OCEAN CITY — Tributes poured in for professional photographer Donald B. Kravitz, who died Jan. 15, 2024.
Kravitz was a fixture at Ocean City events for decades and his work encompassed everything from local charitable events to Miss America pageants.
Kravitz, a talented and genial presence who was well respected among his peers, was seemingly everywhere covering events including July Fourth parades and the resort’s unlocking of the ocean on Memorial Day weekend. That was but a small fraction of his work.
The decorated Vietnam War veteran took photographs for Ocean City, Atlantic City, various casinos, Getty Images, the Philadelphia Phillies and Eagles, Miss New Jersey and Miss America and the Garden State Film Festival.
He was involved in many charitable organizations and understood the importance of sharing kindness and compassion with everyone, according to his family, who considered him a supportive and loving husband, father, stepfather and Pop-Pop. The graduate of the University of Maryland was often seen wearing his baseball cap turned backward while he was working.
“Don was one of the hardest-working people I know, he loved his craft and I’m sure his talents will be greatly missed,” Richard Strauss said.
“I met Don 20 years ago when I became the photographer for the Miss New Jersey pageant,” he explained. “At first it was a little intimidating since everybody knew Don and I was the new kid on the block. Don helped me get acquainted with the pageant world and soon we became good friends. I always looked forward to seeing him at the pageants and whoever arrived first would save the other one a seat.”
“This is incredibly sad news. Don was such a kind and loving man. He will be missed,” wrote Tricia Bowman Branch, a former Miss New Jersey from Ocean City.
“He had that infectious smile and kindness about him,” said Cathy DiMarco, president of the Ocean City Cape Atlantic Chapter of the Sunshine Foundation. “And he was always seen with (his wife) Carol by his side.”
DiMarco said Kravitz volunteered for years to take photos for the Sunshine Foundation and “captured the right moments” for her organization and the other events he covered. “He was always extending a helping hand.”
“He was not only a photographer, but a friend to all who knew him,” DiMarco added, “always offering his services any way he could.”
“Oh, my heart is breaking,” wrote comedian Dena Blizzard. “Don was one of the kindest souls I’ve ever met. I’m not sure how … but from behind that camera he supported so many of us on stage. Many prayers to his wife, Carol, and their beautiful family. He will be missed so much.”
“He will be so, so missed,” former Miss New Jersey Jill Horner wrote. “What a wonderful person.”
“I’ve traveled a distance away from my pageant career, and my home base of Ocean City. It’s been so long that ‘former’ titleholder feels overly generous,” wrote Robin Vitale. “But Donald Kravitz didn’t forget. A few years ago, he caught me at a baby parade in Ocean City and he instantly connected.
“I felt transported back to my days sitting on the back of a volunteer’s convertible. Don always made you feel special. He will be missed. But he’s now able to capture the best view of those he loves. I pray his memory brings them comfort in time.”
“He was always a kind and generous person,” Ocean City Mayor Jay Gillian said. “A true fixture of Ocean City.”
Diana Dove shared an anecdote.
“I believe I fell into his arms during a local pageant when he was taking pictures. I was a visiting queen walking down an unfamiliar runway (without a rehearsal). I didn’t realize there were black steps at the end of the black runway, while blinded by the spotlight. … We were both so happy I didn’t make a crash landing! He said I was the ‘catch of the day!’ He tilted me back up and I kept walking, waving and smiling.”
“Don was everywhere with his cameras,” said David Nahan, a photographer and editor of the Sentinel newspapers. “He was one of the first people I met covering events in Ocean City more than 25 years ago and that I bumped into ever since. He was always friendly, kind and supportive.
“His work was outstanding,” Nahan added. “I was impressed by the quality of his photos, but doubly so by how he managed to cover so many different things. I also was impressed by the reactions he got from the people he covered — so many adored him.”
He is survived by his loving wife, Carol Hadley (nee Reichman), who often accompanied and supported him on his assignments. He was the loving father of Brett Dockwell (Alison), Dr. Amy Kravitz-Del Solar (Alvaro), Troy Kravitz (Sandra Normann-Kravitz), Bryan Nadley (Jill) and Amy Polis (Adam); adoring grandfather of Fin, Nola, Ainsley, Elias, Mathias, Charlotte, Noah, Jake, Jordyn, Jonah, Beckam and Ramsey; brother of Karen Jacobson (Arthur) and Eileen Fein (Ronnie.)
