Marie-Claude Deffarge & Gordian Troeller @ Museum Folkwang, Essen - "No Pictures to Dream of" Retrospective exhibition - Stern-Features and Documentaries

Deffarge & Troeller

No Pictures to Dream of

Stern-Features and Documentaries

Museum Folkwang, Essen

15 November 2024 - 23 February 2025

Marie-Claude Deffarge and Gordian Troeller, around 1965 

Anonymous photographer

Silver gelatine print, 13,5 x 13,8 cm

© Ingrid Becker-Ross Troeller

Marie-Claude Deffarge & Gordian Troeller 

Caracas, Venezuela, 1961 

From the Stern-report: Kennedy against Castro 

© Ingrid Becker-Ross Troeller

The Museum Folkwang presents No Pictures to Dream of brings, the Stern features and documentaries by Marie-Claude Deffarge (1924-1984) and Gordian Troeller (1917-2003). This retrospective is presented for the first time in a major museum exhibition. Since the 1950s, the two journalists have reported on riots, wars and social grievances from more than 55 countries. The estate is being presented to the public for the first time on the occasion of Marie-Claude Deffarge's 100th anniversary.

No Pictures to Dream of brings together over 300 works, including photographs, documentary films, personal documents and written material, and offers a comprehensive insight into Deffarge and Troeller's half-century of reporting. Since the 1950s, the two reportage journalists have been documenting social injustice, conflicts and political crises all over the world - from Japan to Yemen and Peru. The exhibition not only presents photographic and film reportages, but also criticises capitalist perspectives and the lack of feminist perceptions, working methods and the division of labour. At a time when objective reporting was in the foreground, Deffarge and Troeller pursue a sometimes subjective, perceptive and often controversial documentary style.

Initially, Marie-Claude Deffarge and Gordian Troeller concentrated on West Asia. They published newspaper reports and a first book project: Persia without a Mask. From 1959 to 1969, they reported on social grievances, unrest and wars for Stern magazine, but were particularly successful with The Women of the World. From the mid-1960s, the team produced their first documentary films alongside the Stern features. From 1973 onwards, they become known in German-speaking countries for their films, particularly through their collaboration with Radio Bremen. The documentary series In the Name of Progress, Women of the World and Children of the World were broadcast during prime time until 1999 and reached a large audience. Among other things, they address the devastating consequences of European colonial rule and the patriarchal structures responsible for oppression and exploitation worldwide. The photo and film reportages are an important source of information for understanding the roots and causes of the global consequences of climate change, environmental destruction, economic crises, migration flows and political influence in our time.

In the year of Marie-Claude Deffarge's 100th birthday, the Museum Folkwang is dedicating the first comprehensive museum retrospective to the work of the journalist team. It is based on the photographic estate of Deffarge and Troeller, which was transferred to the Museum Folkwang and the film holdings at the Centre national de l'audiovisuel (CNA) in Luxembourg in 2017. The exhibition highlights not only the reportages and films, but also the working methods and team structures that contributed significantly to their success. A special role is played by Ingrid Becker-Ross, who accompanied many of the trips as a sound recordist and is now also involved in the exhibition and the accompanying catalogue. The exhibition also offers perspectives from people from the countries covered in the reports. Raika Khorshidian and Heidar Zahedi, for example, have edited the extensive material on Iran and summarised their views in two film documentaries.

A 296-page exhibition catalogue will be published by Scheidegger & Spiess (price € 48).

The exhibition is a co-operation between the Museum Folkwang and the CNA, Luxembourg. It is supported by the Ministry of Culture and Science of the State of North Rhine-Westphalia (Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen) and the Gouvernement Du Grand-Duché de Luxembourg, Ministère de la Culture.

The exhibition will be shown at the Centre national de l'audiovisuel (CNA), Luxembourg, from 2 May to 14 September 2026.

MUSEUM FOLKWANG

Museumsplatz 1, 45128 Essen

www.museum-folkwang.de

Ukrainian Journalist Mstyslav Chernov Awarded IBC2024 International Honour for Excellence

IBC2024 Awards International Honour for Excellence to Ukrainian Journalist Mstyslav Chernov

IBC today announces that the IBC2024 International Honour for Excellence (IHFE), its most prestigious award, will be conferred on Ukraine’s MSTYSLAV CHERNOV for his work as a video journalist and his groundbreaking film 20 DAYS IN MARIUPOL. The award recognises the resolve and skill as filmmaker demonstrated by Chernov in uncovering the unvarnished truth that he and his Associated Press (AP) team witnessed on the ground as they covered the siege of the Ukrainian city by Russian forces in early 2022. The award will be presented at the IBC Innovation Awards ceremony at 18.30 CEST on Sunday, 15 September at the RAI Amsterdam.

A multi-award-winning journalist and President of the Ukrainian Association of Professional Photographers (UAPF), Mstyslav Chernov documented the siege in Mariupol as one of the last remaining international media representatives in the city. Video materials from his work became the basis of 20 DAYS IN MARIUPOL, Mstyslav Chernov’s first feature film. Produced with the support of AP and the PBS investigative documentary series Frontline, the film offers a harrowing example of the importance of video in fighting back against news disinformation in an era of false reports and deep fakes.

