years ago remain powerful statements about human spirit and vulnerability. In August, Taschen Books released a remarkable photography book combining NEW BOOKS images from NASA’s archive and other private collections AN ASTONISHING with the text from Mailer’s book. The 350-page Norman Mailer, MoonFire: The Epic LIMITED-EDITION Journey of Apollo 11, will come with a signed, framed, and numbered image of Buzz VOLUME TELLS THE EPIC Aldrin. The price? $1,000, except for the as-yet unpriced STORY OF THE ﬁnal 12 copies of the 1,969 limited edition, which will contain fragments of actual moon JOURNEY OF APOLLO 11 rocks. On the following pages we present Mailer’s account of IN PHOTOS AND THE the landing. —DAVID SCHONAUER WORDS OF NORMAN MAILER

AmericanPhotoMag.com 21 ASCHEN BOOKS (3) COURTESY T

22 INSIDE PHOTOGRAPHY Left: The Lunar Module “Eagle” lifts off from the moon, July 21, 1969. Below: A historic footprint and President Kennedy in 1962. DESTINY WITH HISTORY THE APOLLO LANDING TEXT BY NORMAN MAILER

o one got ready for the S climax of the greatest week since Christ was born….The LEM having ﬂown around the moon and gone behind it again, the braking burn for the Descent Orbit Initiation would be begun in radio silence…. Phrases came through the general static of the public address system. “Eagle looking great, you’re go,” came through, and statements of altitude. “You’re go for landing, over!” “Roger, understand. Go for landing. 3,000 feet.” “We’re go, hang tight, we’re go. 2,000 feet.” So the voice came out of the box. Somewhere a quarter of a million miles away, ten years of engineering and training, a thou- sand processes and a million parts, a huge swatch out of 25 billion dollars and a hovering of machinery were preparing to

AmericanPhotoMag.com 23 ASCHEN BOOKS (2) COURTESY T

24 INSIDE PHOTOGRAPHY Left: Armstrong photographs the Sea of Tran- quility. Below: An early space IT WAS program image. THE VOICE OF THE go through the funnel of a his- BEST BOY half confused. Had they actu- torical event whose signiﬁcance ally landed? might yet be next to death itself, IN The Capcom spoke. “We and the reporters who would copy you down, Eagle.” But it interpret this information for the was a question. newsprint readers of the world TOWN “Houston, Tranquility Base were now stirring in polite, if here. The Eagle has landed.” It mounting, absorption with the was Armstrong’s voice, the quiet calm cryptic technological voice of the best boy in town, voices which came droning out the one who pulls you drowning of the box. Was it like that as Okay,” said the voice as even from the sea and walks off one was waiting to be born? Did as before, “engine stop. ACA before you can offer a reward. one wait in a modern room with out of détente. Modes control The Eagle has landed. strangers while numbers were both auto, descent engine announced—“Soul 77-48-16— command override, off. Engine Excerpt from Norman Mailer, you are on call. Proceed to Stag- arm, off. 423 is in.” MoonFire: The Epic Journey of ing Area CX—at 16:04 you will A cry went up, half jubilant, Apollo 11, courtesy Taschen Books. be conceived.” So the words came. And the moon came nearer. “3½ down, 220 feet, 13 forward, 11 forward, coming down nicely, 200 feet, 4½ down, 5½ down, 160, 6½ down, 5½ down, 9 forward, 5 percent. Quantity light. 75 feet. Things looking good. Down a half. 6 forward. “Sixty seconds,” said another voice. Was that a reference to fuel? Had that been the Capcom? Or was it Aldrin or Armstrong? Who was speaking now? The static was a presence. The voice was almost dreamy. Only the thin- nest reed of excitement quivered in the voice. “Lights on. Down 2½. Forward. Forward. Good. 40 feet down. Down 2½. Picking up some dust. 30 feet, 2½ down. Faint shadow. 4 forward. Drifting to the right a little. 6…down a half.” Another voice said, “Thirty seconds.” Was that thirty seconds of fuel? A modest stirring of antici- pation came from the audience. “Drifting right. Contact light.

AmericanPhotoMag.com 25 “Untitled (Panel Building 1) Berlin, 2004” © ANDREAS GEFELLER/COURTESY HASTED HUNT GALLERY

26 INSIDE PHOTOGRAPHY ART A VISUAL PUZZLE MADE ONE STEP AT A TIME

ometimes photographers are S so busy looking out at the world that they forget to look up, or down. Andreas Gefeller is certainly interested in what is overhead, but he’s totally tuned into what’s underfoot. Here, for example, you see an image he created in 2004, showing what appears to be the floor plan of a building in Ber- lin, Germany. Gefeller creates such mind-bending visual puz- zles as this in a relatively simple, but painstaking, way. In this case, he photographed every square inch of one floor of the building using a Canon EOS 5D with a 35mm focal-length lens, which he supports at a height of five or six feet with an unsplayed tripod that serves as a sort of boom. Then he stitches all the images together in Photo- shop. “I like to make people think about whether the images are truth or fiction,” he says. Gefeller’s latest series, called Supervisions, was on exhibition at the Hasted Hunt Gallery in Manhattan earlier this year. For more, visit andreasgefeller.com, or see Master Class on page 77.

PHOTOGRAPH BY ANDREAS GEFELLER

AmericanPhotoMag.com 27 Antoine Verglas’s airy photos of model Julie Henderson, for Italian GQ © ANTOINE VERGLAS (2)

28 INSIDE PHOTOGRAPHY IN PRINT JULIE HENDERSON LOOKS SEXY AND FEELS SEXY

ntoine Verglas’s resume is A enough to make any man jealous. The New York-based photographer has been a mainstay imagemaker in men’s magazines since their heyday in the late ‘90s, shooting for Maxim, GQ, FHM, and the much-anticipated swimsuit edition of Sports Illustrated. And from this enviable career of working intimately with the world’s most stunning women, Verglas has discovered the key to creating alluring photographs (to which his pictures of model Julie Henderson, taken for Italian GQ, can attest). The trick is to remember that a model may look sexy, but ultimately she must feel sexy too. “If you want a woman to look relaxed in a picture,” Verglas muses, “you cannot put her on a cement ﬂoor. Cement will make her body language look hard. If you put her on a bed, it’s going to get softer. And if you put her on a very luxurious rug, it’ll be even softer still.” He smiles. “I have used so many white rugs over the years because a woman just feels more sensual with something thick and ﬂuffy.” No need to take his word for

PHOTOGRAPHS BY ANTOINE VERGLAS

AmericanPhotoMag.com 29 © ANTOINE VERGLAS

30 INSIDE PHOTOGRAPHY “Julie knows which poses and expressions “I’VE USED work for her,” Verglas says. MANY WHITE RUGS OVER THE YEARS”

it, though; his photos of the captivating Henderson—occasionally modeling with that omnipresent rug—are carefree and undeni- ably sexy, easily proving his theory. Verglas is quick to note, however, that Henderson is no novice at being in front of the camera. She has modeled since the age of 13 and has found a solid fan base in recent years with three consecutive Sports Illustrated swimsuit editions, for which Verglas ﬁrst photographed her. “Julie knows which poses and expressions work for her,” he says, “and I was very happy to work with her again [for GQ].”

lthough men’s magazines A have taken a blow in recent years due to the availability of material on the Internet, Verglas has no intention of abandoning his sensual aesthetic. Instead he’s expanding the scope of his photography to include fashion and portraiture, for both celebrities and everyday women. “I have clients who see my photos in magazines, and they say, ‘Oh, I would love to have a sexy portrait session,’ or sometimes a husband will give a session to his wife as a gift,” Verglas explains of this new chapter. “When you get known for a particular style, people start seeking you out. And when you enjoy it like I do, you do it well.” —LINDSAY SAKRAIDA

AmericanPhotoMag.com 31 Here: Henderson INSIDE PHOTOGRAPHY glows with Ver- glas’s signature lighting. Bottom right: Verglas’s sketch of the photo shoot’s lighting scheme. © ANTOINE VERGLAS

sense. “I like soft lighting,” says two internal diffusion layers, the side. The model’s skin was VERGLAS the classically minded photogra- also powered by a Grafit A4. well-moisturized so that her pher. “I think it’s flattering.” The Octabank was positioned “curves,” as Verglas puts it, The effectiveness of soft light behind and slightly to the right would reflect the strong backlight ON depends on “the girl and the of Verglas’s 17-megapixel Canon more brightly. “We just wanted situation,” says Verglas. For his EOS-1Ds Mark II; standing light- to make it look like she was in LIGHT backlit photographs of model ing flats off-camera to the left front of a big window,” says the Julie Henderson, soft light was bounced additional light in from photographer. —RUSSELL HART KEEP ideal. In fact he made the backlight doubly soft, placing two 3x4-foot Chimera softboxes IT SOFT directly behind the model, then setting up a 12x12-foot “silk” in front of them. Each softbox was powered by a 3200 watt- ard lighting is au courant, second Broncolor Grafit A4 Hoften sacrificing beauty for pack set to 2500 watt-seconds. a sense of realism or a more Front lighting was also doubly graphic image quality. But softened by a 7-foot-diameter Antoine Verglas is not one for Westcott Octabank, an eight- fashion—at least not in its trendy sided softbox that incorporates