Family and friends are invited to his funeral service at 9 a.m. Sunday, Jan. 21, at Goldsteins’ Rosenberg’s Raphael-Sacks Suburban North Chapel, 310 Second Street Pike in Southampton, Pa. Entombment to follow at Montefiore Cemetery in Jenkintown, Pa.
Contributions in his memory may be made to the Heart of Surfing (www.heartofsurfing.org) or to the Sunshine Foundation (www.sunshinefoundation.org).
GREENSBORO, Ga. — t was an exciting day for Lake Oconee Academy’s photography class when the Atlanta Braves team photographer, Kevin Liles, visited to share his knowledge and experience as a photographer with the budding photography students.
Liles began his career as a small-town reporter in South Georgia. After covering local high school sports, Kevin discovered he had a growing interest in photography, especially when it came to sports. He went on to photograph hundreds of assignments for The New York Times, Washington Post, Sports Illustrated and The Wall Street Journal. In 2018, he found his home as the team photographer for the Atlanta Braves where he continues his work today.
Liles shared some of the amazing moments he has captured over the years with the photography students. While most of the photographs he shared were epic ones he has taken for the Braves, he also shared some amazing moments he’s been fortunate to capture outside of The Braves organization over the years — from a regal portrait of former Pres. Jimmy Carter to a rare moment with University of Alabama head football coach, Nick Saban. He even shared an unexpected moment he was fortunate to capture of a pastor praying with a police officer that landed on the front of The New York Times Sunday edition. His was the lead photograph of every photographer across the country covering this story. It was an incredible honor.
In addition, Liles shared great advice with the young photography students as they prepare for their futures in any area of study. Liles suggested, “It takes about 10 years, in my experience, to be really good at anything…”
He later stated, “I think a lot of kids come into photography and try to be great very, very quickly. They want to be shooting a Braves game next week and it doesn’t work that way.”
His advice was to just put in the time to gain experience, suggesting that in order to grow in photography one needs good critiquing of his or her work to excel in the field.
Liles enjoyed bantering back and forth with ninth grade student, Ben Reber. He noticed Ben had a superior knowledge of the Braves stats and playfully tested his knowledge throughout. Ben later shared how much he enjoyed seeing Liles’ work from games he had attended or viewed on TV, recalling the moments from memory.
Before the event, Jordynn Chafin, a 10th-grade student, was unsure if photography was a career path she was interested in, “I wanted to do something in the technology field, but I thought photography was kind of boring. Seeing his work made me realize there is more to it and technology can be fun if you make it,” said Jordyn. She emphasized, “He definitely made me give photography a second thought.”
Being in the presence of such an accomplished photographer was a special experience for these young photography students. Before departing, Liles gave the students an opportunity to hold his official Braves World Series ring, an experience many of the students will never forget.
Danish brand Vipp, renowned for its 85-year tradition of metalwork and most notably their iconic trash bins, introduces their latest kitchen design that’s a perfect testament to the company’s legacy. Crafted with aluminum, the V3 kitchen is a modular masterpiece that seamlessly merges functionality with minimalist aesthetics, marking a new chapter in Vipp’s storied journey. Wrapped in naturally anodized aluminum, the freestanding modules boast vertically extruded profiles that gracefully curve, infusing a light elegance into the metallic landscape. Vipp CEO Kasper Egelund describes it as “a unique kitchen that feels like a sculptural piece on its own.”
The V3 kitchen pays homage to Vipp’s heritage, tracing back to founder Holger Nielsen’s entrepreneurial spirit. Inspired by the legacy of their notable stainless-steel pedal bin, the V3 follows in the footsteps of its predecessor, the V1 kitchen made of black powder-coated steel, introduced in 2011. While maintaining the principles of the V1, the V3 takes a departure, introducing an aluminum-first appearance that breathes freshness into Vipp’s longstanding metalwork legacy.
