In 1997, Jamie Livingston, an artist and film-maker, died on his birthday at the age of 41 in the hospital in New York where he was born. By then, Livingston had taken and saved more than 6,700 Polaroid photos, one every day for 19 years.

His project Photo of the Day (or POD)—self-portraits, candids, landscapes, celebrity snapshots, circus pictures, nudes and even memento mori shots of Livingston’s final hospital days—eventually became a no-budget exhibition in 2007 that snaked through the halls of a building at Bard College, where Livingston began the project.

Surging on the internet after that, POD resurfaced as an overnight sensation in China, recalls Hugh Crawford, a photographer and college mate who mounted the Bard show. “There was this whole thing in China about the auspiciousness of what happened on the day you were born, so everybody in China wanted to see that,” he says.

The enigmatic story of Livingston and his pictures is now the subject of a musical performance for the stage, Number Our Days: A Photographic Oratorio, with orchestra, soloists and choruses, which premieres this week at the Perelman Performing Arts Center in New York (12-14 April). Images from POD, gigantic blow-ups of the Polaroids, will be onstage behind the choruses.

The libretto, “elicited and distilled” by David Van Taylor, who is also credited with the oratorio’s concept, is drawn from interviews with people whom Livingston photographed. Its title comes from a passage in Psalm 90 of the Book of Psalms in the Bible, an exhortation to live a good life every day: “Teach us to number our days, so that we may gain a heart of wisdom.”

The oratorio’s composer, Luna Pearl Woolf, says taking the pictures was “something of a spiritual practice, which turned out to be important to people around him, and to people all over the world. We’re not exactly making art about an artist. We’re making art about a phenomenon.”

Livingston’s pictures, like the oratorio’s choruses, can evoke camaraderie and community. They can also feel like ephemera caught in a time capsule. While the pictures capture the spirit and memory of a single second—and no more than one second—the same Polaroids, sometimes frayed and faded, can seem like meditations on our inherent impermanence.

Livingston’s pictures, taken on a Polaroid SX-70 up to the day of his death—ten years before the iPhone launched—mark a moment in image-making somewhere between Andy Warhol’s signature Polaroid snapshot and the near-infinite profusion of photos on Instagram.

Linda Shaffer, Livingstone’s widow, eager to donate the images to an institution, rejects any connection between the POD pictures and Instagram. For one thing, Livingstone had an actual camera. “I’ve read that he was the godfather of Instagram,” she says. “He really was the opposite, because it was so rule-based. It was a ritual.”

Why Livingston began the project is unclear, A few years into POD, presenting a short film about the project, Livingston said his expanding Polaroid trove, taken one per day, “continues until my death or the death of the medium, whichever comes first”.

“Jamie was an artist who believed in practice, not in theory,” says Van Taylor. “The meaning of Photo of the Day, even to him, changed over time. Whatever his intention was as he got into it, I don’t think he could have conceived what it would mean if he continued doing it, and I don’t think he did.”

Others can make up their own minds, aided by the self-published volume Some Photos of That Day; 6754 Polaroids Dated in Sequence. The 11-pound POD visual “bible” was planned to commemorate the 20th anniversary of Livingston’s death. With logistical delays, it became available in 2018. It is the closest thing to a POD catalogue raisonné, including annotated reverse sides of many pictures.

“The whole point was its completeness,” says Hugh Crawford, who edited and published the book, and created a website for Livginston’s project. “I sold about a quarter of them so far,” adds Crawford, who had 2,000 copies printed in China. “I have 12 tons of books sitting at home.”

• Number Our Days: A Photographic Oratorio, 12-14 April, Perelman Performing Arts Center, New York

A celebrated photojournalist who was the chief White House photographer during Gerald Ford’s administration resigned on Tuesday from the foundation that bears the former president’s name, accusing it of succumbing to the “tidal wave of timidity and fear” created by Donald Trump.

David Hume Kennerly said in a letter that the organization’s board of trustees had rejected Liz Cheney for its top annual honor, the Gerald R. Ford Medal for Distinguished Public Service, over “agita” that Trump might retaliate should he win re-election.

“Some of you raised the specter of being attacked by the Internal Revenue Service and losing the foundation’s tax-exempt status as retribution for selecting Liz for the award,” he wrote in the letter, which was first obtained by Politico. “The historical irony was completely lost on you.”

