Early this year Miyako Yoshinaga, a Chelsea gallerist, invited me to attend the March 2nd opening of a mini-retrospective, “Ken Ohara: Extreme Portraits 1970-1999,” and meet the photographer. She seemed surprised when I accepted. But I sensed something ceremonial about the occasion, and thought I should go. […]
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The first thing I want from you, as the person in charge of materials that you hope to place in an archive or as the person managing an archive, is to to do no harm — to think long and hard before you throw anything away. And, preferably, to consult with people who understand and work with archives before you discard anything. Because you can’t possibly know, or anticipate, what I will find important when I get there. […] If, as we are regularly encouraged to do, we pay heed to the lives and works of Robert Capa and John Morris, then, in the spirit of the field of journalism in which they both worked and to which they declared their commitment, we should do so “warts and all.” The fabrication of their D-Day myth has a prominent place among those blemishes. […] Bruce Young’s article on the Capa D-Day project, and the publication thereof by the National Press Photographers Association, constitute a textbook case of breach of professional ethics — made all the more egregious by NPPA’s posturing as a leader in ethical matters. […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
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Cabin Fever 2017: Bits & Pieces (2)
Donald Trump’s bromance with his puppet master, Vladimir Putin, has made headlines and served as op-ed fodder for much of the past two years. So it seems appropriate to point out Putin’s small but not insignificant place in the history of contemporary photography — specifically, the Krappy Kamera movement. […]