HAITI KIDS PHOTO WORKSHOP: Contribute A Digital Camera for Kids in Haiti

2010 Photography Workshop, Cité Soleil
Photograph © 2010 Jennifer Cheek Pantaléon

2010 Photography Workshop, Cité Soleil
Photograph © 2010 Jennifer Cheek Pantaléon

Photography Workshop, ACFFC - field trip to Marigot (Cheldine in pink)
Photograph © 2010 Jennifer Cheek Pantaléon

Our very first Zanmi Lakay Photography Workshop with ACFFC in Jacmel, Haiti, 2007. Photograph © 2007 Jennifer Cheek Pantaléon

It really is magic
putting the cameras in the hands of these kids

Jennifer Cheek Pantaléon

The next Workshop will be in July in Jacmel, Haiti. The kids need digital cameras for the Project. If any of you have an extra camera or work for companies that might be able to donate, please contact the Zanmi Lakay organization below.

Zanmi Lakay is a non-profit organization dedicated to improving the quality of life for current and former street children in Haiti by providing educational and economic opportunities and resources to help these children. If you would like to donate towards any of the Workshop's expenses in Haiti, read more here.

Send Digital Camera's and Photo Books to:
Jennifer Pantaléon at Zanmi Lakay
153 Montecito Avenue, Pacifica, CA 94044
info@zanmi Lakay

And don't forget the chargers and cables, CF and SD cards, extra AA batteries and photo books the kids can look at!


Gheorghe, Mara, Maramures, 1999
Photograph (c) Kathleen Laraia McLaughlin

Maria, Sarbi, Maramures, 2003
Photograph (c) Kathleen Laraia McLaughlin

Northern Transylvania is the last bastion of subsistence peasant villages in Europe. It is an area so remote that the Romans never conquered them. Yet just two decades after the fall of communism, modernity is finally overcoming their centuries old traditions.

"In a single generation, the villages shown here have gone from illiterate poverty to cell phone towers. Kathleen Laraia McLaughlin's photographs capture both the traditions and the change of the first decade of the 21st century. Using a medium format camera with traditional film negatives, she pursues the mission of a documentary photographer by preserving a piece of fading history.

"Your contributions will allow us to make the final payment to the printer. Up to now, we have spent our money and the money of friends. This final amount will complete the long journey to publication."

Over 130 photos are displayed throughout 200 pages. Each image carries a caption, a location and a date. The book is organized into chapters on the seasons, the ceremonies, and the meaning of life. Throughout, there are essays, poems, proverbs, ghost stories and songs to add depth to the lives of these special villages." (...KickStarter Video)


JACK B. WOODY: Twin Palms Photography Book Publisher

Jack Woody, NYC. Photograph by Duane Michals
read profile on
Le Journal de la Photographie

Helen Twelvetrees Photographed by Edward Steichen

Jack Woody's Twelvetrees Press, named for his grandmother, early Hollywood movie star Helen Twelvetrees (above), includes her beautiful portraits in his exquisitely printed book, Lost Hollywood, along with Lillian Gish, Jean Harlow, Charlie Chaplin, Theda Bara, Erich von Stroheim, Greta Garbo, and Rudolf Valentino by photographers George Hurrell, William Mortensen, Clarence Sinclair Bull, and Edward Weston.

Jack Woody's Grandparents 
Film star Helen Twelvetrees and Frank Woody, actor and stuntman in John Ford movies, 1933. From 1929-1939, Twelvetrees starred in movies with Spencer Tracy, Clark Gable and John Barrymore. Her initials “HT” are still inset in stained glass above the original front door of her Brentwood home on Mulholland Drive and Outpost, now home to a current movie star. 

"Walk of Fame Star" on Hollywood Boulevard © Stefano Paltera

Robert Mapplethorpe, Self Portrait, 1984
(Twin Palms 1985)
"...the Robert Miller Gallery did an exhibition of George Platt Lynes prints and after the exhibition they gave a big party. A guy comes up to me, all in black leather, and starts talking to me. It was Robert Mapplethorpe. He said he really loved the book, thought it was great and wanted to know if I’d be interested in working with him on a book...We ended up doing a book together, “Certain People: A Book of Portraits by Robert Mapplethorpe", with gravure plates printed in Spain. He’s on the front cover in leather and the back cover in drag. Susan Sontag wrote the text."
 Matt Mahurin (Twin Palms 1999)

"Matt Mahurin’s book was the ultimate book for gravure printing. That’s a beautiful book. Beautiful, rich, dark – there’s a whole school of people who copy his work now."