True to Vipp’s philosophy that “a kitchen is a tool, not a decoration,” the V3 is designed for everyday use. Discreetly integrated pulls, long handles with rounded rubber inner edges on fridge and freezer cabinets, and a four-millimeter stainless-steel countertop are thoughtful details that underscore Vipp’s commitment to form, function, and durability. The kitchen is envisioned to be a lifelong companion, celebrating thoughtful design and premium materials. Kasper Egelund sums up Vipp’s approach, stating, “Our kitchens are based on everything we’ve learned about metalwork since Vipp was founded in 1939.”
The V3 kitchen offers versatility with three distinct modules – island, wall, and tall – and the choice of integrated gas hobs or an induction option.
While Vipp’s metalwork history revolves mostly around steel, their latest design introduces a lighter option inspired by the use of aluminum in the brand’s Shelter and Chimney guesthouses.
From afar, the cabinets appear to have a fresh, light gray color exterior. Upon closer inspection, the metallic hue and tactile quality of the fluted panels makes for an elevated and unique kitchen design.
For those eager to learn more or experience the V3 kitchen, further details can be found on Vipp.com.
Wandering the empty streets of New York during the dark days of the COVID-19 pandemic, photographer Phil Penman captured the city at one of its lowest ebbs.
“I have mixed emotions about this time,” Penman tells PetaPixel. “It was very sad to see the streets I love boarded up, due to the rise in shoplifting and theft.”
Despite the bleak times, Penman found comfort in chance conversations with strangers as people yearned for human connection during a period when authorities were enforcing lockdowns.
“This is New York at its worst and its very best,” says Penman. “The images take you on a journey. Quiet streets of New York like we have never seen before right through to the characters and personalities on the street that were less fortunate and had nowhere else to go.”
“I spent a great deal of time wandering the streets documenting everything and anything I saw,” he continues. “I found the conversations I had with people on the street helped me mentally and appreciate just how much we all need each other. Zoom calls were nice but no substitute for talking with people in the flesh.”
Penman’s photos play on isolationist themes, amplified by the Leica Monochrom camera he chose to shot the project on. Like any street photographer, he knows patience is a virtue.
“Coming from the U.K. and knowing how much the rain just sucks, I now find myself looking for the bleak weather to act as a backdrop for the characters I like to capture,” he explains.
“I know from my 30 years on the streets that those extraordinary moments are few and far between. It requires a lot of man hours on the street walking and observing. If you go out with the mindset that you are going to get these images all the time you are setting yourself up for failure.”
Despite hailing from Britain, Penman says he is “very much a New Yorker” after living there for 23 years. He points to Arnold Newman, Elliot Erwitt, and Josef Koudelka as influences but one inspires him more than others.
“Always have to go with Salgado on this one. From both a photographic point of view but also as a businessman and the way in which he handles himself with projects he chooses to do,” he says.
Penman has built an enviable following online with his Instagram page boasting 180,000 followers.
“Back when I started photographers had to have the gatekeepers approve of them and maybe they could have a career,” he says.
“These days young photographers don’t realize how great it is. You now can build an audience and make money doing something you love without going to the gatekeepers. Many photographers now can reach millions of people every month.”
His photos have been collated into a book called New York Street Diaries which is published by teNeues.
More of Penman’s work can be found on his Instagram and website.
Image credits: Photographs by Phil Penman
Apply now for this free event for photographers
Applications are now open for the free New York Portfolio Review, which is produced by The New York Times photo department, Photoville and the Craig Newmark Graduate School of Journalism at CUNY.
This year we are bringing together 140 talented photographers with 70 top photo editors, publishers and curators for the 11th annual New York Portfolio Review on April 13 and 14, 2024.
Due to popular demand, and the need to be as accessible as possible for those who cannot travel, the 2024 review will take place in-person and remotely. On Saturday, April 13, the review will be in-person in New York. On Sunday, April 14, the review will be held virtually over Zoom. Photographers can apply for either the in-person review on April 13, or the online review on April 14. But not both. Once you apply, you will not be able to change which day, or format, that you wish to participate in.
Participation is open to anyone 18 or older. The review focuses on photojournalism, editorial and documentary photography, though all types of work will be considered.