Michael Crimp, IBC’s Chief Executive Officer, said: “People are at the heart of our industry, which exists to support those who want to speak to the world. In honouring Mstyslav Chernov with this year’s IHFE for his work as a war correspondent, video journalist and filmmaker, we are recognising the courage, creativity, skill and determination he has shown in capturing some of the most affecting stories we have seen in the last few years. At a time when it is critical to produce video that reveals the reality of conflicts around the world and challenges the fake news and disinformation being disseminated, Mstyslav and the teams he works with exemplify integrity and the best in our industry.”

Mstyslav Chernov has covered the Russian invasion in Ukraine, conflicts in Iraq, Syria, and Nagorno-Karabakh, and Afghanistan during the return of Taliban rule after US withdrawal. In covering the siege of Mariupol, video of the conflict was periodically sent to the AP editorial office from the only place there was still an online connection – under the stairs near the crushed grocery store – but much of the footage Mstyslav Chernov shot could not be sent online and was carried out by the AP team though the humanitarian corridor. 20 DAYS IN MARIUPOL draws on Chernov’s daily news dispatches and additional footage he shot to provide a vivid account of civilians caught in the siege and a window into what it’s like to report from a conflict zone.

Mstyslav Chernov and the team of journalists working with him – Evgeniy Maloletka, Vasilisa Stepanenko, and Lori Hinnant – were awarded the 2023 Pulitzer Prize in Public Service for their courageous reporting from the besieged city. The film itself – written, directed and narrated by Chernov – has received more than 20 awards, including the Oscar for Best Documentary Feature at this year’s Academy Awards, Best Documentary at the British Film and Television Academy (BAFTA) Awards, and the Audience Award for World Cinema Documentary at the Sundance Film Festival in 2023.

IBC

www.ibc.org

Photojournalist Harry Benson Exhibition @ Southampton Arts Center -SAC - A Moment in Time: Iconic Images by Harry Benson - Curated by Sally Martin Katz

A Moment in Time

Iconic Images by Harry Benson

Southampton Arts Center

Opening May 6, 2023

Southampton Arts Center (SAC) presents the second exhibition of its 10th anniversary year. A Moment in Time: Iconic Images by Harry Benson, curated by Sally Martin Katz, is a presentation of the photographer’s impressive collection of images documenting civil rights figures, politicians, musicians, celebrities, and athletes. Harry Benson’s iconic work is an embodiment of some of the most significant moments captured in the 20th and 21st centuries. 

“Harry Benson has captured some of the most iconic moments in history in a way that tells a compelling story,” shares SAC executive director Christina Mossaides Strassfield. “The exhibition is about so much more than photography — it’s about the man behind the camera, his experiences with some of the most notable people, places, and events in a generation. Harry Benson is a true documentarian, and we’re honored to present his story and his work.”

An award-winning Scottish photojournalist, HARRY BENSON began his career at the weekly newspaper Hamilton Advertiser before moving to the Daily Sketch after his infamous and exclusive interviews in prison with Scottish mass murderer Peter Manual. In 1964, he traveled to the United States with the Beatles, and never looked back. He was under contract with LIFE magazine for 30 years, and has photographed for other major magazines including TIME, Vanity Fair, Newsweek, French Vogue, Quest, Paris Match, Forbes, Town & Country, Architectural Digest, People, and The London Sunday Times Magazine.

“I am looking forward to having my photographs at the esteemed Southampton Arts Center,” shares Harry Benson. “It is a challenge to choose photographs from my 75-year career, which hopefully will surprise, delight, and engage the viewer, and lead to animated discussions of memorable times past. It is a challenge I accept.”

“I am thrilled to have the opportunity to curate an exhibition of a photographer whose work I have long admired and who is a legendary figure within the photography world,” shares Sally Martin Katz. “Benson’s work is notable for his ability to be at the right place at the right time and to create images that capture the ethos of their era. His photographs provide insight into the watershed events of his lifetime and into the characters of the people who have shaped our culture and our history.”

SOUTHAMPTON ARTS CENTER

25 Jobs Lane, Southampton, New York 11968

southamptonartscenter.org

Alfred Eisenstaedt @ Robert Mann Gallery, NYC - Portraits of the Past

Alfred Eisenstaedt: Portraits of the Past
Robert Mann Gallery, New York
March 7 - April 27, 2019

Robert Mann Gallery presents a collection of iconic works by the “father of photojournalism,” Alfred Eisenstaedt. The German-born American photographer, best known for his candid black-and-white photographs of celebrities, politicians, and captivating street scenes, captured life, movement and emotion in a strong yet natural manner. 