Kennerly pointed out that Ford had ascended to the presidency because his predecessor, Richard Nixon, left office after the Watergate scandal, during which it was revealed he had ordered his underlings to retaliate against his enemies, sometimes through the IRS.

“That’s exactly what the executive committee fears will happen if there’s a second coming of Donald Trump. Did LT Gerald Ford meet the enemy head-on because he thought he wouldn’t get killed?” Kennerly asked. “No. He did it despite that possibility. This executive committee, on the other hand, bolted before any shots were fired.”

The 77-year-old said that Cheney, a fierce Trump critic, had been the obvious choice for the medal this year. In his letter, he outlined how he’d fought for her nomination, only for his fellow trustees to beat him back three times.

“When you rejected her again in favor of a third person, it became crystal clear to me that something else was going on,” he said. “The process for honoring President Ford by recognizing his virtues in others was being undermined by the same pressures weakening Republican institutions and many conservative leaders.”

Kennerly called the decision to spurn Cheney “inexplicable” and “short-sighted,” decrying it as a missed opportunity to send a clear message that the foundation stands against tyranny.

“If the foundation that bears the name of Gerald R. Ford won’t stand up to this real threat to our democracy, who will?” he asked.

Politico reported that Mitch Daniels, the former governor of Indiana, would receive the 2024 medal in June, citing an email that the Ford Foundations’ executive director sent to trustees after the publication of Kennerly’s letter.

The executive director, Gleaves Whitney, told Politico in a statement that the organization’s executive committee had decided, under legal counsel, it wouldn’t have been “prudent” to award Cheney the medal.

“At the time the award was being discussed, it was being publicly reported that Cheney was under active consideration for a presidential run by No Labels,” the statement said, referring to the nonpartisan organization that had flirted with the idea of a third-party ticket before mothballing it last week.

“Exercising its fiduciary responsibility, the executive committee concluded that giving the Ford medal to Cheney in the 2024 election cycle might be construed as a political statement and thus expose the Foundation to the legal risk of losing its nonprofit status with the IRS,” Whitney added.

After Politico’s report was published, Kennerly tweeted that his resignation had been “a painful decision,” but necessary. “I hope more people around the country will follow @Liz_Cheney’s example and speak out about the threat to our democracy,” he added. “Time to step up.”

A longtime staff photographer for United Press International, Kennerly also worked for Newsweek and Time. He won the Pulitzer Prize for Feature Photography in 1972 for his “dramatic photographs of the Vietnam War” the year prior, as the organization puts it on its website.

He joined the Ford Foundation’s board in the early 2000s.

“Firecracker Symphony” by Victor Tan. Photo Essay Winner.

Once again, the Mobile Photography Awards is proving that good photography isn’t limited to owning a DSLR. Since 2011, the contest has been showcasing the creative possibilities of mobile photography and the 13th annual contest is no different. Shanghai-based photographer Yajun Hu took home the top prize for his portfolio of street photography, all taken using a Xiaomi Ultra 13.

Hu’s work focuses on the small coincidences of life, whether it’s a person being framed by a reflection or a fountain cleverly covering part of someone’s body. Daniel Berman, the founder of the Mobile Photography Awards, exudes enthusiasm for Hu’s work, describing it as being “distinguished by a unique interplay of shadows, colors, and shapes, infusing the compositions with depth and emotion.” He adds, “Each photograph serves as a piece of a larger narrative, contributing to a rich tapestry of urban storytelling.”

In addition to Hu, other photographers were singled out in 12 different categories, ranging from Landscapes to Portraits to Architecture. Each category celebrates the distinctive qualities of mobile photography, highlighting its accessibility, immediacy, and portability.

This year, photographers from over 80 different countries entered the competition, which just shows how widespread the use of phone photography has become. Scroll down to view more winners and get inspired to use your camera’s phone creatively.

Shanghai-based photographer Yajun Hu won the 2024 Mobile Photography Awards for his creative street photography.

“Broken Portrait” by Yajun Hu. MPA Photographer of the Year and Winner, Black & White. Shot on Xiaomi 13 Ultra.

Image by Yajun Hu. MPA Photographer of the Year. Shot on Xiaomi 13 Ultra.