32 AmericanPhotoMag.com DEADLINE -i«Ì°Ê£Ó]ÊÓää

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/"Ê / ,Ê6-/\Ê NEW CATEGORY: WWW.IOTYCONTEST.COM EXTREME This category highlights the passion of photographers ABOUT ONLINE SUBMISSIONS who are active participants The annual American PHOTO Images of the 9ÕÊV>ÊiÌiÀÊ>ÊvÊÞÕÀÊ>}iÃÊi°Ê*i>ÃiÊ in life’s adventures. We’re looking for extreme art; Year event is an international competition that is visit www.iotycontest.com and follow the extreme sports; extreme easy upload instructions. If you prefer to mail in a definitive showcase of the very best of travel; extreme people... contemporary photography. This juried photo your entry please visit www.iotycontest. It’s a new kind of contest offers unmatched exposure to both comÊvÀÊìÌ>i`ÊÃÌÀÕVÌÃ°Ê ÌiÊ>Ê photography and a new payments must be made online. established and emerging photographers in a kind of lifestyle in which wide range of fields, from documentary/ every moment is a memory. photojournalism to cutting-edge commercial DEADLINE ÌÀiÃÊÕÃÌÊLiÊ«ÃÌ>Ài`ÊÊ>ÌiÀÊÌ>Ê work and will provide an unprecedented `}Ì]Ê-i«ÌiLiÀÊ£Óth]ÊÓää° opportunity for peer review of your work by professional photographers, museum curators, ENTRY FEE art critics and influential editors. Winners will be Single Entry:ÊÊfÓxÊÊNÊÊSeries:ÊÊf{äÊÊNÊÊ selected on the basis of originality and the Student Work: Êf£äÊÊÊÊ overall quality of concept execution. Extended EntryÊ-i«ÌiLiÀÊ£Çth®\ÊÊfxä ÊiÌÀÞÊV>ÊLiÊiÌiÀÊ>ÊÃ}iÊ>}iÊÀÊ>Ê CATEGORIES ÃiÀiÃÊvÊ>}iÃ°ÊÊÃiÀiÃÊVÕìÃÊÕÌ«iÊ images or pages that make up a cohesive UÊ*ÌÕÀ>ÃÉ VÕiÌ>ÀÞÊ Ài>Ìi`ÊÃÌÀÞ°ÊÊÃiÀiÃÊÃÊÌi`ÊÌÊ>Ê>ÝÕÊvÊ UÊ iÀV>Ê7À\Ê`ÛiÀÌÃ}É `ÌÀ>Ê £äÊ>}iÃ°Ê/ÊiÌiÀÊÌiÊÃÌÕìÌÊÜÀÊV>Ìi}ÀÞÊ UÊ*iÀÃ>Ê7ÀÊUÊ-ÌÕìÌÊ7ÀÊUÊ*ÀÌÀ>ÌÕÀiÊ you must currently be enrolled in classes. UÊ >ÌÕÀiÊUÊ ÝÌÀii

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Q*CPFU1P1RVKEU±±YYYJCPFUQPQRVKEUEQO Q5EQRG%KV[±±YYYUEQRGEKV[EQO Q126%QTR±±YYYQRVEQTREQO Q*KIJ2QKPV5EKGPVK¿E±±YYYJKIJRQKPVUEKGPVK¿EEQO Q#UVTQPQOKEU±±YYYCUVTQPQOKEUEQO Q#FQTCOC±±YYYCFQTCOCEQO Q1RVKEU2NCPGV±±YYYQRVKEURNCPGVEQO Q6GNGUEQRGUEQO±±YYYVGNGUEQRGUEQO 2TKEGKUUWIIGUVGFTGVCKNKP75&QNNCTU2TKEKPIUWDLGEVVQEJCPIGYKVJQWVPQVKEG TYLER HICKS/NEW YORK TIMES

WHILEWHILE SHOOTING THE STORIES OF THEIR LIVES IN IRAQ AND AFGHANISTAN, THREE PHOTOGRAPHERS KNOW THEY CAN DEPEND ON EACH OTHER BAND AND THE LESSONS THEY OF LEARNED BROTHERS LONG AGO TEXT BY AT A SMALL REGIS LE SOMMIER NEWSPAPER IN OHIO.

New York Times photojournalist Tyler Hicks made this image during a ﬁ reﬁ ght in the Korangal Valley of Afghanistan in April. AmericanPhotoMag.com 35 Tyler Hicks, left, in Afghanistan in 2006 “ SMALL NEWSPAPERS BECAME THE GENERATORS OF PHOTOGRAPHIC TALENT BECAUSE OF THE VITAL CONNECTION THEY HAVE TRADITIONALLY MAINTAINED WITH LOCAL COMMUNITIES.” MARIO T AMA/GETTY IMAGES

PHOTOGRAPHS BY TYLER HICKS, CHRIS HONDROS, AND SPENCER PLATT

Spencer Platt in Basra, Iraq, 2003

36 WITNESS Chris Hondros in Monrovia, Liberia, 2003

met Chris Hondros on a freez- people. We completed the story went there to work on a story that we got together for lunch in I ing day in February 2004 in and sent it off to France, where it about the American military I New York and began reminisc- Toledo, Ohio. At the time, I was was well received by my editors. asked him to shoot the pictures. ing about our ﬁrst assignment the U.S. bureau chief of Paris Later, Chris and I hooked up In 2006 we traveled to New together, back in Ohio. Chris Match, and I was covering presi- again on a far different story. He Orleans to cover the aftermath of ﬁnally explained to me why he dential candidate John Kerry as was based in Iraq, and when I Hurricane Katrina. Shortly after knew the state so well: He had he campaigned through this started his photography career at important swing state. For me, the Ohio’s Troy Daily News, a clas- trip was an opportunity to learn sic small-town newspaper. about what middle America was That was back in 1991, when really like, and I was getting Hondros, then 20 years old, was quite a view, crisscrossing the about to graduate from North state from Poland to Cleveland, Carolina State University in Canton to Columbus, and south Raleigh, up the road from his to the outskirts of Cincinnati. hometown of Fayetteville. He was I needed a good photographer looking for an internship and to help me cover the story, and had applied to almost 30 news- Hondros, a photojournalist with papers all over the country. “I Getty Images, had been sent. We didn’t get anything,” he recalled. immediately got along. He knew “I still have 30 rejection letters the shots I needed for the story somewhere.” Then he heard from and seemed to have a real sense Jim Witmer, the photo editor of the place and a rapport with its of the (continued on page 42) The darkroom at the Troy Daily News, circa 1994 CHRIS HONDROS

AmericanPhotoMag.com 37 TYLER HICKS/THE NEW YORK TIMES

38 WITNESS “ THE PHOTOS ALMOST COST HIM HIS LIFE ”

Tyler Hicks has been covering the war in Afghanistan off and on since 2001. In April, embedded with a group of American soldiers in the Korangal Valley, he produced what may be his most dramatic combat images, and it almost cost him his life. The image at left shows Private First Class Richard Dewater, 21, as he walked across a plank over a rain- swollen river. After taking the picture, Hicks reviewed it on the LCD screen of his D-SLR and decided the composition wasn’t correct. He waited and photographed another soldier on the plank, then ran to catch up with Dewater. As Hicks ran toward the soldier, a bomb exploded under Dewater, killing him. It was an ambush by Taliban fi ghters. Hicks and another soldier ran downstream and tried to ford the river. With his 40 pounds of body armor and camera gear, Hicks was submerged and realized his cameras were out of commission. Times correspondent C. J. Chivers lent him a point-and-shoot, and Hicks continued to cover the fi refi ght. His pictures were published on April 20.

TYLER HICKS

AmericanPhotoMag.com 39 CHRIS HONDROS/GETTY IMAGES

40 WITNESS “ BOTH PARENTS IN THE CAR WERE KILLED ”

On January 18, 2005, Hondros snapped a series of images that seemed to sum up the troubled American occupation of Iraq. An Iraqi family traveling in a car through the city of Tel Afar failed to stop at a U.S. military checkpoint. American soldiers, always aware that such cars might be fi lled with explosives, opened fi re on the vehicle. Both parents in the car were killed, and one of the family’s fi ve children was seriously injured. After the car stopped, a young girl emerged, covered with her parents’ blood. The images generated a storm of interest around the world, and the injured boy was fl own to the United States for treatment.

CHRIS HONDROS

AmericanPhotoMag.com 41 SPENCER PLATT

Left: Hicks in Ohio, circa 1994. Below left: Hondros at Troy Daily CHRIS HONDROS the News. Center: Spencer Platt.

light. It was before computers, so we were printing pictures in the darkroom. The deadline was 9:00 a.m., and the paper came out at 2:00 p.m. You would mostly shoot pictures the day before and leave them on the editor’s desk. One day a week the photographers would have an entire page for themselves.”

(continued from page 37) recalled Hondros. “The picture n 1994, the newspaper’s Troy Daily News at the time, who had to stand on its own. There I photo editor left, and the job offered him an internship for the had to be a certain ﬂ are to it. of ﬁ nding new interns was given following January. Hondros We were pushing ourselves. to Hondros. One of the portfo- started with a salary of $200 a That’s where I learned about lios he looked at came from a week, not enough to get a motel young photographer named

room. Instead, he found a win- GETTY IMAGES Tyler Hicks. “He had one of the dowless room above the local best,” says Hondros. “Stuff from photo store for $45 a week. The Guatemala…crazy stuff.” job required him to shoot two Shortly after Hicks arrived at feature pictures every day, one in the newspaper for his internship, color for the front page, one in Hondros left to continue his black and white for the inside. studies at Ohio University in “It could be children playing, Athens, two hours away. Hicks people working, just anything,” eventually ended up taking over Hondros’s job, then ﬁ lled the intern slot with a friend, Spencer Platt, whom he’d known from Staples High School in West- port, Connecticut. “My introduction to the news- CHRIS HONDROS paper was on a sultry Ohio evening,” recalls Platt. “The “ darkroom was a world of chem- THE istry, ﬁ lm dryers, blaring radios, and snapshots pinned to a PICTURE wall from dozens of photographers who had made brief stays in Troy.” HAD Like Hondros, Hicks and Platt

used their brief stays in Troy to TT/GETTY IMAGES TO STAND launch their careers. Hicks now works for the New York Times

ON ITS and has (continued on page 86) SPENCER PLA OWN ”

42 AmericanPhotoMag.com “ HE HAD ONLY On August 15, 2006, Platt spent the which captured the surreal nature of morning walking through a bombed- modern lifestyle and ancient antag- out neighborhood in Beirut, photo- onisms. The remarkable image won A MOMENT graphing people returning to what ﬁ rst place in the 2008 World Press was left of their homes. Out of the Photo of the Year competition. Platt, corner of his eye he saw a red con- who graduated from Clark University vertible full of attractive young Leb- with a degree in English, has during TO SHOOT anese dart into the scene. He had his photography career also worked in only a moment to take this picture, Liberia, Albania, Congo, and Iraq. ”