Alfred Eisenstaedt was born 1898 in Dirschau, West Prussia. In 1906 his family moved to Berlin where he studied music, received his first camera, an Eastman Kodak Number Three, and used his parents bathroom for a makeshift dark room. Alfred Eisenstaedt was drafted into the German army after the outbreak of WW1 and served at the front lines in Flanders until April 1918, enemy fire crippled both his legs, yet thankfully his life was spared. After the war, he worked as a salesman, but continually found success with assignments as a freelance photographer. His first major mission was covering Thomas Mann accepting the Nobel Prize in literature in 1929. Alfred Eisenstaedt came under the influence of photographer Erich Salomon and his work regularly found its way into Die Dame, Berliner Illustrierte, The Graphic, The London Illustrated News and many other magazines.

In 1935, Alfred Eisenstaedt decided to emigrate to the United States, as magazines in Germany began to shutdown with the rise of Hitler. He settled in New York where he became one of the first four photographers hired by LIFE Magazine. Alfred Eisenstaedt’s coverage of Hollywood in the 1930’s is some of his most quintessential work, photographing stars such as Bette Davis, Katherine Hepburn and Sophia Loren, who is known to be one of his favorite subjects. He photographed Marilyn Monroe on a small patio behind her home in Hollywood in 1953, capturing her in Rembrandt inspired light that beautifully emphasized the unparalleled Marilyn mystique—femininity, naiveté and sexuality.

“In a photograph a person’s eyes tell much, sometimes they tell all.” - Alfred Eisenstaedt

Along with capturing portraits of great politicians and movie stars, Alfred Eisenstaedt was just as intrigued to set his keen eye on the human element. He found magic in the faces of Parisian children exploding with shrieks of delight at the puppet theater in the Tuileries, Paris in 1963. Enthralled in the scene, the children didn’t even notice Alfred Eisenstaedt. He easily blended in with the crowd to find those initial moments of reactions and then made various enlargements and crops in order to construct a well balanced composition and highlight the essence of the image. Sometimes all it took was one shot. Alfred Eisenstaedt’s work created memorable documents of his era both historically and aesthetically, such as one of the iconic images of the 20th century - a couple kissing on VJ Day in Times Square. 

Alfred Eisenstaedt completed over 2,500 assignments in his career and his photographs appeared on 92 covers of LIFE. His photographs have been exhibited and collected by many prestigious institutions, including The Museum of Modern Art and the Whitney Museum of American Art in New York, the Philadelphia College of Art, and the International Center of Photography in New York. He was the recipient of numerous awards, among them the National Medal of the Arts which he received from President George Bush in 1989 in a ceremony on the White House lawn. Eisenstaedt died on August 23, 1995 in Oak Bluffs, MA.

ROBERT MANN GALLERY
14 East 80th Street, New York, NY 10075
www.robertmann.com

‘Whose Streets? Our Streets!’: New York City, 1980-2000 @ Bronx Documentary Center

‘Whose Streets? Our Streets!’: New York City, 1980-2000
Bronx Documentary Center
January 14 - March 5, 2017

Photographers: Nina Berman, Bill Biggart, Donna Binder, Maximo Colon, Donna DeCesare, Ricky Flores, Frank Fournier, David Gonzalez, Lori Grinker, James Hamilton, Meg Handler, Lisa Kahane, Mike Kamber, Gabe Kirchheimer, Carolina Kroon, Corky Lee, Meryl Levin, Andrew Lichtenstein, Tracey Litt, Dona Ann McAdams, Thomas McGovern, Tomas Muscionico, Marilyn Nance, Edwin Pagán, Brian Palmer, Clayton Patterson, Mark Peterson, Sandra-Lee Phipps, Sylvia Plachy, Alon Reininger, Richard Renaldi, Clarence Elie-Rivera, Joseph Rodriguez, Linda Rosier, Q. Kyujiro Q. Sakamaki, Richard Sandler, Catherine Smith and Les Stone.

ANDREW LICHTENSTEIN

Squatters attempt to defend their building by blocking the street 

with overturned cars and trash before an expected attack 

by the police on East 13th Street, 1995 

© Andrew Lichtenstein - Courtesy of the photographer and the BDC

JAMES HAMILTON

Tompkins Square Park riot, New York City, 1988 

© James Hamilton - Courtesy of the photographer and the BDC

Featuring work by thirty seven independent photojournalists, this exhibit captures ordinary New Yorkers as they rallied, rioted, marched, and demonstrated. These stunning images document historic moments of violent confrontation such as the Tompkins Square Park and Crown Heights Riots and as well as organized protests involving non-violent civil disobedience and creative street theater. Collectively, these photographs, which have never before been exhibited together, chronicle New York’s history from 1980-2000. During these two decades of swift economic and demographic change, residents grappled with social issues including race relations, police brutality, housing and gentrification, AIDS and gay and lesbian rights, reproductive rights, U.S. foreign policy and military actions, art and the culture wars, environmental and animal rights issues, and education and labor relations.

