Famed Steve McCurry talks about his photography in this video produced for our current exhibit, no strangers.
Our next exhibit, WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath, debuts next month. The show, organized by The Museum of Fine Arts, Houston, will include over 150 images that present both the military and civilian point of view of war. Mark your calendars - WAR/PHOTOGRAPHY opens Saturday, March 23, 2013. Watch the video teaser for the exhibit above.
The curation and installation of The Power of Photography departs from previous Photography Space exhibit designs. Mosaics of more than 400 images documenting the history of National Geographic photography from 1888 to the present time will adorn the walls. In addition, an extensive digital installation will showcase 500-plus images. Thirty professional-grade large format LED monitors will be arranged to create video walls throughout the Photography Space galleries. These six video walls, ranging from 12 to 14 feet in width, will present both individual images and photographic essays. Given the volume of photographs on the screens, and a format in which the images loop at different times throughout the galleries, the viewing experience will be unique to each visitor and each visit.
The exhibit will feature an original documentary commissioned by the Annenberg Space for Photography and produced by Arclight Productions that profiles six renowned photographers whose work appears in the October National Geographic issue: Lynsey Addario, Marcus Bleasdale, David Guttenfelder, Abelardo Morell, Joel Sartore and Martin Schoeller. In addition, the Photography Space will also screen a short compilation video comprised of photographers talking about the power of photography and what inspires their work. This compilation will be complemented by a series of longer video interviews with 20 photographers represented in the exhibit and a loop of milestone content videos created over the past several years for the magazine’s digital edition.
The Power of Photography: National Geographic 125 Years opens October 26, 2013 and runs through April 27, 2014.
What a treat it was to have fashion photographer Fadil Berisha present during our IRIS Nights lecture series yesterday evening.
Fadil has had a global influence throughout his career. He has not only worked with such figures as Tyra Banks, President Bill Clinton, Snoop Dogg and numerous Miss America contestants, but he also played an incredible role in campaigning against the Kosovo massacres.
During his presentation, Fadil explained that his work stems from a genuine love for beauty.
"Beauty is what I really love... I like to live happy and see pretty things all the time. With photographers it has to do with how they feel on the inside and that's what comes out on the photo," proclaimed Fadil during the lecture. "I love to feel happy."
Fadil took a moment during his lecture to speak about his experience photographing the horrific war in Kosovo. Since the topic wasn't related to beauty itself he placed his visual slideshow on pause because he felt it was important to take some time to talk about his experiences with the conflict.
About 10 years ago Albanian photographers contacted Fadil asking him to help promote their cause in the Kosovo war. He told the audience that the pictures they sent him changed his life. He then spent the next couple years raising money and campaigning for awareness. His work and the photos he took made an international impact and helped pressure the United States to get involved.
Fadil told the audience about his first time working with the stunning Carmen Dell'Orefice, the legend who was his inspiration for a Rolex campaign. He said he fell in love when he realized how she stayed young at heart and continued to exude beauty throughout her whole life.
Fadil also gave shout-outs to models Beverly Johnson and Nikki Haskell, who were both in attendance. He raved about how they each possessed that same confidence and beauty he found so alluring in Carmen.
Johnson took the microphone during the Q & A session but she didn't have a question for Fadil. Instead, she took the time to praise the photography by calling him "brilliant" and telling the audience she could not wait to work with him again.
(All lecture images by Unique)
Private First Class Wayne C. Weidner, assumed American, dates not known
Personnel of Battery B, 937th Field Artillery Battalion, US 8th Army, Attached to the IX US Corps, Fire Their Long Toms on Communist Targets in Support of Elements of the 25th US Infantry Division on the West Central Front, Near the Village of Nunema, Korea, 1951
This powerful photo from our upcoming War/Photography exhibit was taken by Private First Class Wayne Weidner during the Korean War. Want to know how the image was photographed? An excerpt from the accompanying 600-page exhibit catalogue, soon to be on sale the day the show opens on March 23, explains:
Another artillery photograph in this section was taken during the Korean War of personnel in Battery B, 937th Field Artillery Battalion, U.S. 8th Army, firing on Communist targets in support of the 25th U.S. Infantry Division near the village of Nunema, Korea (1951). The self-propelled guns seen in this photograph are artillery placed on a motorized chassis capable of rapid maneuver. “Fast-moving forces of armored infantry and tanks needed their artillery to keep pace with the advance,” wrote Jeffrey Hunt. “Weapons of this type could be brought into action very quickly and with devastating consequences for an enemy caught unprepared or above ground. And, as in this picture, the firing of heavy guns, whether on land or aboard ship, is a visually stunning spectacle.” Taken at night, the camera’s lens was held open until both guns had fired, illuminating the scene with explosions and the reflected light from the snow.