Image by Yajun Hu. MPA Photographer of the Year. Shot on Xiaomi 13 Ultra.

Twelve category awards were also handed out to an array of talented photographers.

“Wonder Kelingking Beach” by Yuepeng Bao. Winner, Travel & Transportation. Shot on iPhone 14 Pro Max.

“The Void” by Wei Wei. Winner, Architecture & Design. Shot on Xiaomi 13 Ultra 1.

“Tetris” by Roy Pan. Winner, Silhouettes. Shot on iPhone 13 Pro.

“The Violinist Returning Home at Night” by Queenie Cheen. Winner, Portraits and Self-Portraits. Shot on Vivo X90 Pro Plus.

“Playground” by Chang Nianzu. Winner, Street Photography. Shot on Xiaomi 13 Pro.

“Golden Mountains” by Di Lu. Winner, Landscapes & Wildlife. Shot on Oppo S6 Pro.

The awards were started in 2011, making them the longest-running photo contest dedicated to mobile phone photography.

“Beyond the Green” by Hollyn Johnson. Winners, Macro & Details. Shot on Samsung S22 Ultra.

“Cadet Obstacle Course” by Elliot Ferguson. Winner, People. Shot on iPhone XR.

“Forge by Melissa Johnston. Winner, VisualFX & Digital Art. Shot on iPhone 14 Pro.

“Light Up” by Wai Ying Kwok. Winner, The Darkness/Noir. Shot on Samsung Galaxy S23.

“The Falls” by Ryan Cardone. Winner, Water/Snow/Ice. Shot on iPhone 12 Pro.

Mobile Photography Awards: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by Mobile Phone Awards.

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(AP Photo/Adam Bird)

Pulitzer Prize-winning photographer David Hume Kennerly resigned from the Gerald R. Ford Presidential Foundation after it failed to honor Liz Cheney with their top prize.

“It was a painful decision to resign from the Gerald R. Ford Presidential Foundation, but necessary. I hope more people around the country will follow [Liz Cheney]’s example and speak out about the threat to our democracy. Time to step up,” Kennerly wrote on X, formerly Twitter.

In a letter to fellow trustees, Kennerly suggested Cheney’s nomination for the Gerald R. Ford Medal for Distinguished Public Service was dropped multiple times over fear Donald Trump could target the organization during a potential second presidency.

Cheney is a vocal critic of Trump and served on the congressional subcommittee investigating the Jan. 6 Capitol riot.

Gleaves Whitney, executive director of the Ford Foundation, claimed in a statement to Politico that Cheney was not accepted because of rumors she could end up running for president.

In his letter, Kennerly suggested Cheney get her very own award.

“After this current divisive era passes, people will remember who stood up for what. But it’s not too late to save the day. If you really want to correct this grievous mistake, create the ‘Gerald R. Ford Commendation for Political Valor,’ and make Liz Cheney its only recipient. That might help right the ship,” he wrote.

Kennerly, a veteran photographer, won a 1972 Pulitzer Prize for photojournalism and has covered conflicts like the Vietnam War. He’s photographed numerous presidents and served as Gerald Ford’s photographer while he was president.

Honoring Cheney, he argued, would also honor the values of Ford.

“When Ford was in office people still recall his commitment to our allies, the rule of law, and meeting the challenge posed by tyrannical leaders. By saying that we stand with Liz Cheney in the name of Gerald Ford to support her critical,” he wrote.

Kennerly finished the letter by accusing the group of not standing up to a real “threat to democracy.”

“Today I am resigning from the Gerald R. Ford board as a trustee. If the foundation that bears the name of Gerald R. Ford won’t stand up to this real threat to our democracy, who will?” he wrote.

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When Robert Weinberg graduated from Denver’s George Washington High School during the outbreak of the Vietnam War, he hoped to become a social worker. So, he joined Volunteers in Service to America (VISTA), now more commonly known as AmeriCorps, to gain experience in the field. But after VISTA moved him to St. Louis to help unemployed locals find jobs, Weinberg stumbled upon a new passion: He purchased a Canon FX film camera to photograph the people he encountered.