RICKY FLORES

Day of Outrage demonstration at the Jay Street-Borough Hall 

subway station following the Howard Beach verdict on

December 21, 1987 in which three defendants were found 

guilty of manslaughter in the death of Michael Griffith who was

beaten and chased by a white mob onto a highway where 

he was struck by a car 

© Ricky Flores - Courtesy of the photographer and the BDC

SANDRA LEE PHIPPS

Pro-choice rally. NYC 1992 

© Sandra Lee Phipps - Courtesy of the photographer and the BDC

DONNA BINDER

ACT UP die-in at the LBGT Pride Parade on 5th Avenue. June, 1991 

© Donna Binder - Courtesy of the photographer and the BDC

The exhibit is co-curated by MEG HANDLER, former photo editor of The Village Voice, historian TAMAR CARROLL, author of Mobilizing New York: AIDS, Antipoverty and Feminist Activism, and  MICHAEL KAMBER, founder of the Bronx Documentary Center (BDC). The exhibit was designed and produced by the BDC’s Cynthia Rivera and Bianca Farrow.

THE BRONX DOCUMENTARY CENTER
614 Courtlandt Avenue, Bronx, NY 10451
bronxdoc.org

Lucas Dolega Photojournalism Award in homage to the photographer

First edition of the “Prix Lucas Dolega”, new annual Lucas Dolega International Award for photojournalists, organised by the association created to pay tribute to the young photographer died this year.

In Tunis, on January 17th 2011, the photographer Lucas Dolega (Loucas Von Zabiensky-Mebrouk) died, while covering the ‘Jasmine Revolution’. He was 32 years old. In order to pay tribute to Lucas Dolega, and through him, to all the photojournalists who risk their lives for the freedom of information, his family, close relations and friends decided to create the Association Lucas Dolega, and to launch an Award.

Designed to support photographers who sometimes work under difficult conditions in dangerous areas, this award aims to reward a photographer who, through his or her personal commitment, involvement in the field, his or her capacity to take a stand, as well as the quality of his or her work, will have demonstrated their commitment to the freedom of information.

Participants will have to present a report on a conflict (civil or military wars, riots, attacks or public demonstrations), a revolution, a natural disaster, or their consequences on civilians.

“Prix Photographique Lucas Dolega” (Lucas Dolega Photography Award). Photo © LUCAS DOLEGA. This picture was taken by the photographer in Tunis on January 14, 2011.

The Lucas Dolega Award is organised in partnership with the Mairie de Paris, Polka Magazine and with the support of Reporters sans Frontières, the Lucas Dolega Award will reward one photographer every year. The winner will receive an endowment by Nikon of 10.000 Euros, and will have their work displayed at an exhibition in Paris and published in the RSF album. Furthermore, the winner will have part or all his report published in an issue of Polka Magazine, and will be offered the production of another story by Polka Magazine.

Closing of candidatures, November 10th 2011

The complete rules of the Award and the application form are available for downloading on the site of the Lucas Dolega Award:
www.prixlucasdolega.org

John Lennon and Yoko Ono Photos by Gerry Deiter

GIVE PEACE A CHANCE: JOHN & YOKO’S BED-IN FOR PEACE (Wiley, publisher), presents more than 80 photographs by renowned Life magazine photographer Gerry Deiter, many of which have never been published before. Life magazine photographer Gerry Deiter was present for all eight days of the Bed-in, capturing both large, boisterous gatherings of journalists and celebrities, and the smaller, more intimate moments between John and Yoko. The result was an archive of almost 500 images, many of which were never published – until now. The story Gerry Deiter was working on was bumped by Life in order to cover escalating events in Vietnam, and Deiter hid the photos for 35 years. His friend, and curator of the collection, Joan Athey has compiled them into an entertaining and moving portrait of the times. Deiter passed away in 2005. The large format book captures candid shots of Tommy Smothers, Timothy Leary and his wife Rosemary, New York writer and jazz critic Nat Hentoff, pioneering New York DJ Murray The K, and the aggressive hostility of right-wing cartoonist Al Capp. Personal recollections include journalist Alison Gordon, rock entrepreneur Donald Tarlton (aka “Donald K. Donald”), record producer André Perry, DJ Chuck Chandler, Crawdaddy! rock writer Paul Williams and Capitol Records’ Richard Glanville-Brown. In addition, Yoko Ono has contributed a personal statement that gives modern day relevance to the events in 1969 on the 40th anniversary of what has become an historic moment in rock music history. Gerry DEITER (photographer) was a Brooklyn-born photojournalist and portrait/fashion photographer, teacher, and contributor to Life and Time magazines. He was present for all eight days of John Lennon and Yoko Ono’s Bed-in for Peace at Montreal’s Queen Elizabeth Hotel in May 1969. Gerry Deiter was also the first photographer for Greenpeace and a peace activist. He died December 9, 2005. Joan ATHEY (writer/curator) is a communications specialist, having worked for 21 years in public relations, marketing and promotion for the CBC and the Toronto Star. Athey resides in Victoria, BC. Paul McGRATH (editor) was rock critic for The Globe and Mail and a reporter for CBC TV’s The Journal. He directed the documentaries John and Yoko’s Year of Peace (CBC, 2000) and Give Peace a Song (CBC, 2005), the latter about the recording of “Give Peace A Chance.” McGrath resides in Toronto. Give Peace a Chance: John and Yoko's Bed-in for Peace Wiley April 2009 Hardcover - 120 pages ISBN: 978-0-470-16044-2 US$24.95

World Press Photo Joop Swart Masterclass 2009

 

Twelve young photographers have been selected to come together with a group of masters for the 16th annual World Press Photo Joop Swart Masterclass to be held from 31 October to 6 November 2009 in Foam Fotografiemuseum, Amsterdam.