Disfarmer: 1939-1946 Heber Springs Portraits
(Twin Palms 1996)
"The first book I published was Christopher Isherwood’s beautiful journal called “October” (Twelvetrees, 1980). Don Bachardy, Christopher Isherwood’s lover, was a portrait painter. He did a portrait everyday in the month of October, and every day Christopher would do a journal entry, so we paired each journal entry with Don’s portraits of Gore Vidal, Joan Didion and everybody who was anybody in L.A. Then I found a little printer in the valley, Cunningham Press. A couple of old guys ran it and took pity on me. That was about 1978 or 1979."



Fallen Tree, 1996
Photograph (c) Raymond Meeks

"I was driving towards the Pine Ridge Reservation in South Dakota, the home of the Oglala Sioux nation and the birthplace of Leonard Peltier, who was convicted for aiding and abetting the execution style murder of two F.B.I agents during a 1975 shootout on the reservation. The indictment has been controversial (here), the subject of a film by Robert Redford and Michael Apted, Incident at Oglala, which portrays Peltier as a political prisoner.

I had just come from the U.S. penitentiary at Leavenworth, Kansas where I’d made a few portraits of Leonard Peltier for a magazine commission. The fallen tree, partially submerged in this dried, frozen river bed, seemed a fitting metaphor to accompany the story I was illustrating."–Raymond Meeks (from photo-eye Blog: 3.22.11)

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MARK MORRISROE (1959-1989): Exhibition

Mark Morrisroe, "Jonathan (Jack Pierson)," 1982, Chromogenic print, 20 x 16 inches (sheet), 15 x 15 inches (image), Courtesy of ClampArt, New York City © Estate of Mark Morrisroe (Ringier Collection), Fotomuseum Winterthur

Mark Morrisroe, "Untitled (Self Portrait)," 1988, Photogram (Unique), 14 x 11 inches, Courtesy of ClampArt, New York City © Estate of Mark Morrisroe (Ringier Collection), Fotomuseum Winterthur

Mark Morrisroe, "Untitled (Jonathan Pierson)," 1978, Polaroid print (Unique), 3.75 x 3.75 inches, Courtesy of ClampArt, New York City © Estate of Mark Morrisroe (Ringier Collection), Fotomuseum Winterthur

Monograph: Mark Morrisroe (Twin Palms Publishers)
Photographs +Text by Mark Morrisroe, 200 plates

"It kills me to look at my old photographs of myself and my friends. We were such beautiful, sexy kids but we always felt bad because we thought we were ugly at the time. It was because we were such outcasts in high school and so unpopular. We believed what other people said. If any one of us could have seen how attractive we really were we might have made something better of our lives. I'm the only guy that I know who wanted to runaway to be a prostitute."– Mark Morrisroe
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Mark Morrisroe studied at the School of the Museum of Fine Arts in Boston, where he became life long friends with Nan Goldin, Philip-Lorca diCorcia, Davis Armstrong and Jack Pierson, now collectively called "The Boston School." He died in 1999.
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Nan Goldin wrote: "Mark was an outlaw on every front-sexually, socially and artistically. He was marked by his dramatic and violent adolescence as a teenage prostitute with a deep distrust and a fierce sense of his uniqueness. I met him in Art School in 1977; he left shit in my mailbox as a gesture of friendship. Limping wildly down the halls in his torn t-shirts, calling himself Mark Dirt, he was Boston's first punk. He developed into a photographer with a completely distinctive artistic vision and signature. Both his pictures of his lovers, close friends, and objects of desire, and his touching still lifes stand as timeless fragments of his life, resonating with sexual longing, loneliness, and loss."

