All posts by Bruno J. Navarro

Editor, photographer, writer, photojournalist, etc.

Magnum photos announces new members

Moises Saman was named the newest full member of Magnum Photos at the organization’s annual meeting in New York this week.

A former Newsday staff photographer, the Peruvian-born Saman focused on covering the post-9/11 world, spending time in Afghanistan, Iraq and other Middle Eastern countries. Leaving the New York-based newspaper, he became a freelancer with Panos Pictures in 2007 and has since received numerous awards from the likes of World Press Photo.

In 2010, he was invited to join Magnum Photos as a nominee.

Magnum Photos also announced new associate members Bieke Depoorter and Jérôme Sessini, and nominee Sohrab Hura.

The agency’s 67th annual meeting kicked off at International Center of Photography, with a reception for the Magnum Contact Sheets exhibition at MILK Gallery. The event concluded at NeueHouse.

via Magnum Photos Blog.

Documentary digs into NYC street photography

Cheryl Dunn casts a spotlight on nine decades of New York street photography — with some of the discipline’s best-known practitioners and a few unheralded ones — in her new documentary film, “Everybody Street.”

“If you want to get a really broad slice of humanity, you can find it in New York,” Dunn tells Wired. “Every kind of person is out there and I think that’s what’s attracted all these photographers.”

The cast reads like a who’s-who of photographers known for their fleeting imagery of a different time in New York’s history and iconic imagery of the city’s inhabitants: Bruce Davidson, Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper and Boogie, as well as historians Max Kozloff and Luc Sante.

The “Everybody Street” Vimeo page contains selected clips from the interviews, including one in which Meyerowitz responds to a question of what makes a good photograph.

“I hitchhiked to Mexico, and in Mexico I saw this. It’s a shooting gallery, and in the shooting gallery there’s a wooden trunk, and in the trunk is a baby who’s screaming. Probably the gunshots,” he said. “I mean, I was able to see that that there was kind of an overall thing, rather than just looking at the baby. So, I think early on, I kind of developed a sense of, you know, what might make an interesting photograph.”

Barton Silverman’s close call with the Verrazano

Barton Silverman, a New York Times sports photographer, recalled an exciting moment near the start of his illustrious career, as a 19-year-old in Brooklyn witnessing construction of the Verrazano-Narrows Bridge in 1962.

“I started pulling on the rope and my foot slipped,” Silverman told the Times’ Lens blog. “Half my body was off the bridge. I had this huge camera bag pulling me down. I didn’t know if I should drop the bag into the water or save myself. Six construction workers came to help.”

Shaken but unharmed, Silverman made it off the bridge — which turns 50 this year — and on to a photojournalism career spanning four decades.

The catwalk running all the way up the Brooklyn side of the tower.

via Falling for the Photo in Staten Island.

A photograph that exposed World Cup trickery

Ricardo Alfieri, a photographer covering the 1990 World Cup in Italy, captured a series of images that exposed a blatant attempt to tilt the results of a critical game between Brazil and Chile.

A flare fired from the Brazilian section of Maracana Stadium appeared to strike Chilean goalkeeper Roberto Rojas bloody, jeopardizing the Brazilian team’s continued participation in in the tournament.

“Amazing as it may sound, no TV camera caught the moment the flare flew over and supposedly hit the goalkeeper,” photographer Paulo Teixeira told CNN.

“I missed the shot and so did most of the photographers,” he added. “But there was one guy by me — Ricardo Alfieri, a good friend — and I asked him, ‘Ricardo, did you capture the flare?’ He said, ‘Of course, about four, five shots.’”

After a hastily processing lab was readied to develop the film, Brazilian newspaper Globo agreed to pay the then-exorbitant sum of $5,000 for rights to the photos.

The images showed that the flare had landed about a meter away from Chile’s goaltender, who faked the injury by cutting himself with a hidden razor blade in an attempt to eliminate Brazil’s team.

FIFA awarded Brazil a 2-0 technical victory that took it to the finals and banned goalie Rojas for life.

His wife, Viviane Rojas, told CNN that her husband, who at the time played professionally for Sao Paulo, had been forgiven by the city.

“Here in Brazil, Roberto has always been loved,” she said. “The most important thing for Brazilians is that he has, in his interviews, come across as a human being with a very distinct and good character. He has admitted his guilt and been forgiven.”

Jo Ann Callis reveals long-hidden fetish photos

Jo Ann Callis, renowned for her fabricated photography work in the 1970s and ’80s, recently revealed a trove of early fetishized constructs she had deemed “too hot.”

Well, at first I thought it was because they were too “hot.” Or they were too emotional — they weren’t cool like a lot of the conceptual work. They were very formal, aesthetic — all the things that weren’t in vogue at the time. So, that was initially why. But mostly I was just interested in other things. I went on using some of the same ideas: like tactility, how something feels, and how you can represent a thought in a photograph just using a straight negative — not putting it out of focus on purpose, just seeing what kinds of metaphors I could create. But I think it was the sexuality in them, and I just lost my nerve.

jo-ann-callis-02.nocrop.w1800.h1330Callis, whose best-known work comprised beautiful, uncomfortably skewed nudes and elemental expressions of the body, maintained a constant aesthetic throughout much of her career, which saw its first major exposure via the 1981 Whitney Biennial.

Fast-forward to 2009 and preparations for a Getty retrospective, Callis recalled being asked by Senior Curator of Photographs Judith Keller if there were any images of hers they hadn’t seen.

'Other Rooms' by Jo Ann Callis“And I said, ‘No, that’s it,’” Callis told New York Magazine. “I just pretended they didn’t exist, because even at that time I just didn’t think this was appropriate to show at the Getty — and I didn’t think they would be interested in it.”