The 12 participants were selected among 179 candidates who had been nominated to submit their portfolios. During the masterclass meeting in November, the participant photographers will interact with six prominent experts, discussing technical, journalistic and ethical aspects of their work.

The following 12 photographers were selected to participate in the masterclass 2009:

•    Kathryn Cook, USA
•    Matt Eich, USA
•    Simona Ghizzoni, Italy
•    Sohrab Hura, India
•    Benedicte Kurzen, France
•    Don McNeill Healy, Ireland
•    Mads Nissen, Denmark
•    Kosuke Okahara, Japan
•    Ali Akbar Shirjian, Iran
•    Gihan Tubbeh, Peru
•    Dirk-Jan Visser, The Netherlands
•    Alvaro Ybarra Zavala, Spain

The participants were selected by an independent, international selection committee consisting of: Walter Astrada (Argentina) freelance photographer, Nan Goldin (USA) art and documentary photographer, Jan Grarup (Denmark) photographer Noor, Santiago Lyon (USA) director of photography The Associated Press, Jenny Smets (The Netherlands) photo editor Vrij Nederland, Anne Tucker (USA) curator of photography The Museum of Fine Arts, Houston.

In preparation for the meeting, the participants will execute a photo essay on one single theme, which for this year is: "Touch". The essays will be discussed during sessions with the masters and edited into a publication.

The Joop Swart Masterclass has been organized by World Press Photo every year since 1994. Its goal is to bring together some of the most experienced individuals in photojournalism with 12 young, promising photographers so that they can share and pass on their knowledge and experience. From the beginning of the program a total of 176 young photographers have participated in the program, many of them moving on to establish themselves as today's leading photojournalists.

The Joop Swart Masterclass is supported by Delta Lloyd Group, Stichting Democratie en Media and Canon, who provides all participants with a grant. World Press Photo is sponsored worldwide by Canon and TNT.

TNT sponsorship with World Press Photo

Category > Photography sponsorship

 

TNT has extended its corporate sponsor contract with World Press Photo for another three year period.

This was announced in Davos yesterday where Tim Hetherington, the winner of the World Press Photo of the Year 2007, gave a key note speech during the annual dinner in honour of the World Food Programme in front of sixty world and business leaders of which among others former Secretary-General of the United Nations Kofi Annan and Prime Minister Odinga of Kenya. In his speech Mr Hetherington stressed the important role photojournalism has in creating global awareness for situations in the world such as famine and global warming.

TNT has been a global corporate sponsor of World Press Photo since January 2003. As an international company with over 161,000 staff worldwide, TNT demonstrates its interest in the globe's major challenges and its efforts to help fight against world hunger, poverty, and global warming.

Peter Bakker, CEO of TNT, says: "TNT is a people's business and it cares about what goes on in the world. Sponsorship of World Press Photo is part of the company's social responsibility. TNT wants to make a difference, and making a difference begins with awareness. That is one of the main virtues of photo journalism."

Pieter Broertjes, chairman of World Press Photo, says: "We depend on support from the private sector as a non-profit organization. TNT chooses - by extending one of the main sponsor contracts of World Press Photo - not only to support the work of professional press photographers, but also to expand their commitment to social responsibility by highlighting the importance of the principle of freedom of the press. World Press Photo is proud to have TNT as a partner."