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Spirit Stories #19, 2010 (8 available) $50
Photograph (c)Jessica Hines

Japanese Macaques, 2010 (10 available) $50
Photograph (c) Mike Gibson

No. 61, 2011 (3 available) $50
Photograph (c) Kerry Mansfield

Rabbit, 2010 (8 available) $50
Photograph (c) Monika Merva

$1 Of Panko Bread Crumbs, 2008 (5 available) $50
from the series The Value Of A Dollar
Photograph (c) Jonathan Blaustein

life support japan I
life support japan II
life support japan III

wall space gallery
the photo community has pulled together at warp speed to help disaster victims in Japan. powered by aline smithson of lenscratch + christa dix of wall space gallery, Life Support Japan has already raised $20,000. over 900 photographers are donating their work and images are being uploaded every day, so check back often - for $50 you will get an 8 X 10 signed print, one of a special limited edition of ten - 100% of the proceeds will be donated to the non-profit organizations, Direct Relief International and Habitat for Humanity Japan
new images posted daily
seattle 206.330.9137 | santa barbara 805.637.3898

purchase thru google check-out. international buyers: email gallery@wall-spacegallery.com for an invoice and pay thru paypal. buy multiple prints, pay shipping once. also click on "Life Support Japan I" on the bottom of the page


MARGARET McCARTHY: Late Night Animals

Photograph by Margaret McCarthy

Photograph by Margaret McCarthy

Photograph by Margaret McCarthy

"This series began as a visual journal; I found myself drawn to the humor, wackiness and pathos in the spectacle of wild animals as guests on late night talk TV. The animals are often brought on as TV guests with the best of intentions: to educate the mass TV audience. Often these species are perilously close to extinction. I found myself wondering: does our culture handle the vanishing of a species by giving them 15 minutes of fame before they are gone for good? In these pictures, I try to speak to our conflicted reactions about co-existing with wildness and the natural world, and the irony of a culture that seems to love these animals to death but can't seem to leave them alone." – Margaret McCarthy

Raandesk Gallery thru April 23

16 W. 23rd St, NYC


JONI STERNBACH: Art Nation Video

SurfLand: 06.07.12 #4 Lone Surfer / 8" x 10" unique tintype. Ditch Plains
Copyright © Joni Sternbach / All rights reserved

SurfLand: 09.08.24 #4 Len / 14" x 17" unique tintype. Radars, Camp Hero
Copyright © Joni Sternbach / All rights reserved

Joni Sternbach Unique Tintypes

Artist in Residence: March 2011 The Art Park/Atlantic in Byron Bay, Australia. Into the Ether: Wet Plate Collodion Workshop: June, 2011 in conjunction with Luz Gallery, British Columbia. Into the Ether: Master Class in Wet Plate Collodion: October 22nd and 23rd, 2011 at Houston Center for Photography...more about Joni Sternbach



Alhaji Hassan with Ajasco, Ogere-Remo, Nigeria, 2007
By Pieter Hugo at Yossi Milo Gallery # 103

Saul Leiter: Early Color
Susan Forristal next to her friend Saul Leiters work
Howard Greenberg Gallery # 309

Paul Kopeikin in front of Marta Soul
Kopeikin Gallery # 209

AIPAD Photography Show
March 17-20 • Park Ave Armory x 67th St

Photo Collector's Alert: The Association of International Photography Art Dealers, the best of the best, are here in NYC this weekend. Check out all the modern, contemporary work, old masters, civil war treasures, salt prints and painted tin types (at Gary Edwards Gallery). It's like the History of Photography all under one roof - only it's for sale. Martine Fougeron at Galerie Ester Woerdehoff, Mona Kuhn at M+B #109, The Oval Office, 2001 at Monroe Gallery #417, Laura Gilpin's 1928 Narcissus platinum print at Scheinbaum & Russek #214, Leopoldo Pomes' Calitx, 1947 at Michael Hoppen...over 70 Galleries.