WITNESS 43 IkXiYh_X[jej^[ FefFêje$YecD[mib[jj[h WdZ:_iYel[hj^[MehbZe\Fêje]hWfô

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Olympus E-P1 Form and function are equal part- Right: The Olympus E-P1 ners in this remarkable inter- with the 17mm changeable-lens camera. Like M.Zuiko Digital and Olympus D-SLRs, it incorporates a dedicated viewfi nder. full-size Four Thirds–format image Below: Its 14-42mm sensor; like Panasonic’s Lumix standard zoom. GH1, it dispenses with a refl ex Bottom: The 17mm and mirror and pentaprism, substitut- fi nder, FL-14 fl ash, and ing an electronic viewfi nder for lens adapter. optical TTL viewing. And the much smaller dimensions permitted by the absence of a mirror box and prism housing have allowed Olympus to make this new 12.3-megapixel model a clear homage to 1963’s Olympus Pen F—a cele- brated SLR that stayed small by shooting half frames on 35mm fi lm. But the stainless-steel E-P1, which also comes in white with tan trim, is only half the size equation. The shortened lens- to-sensor distance and a smaller FORM FLATTERS mount diameter allow its Micro Four Thirds–format lenses to be FUNCTION much more compact, though with adapters you can mount existing WINNERS OF OUR NEW Zuiko Digital optics (for other E-series models) and OM-series EDITOR’S CHOICE lenses from Olympus’s 35mm days. And while the E-P1 may look DESIGN AWARDS old-fashioned, it shoots 720p HD video. Stay tuned for a full fi eld SHOW THAT test of this surprising, classy camera. About $800 (with 14-42mm). BEAUTY CAN MAKE A GOOD THING WORK BETTER.

Art of the Product “Good design is a Renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something the world didn’t know it was missing.”—PAOLA ANTONELLI, DESIGN CURATOR, MOMA

AmericanPhotoMag.com 45 BlueLounge CableDrop clips

Wacom Intuos4 Wacom’s next-generation pen tablet features the greatest pressure-sensitivity range yet—2,048 levels, detecting the slightest touch of the pen tip. (The pen itself has a pressure-sensitive eraser and two side switches for customized com- mands.) But the Intuos4’s industrial-chic design places all the Express Keys and new four-way Wacom Touch Ring to one side of its wide- Intuos4 format working surface, so that all pen can be operated with the nonpen tablet hand. (Left-handers simply rotate the tablet.) New illuminated displays on all but the smallest tablet—active areas on the four available sizes range from 3.9x6.2- to 12x18.2 inches—remind you what each key and the ring do, even changing automatically when you switch applications. About Sony $425 (Large/8x12.8 inches). Cyber-shot DSC-T900 BlueLounge CableDrop The size of a big coat button, this sculpted rubbery clip is entirely practical. Uncover its adhesive backing and stick it wherever you need to keep a computer cable and plug (USB or otherwise) in position. Then you simply push the DESIGN AWARDS cable into its slot. The CableDrop clip is especially handy with devices you’re always unplugging, whether a laptop or a card reader—preventing the plug from dropping behind your desk. It comes in either a muted color scheme (two each of off- white, rusty

Microsoft Arc Mouse

46 EDITOR’ S CHOICE red, and warm gray) or a bright picture with a modern, computer- one (two each of orange, pink, and inspired design that incorporates a green). About $10 for six. brilliant 480x800-pixel LCD. The screen tilts and can be quickly Microsoft Arc Mouse rotated on its smooth-operating The most elegant computer mouse hinge from “landscape” to “por- we’ve seen, Microsoft’s wireless Arc trait” orientation, so that verticals Mouse uses its arched design to fi ll its full seven-inch, 16:9-format give you the comfortable grip of a image area. (An automatic sensor full-sized mouse, but it folds in the orients the pictures properly.) The middle so it’s the size of a note- Kaleido displays pictures stored on book mouse for transport. Folding it its 512MB internal memory, a Ipevo Kaleido R7 also turns off power to preserve its small-format memory card, or a two AAA batteries. The body of its USB fl ash drive—but the differ- wireless transceiver, which slips ence is that you can also stream into a computer’s USB port, isn’t photographs and other content much bigger than its own plug, and from your computer (local or RSS) fi ts snugly inside the folded mouse directly to the frame via your when not in use. Color choices now home’s wireless network. Separate range from eggplant purple to green channels for iPhoto albums can emerald. About $35. even be set up. Imagine cycling through your entire archive before Sony Cyber-shot DSC-T900 repeating a picture! About $200. Sony’s sleek 12-megapixel touch- screen compact is all you could Canon PowerShot D10 want in a pocket camera. Its half- Canon’s fi rst waterproof digital com- inch-thick stainless-steel body is a pact reminds us of the erstwhile handsome brushed silver, though futuristic camera designs created fashion-conscious photographers for the company by Luigi Colani, may prefer it in red, brown, or stylist of the fabled Canon T90. This black. And its 3.5-inch, 921,000- 12-megapixel model’s submarine dot LCD is spectacularly crisp; in shape isn’t just for looks, though: Canon addition to providing touch control It’s rated to operate as deep as 33 PowerShot of camera settings, it allows you feet, lower than its competitors. Its SanDisk card D10 to choose what part of the subject 2.5-inch LCD and optically stabi- readers you want to focus on simply by lized 35-105mm (equivalent) zoom touching it on the screen. (In are modest for use underwater, playback, touch any part of the where a bigger screen and shorter screen to zoom into that area of focal length would be more help. the image.) Touch-focusing the 4X But the D10 is also freezeproof to zoom could be the closest you 14 degrees Fahrenheit, and shock- come to manual control, however, proof for drops of up to four feet. because the T900 automates About $300. everything—with scene recognition, face and smile detection, SanDisk ImageMate Readers and the ability to identify and save SanDisk’s new memory card read- the less squinty of two sequential ers are faster at reading and writing, shots. And, duh, it shoots 720p as you’d expect, but they’re also HD video. About $325.

Ipevo Kaleido R7 Digital picture frames are now as affordable as they are tacky—and often disappointing in their display DESIGN AWARDS quality. The Kaleido changes the

AmericanPhotoMag.com 47 Pentax K2000 Limited Edition “tropical” cameras of yore. Many of those models were built as much for show as for their woods’ resistance to tropical climes, so it’s ﬁ tting that the Hog Ranch (now being used on the set of TV’s Bones by photo director Gordon Lonsdale) has a leopard-skin bellows and tor- toise-shell accents. Fortunately, both are faux. About, gulp, $20,000.

Pentax K2000 Limited Edition Not only is this stylish version of the compact, lightweight Pentax K2000 ﬁ nished in clean white, but the 18-55mm f/3.5-5.6 and 50-200mm f/4-5.6 zooms in its “kit” are a matching white—all the Sony better to stay cool in hot sun. (The HVL- camera’s grip and the lenses’ F20 zoom ring and front are a contrast- ing black.) Don’t let the 10.2-megapixel resolution or 2.7- inch LCD screen prevent you from being fashion-forward: That’s plenty of resolution for most printing pur- poses, and there’s no LCD live view anyway. Plus you get automatic sensor dust removal and sensor- shifting shake compensation, which Littman steadies the image with either lens 45 Single —and lots of other Pentax K-mount Hog optics. About $700 (including the Ranch two lenses!).

Sony HVL-F20 fl ash A pop of fl ash can save even the most well-lighted subject, fi lling in shadows or, in a dimmer setting, DESIGN AWARDS mixing with low ambient light for slow-sync effects. But the built-in fl ash on typical D-SLRs can be too weak for effective fi ll at all but the closest distances, and it’s so close much smaller and have been ele- card. The diminutive Multi-Format large-format functionality. The to the lens that it risks red-eye in gantly restyled. Featuring a mod- version is designed for smaller custom-designed models in the low light. Sony’s ingenious pocket- ernist, square-edged design with a card formats, including SD, SDHC, Littman Opus + Arte Collection pick sized fl ash is a compromise between glossy black fi nish, the readers Memory Stick, and xD, and achieves up on the retro-chic style of its built-in units and a full-sized shoe- attach magnetically to an angled, 30MB/second reading with an retooled Polaroid 110 instant fi lm mount strobe. It’s twice as powerful three-footed metallic base for SDHC card of equal speed. About cameras. One of our favorites is the as the former, and you can leave it space-saving upright use, but they $30 and $20. Hog Ranch (shown here), an hom- comfortably mounted in the hot- can be lifted off for transport or age to photographer Peter Beard’s shoe because a clever hinge allows fl at placement. The All-in-One ver- Littman 45 Single Hog Ranch famous Kenyan compound. Its it to fold fl at against the camera’s sion accepts virtually all card for- The maker of the world’s fi rst and warm color scheme and exotic prism. Lift it into shooting position mats and tops out at a 34MB/ only single-window, coupled- materials—including Noble African and the tube is displaced enough second transfer speed with SanDisk’s rangefi nder, parallax-free 4x5 has woods such as Ambonya burl and from the lens to greatly reduce red- Extreme IV (45MB/second) CF brought fashion to its product’s tigered bamboo—recall the wooden eye. About $100. —RUSSELL HART

48 AmericanPhotoMag.com EDITOR’ S CHOICE FLICKR CREATIVE SHOWCASE SPECIAL GATEFOLD MACIEJ DAKOWICZ

hotography has always been considered a democratic medium of expression. But the Flickr Pphoto-sharing website has transformed photography into a global community that, perhaps more than any other phenomenon in history, embodies the idea of art for the masses. And that art can be surprisingly ﬁ ne. Here we inaugurate our Flickr Creative Showcase, in which we proﬁ le a talented photographer from the ranks of Flickr’s millions of members. Look for our special gatefold in each issue.