David Rubinger, Israel Through My Lens

The Stirring Autobiography of Israel’s Preeminent Photojournalist

(c) David Rubinger / Abbeville Press, 2008

"As a photographer, David Rubinger has captured some of the most powerful images of his time. No one has done a better job of showing the history of Israel in all its glory and pain. The stories behind those photographs and the people he has met are utterly captivating, but as it turns out, no story is more fascinating—or more poignant—than that of his own life.” — Jim Kelly, Managing Editor of Time, Inc. Today, photojournalist DAVID RUBINGER stands at the peak of his profession. A winner of the Israel Prize for services to the media and a fixture on the masthead of Time magazine, he is the only photographer whose work is on permanent display at the Knesset, Israel’s legislature. ISRAEL THROUGH MY LENS: Sixty Years as a Photojournalist is the illustrated autobiography of this accomplished photojournalist, written in a conversational and immediate tone that captures the drama of his life and times. David Rubinger and his coauthor Ruth Corman, a British photographer and curator, report his gripping life story in this fascinating volume, which in many ways reflects the history of Israel that he has recorded so faithfully with his camera. Born in Vienna in 1924, he emigrated to British Palestine in 1939 and developed a passion for photography while serving in the British army’s Jewish Brigade. After fighting in Israel’s War of Independence, he became a professional news photographer, reporting on each of his young nation’s subsequent wars from the front lines, first for the Israeli media and later as a correspondent for Time–Life. With a foreword by Shimon Peres, current president and former prime minister of Israel, ISRAEL THROUGH MY LENS comprises a chronological narrative of Rubinger’s life and the stories he covered. Rubinger has photographed all of Israel’s leaders, many of whom have allowed him a remarkable degree of access to their lives. Former Israeli Prime Minister Ariel Sharon said, “I trust Rubinger even though I know he doesn’t vote for me.” But Rubinger has not confined his reporting to war and politics; by photographing the successive waves of Jewish immigrants from Europe, the Arab world, Russia, and Ethiopia, he has also created a valuable record of Israel’s transformation from a country of six hundred thousand to one of seven million. In recounting his eventful career, Rubinger proves himself a gifted raconteur, sharing anecdotes of the many personalities he has photographed and telling the stories behind his most famous pictures, many of which are reproduced here at full-page size. The 130 photographs in the book include not only his best news photos but also hitherto unpublished shots from his family album that let us see behind the scenes of a photojournalist’s work. With ISRAEL THROUGH MY LENS’s 7-by-10 inch trim, the book is small enough to carry with you and read, but big enough to show off Rubinger’s pictures to good effect. Over the course of Rubinger’s career, which he spent mostly with Time and Life magazines, he personally witnessed nearly every important event in his country’s history, from the Suez Crisis to the Intifadas, and knew all of its leaders, from David Ben-Gurion to Ehud Olmert. ISRAEL THROUGH MY LENS is as much a firsthand account of Israel’s history as it is a memoir of an important journalist’s career, and its publication should be welcomed by everyone with an interest in photojournalism or the history of Israel. RUTH CORMAN, the coauthor, is a London-based photographer, art consultant, and curator, as well as the former director of the British Israel Arts Foundation. She has organized many exhibitions in Britain and Israel, including two shows of David Rubinger’s photography. Table of Contents from Israel through My Lens, by David Rubinger with Ruth Corman Foreword by Shimon Peres 1. How It All Began 2. The Early Years in Europe 3. Leaving for Eretz 4. A Soldier for King George 5. The Marriage 6. My First Love Affair—with the Camera 7. Married Life and Becoming an Israeli 8. After the War of Independence 9. My Career Begins 10. Haolam Hazeh 11. Home Life 12. Yedioth Ahronoth 13. Ben-Gurion 14. Immigration 15. My Beginning with Time-Life 16. The Sinai War 17. Taking to the Skies 18. Papal Visits 19. Teddy Kollek 20. The Six Day War and After 21. The War of Attrition 22. The Yom Kippur War 23. Sadat and Begin 24. Air Power Stories 25. Becoming an Austrian Citizen—Again 26. Immigration from Russia and Ethiopia 27. Football and the Lebanon War 28. Rubber Bullet 29. The Second Intifada and the Settlements 30. Some Special People 31. Travels Abroad with My Camera 32. My Life in the Movies 33. Influences on My Career 34. My Archives 35. House and Home 36. My Marriage to Anni 37. The Evening of My Life 38. The Renaissance Afterword and Acknowledgments by Ruth Corman Chronology Index ISRAEL THROUGH MY LENS: Sixty Years as a Photojournalist By David Rubinger with Ruth Corman Foreword by Shimon Peres Abbeville Press, New York January 2008 336 pages - 130 illustrations, 43 in full color $35.00 cloth ISBN 978-0-7892-0928-3 Also published by Abbeville Press: IN A DESERT LAND Photographs of Israel, Egypt, and Jordan Text and photography by Neil Folberg Abbeville Press, New York 204 pages - 200 full-color illustrations $49.95 cloth ISBN 978-0-7892-0125-6 PHOTOJOURNALISM 1855 TO THE PRESENT: EDITOR’S CHOICE By Reuel Golden Abbeville Press, New York 256 pages - 250 illustrations, 64 in full color $45.00 hardcover ISBN: 978-0-7892-0895-8 Last modified: September 24, 2009

AP Photojournalists win Pulitzer Prize

The Associated Press won for a series of graphic and heartbreaking pictures of bloody combat in Iraq

Some of the photos had already won prizes. Many were taken at great personal risk to the photographers, including pictures of gunmen executing Iraqi election workers in the midst of morning traffic, and the charred remains of U.S. contractors who had been killed, dismembered, burned and hung from a bridge in Fallujah.

"These photographers showed extraordinary courage," said AP President and CEO Tom Curley, who celebrated the first Pulitzer AP has won since he became leader of the news cooperative June 1, 2003.

"This is a real testament to the best that AP can be that this prize was won by photographers who came into Iraq on assignment, and five Iraqis who work in the most dangerous place on the earth, to tell the story." said AP Senior Vice President and Executive Editor Kathleen Carroll. "Their images have a power that will last through history. When we want to look back at what happened in 2004, we'll look at their images."