Click here to watch a preview of the exhibit.
We were in the garden having lunch and everyone was taking pictures of each other, laughing and stepping in on each other’s shots. I started shooting Helmut, pretending that I was him.
He yelled a lot when shooting, so I mimicked him: “Helmut! That’s it! Don’t Move! Francois, POWDER! , Katia, HAIR! “ Everyone started joining in, telling him to arch his back or find his light. He was actually a really good model! He liked being teased. He just loved having fun. He wanted work to be fun. He wanted life to be fun.
I shot with a Pentax Auto 110 that I had bought in Japan. It was a complete ultra-miniature SLR system. fully automatic with no user-settable adjustments.
It was a perfect camera to travel with as a model. I could buy 110 film in any airport and every drugstore in the world could develop it in an hour. He was wild about it. June shot this pic of Helmut and I with that camera. He called it The Dwarf appealing totally to how he worked- his equipment being as pared down as possible. He found amateur cameras more innovative than professional. I think my Pentax appealed to him so much because Helmut really and truly was a reportage photographer at heart. He was the Weegee of the fashion world- a visual shark. He was brilliant at capturing those lurking shadows so full of subtext and pathos that were blatantly hiding within the seemingly superficial.
His point of view was the rabbit hole. He left it up to the viewer to fall down it as deeply as they wanted to go.
Former model Tara Shannon was once referred to as "the woman of a thousand faces." Learn more about her on her official website.
IRIS Nights lecturer Paul Lange
Some of the photos on the screen looked more like paintings or digitally constructed portraits then the straight film or digital photography which they truly are. But as Lange pointed out, that was his goal. He manipulated the photos during exposure in-camera by simply experimenting with chemical processing methods.
"A photo is not just a model posing. I want my photographs to be like paintings," said Lange. "I want them to be long living."
He even went into detail explaining how a photo could be double exposed, cross processed or dye transferred - terms that had all the non-photographers struggling to keep up.
"It's fun just playing with the rules. They work more often then they don't work so the key is to just try it," said Lange in reference to his experimental work.
Lange's diverse career led him to the world of fashion, photographing top models and celebrities from around the globe. He combined his fine art training with the fashion staples of good hair, makeup and perfect lighting to create his unique and polished style. Lange still creates all of his photographs in-camera and does not digitally alter them in post-production.
Lange explained that digital filters don't have the poetry that film does. "There is a translucent quality that you get by chance with film..." said Lange passionately, "otherwise it is too uniform."
Lange kept coming back to ideas of mystery, chance, passion and poetry relying on the imagery of a 'paint-like quality' to describe his photographic style.
His unique photographs were not the sole reason this night was different from our other lectures; last night was also the first time the Annenberg Space for Photography held two lectures by a photographer in one evening.
The night was so successful that we hope to do more double-header lectures in the future, giving our guests twice the opportunity to attend!
Thank you Paul Lange for giving two lovely presentations!
(All lecture photos by Unique for the Space)
We're very excited and proud to announce that The Annenberg Space for Photography’s original exhibition documentary, WHO SHOT ROCK & ROLL: The Film, has been selected as an official entry in the 2013 Tribeca Film Festival. The short film will be in the category of "Shorts in Competition: Documentary." You may recall the film was part of last summer's record-breaking show, WHO SHOT ROCK & ROLL and features photographs, interviews and behind the scenes footage with acclaimed photographers Ed Colver, Henry Diltz, Jill Furmanovsky, Lynn Goldsmith, Bob Gruen, Norman Seeff, Mark Seliger and Guy Webster. as well as musicians Henry Rollins, Debbie Harry, Noel Gallagher and several others.
WHO SHOT ROCK & ROLL: THE FILM will screen for the public over several days at the Tribeca Film Festival.
For more information about tickets for press or the general public click here.
|Public Screening Schedule||Date||Time||Venue|
|Premiere Screening||4/20/2013||12:00 PM||AV71|
|2nd Screening||4/23/2013||9:30 PM||CCC9|
|3rd Screening||4/26/2013||7:00 PM||CCC5|
|4th Screening||4/28/2013||5:00 PM||TC2|
|Press & Industry Screening Schedule||Date||Time||Venue|
|Press Screening||4/23/2013||10:30 AM||CCC9|
Chelsea Clearview Cinemas (CCC5 & 9)
260 West 23rd Street
(between 7th and 8th Avenues)
New York, NY 10011
AMC Village 7 (AV7-1)
66 Third Avenue @ 11th Street
New York, NY 10003
Tribeca Cinemas (TC2)
54 Varick Street
(Below Canal Street, at Laight Street)
New York, NY 10013
Last year, our short film Beauty Culture screened at Tribeca.
Watch the trailer for WHO SHOT ROCK & ROLL: The FIlm here.