LIFE SUPPORT JAPAN: Photography Auction Funds Benefit Japan Disaster


Atlanta, GA, March 19th. 11am-5pm

Absentee Bidding VIEW IMAGES

Maiko Takaku, Matsuo Kabuki (2003)
Photograph (c) Hiroshi Watanabe

Big with Monkey Doll, Suo Sarumawashi (2008)
Photograph (c) Hiroshi Watanabe

Barefoot Guitarist (2009)
Photograph (c) Gabe Sheen

Life Support Japan is an effort by photographers and galleries around the world to raise money to support those affected by the earthquake and tsunamis that struck Japan on March 11th, 2011. Money raised from these joint efforts will be donated to Direct Relief International and Habitat for Humanity Japan.

Silent Auction: Jennifer Schwartz Gallery, Atlanta, GA, March 19th. 11am-5pm. Winners Announced at 6pm on March 19th. Bids will be taken at the Gallery and also by Absentee Bidding. Absentee Bids can be sent to auction@jenniferschwartzgallery from 11am-5pm (Eastern Standard Time). They will accept absentee pre-bids Friday March 18th from 5pm-7pm. Additionally there will be a "buy it now" option, where the bidder can buy the lot at the full retail price.

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(limited editions x low prices) + the internet = art for everyone

Imperial Palace Gardens with Wall, Tokyo, 2009
Photograph (c) Emily Shur

All of the proceeds from the sale of this print benefit Japan Society's Earthquake Relief Fund. Japan Society has created a disaster relief fund to aid victims of the Tohoku earthquake in Japan. 100% of the contributions will go to organization(s) that directly help victims recover from the devastating effects of the earthquake and tsunamis that struck Japan on March 11, 2011. 20X200

"I have photographed in Japan since my first visit in 2004 . . . I identify deeply with the level of respect that nature commands there, as well as the mesmerizing attention to detail prevalent within Japanese life. This honoring of the natural world is indicative of a certain way of thinking; a collective consciousness that goes beyond simply caring for plants or animals or taking pride in one’s work." –Emily Shur

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Hope, India, 2011 $50
Photograph (c) Manjari Sharma

January Rain, Tokyo, 2009 $50
Photograph (c) Michael Kirchoff

the photo community has pulled together asap, powered by aline smithson of lenscratch and christa dix of wall space gallery. at this time, over 850 photographers have donated their work (!) so new images are being uploaded every day - check back often - for $50 you will get an 8 X 10 signed print - one of a special limited edition of ten - 100% of the proceeds will be donated to non-profit organizations, Direct Relief International and Habitat for Humanity Japan, benefiting disaster victims.

*purchase thru google check-out. international buyers: email for an invoice and pay thru paypal. buy multiple prints, pay shipping once.

note: Life Support Japan is planned as a long term project, not a short term fix to help Japan. they are creating a website, I'll post when it's live. "thank you from the bottom of my heart for this huge outpouring of support in this effort to help."–gallery owner, christa dix


ELISABETH BIONDI: La Lettre Interview

Elisabeth Biondi in her Conde Nast office
Photograph by Enrico Bossan

The wall in Biondi's New Yorker office

Helmut Newton photograph above Diane Arbus: "Helmut was so German and this picture is so German. It’s one of my favorites. I grew up in the woods. Only a German can make this picture."

Newton and Avedon on Biondi's New Yorker wall

A photograph is an entity. You don’t crop it, you don’t butcher it, you don’t plaster text over it, you treat it with dignity.– Elisabeth Biondi

Elisabeth Biondi has left an indelible impression on all of us throughout her powerful career at four of the most influential magazines in the world. Biondi joined The New Yorker Magazine as Visuals Editor in 1996, just a couple of years after photography had first been introduced into the three quarters of a century old magazine. From her extensive background at Geo, Stern, and Vanity Fair, she brought her masterful eye to The New Yorker, helping to build their reputation for their award winning use of photography.

I spoke with Ms. Biondi in her Condé Nast office, above Times Square:


I left my village in Germany when I was 19. It was a small village, only forty-two houses, two hundred people and four hundred cows. I went to Paris, and then London as an au pair girl. I didn’t really study photography. I was ready to leave Germany and looking to immigrate somewhere. You could go to Australia, South Africa, or Canada if you paid 200 marks, which is about $50.00, and commit yourself to stay in the country for a period of time. They were looking for immigrants, especially Germans, for some reason. I asked for the forms and I was debating where I was going to go. Canada was too cold for me, South Africa had political problems and Australia didn’t really entice me. I was going to do one of those three, when I met my American husband in Frankfurt while I was working for Lufthansa.