The photographers cited were Bilal Hussein, Karim Kadim, Brennan Linsley, Jim MacMillan, Samir Mizban, Khalid Mohammed, John B. Moore, Muhammad Muheisen, Anja Niedringhaus, Murad Sezer and Mohammed Uraibi. An unnamed stringer was credited in the photo package for the picture of a daytime execution of vote workers, with the anonymity due to security concerns.

The Iraqi team included Hussein, Kadim, Mizban, Mohammed and Uraibi. The photographers who were on assignment in Iraq were Linsley, from Jerusalem; MacMillan, who is returning to the Philadelphia Daily News from Baghdad; Niedringhaus from Geneva; and Moore, who has since left the AP. All the Iraqi photographers have been recruited, tested and trained on an ongoing basis by the visiting photographers.

The Iraqi photojournalists risked their lives in frequently dangerous situations to get all sides of the story for the AP and to provide readers, listeners and viewers around the world with a level of access to their homeland unmatched by any other news organization.

As a crowd gathered around the photo desk at AP headquarters in New York on Monday, April 4, to hear an announcement, CEO Curley stood atop a chair beside Executive Editor Carroll to congratulate the staff. "They took some extraordinary pictures, they captured some incredible moments in history and they did it in a way that made all of us proud," he said.

Abbreviated bios

Khalid Mohammed, Baghdad, worked with AP for the past two years, spent significant time in Fallujah and at great personal risk, took the photos of the U.S. contractors killed, then dismembered, burned and their charred remains hung from a bridge. Khalid Mohammed said he was threatened immediately after taking the picture and had to escape quickly by car. "I told the driver to keep the engine running, just in case," he said.

Bilal Hussein remained behind in his hometown neighborhood so he could document the events of the battle for Fallujah, obtaining for AP a stunning and exclusive photo showing Iraqi insurgents firing their weapons. When he was forced to flee to Baghdad, his house – and his cameras – were destroyed in the fighting.

Mohammed Uraibi, Baghdad was hired and trained by AP's visiting non-Iraqi photographers. Samir Mizban and Karim Kadim, Baghdad, navigated the hostile areas in the Iraqi capital, including the Sadr City neighborhood.

Jim MacMillan, a Philadelphia Daily News photographer who is wrapping up a one-year assignment for AP in Iraq at the end of April, has been primarily embedded with U.S. forces, and involved in editing the work of Iraqi photographers from the field. Of the Pulitzer notification, MacMillan said he found out when AP Director of Photography Santiago Lyon sent him an instant message saying he should call New York – now. "I didn't suppose he wanted a call immediately to tell us we lost," MacMillan said.

Brennan Linsley, Jerusalem, was on assignment in central Iraq. On another assignment, he was lightly wounded – scratched by shrapnel.

Muhammed Muheisen, Jerusalem, based in West Bank, was on his first assignment in Iraq.

Murad Sezer, Istanbul, has the versatility to shoot sports, news and feature work, and has been on several tours in Iraq.

Anja Niedringhaus, Geneva-based photographer, has spent many tours in Iraq, and covered the U.S. Marines in their assault on Fallujah.

John B. Moore, who had been based in Cairo, got exclusive access to the U.S. military hospital in Baghdad and took a memorable shot of medics attempting to resuscitate a dying soldier. On the Net

AP PULITZER HISTORY: http://www.ap.org/pages/about/pulitzer/list.html

PULITZER PRIZE WEB SITE: http://www.pulitzer.org

AP IMAGES: http://www.apimages.com

French Photojournalists join Associated Press

The international photojournalist collective VII and the world's largest news cooperative, The Associated Press, have agreed on a distribution deal

Under the arrangement, AP clients, including member newspapers and communications professionals, gain access to VII's extensive archive and to an exclusive weekly topical picture story package that will be made available via the AP PhotoArchive and AP Wide World Photos.

VII, based in Paris, is an independent group of nine photojournalists, founded in 2001. Founding members Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey and John Stanmeyer were joined in 2002 by Lauren Greenfield and in 2004 by Joachim Ladefoged. VII's central purpose is to maximize the distribution of its output through all appropriate channels, and by this means to fund the production of innovative and diverse work.

"This agreement with AP extends the work of VII to a new editorial market," said Gary Knight of the VII photo agency. The exclusive weekly topical picture story package will be drawn from VII's archive and its more recent production, he said.

The announcement was made at Visa pour l'image, the International Festival of Photojournalism in Perpignan, France.

"The addition of VII's catalogue of in-depth feature and documentary photography adds a new dimension to the material available to AP's clients," said Andrew Hill, director of sales for AP Wide World.