WINNER SEPTEMBER/OCTOBER 2009 J Above: a photo from MACIE DAKOWICZ CARDIFF, WALES “Cardiff at Night,” AmericanPhotoMag.com 49 by Maciej Dakowicz MACIEJ DAKOWICZ (3)

Maciej Dakowicz Cardiff, Wales http://www.ﬂickr.com/ photos/maciejdakowicz/

agazines love to make M lists. The top ten of this or the five best of that are powerful ways to engage readers. So when American Photo featured the work of 12 “Flickr Superstars” in our May/June issue, the story created quite a buzz on the massively popular photo-sharing website. Some Flickrites seemed pleased by our choices, or at least happy that we’d done a story about Flickr. Others complained vigorously. We were happy when member Kara Baker started a new Flickr group in response to our story— a group in which members (now nearing 1,000) submit their own 12 Flickr Superstars. (Now that’s democracy!) “The whole point of the group is to celebrate who inspires you, who intrigues you, and who you’re learning from,” says the Brooklyn, New York-based Baker. “I now have a whole new and brilliant group of friends, and we go on photo walks and mini shoots. I’ve learned so much.” You’ll see that for yourself if you visit Baker’s excellent photostream at flickr.com; her screen name is Omeyisland. The first photographer we feature in our new Flickr Creative Showcase is someone whose name comes up again and again in the 12 Flickr Superstars group An image from “Cardiff at Night” by Maciej Dakowicz

50 FLICKR CREATIVE SHOWCASE

“I’m drawn to complex compositions,” says Dakowicz of his Cardiff work, below. and elsewhere on the site: Cardiff, strongest work in his new home- Wales-based Maciej Dakowicz. town, brilliantly capturing Cardiff’s Dakowicz’s huge body of work lively youth culture and raucous exports a Raghubir Singh–like nightlife, and that’s what we sensibility to the most far-ﬂung feature here. Check out Dakow- parts of the globe, which he icz’s Flickr photostream and often travels to with the help of website (maciejdakowicz.com) to NGOs. “I’m drawn to complex see more of this ﬁne work. compositions, photos with sev- And while you’re at it please visit eral layers in them,” he says. Flickr’s new American Photo “When I travel, I spend most of group. There you’ll be able to my time in cities, photographing weigh in on who we feature in street life.” The 33-year-old the Flickr Creative Showcase and photographer, who was born in to learn how to get your own Poland, has created some of his work considered for publication.

FLICKR CREATIVE SHOWCASE In this family, everyone is photogenic. The Sony® Series DSLR Cameras

© 2009 Sony Electronics Inc. All rights reserved. Reproduction in part or whole is prohibited without prior written consent of Sony. Sony, the Sony logo, alpha, and the HDNA logo are trademarks of Sony.

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3!,4,!+%#)49 54s0/24,!.$ /2s/2,!.$/ &, o a Google search for of Media Photographers. “If D“orphan works” and you’ll there is room for reasonable get nearly half a million hits. compensation once the artist is Yet most photographers don’t located, we can live with that.” know the meaning of this If user/infringers have not strange phrase, nor that it has conducted a diligent search or do important legal implications. In not negotiate a reasonable fee in fact, it’s the focus of a raging good faith, they lose the protec- battle over copyright. tion of the proposed legislation An orphan work is a docu- and will be liable for statutory or ment, artwork, photograph, or actual damages. So practically other creation that is protected speaking, those artists who have by copyright law against unau- THE LAW not registered their work in a thorized use but whose owner is timely fashion would be no worse either unknown or cannot be off, and in some cases they would found—making it virtually AN ORPHAN WORKS be better off, because the user impossible for someone to get has a legal obligation to try to permission to use the work. As LAW MIGHT NOT find them before using the work. the law currently stands, anyone “The idea that you have to look who uses a copyrighted work BE AS BAD for someone is a new concept without the owner’s permission, that will benefit photographers including an orphan work, can who haven’t registered their be held fully liable for infringe- AS YOU THINK. work,” says Nancy Wolff, noted ment, even if he or she made copyright lawyer and author of every effort to locate the copy- BY MICHELLE BOGRE The Professional Photographer’s right holder. Such statutory dam- Legal Handbook (Allworth Press). ages can range from $750 to However, the photographer who $150,000 if the copyrighted has registered an orphan work work was registered with the in a timely fashion will lose the U.S. Copyright Office before right to sue for statutory damages. the infringement or within 30 That could mean a potential loss days of its creation and/or pub- has to pay the owner only an pay “whatever they consider of revenue. lication. (If the work wasn’t reg- amount that a “willing buyer and reasonable”; that it allows users This proposed legislation does istered, the infringer is only willing seller” would have agreed to “escape all legal liability by a good job of balancing the needs liable for “actual damages,” on before the infringement. claiming they didn’t know who of copyright owners with the such as the amount the photog- they were stealing from.” very real need to limit liability for rapher might have realized from any photographers and The legislation as currently some uses of orphan works. Both selling his image. Actual dam- M artists are up in arms written isn’t perfect, but it’s not House and Senate versions ages are usually far smaller than about a possible orphan works the disaster that many portray it require that the copyright office statutory damages.) law. Alarmist headlines and to be. And it is inevitable that an certify two databases that can be Proposed congressional legis- subject lines litter the Internet, orphan works bill will be passed searchable by image. lation that will more than likely compelling people to sign peti- by Congress because it addresses When orphan works legislation become law limits this liability. It tions, forward e-mails, and the pervasive difficulties faced by passes, it will encourage many says that if someone who wants urge friends and colleagues to publishers, libraries, museums, productive uses that aren’t possi- to use an orphan work conducts oppose orphan works legisla- universities, and filmmakers who ble now. Maybe the curators at a “qualifying search”—defined tion. Unfortunately most of want to use an orphan work but the Holocaust Museum finally as a reasonable and “diligent” these missives contain mislead- can’t or don’t because of the risk will be able to use the millions search using every available ing, inaccurate, and, in some and liability of statutory damages of pages of archival documents, source and technology, includ- cases, false information. Among if the copyright owner does photographs, oral histories, and ing printed material and elec- the misinformation are varia- appear. “We’ve never thought that reels of film that, as they have tronic databases—that person is tions of a few claims: that an orphan works law would be stated before Congress, now just protected from statutory dam- orphan works legislation will Armageddon for photographers,” sit in their archives because ages. If the copyright holder “rob” photographers of copy- says Eugene Mopsik, executive they can’t afford the liability of eventually appears, the infringer right; that it will allow users to director of the American Society damages under the existing law.

CLOSEUP AmericanPhotoMag.com 55 Develop Your Inner Creativity

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AmericanPhotoMag.com 57 PORTFOLIO SYMBOL OF DISTRUST CREATION

If artist Andres Serrano had painted his infamous AND image titled “Piss Christ,” instead of producing it as a photograph, would the work have become the focus of so much controversy? CONSEQUENCE Serrano made the image in 1987 by photographing a small plastic crucifi x submerged in a transparent ESSAY BY container fi lled with urine— likely his own—and cow’s blood. The image, he said, explored obsessions DANIEL about sex and religion. The piece was a winner of the Southeastern Center for GIRARDIN Contemporary Art’s “Awards in the Visual Arts” competition, and Serrano was awarded $15,000. The competition, as it turned out, was sponsored in part by the National Endowment for the Arts. When “Piss Christ” was exhibited in laced at the intersection of private and public worlds, a photograph elicits 1989, two United States P an eminently subjective response. Photographs are therefore a source of endless senators, Alphonse D’Amato debates and confl icts. Laws, attitudes, and the limits of what is acceptable in and Jesse Helms, were terms of representation vary from one country or culture to another. This makes the outraged. The NEA’s budget question all the more complex, but it is also what makes it so interesting. The numerous was slashed and funding controversies associated with photography throughout its history highlight the diversity was directed at less contro- of possible interpretations and the insoluble paradox of freedom and constraint that versial art. In the years constitutes photography itself. since, the image has con- Photographers, whatever their fi eld of activity, are bound by a series of laws the limits tinued to be a focal point for of which are constantly being tested, with jurisprudence usually lagging behind the issues of censorship evolution of attitudes and techniques. Certain laws are not enforced since they no longer and publicly funded art. correspond to practice at a particular time, whereas others evolve as a result of court decisions. Photographs that have been published for many years can suddenly be for- bidden, while others begin to circulate freely after a long period underground. It is all a question of how the pictures are interpreted, of the meaning that is read into them. Ever since 1839, when photography is offi cially considered to have been invented, photographers have had to fi ght for their images to be acknowledged (continued on page 88)

58 AmericanPhotoMag.com © ANDRES SERRANO 59 TFOLIO POR “ EXPERTS COULD NOT THE FAIRIES OF GUARANTEE COTTINGLEY FAKERY. ”

Photography’s ability to capture reality in great detail has produced a powerful belief system— one illustrated by two girls who used photographs to convince an entire country that they had seen fairies. In 1917, Frances Grif- ﬁ ths and her cousin Elsie Wright, age 10 and 16 respectively, spent the summer in Elsie’s family home in Cottingley, Great Britain. They played for hours in the countryside

COURTESY MUSÉE DE L behind the house, returning with tales of fairies and imps that they encountered there. Later, Elsie borrowed her father’s

’ELYSÉE camera, and the photographs the girls made revealed the fairies with great realism. The story spread and was eventually heard by Arthur Conan Charles Lutwidge Dodgson, a.k.a. Lewis Carroll, Doyle, creator of Sherlock was a mathematician at Oxford University, a writer Holmes. Doyle had the of children’s literature, and a passionate photogra- images examined by LEWIS pher. He met Alice Liddell, the daughter of an asso- experts at Kodak, who ciate at Oxford, when she was ﬁ ve years old. She could not guarantee fakery. inspired his tale of Wonderland, published in 1865, He then published them CARROLL and, along with other young girls, was the subject in Strand magazine, and in of many of his photos. Largely because of his 1922 he published a book images, there has long been speculation that Car- on the subject. Through- AND roll’s interest in Alice was sexual in nature. The out the decades the two ambiguous nature of photographs often invites such girls held that the images ALICE debate; people have layered onto Carroll’s images were authentic, until facts about the man himself—he was single and shy 1981, when they admitted and suffered from epilepsy—to arrive at conclusions fabricating the images by that have not and ultimately cannot be proven. copying book illustrations.