A mainstay of photo events in the United States, the review convenes members of the photographic community to share work, exchange ideas, help each other — and have fun. On Sunday, April 7, there will be online workshops and presentations open to all the photographers attending either day of the review. Topics will include working with photo editors, running a business, negotiating contracts, editing and sequencing your own photos and self-care.
Each in-person participant will receive five private critiques. Each photographer attending remotely will receive four private critiques.
Photographers who attended last year’s review are not eligible to apply. Those who attended once in previous years can apply for this year’s review, but they must submit new work. Those who have already attended the review twice cannot apply.
When you apply, you will be asked to select your top choices for the reviewers you most want to see. You must choose 15. We will match the photographers chosen to attend with as many of those reviewers as possible using an algorithm.
To apply, send no more than 10 photos total, from one or two projects or bodies of work, using this form.
The files should be jpegs, 1,500 pixels at the longest side and 72 D.P.I.
Each file needs to be less than four megabytes each. Entries with files larger than four megabytes will be disqualified.
You can only apply once. Choose either Saturday (in person) or Sunday (remote). Not both. If you apply more than once you will be disqualified.
We will inform those who are accepted by March 8, 2024. Be sure to triple-check the email address you submit.
Photographs submitted will only be used to choose who attends the review. They will not be used for any other purpose.
If you have any questions email us at newyorkportfolioreview@gmail.com
Here, again, is the application form to submit photos.
Craig Allen, Senior Photo Editor, The New York Times
Sam Barzilay, Creative Director & Co-Founder, Photoville
Jacqueline Bates, Photography Director, NYT Opinion, The New York Times
Heather Casey, Photo Editor, The New York Times
Sandy Ciric, Director of Photography, Getty Images
Samantha Clark, Senior Photo Editor, National Geographic
Tanner Curtis, Photo Editor, The New York Times
Sean Corcoran, Senior Curator, Photographs, Museum of the City of NY
José Ginarte, Visuals Director, Bon Appétit
David Gonzalez, Writer/Photographer, The New York Times
Alyssa Goodman, Photo Editor, Associated Press
Angelika Hala, Photo Editor-Producer, Stern Magazine
Stephanie Heimann, Photo Director, New Republic
Jehan Jillani, Visuals Editor, Atlantic
Natalia Jimenez, Senior Photo Editor, Washington Post
Amy Kellner, Senior Photo Editor, New York Times Magazine
Danese Kenon, Managing Editor of Visuals, Philadelphia Inquirer
David Y. Lee, Senior Program Officer, Storytelling, National Geographic Society
Adriana Teresa Letorney, Founder, VISURA
Virginia Lozano, Photo Editor, NPR
Renee Melides, Photo Editor, The New York Times
Kara Milstein, Photo Editor, Time
Marie Monteleone, Features Photo Editor, Bloomberg
Quentin Nardi, Chief Photo Editor, Smithsonian Magazine
Megan Paetzhold, Photo Editor, New York Magazine
Corinne Perkins, North America Editor, Reuters Pictures
Sadie Quarrier, Director of Photography, National Geographic
Akili Ramsess, Executive Director, NPPA
Stephen Reiss, Photo Editor, The New York Times
Luise Stauss, Visual Editor, Pentagram
Sandra M. Stevenson, Deputy Director of Photography, Washington Post
Noelle Flores Théard, Senior Digital Photo Editor, New Yorker
Bernadette Tuazon, Director of Photography, CNN Digital
Amanda Webster, Photo Editor, The New York Times
Andrea Wise, Visual Strategy Editor, ProPublica
Ariel Zambelich, Lead Photo Editor, National + Politics, The Wall Street Journal
Tina Ahrens, Director of Photography, Zeit Online
Anna Alexander, Director of Photography, WIRED
David M. Barreda, Senior Photo Editor, National Geographic
Dudley M. Brooks, Deputy Director of Photography, Washington Post
Kim Chapin, Executive Director of Photography, Los Angeles Times
David Carthas, Senior Photo Editor, The New York Times Magazine
Elissa Curtis, Deputy Photo Director, Wall Street Journal
Melissa Dale, Associate Director of Photography, The Nature Conservancy
Adam Dean, Photo Editor, The New York Times
Matt Fidler, News Photo Editor, Guardian
Sarah Gilbert, Features Photo Editor, Guardian
Alessia Glaviano, Head of Global PhotoVogue, Condé Nast
Sam Hall, U.S. Assignment Photo Editor, Bloomberg News
Boyzell Hosey, Senior Editor Visual Storytelling, ProPublica
