What happen next is perhaps best described by Osterreicher himself:
In contravention of all known and accepted firearms policies, the officer drew his weapon and pointed it at Mr. Lazarian in a threatening manner and then used it to gesture in the direction he wanted him to go.
“Pointing a lethal weapon at someone without provocation goes far beyond creating a chilling effect on First Amendment rights,” continued Osterreicher. “It is unfortunate that some officers do not understand or respect the Constitution which they swore to uphold.”
This comes days after a viral video showed a St. Ann Police Department officer pointing a semi-automatic assault rifle at a peaceful protester and threatening to kill him. That officer was suspended from duty indefinitely as of yesterday. It’s safe to say Osterreicher and the NPPA would like to see the same thing happen in this case.
For months, National Review’s staff has worked to invent bogus justifications for anti-gay business discrimination, condemning non-discrimination efforts as a form of government overreach. Long before states like Kansas and Arizona sought to pass laws allowing business to refuse service to gay an d lesbian customers, National Review was championing business owners who had been sued for engaging in anti-gay discrimination.
In August, after the New Mexico Supreme Court ruled unanimously that photographer Elaine Huguenin violated the state’s Human Rights Act by refusing to photograph a same-sex couple’s commitment ceremony, National Review joined other right-wing media outlets in their howls of outrage. At National Review Online, NRO contributor and Heritage Fou ndation fellow Ryan T. Anderson blasted the ruling as a sign that social conservatives had been “driven to the margins of culture,” with “religious believers” and “the truth about marriage” under judicial assault.
NRO also took up the mantle of Colorado baker Jack Phillips, who refused to bake a cake for a same-sex couple. In a one-sided interview published under the headline “Let Him Bake Cake in Freedom,” NRO editor-at-large Kathryn Jean Lopez framed Phillips, whom a state judge ruled had violated Colorado’s anti-discrimination law, as a victim of anti-C hristian persecution. Lopez wondered what the “future of freedom” looked like in a world where businesses couldn’t turn away LGBT customers.
Jack Mitchell, whose bulging photographic portfolio of actors, writers, painters, musicians and especially dancers describes a pictorial history of the arts in the late 20th century, died on Thursday at his home in New Smyrna Beach, Fla. He was 88.
Sad to read about this today. I was fortunate enough to meet Jack and have my picture taken by him as part of a photo shoot for a ballet company I was working with in the 1980’s. He has captured some of the most amazing images over the years and his work will be missed.
One year ago, in August of 2012, New York Times photographer Robert Stolarik was arrested for allegedly using his camera flash to interfere with police during an arrest. However, after taking a look at the evidence, it’s the police officer who is in hot water and may face up to 7 years in prison after being indicted on three felony counts and five misdemeanors.
According to The New York Times, the altercation took place on August 4th of last year, when Stolarik began taking pictures of a street fight at McClellan Street and Sheridan Avenue in the Bronx. When police officer Michael Ackermann asked him to stop, Stolarik quickly informed him that he was a New York Times journalist and continued photographing the proceedings.
Officer Ackermann’s story came apart when district attorney Robert T. Johnson examined the evidence and found that Stolarik did not use a flash. In fact, he didn’t even have one on his camera at the time. Additionally, no other officers or civilians reported seeing a flash going off.
Charges against Stolarik have been dismissed. Officer Ackermann, on the other hand, faces several counts related to filing false records and official misconduct, which could mean losing his job and up to 7 years in jail.
There’s a new Facebook app on the market called ‘Photos At My Door’. This new app enables your Facebook friends to browse through your galleries and buy different photo products (prints, mugs, keychains, phone covers) using your own images. The question is, do I want my friends to have the ability to sift through my public and ‘friends only’ albums and make mugs and keychains out of my images or worse yet, buy prints? The answer, on a professional photographer standpoint… absolutely not!
This is starting to sound a lot like the mess that Instagram was in a few months back, but blatantly more insulting to the hard working professional photographers that reside on Facebook. The argument could be made that only public albums and ‘friends only’ albums are used in the service, but a photographer’s copyright is still that… their copyright. When I looked up their terms of service the same technical jargon was on there as Instagram’s.
We all signed a TOS agreement with Facebook when first joining, and Facebook has come out several times declaring that we the individuals own the photos that we upload onto the service.
And on the eighth day,
God looked down on his planned paradise and said,
“I need a documenter,”
so God made a photographer
God said, “I need someone willing to get up before dawn, deal with models,
work in Lightrooms and darkrooms, work with models again, eat supper,
and then go to town and stay past midnight at a wedding,”
so God made a photographer.
“I need someone with arms steady enough to hold a camera,
yet gentle enough to focus,”
so God made a photographer.
God said, “I need someone willing to sit up all night editing a new shoot,
know that 98% aren’t any good, then dry his eyes and say, ‘Maybe next year’,”
so God made a photographer.
God had to have someone willing to travel
to the ends of the Earth at double speed
to get the shot in ahead of the golden hour,
so God made a photographer.
Someone who’d bale a family together
with the soft, strong bonds of sharing,
who’d laugh and then sigh and then reply with smiling eyes
when his son says he wants to spend his whole life what dad does,
so God made a photographer.