60 AmericanPhotoMag.com COURTESY MUSÉE DE L ’ELYSÉE

PORTFOLIO 61 LIBRARY OF CONGRESS

62 PORTFOLIO Can a persona created for the camera be copyrighted? The issue was not entirely CHARACTER clear in 1925, when ﬁlm star Charlie Chaplin sued the company that had released a ﬁlm called The Race Track, starring a Mexican actor named Charles Amador, who had changed his name to “Charlie Aplin” and begun imitating the famous persona of AS ICON The Little Tramp created by Charlie Chaplin. Chaplin charged plagiarism, and his lawyers presented photos of the Tramp character as evidence.The defense claimed that Chaplin himself had borrowed ideas from other actors, but Chaplin won. ROY EXPORT SAS

Thanks to a photo of Oscar Wilde taken by a man named Napoleon Sarony, photographers today enjoy legal rights that were once very much in question. In the 1860s, the theater become widely popular in America, giving birth to a cult of celebrity. Performers like Lily Langtry and Sarah Bern- hardt needed photos for promotion, and they went to Sarony, who opened a studio on Broadway in New York City in 1866. He soon realized that he could make money by selling his images of celebrities to the public at large and began paying stars for the rights to their images. In 1883 Sarony learned that a portrait he had made of Oscar Wilde had been copied and sold to the public by the Burrow-Giles Lithographic Company. Sarony sued, maintaining that his direction of the subject, the décor, and the lighting amounted to intel- lectual and artistic ownership of the image. He prevailed and helped establish the photographer as an auteur and photography as an art. CULT OF CELEBRITY

AmericanPhotoMag.com 63 On October 26, 1941, Lithuanian soldiers collab- orating with the German army executed three AWASH IN EVIL Soviet resistance ﬁghters in the streets of Minsk. After the war, the two hanged men were cele- When the world saw David E. Scherman’s photo of Lee Miller brated as heroes of the in Adolf Hitler’s Munich bathtub, controversy erupted. Was this Soviet Union. The young an act of subversive art, or was it a tasteless joke? girl executed with them Miller was one of the few women journalists accredited to remained anonymous. cover the war in Europe, and Scherman was a photographer In 1968, a Russian jour- for Life magazine. Both were present on April 29, 1945, when nalist identiﬁed her as the Dachau concentration camp was liberated. That night, in Masha Bruskina, just 17 Munich, they discovered an apartment belonging to the führer. when she was killed. Her The photo they shot the following day was carefully arranged. identity was not fully The symbolism—Miller is literally washing away Hitler’s evil—is accepted until 1996, how- clear. She had been inculcated in the ideas of surrealism ever, probably because she years before, when she was the muse of Man Ray, but many was a Jew. The cover-up people found this image of her to be offensive. Ultimately, the resulted from Joseph Stal- picture was, for Miller, a macabre memory: She told friends that, in’s post-war anti-Semitic in spite of her bath, the odor of Dachau remained on her skin. campaigns. But the photo remained as evidence.

THE HEROINE OF MINSK UNITED ST ATES HOLOCAUST MEMORIAL MUSEUM

64 AmericanPhotoMag.com GETTY IMAGES

PORTFOLIO 65 66 PORTFOLIO THE KISSING NUN

Fashion photographer A commercial photo- Oliviero Toscani is probably graph’s success or failure most famous as the cre- can depend on three ative genius behind an little words: location, loca- 18-year-long ad campaign tion, location. that turned Benetton into A case in point was the one of the most famous print ad campaign for the brand names in the world. popular Yves Saint Laurent The campaign was also fragrance named Opium. controversial, proving once Photographer Steven Mei- again that creating shock sel’s images appeared in and sales are not mutually magazines around the exclusive goals. world without causing a Toscani’s images illus- commotion. But when his trated the company’s THE shot of model Sophie Dahl “United Colors of Benetton” lying on her back wearing slogan. In one famous jewelery and stilettos photograph, he showed a SMELL was featured on street signs black woman breastfeed- in Britain, there was an ing a white baby. But per- OF outcry. What was accept- haps his most controversial able in one context seemed picture showed a priest too explicit in another. and nun kissing. By chal- MONEY The British Advertising lenging the principle of Standards Authority eventu- religious celibacy, the ally demanded removal image encourages viewers of the street ad panels. to think about traditional constraints. It was also seen as an attack against the basic notions of Roman Catholicism. The Italian government, facing pressure from the Vatican, banned the ad. In France, the Ofﬁce for the Sur- veillance of Advertising Practices demanded the withdrawal of posters featuring the image. So who was the winner in this

COURTESY MUSÉE DE L battle of ideas? ’ELYSÉE

AmericanPhotoMag.com 67 68 PORTFOLIO “ IN THE END, IT WAS AN ETHICAL PUZZLE. ”

LADY DIANA’S LAST PHOTO

The car crash that took the life of Diana Spencer, Dodi Al-Fayed, and their chauffeur on the night of August 31, 1997 unleashed a series of law- suits and criticism focusing on photographers. After the accident, it was announced that the driver of the car, Henri Paul, was drunk when he struck a pillar of a tunnel in Paris at high speed. Nonetheless, nine photographers who were part of the fatal street race were charged with manslaughter. In 1999 the case was dropped, but the image of celebrity photographers—espe-

© JACQUES LANGEVIN/COURTESY MUSÉE DE L cially aggressive paparazzi—was darkened. Respected Sygma photojournalist Jacques Langevin, who had covered events like the uprising in Tiananmen Square in 1989, made this image outside Diana’s hotel as the chase began. He was later charged with violating “the private life” of the deceased and was ordered to pay one euro to Mohammed Al-Fayed, Dodi’s father. In the end, the role of the photographers became a complex ethical puzzle, with newspapers, magazines, and television condemning ’ELYSÉE the photographers while eagerly publishing their shots to the delight of an avid audience.

TALE OF OMAYRA “ THREE TIMES I

Frank Fournier, a photographer with with Fournier won the World Press Photo the Contact Press Images agency, was in award in 1985 for his picture of Omayra, WANTED Colombia on Saturday, November 16, but he faced lingering moral doubts about 1985, covering the eruption of the Nevado his role in the drama. Is it enough for del Ruiz volcano, when he encountered photographers to simply tell the story of TO Omayra Sánchez in the town of Armero. people in distress? Was Omayra exploited The girl had been trapped by debris from as the media moved in to record her ﬁ nal STOP. a massive mudslide. For two days and hours? “Three times, I wanted to stop,” three nights, rescuers tried to release Fournier says. He did not, and the world her, creating a media side-show in which could not stop looking at his work. Looking ” Fournier had a front-row seat. Omayra back, Fournier says photographers must ﬁ nally succumbed to a heart attack. simply testify to the dignity of his subjects.

70 PORTFOLIO “ HE KILLED THE GIRL AND THE VULTURE HIMSELF AFTER When he photographed this starving The photo was published in The New Sudanese girl in 1993, Kevin Carter faced York Times on March 26 and instantly HE WON a moral question similar to the one that became a symbol of human misery. Thou- Fournier faced in Colombia. A native of sands of readers wrote to ask about the THE South Africa, Carter had risen to the top of fate of the girl. In an editorial, the newspa- his ﬁ eld documenting the battle against per explained that the photographer apartheid. Covering civil war and famine in didn’t know if she had or had not survived. PULITZER Sudan, he found the starving girl near the Carter, a sensitive man, immediately faced village of Ayod, as she was dragging herself withering criticism, though his image PRIZE. toward an aid station, a vulture behind brought him celebrity. He committed sui- her, seemingly waiting for her death. Carter cide in 1994, two months after receiving ” got the shot, then chased the vulture away. the Pulitzer Prize for his picture. CORBIS

72 PORTFOLIO PORTRAIT OF SHIELDS CHERID VERSUS BARKAOUN GROSS

Can the act of photography be barbaric? If so, can the bar- barism be redeemed by the sensitivity of the imagemaker? In 1960, Frenchman Marc Garanger, then 25, was sent to the town of Aïn Terzine in Algeria to carry out his military service. His job was to take pictures of some 2,000 Algerians for use on ID cards. For women like Cherid Barkaoun, the act of being photographed in public, being made to expose their naked faces, was a personal violation. The pain and the con- Few images better illustrate the shifting photographic tempt Barkaoun felt is apparent ideas of taste and exploitation than Garry Gross’s 1975 in her portrait, and it could nude portrait of Brooke Shields, then 10 years old. A New be found in many of the faces York-based advertising photographer, Gross was regularly Garanger documented. The employed by Shields’s mother to photograph her daughter, contempt was returned by the then a model with the Ford agency. He was also working French military: “Come see, on a personal project called “The Woman in the Child.” come see how ugly they are! Shields posed both as a normal young girl and in the nude, Come see these macaques, heavily made up and oiled. Her mother signed a contract these monkeys!” said Garang- giving Gross full rights to the images, which were ﬁrst pub- er’s captain when he viewed lished in a book called Little Women, then in a Playboy the images. Press publication called Sugar and Spice. Revolted, Garanger deter- By 1981, Shields tried unsuccessfully to buy back the mined that his photographs could negatives. She then sued Gross, claiming that her mother be used to expose the racism of had signed away her rights for onetime publication only. the French military. In 1961 he The court disagreed. Later, Shields sued again. The court clandestinely entered Switzer- ruled that “these photographs are not sexually suggestive, land and offered the photos to provocative, or pornographic.” the newspaper L’Illustré Suisse. Though Gross won the case, he was ﬁnancially ruined by He later had them exhibited the legal battle, and his reputation was tarnished as social throughout France. In this con- tastes changed and he was seen as an exploiter of chil- text, images that were meant dren. Later, however, he sold the rights to the pictures to simply to catalog a people had artist Richard Prince, who rephotographed and recontextu- the reverse effect of showcasing alized the images. In 1999, his image of Shields, named their humanity. “Spiritual America,” sold at Christie’s for $151,000.