VII derives its name from the number of founding photojournalists who, in September 2001, formed this collectively owned agency. Designed from the outset to be an efficient, technologically enabled distribution hub for some of the world's finest photojournalism, VII has been responsible for creating and relaying to the world many of the images that define the turbulent opening years of the 21st century. Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Christopher Morris, James Nachtwey, John Stanmeyer, Lauren Greenfield and Joachim Ladefoged document conflict -- environmental, social and political, both violent and non-violent -- to produce an unflinching record of the injustices created and experienced by people caught up in the events they describe.

www.apimages.com

Photographer David Douglas Duncan Archive at Ransom Center, Austin, Texas

Photographer David Douglas Duncan Archive

Harry Ransom Humanities Research Center, University of Texas, Austin

The Harry Ransom Humanities Research Center at The University of Texas at Austin announces the acquisition of the award-winning photographer David Douglas Duncan's world-renowned archive. The Ransom Center archive captures the career of one of America's great photographers, containing over sixty years of photographs, negatives, correspondence, albums, manuscripts, equipment, and personal memorabilia. "Acquiring David Douglas Duncan's prestigious archive brings the Ransom Center's overview of photojournalism's impact into the modern age," noted Roy Flukinger, curator of the Center's photography collection.

David Douglas Duncan: "Tough, Audacious, and Original"

Born in Kansas City, Missouri, in 1916, David Douglas Duncan began his career as a photojournalist at the age of 18. While a student at the University of Arizona majoring in archaeology, he snapped the fleeing victims of an early-morning hotel fire using a 39-cent camera, a gift from his younger sister. He was later surprised to learn that one frantic guest captured on his film was America's Public Enemy No. 1, the infamous John Dillinger.

From this serendipitous beginning, David Douglas Duncan went on to become one the world's greatest wartime photographers, capturing highly acclaimed and poignant images in World War II, Korea, and Vietnam. Of his combat photography, Duncan himself wrote, "I wanted to show the way men live and die when they know death is among them."

Commissioned as a U.S. Marine Second Lieutenant in 1943, David Douglas Duncan earned numerous decorations for the aerial photographs he boldly snapped from the belly of a P-38 fighter plane. David Douglas Duncan later linked up with Fijian guerrillas, fighting the Japanese from behind enemy lines, and was in China before Peking fell to the Communists.

As a civilian photographer for LIFE magazine, David Douglas Duncan rejoined the Marines in Korea, photographing nameless battles, the liberation of Seoul, and the Marines' harrowing Christmas retreat from the Yalu River. Through Duncan's stark black-and-white photographs, the epic saga of the "Forgotten War" came alive, piercing America's collective memory. Today, that memory remains vital, due largely to what Edward Steichen, former Curator of Photographs at the Museum of Modern Art, called "the greatest photographic document ever produced showing men at war."

Already retired from the military with the rank of Lieutenant Colonel, David Douglas Duncan again rejoined the Marines in Vietnam, most notably photographing the siege of Khe Sanh. In 1968, Duncan flew straight from the besieged outpost to hand deliver the negatives that were to comprise I Protest!, his broadside denunciation of the war.

While perhaps most known for his wartime photographs, David Douglas Duncan has aimed his camera at a wide-range of subjects. He provided the first coverage penetrating the Iron Curtain and, with the assistance of Soviet Premier Nikita Khruschev, spent three years photographing Russia's Kremlin treasures. His intimate friendship with Pablo Picasso and his family produced one of the most exclusive and revealing portraits of the artist and his world. Seven books by Duncan capture these insights including the best seller Picasso's Picassos (1961).

In 1972, David Douglas Duncan set a new standard in photographic achievement, becoming the first photographer to hold a one-person exhibition at New York's prestigious Whitney Museum of Art. His career, aptly described by the esteemed foreign corespondent John Gunther as "tough, audacious, and original," produced a number of legendary images that the Ransom Center will proudly preserve for scholarship, public viewing, and posterity.

The David Douglas Duncan Archive at the Ransom Center

The Ransom Center's collection of David Douglas Duncan's work is expansive and unique. It contains all of Duncan's wartime photos and negatives, including his award-winning coverage of both the Korean and Vietnam wars. In addition, the collection includes the total body of writing, editing, and design work Duncan undertook to produce his war trilogy--This is War! (1951), I Protest! (1961), and War Without Heroes (1970)--and the production materials (correspondence, contracts, text, dummies, layouts, and proofs) for each of Duncan's twenty-one books. The collection also houses extensive correspondence between Duncan and his family and friends, editors at LIFE, and numerous notables of the twentieth century.

The David Douglas Duncan Endowment for Photojournalism

After the Ransom Center attained his archive, David Douglas Duncan, in a gesture characteristic of his legendary individuality, returned the initial purchase fee to establish an endowment in his name. The David Douglas Duncan Endowment, devoted to enhancing the study of photojournalism, will support exhibitions, public events, research, and new acquisitions at the Ransom Center. In partnership with related academic departments, the Center will seek to maximize the educational and public benefit of these activities. With this goal in mind, the Duncan Endowment's first exhibition is currently being planned in conjunction with the Lyndon Baines Johnson Library at the University of Texas. The exhibition, scheduled to open in the first week of March, 1999, will feature the works of the endowment's creator, David Douglas Duncan.

HARRY RANSOM CENTER

University of Texas, Austin

300 West 21st Street, Austin, Texas 78712

www.hrc.utexas.edu