I didn’t go to Mexico with an agenda or even an idea of the kind of pictures I wanted to take. But as soon as I got there in 2008, it became clear what a widespread impact the conflict was having. I wasn’t interested in creating a story about violence that happened to be set in Mexico. I was inspired by Mexico’s present situation, which includes violence but is also a window into a time that will be referred to for decades, as people try to make sense of Mexican society. I want the work to convey a sense of Mexico, her colour, her complexity and her culture.
I remember just before I got off the train that we passed a field filled with fireflies. It was one of the most beautiful things I’ve ever seen. There were so many it was as if they were a reflection of the stars in the sky. I think my work is a true representation of how I experienced Mexico while I was living there. Unspeakable, atrocious things were happening in parts of the country but there was still an intense beauty permeating the atmosphere.
I want people to feel as if they had been standing in the same spot, in the same moment in time, that they could have seen the exact same thing.
I was struck that many of them were going back to the US to return home – not go to a foreign land. They had lived in the US for years, had children in the country and, for a variety of reasons, had returned to Mexico or were deported. Now they were risking everything to reunite with their families. They all told me this trip was more dangerous and they were more fearful: the migrants and drug smugglers were now sharing the same space and the migrants faced new threats. Some had been forced to mule drugs across the border, and many now had to pay an exit tax to the cartels to leave Mexico. The threat of kidnapping, robbery and murder had drastically increased with the rise of the drug war. Migration routes, and what migrants were willing to risk to achieve their dreams, had been drastically altered by the conflict.
Think for a moment, for years this shot was Afghanistan to us. 9/11 changed all that but as the war winds down and we reflect on our nation building efforts there this is a perfect image to take in. I think this image captured our hearts and helped give us the will to support the cost of lives and billions of dollars to help Afghani people just like this woman. Had we been cold hearted we could have just bailed out of Afghanistan as soon as the Taliban fell. We could have left them to their own Taliban ways, and smashed terror bases at will much as we do now in Africa.
Read the whole thing. It’s worth it.
A Life Revealed
Her eyes have captivated the world since she appeared on our cover in 1985. Now we can tell her story.
By Cathy Newman
Photograph by Steve McCurry
She remembers the moment. The photographer took her picture. She remembers her anger. The man was a stranger. She had never been photographed before. Until they met again 17 years later, she had not been photographed since.
The photographer remembers the moment too. The light was soft. The refugee camp in Pakistan was a sea of tents. Inside the school tent he noticed her first. Sensing her shyness, he approached her last. She told him he could take her picture. “I didn’t think the photograph of the girl would be different from anything else I shot that day,” he recalls of that morning in 1984 spent documenting the ordeal of Afghanistan’s refugees.
The portrait by Steve McCurry turned out to be one of those images that sears the heart, and in June 1985 it ran on the cover of this magazine. Her eyes are sea green. They are haunted and haunting, and in them you can read the tragedy of a land drained by war. She became known around National Geographic as the “Afghan girl,” and for 17 years no one knew her name.
In January a team from National Geographic Television & Film’s EXPLORER brought McCurry to Pakistan to search for the girl with green eyes. They showed her picture around Nasir Bagh, the still standing refugee camp near Peshawar where the photograph had been made. A teacher from the school claimed to know her name. A young woman named Alam Bibi was located in a village nearby, but McCurry decided it wasn’t her.
As you may know, it was Veterans Day in the U.S.A. yesterday.
In other years on this day, we’ve mentioned Sgt. Scott Kirkpatrick, because his father Ed is a longtime TOP reader. Scott got a special honor yesterday, on what would have been his birthday, had he lived. Ed’s wife Marti tells the story:
Today, November 11, Scott would have been 32 years old. As always we went to Arlington to share a wee dram of the Glenfarclas 21 with him and celebrate and honor our boy. We always go early when it is still fairly quiet. A young man approached us at once, identifying himself as a photographer with The Washington Post and asked if he could photograph us and ask about Scott and we said of course, we always (well almost always) like to have any recognition/remembrance of our son. So, some of Scott’s story may be in the Post.
The highlight of the day however is pictured above. As they have done so often, President and Mrs. Obama and Vice President and Dr. Biden came to section 60 to honor our loved ones. Ed and I had the great privilege to shake hands with, be hugged by and briefly chat with both the President and First Lady. When I told President Obama today was Scott’s 32nd birthday he turned to an aid for a split second calling them by name and asked for a coin. It is a challenge coin and has the Presidential Seal on the front, the White House on the back with his number, name and signature. He placed it on Scott’s stone. It’s a very special birthday present and unlike everything else folks leave at his stone, this one came home to live with Scott’s flag, medals, and family pictures.
It was a nice day, and Scott would have had fun.
The rest, including photos, is here.
As a veteran, I am proud of my president. This is just one of many reasons why.
Apple is constantly engaged in its fair share of courtroom battles, but its latest one hits a little closer to home for photographers. Swiss photographer Sabine Liewald has filed a lawsuit against Apple for using her “Eye Closeup” photograph to promote the 15-inch MacBook Pro’s Retina Display.
Liewald claims that when Apple approached her agency (Factory Downtown) to request a high-resolution version of the photo, the company had said the image would only be used for “layout purposes” (AKA “comping”) and not in any advertising campaign.
The photographer was then surprised when Apple did exactly what it said it wouldn’t do. When the company’s keynote address was held last year to introduce the new portable computer, the photograph was featured prominently in the promotional images.