AmericanPhotoMag.com 73 Photographers and news editors constantly grapple with notions of The images of Abu Ghraib prison that decency, and the events of September 11, 2001, presented journalists emerged in 2004 changed the history with plenty of tough judgment calls. Most media outlets made the of photography, and American attitudes decision not to show the dead, the major exception being the images of toward the war in Iraq. They also people falling from the twin towers of the World Trade Center. Those showed, perhaps more than any other pictures in themselves raised important questions of journalistic ethics. pictures ever taken, the power that While some viewers were offended, newspapers like The New York photography can wield. Times explained that it was important to report the reality of the event. It was on April 28, 2004, that CBS Another newspaper, the New York Daily News, also published this aired six photos of Iraqi prisoners being image, made by photographer Todd Maisel shortly after the terrorist tortured in Abu Ghraib prison by Amer- attacks. It was indeed a shocking reminder of the carnage, and for ican soldiers. These explosive images many—even other journalists—it exceeded the bounds of proper report- were taken not by a professional jour- ing. The difﬁculty, of course, is determining where those boundaries lie. nalist seeking a “scoop” but by the American soldiers themselves, using cell phone cameras. The New Yorker magazine then published nine more Abu Ghraib images accompanying an article by Seymour Hersh. In a month, close to 30 photographs were revealed THE HIDDEN 9/11 to the public—a fraction of the images collected by the military, many of which have never been made public. The impact of the photographs was enormous. They discredited the Ameri- can military and undercut the Bush administration’s assertion of moral authority in Iraq. In Arab countries, anger was immense. A number of the soldiers who were pictured torturing prisoners were eventually tried in military courts, but their superiors, who condoned the torture, were left unpunished. After losing several legal battles, the U.S. military seemed prepared in recent months to release more of the photos made at Abu Ghraib, which had been collected as part of the investigation of prisoner abuse. President Obama blocked the release because, he said, they might further incite anger among America’s enemies and endanger Amer- ican soldiers serving in the Middle East. © TODD MAISEL/NEW YORK DAIL

ABU GHRAIB Y NEWS

74 AmericanPhotoMag.com COURTESY MUSÉE DE L ’ELYSÉE

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A Healthy Diet During Pregnancy Can Help Prevent Birth Defects And Clefts. Diet is an important part of pregnancy. Eat a healthy diet that contains lots of fruits and vegetables and foods fortified with folic acid. According to the U.S. Government, women who plan to have a child should be sure to take sufficient levels of folic acid (400 micrograms per day) during pregnancy to help prevent neural tube defects and reduce the risk for cleft lip and palate. When folic acid is taken one month before conception and throughout the first trimester, it has been proven to reduce the risk for neural tube defects by 50 to 70 per cent. Be sure to receive proper prenatal care, quit smoking, and follow your health care provider’s guidelines for foods to avoid during pregnancy. Foods to avoid may include raw or undercooked seafood, beef, pork or poultry; delicatessen meats; fish that contain high levels of mercury; smoked seafood; fish exposed to industrial pollutants; raw shellfish or eggs; soft cheeses; unpasteurized milk; pâté; caffeine; alcohol; and unwashed vegetables. For more information, visit www.SmileTrain.org. The Smile Train is a 501 (c)(3) nonprofit recognized by the IRS, and all donations to The Smile Train are tax-deductible in accordance with IRS regulations. © 2009 The Smile Train. MASTER CLASS © ANDREAS GEFELLER/COURTESY HASTED HUNT GALLERY

he bird’s-eye view has been a maplike simplicity, such views T a source of photographic also reveal previously unseen fascination ever since Nadar relationships and afford infor- shot Paris from a hot air balloon mation not visible from a side- HIGH EYEPOINT in 1858. To see earth from long perspective. above, whether in ﬂ ight or in All but the most elevated photographs, is a transformative aerial images still retain a single ANDREAS GEFELLER’S experience. While giving com- perspective—the sense of a , plex ground-level relationships viewer’s position in space. Not DIZZY DUMBFOUNDING BIRD’S-EYE VIEWS

“Untitled (Offi ce Floor) Dusseldorf, 2003” AmericanPhotoMag.com 77 “Untitled (Kunstakademie, room 220) Dusseldorf, 2009” CLASS NOTE so with the “Supervisions” series “STITCHING of German photographer MANUALLY Andreas Gefeller. He has arrived at a remarkable, labor-intensive GIVES YOU methodology that creates stun- MORE CREATIVE ningly detailed images of large, fl at surfaces indoors and out, CONTROL.” from parking lots to offi ce ceil- ings to fi elds of vegetables. These images seem to exist in a wholly abstract realm, with no apparent point of view, yet record their contents with a clar- ity that unaided human vision beach—square by square. He could never achieve. It is as if mounts his Canon EOS 5D digi- Gefeller had somehow scanned tal SLR on a tripod that has been these enormous surfaces at extended but with the legs ultrahigh resolution. Yet while unsplayed so that he can wedge the photographer acknowledges its feet into his belt; the tripod that the details of his images are is aimed up at an angle, with faithful, he describes the fi nal the head tilted down to keep result as a “construction.” the camera parallel to the sur- That construction results from face he’s photographing. After Gefeller’s methodical process of each cable-released shot, he shooting his subject—the paint- takes a step (or three, or four) splattered fl oor of an art-school before shooting again. “When studio, the dense pattern of I started this series I actually shoe imprints on a well-traveled measured the squares, but © ANDREAS GEFELLER/COURTESY HASTED HUNT GALLERY (3) LESSON 1 ON PRECISION “Sometimes I set up a grid to do the shooting, but often I don’t. The reason for this is interesting: Many of my subjects are urban places, which means they’re man-made. Humans put everything in strict order and in rows, which makes the photography process easier. I can use the grid created by tiles, paving slabs, or other regular patterns to orient myself, for example. This fact tells a lot about human character—about man’s will to control nature and his environment.”

78 INSIDE PHOTOGRAPHY “Untitled (Kunstakademie, room 209) Dusseldorf, 2009” now it’s just a matter of feel- Though the process of shooting,” Gefeller explains. “I know ing is arduously systematic, the the length of my feet and how digital stitching—done without many steps I have to make.” the help of dedicated stitching programs—is even more so. efeller shoots with a Sometimes Gefeller creates, or G 35mm lens, a moderately- simply leaves intact, a seamless wide focal length that captures transition from frame to frame; a little over a square yard from other times he leaves unaltered about eye level. For outdoor a more abrupt transition. “I subjects he often extends his think this is one of the main improvised boom so that it’s as creative aspects of the work, to high as nine or ten feet. It can decide where you leave some take many hours, if not days, to seams in the picture and where photograph the whole surface it’s unnecessary,” he says. “Nat- he has chosen, and Gefeller urally, it’s very easy to remove may shoot hundreds if not thou- seams in Photoshop. But for sands of overlapping frames. me, these little ‘mistakes’ are For his recent image of an entire very important for the viewer ﬂoor of the Art Academy in his so that he can try to understand native Dusseldorf (below), what he is looking at.” Gefeller made approximately The result is reminiscent of 10,000 separate exposures. the digital pastiche produced

LESSON 2 ON PRINT SCALE “There is no one ideal size for the ‘Supervisions’ prints. Some must have a minimum size or else you wouldn’t even understand what they are showing. I did an image of a golf driving range, and although this print is quite large, the golf balls on it are still tiny; if it were any smaller, the viewer wouldn’t be able to identify the golf balls. Other prints don’t need to be so large—images of paving slabs, for example. The sections remind me of pixels, an effect you’d lose if you made the prints really big. “Sometimes I downsample the individual frames before I put them “Untitled together. But in general, I try to leave them at full resolution and down- (Kunstakademie) sample the whole image to suit the particular print size. That means Dusseldorf, of course that the ﬁles are massive. I could produce the prints in dimen- 2009” sions that would ﬁll huge temples.”

AmericanPhotoMag.com 79 Below: “Untitled (Park) Dusseldorf, 2007”

by robotic space landing crafts CLASS NOTE ings from below I ﬁ nd myself in wall, a highly abstract represen- such as the Mars rovers, and “DECIDING a position that isn’t possible— tation. And while abstraction indeed, Gefeller often photo- one that seems to be dozens of is usually achieved with a graphed the night sky with his WHERE TO KEEP meters under the earth.” reduction of detail, Gefeller’s grandfather’s camera when he SEAMS IS PART “Supervisions” work is teeming was a child. And while Gefeller OF MY CREATIVE t would be easy to place with detail. In that respect, and points out that for him the com- I Gefeller’s work in the mold in its challenge to photogra- puter is not an instrument of PROCESS.” of the Becher-inspired, descrip- phy’s one-eyed ethos, his work manipulation, it is on the com- tively neutral genre of current is subversive. “The main object puter that the real artistic trans- German photography. Gefeller of my work is not to manipulate formation occurs. “The more applies that school’s rigor not to the world,” Gefeller recently frames I put together, the greater I’m working on images of the a literal record of his subjects explained in a BBC broadcast. the distance to a surface appears ground, I start ﬂ ying! In the case but to what ultimately becomes, “It’s to change the way of look- to be,” says Gefeller. “When of photographs that show ceil- as a very large print on a gallery ing at it.” —RUSSELL HART © ANDREAS GEFELLER/COURTESY HASTED HUNT GALLERY

80 INSIDE PHOTOGRAPHY

© JOE MCNALL McNally shot this cowboy fi rst by available light (1, below), then Y (4) with fl ash mixed in (2), but ended up stopping down to cut back the available light (3) so that he could use fl ash alone to light his subject (here).