We stayed for a year in Germany after we had married, then we came to New York. He worked as an assistant Art Director at London Records. I wanted a job, so he said there’s this job in a photo studio and I went to interview. It was just a little studio with staff photographers. We produced shoots, a 'stock' library, and carried out assignments. It was a very different time, the late 1960’s, early 1970’s. Our photography studio produced magazine covers; they did assignments, anything and everything. I was the assistant to the man who ran the company and I got my basic training how this was done. At some point while working there, I decided I wanted to work for magazines, and I wanted to be a Picture Editor.


I went to a magazine to get the experience - I don’t want to reveal the name - then I waited until I found a magazine that interested me. German Geo decided to have an American magazine on the American market. It was supposed to be a more contemporary National Geographic and modeled after the very successful German Geo. With the combination of my being German, and now having the title ‘Picture Editor’, which I really wasn’t, I was hired as the assistant Picture Editor. Alice George was the Picture Editor. There was a big upheaval at the magazine fairly early on and I was named Picture Editor. When I joined the staff of Geo I was divorcing, it was an emotional time for me and Geo became my home.

At Geo, Thomas Hoepker was the Executive Editor, in charge of visuals and layout. He is a Magnum photographer now, and my training came from him. I learned from a photographer, and certain basic understandings or rules, if you want, from this time have stayed with me my entire work life; “A photograph is an entity. You don’t crop it, you don’t butcher it, you don’t plaster text over it, you treat it with dignity. You look at it as important as you treat words. It has different properties to it, but it isn’t simply an illustration.”

It was the Magnum time. The premise was, photographers would be sent off for three or four weeks to tell a story with or without a writer, to photograph a story. They would come back and make a presentation to us. We would make an edit and then the visual treatment to the magazine would be put in layout. In some way, the visual treatment was as important, if not more important, than the text. In the beginning, it was more photography driven. Over the years, it changed. In the end, it became more like a travel magazine but the initial premise was not unlike National Geographic-- that you could tell stories in the photographs. In our first issue, we did the Badlands. It was more than thirty pages of exceptional photography. Usually we published six stories -- some were large, some slightly less, but it was always a sumptuous display of good photography.


Vanity Fair was then edited by Tina Brown. It was the early years, it wasn't successful yet. She had already been there for two years and Annie

(Leibovitz) was already present at the publication. Vanity Fair was very different from many other publications---basically Tina didn’t make a

judgment between words and pictures. Whatever was interesting, or as she would say, “Hot. Hot. Hot. Hot. Hot!”, got more space and was promoted.

Certainly there were the important word pieces, but photos were important too, and they contributed to it’s success. I would say there was a Vanity Fair style of photography, particularly portrait photography. I think Annie was a big part of that, and it helped make Vanity Fair successful. One of the early success’s was Harry Benson photographing the Reagan’s in the White House dancing. That was a coup and was noticed. And then of course Helmut (Newton) shooting Claus von Bülow, which was much talked about.

I was there for seven years. It was time for a change. I moved back to Germany and went to Stern.


From 1968-1996, I was in the U.S. exactly 23 years. I came when I was 23, and I went back when I was 46. Half my life was spent here and half my life was spent there. I really had not kept up with my German life. I came here to immerse myself in all things American and I stayed away from everything German. And it was hard, it was really difficult being in Germany, working for a big fat weekly, because before I didn’t read in German, I didn’t know German politics anymore, I didn’t know German TV. When I was in the U.S. I didn’t see Fassbinder, just to illustrate how much I had focused on giving up my past. German popular culture was alien to me, it was all an enormous challenge. But in the end, I reconnected with Germany--with my past, with German literature, and German films, and that was terrific and great. I am so grateful for the opportunity.

Stern is a weekly magazine: a combination of Newsweek, Life Magazine, Paris Match, not the way it is now, but Paris Match at that time, and the London Sunday times a little bit. It was a mixture of hard news and soft news. There was usually a big portfolio feature, news in front, and then celebrity coverage. Visually it was mainly photography, and illustration was minor. I’d never worked for a weekly magazine before. After three quarters of a year, I had information overload, nothing would go in my brain anymore.