Sangsuk Sylvia Kang, Photo Editor, Time
Hideko Kataoka, Photo Editor, Curator, Educator, Newsweek Japan
Alexa Keefe, Assistant Managing Editor, National Geographic
Matej Leskovsek, Photo Editor, The New York Times
Eve Lyons, Photo Editor, The New York Times
Sabine Meyer, Photography Director, National Audubon Society
Matt McCann, Photo Editor, The New York Times
Mark Murrmann, Photo Director, Mother Jones
Evan Ortiz, Photo Editor, Bloomberg Businessweek
Emma Raynes, Director of Programs, Magnum Foundation
Joe Rodriguez, Senior Visuals Editor, Rolling Stone
Carla Rosorius, Director of Photography, GEO Germany
Jennifer Samuels, Interational Photo Assignment Editor, Washington Post
Steve Sapienza, Senior Editor, Pulitzer Center
Danielle A. Scruggs, Photo Editor, Wall Street Journal
Mikko Takkunen, Photo Editor, The New York Times
Jovelle Tamayo, Visuals/Multimedia Editor, Marshall Project
Amanda Voisard, Climate photo editor, Washington Post
Elijah Walker, Photo Editor, The New York Times
Nicole Werbeck, Deputy Director, Visuals, NPR
Maye-E Wong, Senior Editor, Wider Image & Special Projects, Reuters
Before high-speed internet connection and Discord servers, multiplayer gaming meant lugging your bulky CRT monitor to a friend’s house, convention centre or random basement for a LAN (Local Area Network) party. In the late 90s and early 2000s, owning a personal computer was still a relatively new thing. For early adopters, LAN parties were an opportunity to meet up with fellow tech enthusiasts, and typically consisted of hours spent in sweaty rooms playing Doom or Quake 2 surrounded by empty bottles of Mountain Dew.
“Anyone who was on the internet in the late 90s and early 2000s was probably something of a misfit who found people who shared their sensibilities and interests online and that was a very powerful feeling,” says merritt k, the video game designer and archivist behind the upcoming book LAN Party. Since first talking to Dazed back in 2022 when she initially began contemplating the project, the artist has collected hundreds of images from an open call – all of which capture the Web1 era in all its hacked-together glory, with burnt CDs strewn across tables, cables snaking across floors, and packed-out sports centres with rows of PCs. Players can be seen wearing nu-metal t-shirts in rooms covered in 90s anime posters. Bulky monitors are framed with stacks of energy drinks, empty junk food packaging and Y2K relics such as Nintendo Gamecubes and digi-cams.
“What’s interesting is that the photos in the book show off not just LAN parties themselves, but the trends, fashions, and objects of interest of their participants at the time,” agrees merritt k. “You see a lot of these cultural threads merging in various ways, for instance in the anime music video (AMV) where footage from anime shows like Dragon Ball Z was set to tracks by groups like Linkin Park. These videos were then shared on forums and file sharing services like Napster and Limewire, because centralised repositories like YouTube didn’t exist yet.”
What’s most interesting is the DIY and community spirit of gaming’s early days, especially when compared to today’s ultra-sleek and official tournaments. There’s something deeply nostalgic about the chaotic, ad-hoc set-ups that feels optimistic, a time when personal technology was seen as liberating. “LAN parties specifically harken to a period before the internet affected everyday life and before the ubiquity of cell phones, meaning that most people still had to play games and hang out together in person,” agrees merritt k. “I grew up during the period when LAN parties were at their peak but my parents would never let me drag our Dell machine out to a friend’s place for one.”
In recent years, there’s been a growing interest in LAN parties, which is unsurprising really when you consider the effect that lockdown has had on gaming culture – QuakeCon, one of America’s biggest LAN parties, is an event that hosts over 3,000 gamers each year. “I think COVID and the ways in which it forced people to retreat from public gatherings also played a big role in making images of people having fun with computers together in basements or living rooms more appealing to people viewing them today,” adds merritt k. This is particularly true for many of us, who’ve grown up alongside the internet, spending most of our time staring at a phone screen. In contrast, LAN parties offer a glimpse into a world before social media took over every aspect of our lives, a time when switching on a computer felt new and exciting.