1 2 3

hy would any sane photog- Wrapher go from the the safe OUT OF THE DARK haven of existing light—light you can see, touch, and feel—into the WHY WOULD YOU MAKE mysterious, uncertain, and possi- bly dangerous land of ﬂ ash? Think AVAILABLE LIGHT UNAVAILABLE? TO of it this way. That available light, as it’s commonly known, isn’t just LIGHT YOUR SUBJECT JUST THE available to you; it’s available to every other photographer. You can WAY YOU WANT. BY JOE MCNALLY make a picture that will look kind

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adorama.com SKILLS On Thousands Of Products See our web site HOME THEATER of the same as the one the guy next to you is shooting. And if both of you submit your pictures to the same magazine, or agent, or stock house, or photo-sharing website, the reaction will be, “Hey, wait a minute, these pictures all look...the same.” It’s like Ange- lina Jolie and Reese Witherspoon showing up on Oscar night wearing the same dress. Quelle embarrassment! In a world of sameness, where there’s a Starbucks, a Gap, a Barnes & Noble, and a Pizza Hut on every other block of every other town you’ve ever been to, there is vibrance and joy in difference. In an era of royalty-free, rights-free, by-the-pound photography, it just might pay to step back and try to make your pictures the equivalent of a mom-and-pop shop or the place where the locals really eat. And one path to making your work different is to use light in creative and unexpected ways. Take this photograph of a well-appointed cowboy. I was on the road, in the middle of Noplace, Utah, and the sun had gone down. There was still plenty of light, but it was cool, subdued, and expressionless. It was available but unexciting. I put my actor- cowboy Chris up against an old barn that had lots of cool stuff stuck on it, and I made a picture. A very average picture (1). It was a record of the scene, not an interpretation, shot at 1/80 second at f/2.8.

ut what lingered in my head was the B sun that had set over the distant hills on camera left. Its light was just getting interesting when it disappeared. (Available light will do that to you.) So I got out a flash, put a full-strength CTO warming filter on it, and placed it on a stand at about the angle where the sun had been. The filter turned the clean, neutral white light of the strobe, a Nikon SB-900 Speedlight, into the color of sunset. The SB-900 was advantageous here because of its ability to zoom its beam angle to match a 200mm focal length. When you zoom the flash head to 200mm but shoot with a shorter focal length (here, a 24-70mm f/2.8 Nikkor zoom set to 24mm), you con- centrate the light. It gets punchy and direct, like late-afternoon light. I triggered the off-camera flash with another SB-900 that was hotshoed to the camera, using the same exposure (2). It warmed the scene just a touch. The camera was doing its job, mixing the flash and the available light

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Lighting maven adorama.com Joe McNally On Thousands Of Products See our web site PRINTERS “I TOOK OVER THE CONTROLS, USING Stylus Pro 9900 Professional Edition 44" Wide Format Color Inkjet Printer, MANUAL 10 Color, with USB & 10/100Base-T Ethernet Port The latest achievements in photographic inkjet technology. It combines the precision of MicroPiezo TFP print head with the SETTINGS THAT extraordinary performance of Epson UltraChrome HDR inks. In order to ensure consistent printing between multiple Stylus Pro printers of the same model, Epson has refined the manufactur- UNDEREXPOSED ing process to include colorimetric calibration THE AVAILABLE LIGHT BY imagePROGRAF iPF9100 H ;8;>$5391:@:7'E?@19"1C )5:7? THREE STOPS.” HA58@5:-85.>-@5;: HA-8$>5:@1-0'E?@19 H #;:@>;881>"1C$>5:@;:@>;881> H$>5:@$8A35:2;>0;.1$4;@;?4;<-:0535@-8$4;@;$>;21??5;:-8 H$>5:@1>>5B1> H535@-8$4;@;>;:@//1?? H$;?@1>>@5?@ #<@5;:-8';2@C->1$;?@1>/>1-@5;:?;2@C->1 in a reasonable way. But remember, it’s a H:1>3E'@->%A-852510 machine. Like a food processor, it chops, slices, dices, and blends, all with the aim of uniformity. It plays it safe, in a word. Safe, as in…blah. A smooth, publishable exposure, but nothing with an edge or difference. So I took over the controls, putting the camera into manual mode and dialing in Designjet Z6100 Printer series 1/125 second at f/5.6—settings that under- H'#&(()&"&#)"(!' exposed the scene’s available light by about H$>5:@-@1D@>1918E4534?<110? H1:125@2>;9A:-@@1:010<>5:@5:3 three stops (3) without the flash firing. Ordi- H'75<@415:@1>>A<@5;:? narily these results would make you check H#)('(""!%) (+ your settings. But here, in this dark place, is H$>;0A/1<>5:@?2-?@C5@4;A@?-/>525/5:3=A-85@E where I wanted to be. Now I had control. H& (&#)# #&)&+ H'+(#)'#!"!"((## ' What happens when you open a camera shutter in a totally dark room? Nothing, until you add light. I had turned this roadside ADORAMA PROJET INKJET ROLLS scene into a dark room by means of shutter $ speed and f-stop. The camera sees almost ADORAMA * G&# IPRPG17100 79.95 PROJET * G&# IPRPG24100 $109.95 nothing now. It is waiting for input. It is $ PHOTOGLOSS * G&# IPRPG36100 149.95 waiting for light. * G&# IPRPG44100 $189.95 So I made another exposure, this time with IPRRS17100 $ the flash firing and hitting the cowboy and ADORAMA * G&# 89.95 PROJET * G& IPRRS24100 $119.95 the wall in a hard, intense way—creating lots ROYAL SATIN * G& IPRRS36100 $145.95 of highlight and shadow areas. The result * G& IPRRS44100 $199.95 gives the formerly dull scene life, dimension, ADORAMA 17" X 100' IPRDS17100 $49.95 and color. Which proves you can do a lot PROJET 24" X100' IPRDS24100 $69.95 with one flash and a light stand by the side of 2-SIDED MATTE 36" X100' IPRDS36100 $96.95 the road. You can make the sun come back. 44" X100' IPRDS44100 $129.95

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W ITN ESS BAND OF BROTHERS

in the city of Tal Afar. Gunfi re from Ameri- fi lled with people like Samantha Appleton, can troops killed the mother and father and one of the founding photographers of the seriously wounded a son. A young girl Noor agency; Todd Heisler, now a staff WHILE SHOOTING THE emerged from the car covered in her parents’ photographer with the New York Times; STORIES OF THEIR LIVES blood. Hondros won the 2006 Robert Capa and Scott Strazzante, a photographer with IN IRAQ AND AFGHANISTAN, THREE Gold Medal Award for the work. the Chicago Tribune, all of whom started PHOTOGRAPHERS KNOW THEY their careers at small newspapers in the CAN DEPEND ON EACH OTHER elatively speaking, the world of photo- Chicago suburbs. BAND AND THE LESSONS THEY R OF LEARNED journalism is small, and to some extent Spencer Platt believes that small newspa- BROTHERS LONG AGO it’s not so very interesting that three of the pers became the generators of photojournal- TEXT BY AT A SMALL REGIS LE SOMMIER NEWSPAPER IN OHIO. world’s fi nest photojournalists all emerged istic talent because of the vital and intimate

AmericanPhotoMag.com 35 from the same small newspaper. (The world is connection they have traditionally main- even smaller than you might think: another tained with local communities. “In the days prize-winning New York Times photogra- before Google,” he theorizes, “newspapers pher, Lynsey Addario, also attended Staples were the bond of American communities. High School with Platt and Hicks.) What is They provided information about high very interesting, I think, is the particularly school sports, gave the latest news about a American sense of destiny—or perhaps self- burglary, and provided an overview of world (continued from page 42) covered the invention is a better term—that underlies the events. Every lunch counter, barbershop, wars in Afghanistan and Iraq on and off story of Hondros, Hicks, and Platt. and auto repair shop had a newspaper wait- since 2001. Earlier this year he was traveling As a Frenchman in America, I was always ing to be devoured by someone with some with a company of U.S. soldiers that was fascinated by the fact that a guy from Mis- time to kill. As these papers were usually ambushed by the Taliban in a remote valley soula, Montana, could become fi lmmaker thin on stories, photographs often got signifi - in Afghanistan. One of the soldiers was David Lynch, or that a geek working as a cant exposure. A photo, regardless of how killed. Hicks’s images captured the desper- clerk at the video store down the street of good, was judged on the space given to it. ate moments and the vulnerability of the my in-laws in Manhattan Beach, California, At the Troy Daily News, a photographer baby-faced soldiers—you understand the could become Quentin Tarantino. shared the paper with only two other photo reality of war in those faces. Next year’s I’ve learned over the years that it’s the staff members. We awoke each morning Pulitzer Prize committee will surely be look- same with photography. Small-town Amer- excitedly going through the paper to see ing seriously at the pictures. ica remains the place where great news how big our images appeared. Front page, a Platt, who now shoots for Getty Images, photographers learn their craft while cover- photo spread, a bad crop, six columns, covered the chaotic Israel-Lebanon confl ict ing the staples of local news—fi res, car color, black and white. We were either mor- of 2006. There he snapped a picture of a accidents, high school sports, city council tifi ed or euphoric.” sleek convertible fi lled with pretty, carefree meetings, and Labor Day parades. Hon- Platt’s memories raise some inevitable Lebanese girls posing, cell phones in hand, dros, Hicks, and Platt all came to Troy questions: Where will future generations of in front of a devastated Beirut suburb. The because of work opportunity, because photojournalists learn their craft? As he photo won the World Press Photo of the Year opportunity thrived in those midwestern notes, the American small-town newspaper award in 2006. He has also worked in Iraq, towns. It’s a phenomenon that happens far business is far different now, in the age of Liberia, Congo, and Indonesia. less frequently in my native country. There, Google and Facebook, than it was then. Hondros’s work in Iraq has also been talented journalists or photographers rarely Online communities have replaced real honored. One of his most famous sets of climb the ladder of success after starting at communities, and the role that newspapers images, made on January 18, 2005, docu- a local paper. In France, unfortunately, once played—the way they brought every- mented the shooting of an Iraqi family whose everything starts and ends in Paris. In one in town together on the same page, as it car failed to stop at an American checkpoint America the ranks of photojournalism are were—is less vital.

hen I was working with Chris W Hondros in Iraq, the soldiers we met knew the power of photography. They asked Chris to take pictures of them in action, and he obliged. At ﬁ rst we were AFTER ALL THAT TIME, embedded with Colonel Steve Miska’s unit in Baghdad during the winter of 2006, during the height of the civil war. After we left, THE PHOTOGRAPHERS FIND Spencer came to cover the unit. Then in June of 2007, in Baghdad again, we met THEIR PATHS CROSSING. Captain George Feese and his men from