We had 15 staff photographers, but in some way that model had outlived itself. Originally it made sense, but the photography world grew bigger and one could hire photographers all over the world and have access to everyone, so it was a changing time. You worked with freelance people as much as you worked with staff people. I stayed five years.


I decided I wanted to go back to America. I’d been in Germany five years. At first it was all new and fresh and then I got used to it and decided I really preferred to live in America. I thought I didn’t want to spend the rest of my life in Germany. I decided I was going to leave when I got a phone call from Pamela McCarthy, the deputy editor at the New Yorker and she said, “Have you thought about coming back to America?” “As a matter of fact I have”, I said. It all happened very quickly after that conversation. It was the only time in my life something happened I really wanted, without doing anything for it.

Tina had already been at the New Yorker for a few years. I came at the time when she decided to have a proper photo department in a more conventional sense, i.e. like other magazines had, and that’s when she hired me.

Photography first came into the New Yorker in 1992, of a fabulous full-page photograph of Malcolm X by Richard Avedon. At the beginning he was the only photographer. I think it was a very smart choice. He introduced New Yorker readers to photography gradually. It was a really smart decision Tina made. And then it evolved and we added other photographers. It’s really hard to do a weekly with one photographer who was prominent and very busy. It just naturally evolved.

The challenge for me was to help develop a language in photography that suited the New Yorker, which is and was a text magazine. It’s a natural with Richard Avedon; he sets the tone of the magazine. He’s sophisticated and the magazine is sophisticated, so that’s sort of a no brainer in a way. Then if you open it up, I think at first it was done by doing, rather than sitting down and planning what photography should be in the New Yorker.

I think magazines change all the time and I’m sure if I looked at the New Yorker from ten years ago, the photography, I would say it was different then, but there was never a decision to make it categorically different, it just evolved. And one always needs to think about it and to change things before readers get bored. One has to always be ahead of the reader.

I was friends with Helmut (Newton) from Vanity Fair. It was great to have him work for the New Yorker. We had to find the right stories for Helmut to photograph for the New Yorker and we did. I think Helmut was a great portrait photographer, and oddly enough his male pictures were as strong, if not stronger than his pictures of women. They were psychological.

And Robert Polidori is a great artist, great photographer. His big story was Havana. The book is in its third or fourth printing and has become a classic. Basically it was not a challenge to get the people to work for us. Even though we didn’t use a lot of pictures, photographers like to work for us. It’s prestigious to be published in the New Yorker. I think most photographers are very happy to work with us. It's wonderful. And I work very hard to make new photographers understand the New Yorker.

When I work with photographers, it’s a collaborative process. My job is to translate the magazine to the photographer and the photographer to the magazine. It's what I see as my role. I believe very much that personality is a factor, in addition to talent. I want to know the photographer so I can pair him with the right person for portraiture, for example. We work with artists, we work with photojournalists, we work with portrait and still life photographers. I’ve worked with all these different disciplines, if you want to call it that, and I love diversity.


When you look at my Collection it’s pretty much like my wall. I’m not saying the same pictures, they connect to my personal experiences. Often photographers ask me if they can give me a photograph - and then I think very hard about it, which one I want to live with. The pictures I’ve bought myself are all very personal, all pictures I like for personal reasons. I never thought about building a Collection, they are just my photographs and they are interesting and take different directions. Very few still life’s, but other than that, there’s a little bit of everything.

The ones that are on my wall are there for different reasons, sometimes I like the pictures, sometimes I like the picture and it was special to work on it, or because the photographers were important in my life, like those two guys (pointing to the photo of Helmut Newton and Richard Avedon together shown above). I came across the picture by chance. And that’s a Helmut up there, the naked woman (image above). Helmut was so German and this picture is so German. It’s one of my favorites. I grew up in the woods. Only a German can make this picture.

Elisabeth Biondi left the New Yorker Magazine March 15.

She is curating an exhibition for the New York Photo Festival May 2011.

And Juror for SlowExposures Photography Exhibition September 2011

more info SlowExposures here

–Elizabeth Avedon