LAN Party: Inside the Multiplayer Revolution is out January 22 via Thames & Hudson
In a case of “better late than never,” auto manufacturer Honda has finally joined the EV race, using the stage at CES 2024 to unveil a pair of all-electric concept models featuring the brand’s new electrified Honda 0 Series. It marks a first for the brand, an aerodynamic raked flagship concept model outfitted with automatic posture control seating and some wildly mesmerizing spoked wheels, while the the other is a form-follows-function people mover offering living room comforts on four wheels.
The aggressively angled Saloon arrives as the Honda 0 Series flagship concept giving a hint of what’s to come from the automaker looking forward to 2026. As is often the case, Honda’s new design language arrives with an equally high concept name: “The Art of Resonance.”
Looking something like the progeny of the Lotus Turbo Esprit, the Lamborghini Huracán from the side, some TRON-like lighting, and maybe just a hint of an 80s-era Dustbuster hand vac, the low and wide aerodynamic Saloon concept makes for Honda’s dramatic entrance into the EV market, a category they had previously tippy-toed around until now. The concept’s steep raked windshield paired with an extremely abbreviated bonnet and the inherent space-saving characteristics of an EV platform results in a car with an enormous interior cabin… and one hard to ignore backside.
The Saloon also debuts advancements of new steer-by-wire and motion control management systems connected to a yoke-style steering wheel. Of course, no new tech is quite new unless AI is included. The Saloon’s “human-centric” safety concept is outfitted with advanced AI, sensing, recognition, and driver monitoring technologies to achieve more human-like, natural and high-precision risk predictions. Eventually Honda intends to expand some hands-off features for certain lower risk driving conditions across highways and city streets.
That spacious interior is outfitted with sustainable materials and a human-machine interface (HMI) instrument panel designed to make operating the next-gen ride as simple as operating a smartphone. The Saloon also features a posture control system that assists the driver to be seated in the most ergonomic and comfortable position while driving, adjusted automatically dependent upon driving conditions.
To further emphasize Honda’s EV forward looking plans, the company designed a new “H” mark for the Honda 0 Series and future EV models symbolizing two outstretched hands to represent “Honda’s commitment to expand the possibilities of mobility and continue to meet the needs of its customers.”
The second concept unveiled at CES 2024 is the Space-Hub, a more spacious take on the EV. The futuristic minivan is designed around the theme of “augmenting people’s daily lives” – noting such augmentation likely means allowing drivers and passengers to revel in a cabin of conversation-pit proportions, paired with greater visibility to take in the scenery. The Space-Hub’s “Thin, Light, and Wise” approach is here to emphasize the vehicle’s connection between passengers and the world outside its capacious interior. It also features a rear that is far more generous than the Saloon.
“We have gone back to basics and formulated the Honda 0 Series with a design for the new era,” says Shinji Aoyama, Global EVP of Honda. “A bold and pure proportion that from the first glance is overwhelmingly different from other EVs to evoke a new perspective for people.”
A new zero logo and “H” logotype signifying Honda’s electrified intentions ahead of the 2026 model year, when Honda intends to cross from concept to offering a full featured EV production model, was also revealed on-stage at CES 2024.
Integrating sustainable materials and futuristic silhouettes with tech-laden interiors, the two new models are both platforms to showcase Honda’s efforts in engineering a new stable of electric vehicles inspired by “the environment, society, and users in harmony” with some AI thrown in for good measure.
Honda also announced the development of improved battery technology to address the public’s concerns about charging times. For the Honda 0 Series models launching in the late-2020s, fast-charging from 15% to 80% of battery capacity will be shortened to just 10-15 minutes. Compared to the hours required during our recent holiday travels by EV, this development sounds particularly essential for mass adoption of this type of automobile.
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While Honda did not provide any details about either vehicle’s powertrain, specs, or pricing, as is par for the course of automotive show concepts, the automaker did officially say a production vehicle based on the Saloon concept is expected to come to the North American market in 2026.