86 AmericanPhotoMag.com THE ULTIMATE IN PHOTO SHOPPING:

WITNESS adorama.com On Thousands Of Products See our web site LIGHTING the 82nd Airborne. Spencer was there, too, following the paratroopers throughout the summer. His e-mails helped me keep a sense of what was going on in the troubled neighborhood of Ghazaliyah after I had left. Tyler was in Afghanistan, and I met with him in Perpignan, France, in September 2007 at the Visa pour l’Image photojournalism festival, where he had an exhibition. That’s where I discovered his impressive set of combat pictures. Photojournalism is most certainly a small world: After all that time, so far from Troy, Ohio, these three photographers find their paths crossing again and again, and they have continued to support each other. I have yet to visit Troy. I now live in Paris, and chances are I may never see the town that launched the careers of Chris, Spencer, and Tyler. But I know this: It is a place, like every other place, where life is lived, where tragedies and triumphs follow one another. It is the perfect place to learn about the possibilities of photojournalism. When I asked Spencer about Troy, he e-mailed back this description of his life there: “I had never viewed a dead body before. I had just started working at the paper, and the morning ritual consisted of drinking coffee and listening to the police radio. With a crackle and a long series of beeps the radio came alive. A call came in about a car accident outside of town along some farm roads. We quickly consulted a map and made a dash for the car. It was summer, and the heat was shimmering along the black tarmac of the endless straight roads. Driving fast, we came up to a lone fire truck idling along the side of the road. In the middle of a freshly cut meadow was an old red American car, the kind that teenagers buy after years of mowing lawns. Next to the car was the body of a young man. No sheet had been placed on him and no one was attempting to resuscitate him. A woman arrived who I pre- sumed to be his mother, and she became hysterical. We took some pictures and headed back to the paper in silence. In my years since leaving the Troy Daily News, I have worked at a series of newspapers and traveled the world covering wars and disasters. I have seen people shot and people dying and people dead. But the one person I will never forget is that young man spread out in the field under a beautiful blue sky. It was my first introduction to the news.” N

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(continued from page 58) as artistic at a time when photography was still new— From the mid-1850s on, several major creations justifying protection by copyright. even as it became clear that the medium philosophical and cultural issues focusing on Recognition of their rights has developed would drastically change artistic traditions and photography were dealt with in courts of law. gradually in Europe and the United States as a the consumption of imagery. With its unrivaled Judges found it difﬁcult to relate photography result of jurisprudence established after a ability to reproduce reality and the produc- to a legal framework since two distinct areas wide-ranging debate on the status of the pho- tion of multiple prints, photography raised a were involved in the process—that of the tographic image. This process was not easy series of questions that were completely new. law and that of ethics. Considering photography from the point of view of the law or of ethics illustrates its extraordinary ability to represent reality and to create meaning, or meanings. A photograph is interpreted according to the cultural conventions associated with its creation or distribution. Reading an image in this way is something each individual does in accordance with his personal moral or philosophical convictions. It is also what Holds up society as a whole does by referring to the to a 17” laws and ethics that form the foundations of screen laptop. a particular culture. The conventions of representation change at the same time as the techniques used for the creation or the distribution of photographs. They also change by following the evolution of attitudes and ways Top Compartment for of thought in a particular society. personal stuff A review of the main cases that have seen photographers taken to court or that have led to the censuring of images and their pro- hibition reveals that the issues involved are Adventure 9 associated with money, politics, morality (both lay and religious), sexuality, or the acknowl- model 5549 edgement of the artistic status of the author. Photo/Computer Backpack t the end of the 1960s, Guy Debord, A the French thinker and founder of the Marxist Situationist International group, published The Society of the Spectacle. In

Adventure 9 model 5549 this book, he develops a critical analysis of Photo/Computer Backpack how social relationships are increasingly determined by the images that have become the main means through which individuals relate to the world. He also denounces the cult of commerce in consumer society. Bill They’re the ideal camera Gates, the owner of Corbis, echoed this bags that don’t look like analysis when he stated, “Whoever controls camera bags. On top are images, controls minds.” The political power large compartments for of images inﬂuences our understanding of all of your personal reality, providing a single and often uncriti- stuff. Hidden below cal point of view on what occurs in the are fully foam-padded world. This phenomenon, which generates camera bags with plenty feelings of guilt and repression, contributes of room for your photo to an acculturation of our perception of real- gear. They’re the ity. The danger involved is that of visual con- perfect companions Adventure 7 Holds up formism and ready-made beliefs. for an active day of model 5547 to a 17” Adventure 6 Authority is also exercised through the con- screen photography. model 5546 trol of reproduction rights. Nowadays, pho- laptop Adventure 10 model 5550 Photo/Computer Backpack For a Free Catalog call toll-free 1-800-662-0717 tographic collections and archives of 19th-

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SEPTEMBER/OCTOBER 2009

Photographs have always had the power to cause trouble. More than books, more than painting, photographic images create a visceral response in viewers. CONTROVERSIES Over the years, that has led to censorship by gov- ernments, legal battles in courts, and struggles to establish codes of proper behavior by imagemakers. A brilliant exhibition at the Musée de l’Elysée in Switzerland earlier this year, and a related new book IMAGES THAT available only in French, explore the various controversies associated with photographs, and, on the following pages, we present a glimpse at the issues HAVE DEFINED THE the show raised. They are worth understanding because photography remains a powerful, and tions. These collections bring together millions Why are certain images appreciated, or troublesome, ETHICS OF medium. PHOTOGRAPHY of images that are controlled through the use even venerated, while others are censored? of reproduction rights. For several years now, Why are some freely distributed in certain museums and institutions all over the world circumstances but prohibited in others? have tended to transform the photographs in The photographs in this portfolio illustrate their possession into commercial assets, many of the ethical and legal questions thereby seriously affecting the laws and ethical peculiar to the medium. The exhibition and principles that govern public policy. Most book they are drawn from are the result of museums demand payment for access to many years of research, but neither is images in their collections even when these exclusively concerned with legal or ethical pictures are not protected by copyright. This issues. Above all, the aim has been to show

AmericanPhotoMag.com 57 practice has become widespread institutional how a given society relates to images of policy. It is true that museums face heavy itself at a particular historical moment. This fi nancial burdens for the scanning and storage is an attempt to grasp how these represen- of their collections and that they suffer from tations have been perceived and the inter- and 20th-century work have become fi nancial the reduction of support from state and local pretations they have been given. The and historical treasure troves involving origi- authorities. However, the high prices examples that have been chosen give a clear nal prints bought by museums and private involved have become an obstacle for scien- understanding of the principles underlying collectors that are part of a thriving market. tifi c and cultural publications. They make photographic practice in a wide variety of Inevitably, accusations of forgery have arisen. research diffi cult and have a direct infl uence fi elds, from the middle of the 19th-century It also involves archives and documentary on the cost of both books and access to to the present day. collections that are often in the hands of com- culture. Surprisingly, prices are often higher panies like Corbis and Getty, or of a variety for a photograph that is not protected Daniel Girardin is a curator at the Musée of public and private museums and institu- by copyright than for contemporary work. de l’Elysée in Lausanne, Switzerland.

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www.larkbooks.com/digital SUNGSOO KOO/COURTESY MUSEUM OF FINE ARTS HOUSTON SEE IT NOW IDENTITY, FASHION, HISTORY, AND THE PHOTOGRAPHIC MEDIUM

Fresh Photography Girls Just Wanna Have Fun Keep abreast of the contemporary From October 10 to January 3, art photography scene during the Art Institute of Chicago will the New York Museum of Modern display Playing with Pictures, Art’s thoughtfully curated New a collection of unusual photo

Photography 2009. From Sep- collages crafted by Victorian CARTER MULL/COURTESY MUSEUM OF MODERN ART tember 16 to January 10, the aristocratic women. Combining exhibit will present recent signiﬁ- watercolor paintings, photo- cant work from six artists (includ- graphic portraits, and fantastical ing Leslie Hewitt and Daniel imagery, the collages are an early Gordon) with distinct aesthetic example of the traditionally views on the state of photography serious medium being repurposed and its technologies. for personal whims.

Photography A La Mode National Character Ending the International Center During Chaotic Harmony: Con- of Photography’s “Year of temporary Korean Photography, Fashion” is the exhibition Dress the Museum of Fine Arts Hous- Codes, a global survey of ton presents photos from 40 photography exploring the con- artists that embody the evolving ventions of style and personal South Korean identity. The presentation. From haute photographers (all of whom were couture to everyday dress, the born after the Korean War) aptly collection offers a comprehen- depict the complex social and sive examination of our cultural developments that have sartorial choices. Beginning occurred in the past 45 years, September 18 until January 17. while also offering a captivating look at the country’s future. Begin- Documenting History ning October 18 to January 3. FRANCES ELIZABETH AND VISCOUNTESS JOCELYN The legends of the Wild West JOHN WOOD/COURTESY NA will come alive on September As Time Goes By 25 (until January 24) during the Visitors to the National Gallery Washington, D.C. National of Art in Washington, D.C. will Portrait Gallery’s Frontier receive a thorough education on Encounters. Both photography photo history during In the Dark-

and history buffs should take note, room: Photographic Processes. TIONAL PORTRAIT GALLERY as the exhibition will display From October 25 until March 14, snapshots of the major historical the museum will exhibit an up- ﬁgures (including Annie Oakley, close look at (and explanation of) Brigham Young, and Geronimo) every major technology in image that inﬂuenced the development making, from photogravures of the western territories. to the recently extinct Polaroid.

From top: Sungsoo Koo’s “Tour Bus,” at the Museum of Fine Arts Houston; Carter Mull’s “Eleven,” at the MOMA; a photo collage at the Art Institute of Chi- cago; and John Wood’s portrait of Annie Oakley, at the National Portrait Gallery.

Irving Penn’s “Steel Mill Fireﬁghter, New York,” taken in 1951

n September 9 (until Janu- accoutrements was originally part Oary 10) the Los Angeles of an assignment for Vogue in SEE IT NOW Getty Center will unveil for the the 1950s. The Getty’s collection ﬁrst time its collection of more of photos (which were hand- than 250 prints from Irving Penn’s picked by Penn himself) treat EXHIBITION series, Small Trades. The set of even the most mundane jobs with theatrical portraits of common honor and reverence. For OF THE MONTH tradesmen with their career more exhibitions, see page 93.

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