Now the photographs are the subject of an exhibit at Rose Gallery in Santa Monica, Calif., and a monograph, “Other Rooms” by Aperture.

via These Eerie Fetish Photos Were Kept Under Wraps for Years – The Cut.

U.S. Supreme Court upholds mobile-phone privacy

A unanimous U.S. Supreme Court decision upheld the privacy rights of mobile phones belonging to people who are arrested.

This is a bold opinion,” Orin S. Kerr, a law professor at George Washington University, told The New York Times. “It is the first computer-search case, and it says we are in a new digital age. You can’t apply the old rules anymore.”

In the written decision, Chief Justice John Roberts noted in Riley v. California that mobile phones commonly contain “a digital record of nearly every aspect of their lives — from the mundane to the intimate.”

Roberts also acknowledged the multipurpose nature  of mobile phones.

“They could just as easily be called cameras, video players, Rolodexes, calendars, tape recorders, libraries, diaries, albums, televisions, maps or newspapers,” he wrote.

The court also prohibited the deletion of data contained within mobile phones, or their confiscation.

“Digital data stored on a cell phone cannot itself be used as a weapon to harm an arresting officer or to effectuate the arrestee’s escape. Officers may examine the phone’s physical aspects to ensure that it will not be used as a weapon, but the data on the phone can endanger no one,” Roberts wrote.

The specific language is notable, as police departments have claimed in numerous seizure cases that they had “feared” for their lives from the phone as a potential weapon. The claim is made constantly on photo-rights blog Photography Is Not A Crime.

The court also carved out a right to privacy distinct inherent in digital devices from physical searches at the time of arrest.

“A conclusion that inspecting the contents of an arrestee’s pockets works no substantial additional intrusion on privacy beyond the arrest itself may make sense as applied to physical items, but more substantial privacy interests are at stake when digital data is involved,” the decision stated.

(via Supreme Court Rules Police Need Warrant to Search Cell Phones | Photography is Not a Crime)

Timothy Archibald captures autistic son’s habits

Timothy Archibald and his son, Elijah, have created a body of work that captures the unique interactions between the boy and the world at large.

Archibald told the New York Times Lens Blog that the portraiture sessions were brief, regularly scheduled and sparked by his son’s interest in something.

It was Eli’s idea to see if a very large manila envelope would fit over his head; Eli’s idea to blow into one end of a vacuum cleaner hose and hold the other end to his ear to hear the whoosh. It was Eli’s idea to see if he could curl up his body until it fit inside a clear plastic toy box, to flatten his features with a wide rubber band, to look through the wide end of a funnel that happened to be the same circumference as his face.

“He has always fetishized objects,” Archibald said. “They are iconic to him.”

The photographs are available in a limited-edition book of 43 images, “Echolilia,” which is available on Archibald’s website.

(via Loving Father Photographs Unique Habits of His Autistic Son – My Modern Met)

N.Y. cameraman wins $200,000 police settlement

News cameraman Philip Datz won a $200,000 settlement from the Suffolk County Police Department stemming from his 2011 arrest at the scene of an investigation.

Phil Datz, left, and his attorney, Robert Balin. Datz sued Suffolk County police after he was arrested following an order to stop videotaping the arrest of a suspect. (credit: Mona Rivera, 1010 WINS)

“This settlement is a victory for the First Amendment and for the public good,” Datz said. “When police arrest journalists just for doing their job, it creates a chilling effect that jeopardizes everyone’s ability to stay informed about important news in their community. Journalists have a duty to cover what the police are doing, and the police should follow the law and respect the First Amendment to ensure they can do that.”

In addition to the monetary award, the county also agreed to implement a new training program and create a Police-Media Relations Committee, according to the National Press Photographers Association.

In a video of the arrest, Suffolk County Police Sergeant Michael Milton tells Datz repeatedly to “go away.”

“I’ve been doing this for 30 years,” Milton says. “There’s nothing you can hold over my head or anybody out there.”

via New York Photojournalist Wins $200,000 Settlement from Viral Video Incident 

Curve winners go on exhibit in Santa Fe

Women with goggles and gas masks in Istanbul, Turkey.
Women watch police fire tear gas canisters close to where they are standing. Gezi Park, Istanbul.

SANTA FE, N.M. — The winners of CENTER’s 19th Annual International Awards go on exhibit 14 June 2014 at the Center for Contemporary Art’s Muñoz Waxman Gallery.

The exhibit will highlight work by Guy Martin (project launch winner) and Adam Reynolds (project development winner), as well as Manjari Sharma, Morgan Ashcom, Jeanine Michna-Bales, Thomas Jackson, Charlie Simokaitis, Barbara Hazen, Anne Berry, Mateusz Sarello and Ryan Zoghlin.

Drawing entrants from 43 countries, the CENTER Awards highlight outstanding photographic works and include a cash grant, exhibitions, attendance to Review Santa Fe and exposure for their work.

Review Santa Fe is CENTER’s flagship event runs 26 June to 29 June and brings together photographers and photography curators, editors and gallerists to review portfolios amid a series of events.

Muñoz Waxman Gallery is located at  1050 Old Pecos Trail.

via CENTER: The Curve.

Bruce Weber depicts Detroit and its denizens

DETROIT — While first visiting Detroit on assignment for W magazine in 2006, the renowned fashion photographer saw something more than the faded glory of a preeminent American city.

“If I was ever in trouble, I would want someone from Detroit to be there with their dukes up along with mine,” Weber said at an event touting his upcoming exhibit at the Detroit Institute of Arts.

Curiously, it was Vogue editor-in-chief Anna Wintour who helped bring the show to fruition, following a lunch meeting with Weber at which he exclaimed, “I love Detroit!”

The exhibit, “Detroit — Bruce Weber,” which comprises some 80 photographs, opens 20 June 2014 and runs through 14 September 2014.