What began as a hobby eventually led to a lifetime of capturing the Mile High City—which is set to be commemorated by the Rocky Mountain Jewish Historical Society and University of Denver’s Beck Archives next month. Weinberg will receive a Heritage Award—given to Jewish Colorado photographers—on Monday, May 20.

Following his stint with VISTA, Weinberg returned to Denver and worked in camera stores throughout the city while taking on freelance photography assignments for various news outlets, such as the Intermountain Jewish News. “I’m very much a journalist and enjoy photographing people and showing what they’re doing, their lives, their energies,” Weinberg says. He’s been the man behind the lens of poignant Colorado images, including a portrait (below) of Reverend Leon Kelly Jr., founder of Open Door Youth Gang Alternatives, and a shot of Pope Saint John Paul II meeting with President Bill Clinton at Regis University in 1993 for World Youth Day.

Weinberg began documenting Denverites in a more whimsical way in the ’70s. Inspired by American portrait photographer Philippe Halsman, Weinberg set out to master the art of “jumpology,” or photographing people jumping—something that Halsman believed coaxed his subjects into showing their true selves. “It’s fun; people love it,” Weinberg says. “If you know who Jake Jabs [CEO of American Furniture Warehouse] is, I even got him to jump once.”

In the 1990s, Weinberg started losing his sight due to a condition called cone-rod dystrophy, which deteriorates retina cells in the eye, and today, he is legally blind. “Emotionally and psychologically, it’s just going to tear you up,” he says. “It’s like going back to school. You have to learn all kinds of new things to become independent.”

Over the years, Weinberg has focused his energies on becoming a mentor within the blind community, partnering with organizations like Colorado Center for the Blind, Colorado Talking Book Library, and AfterSight. “It’s a very difficult thing to deal with, and it’s important to work with people who have dealt with it,” he says. “It’s going to affect your life like you cannot believe.”

Although his progressive vision disorder prompted him to leave the photojournalism profession, he still picks up the camera as a hobby, thanks to some remaining peripheral vision. Now, Weinberg uses digital cameras instead of film, enables autofocus, sometimes uses a magnifier, and makes sure the lighting conditions are just right. “A lot of times I’m just pointing my camera in a certain direction, and I get what I get,” he says. Since losing his sight, however, Weinberg has continued to capture poignant images, including a black-and-white portrait of local dance maven Cleo Parker Robinson teaching a class and candid photos of children learning to use canes at the Anchor Center for Blind Children.

In 2023, History Colorado featured an exhibit on Weinberg’s work, complete with braille labels that he created to accompany his photographs. And this year, on May 20, the Rocky Mountain Jewish Historical Society and University of Denver’s Beck Archives will present Weinberg with an award for his life’s work at the BMH-BJ Congregation, a synagogue in Washington Virginia Vale, at its 30th annual Heritage Award Dinner.

“To have somebody say ‘You did a lot’ is really meaningful,” Weinberg says. “I was just trying to make a living, but I had a lot of fun doing it.”

If you want to celebrate this Mile High City artist, tickets to the Heritage Award Dinner (May 20, 2024) can be bought online ($180 per person). Proceeds benefit the Rocky Mountain Jewish Historical Society.

If you’re part of the analog renaissance, you might have a Polaroid or two posted on your fridge or mirror, but, for the majority of people today, photography is an art consumed and shared almost exclusively online.

That relationship between the medium — which, increasingly, is experiencing a resurgence of analog-film popularity — and its digital dissemination is the theme behind a new photography exhibit at Latitude 53.

Aptly titled IRL (In Real Life for those not as fluent in internet lingo), the exhibit, which runs until May 11, brings the work of four Edmonton photographers off the small screens of their Instagram pages, websites and laptops and onto the walls of Latitude 53’s gallery.

“There are loads of artists working with photography in the community, but they don’t tend to work in print,” says Adam Waldron-Blain, the program manager with Latitude 53. “It’s very common for people to post those photos on Instagram or have a private practice that’s primarily digital.”

IRL brings a new way of consuming digital photography by changing the way in which the audience consumes the photo, according to Waldron-Blain. Photos in the exhibit are blown up as large as 40 inches by 60 inches and then pasted flat against the walls of the gallery.

“We’re playing with that [transference from digital to physical] with the way the show is installed,” he says. “They sort of have a feeling that resembles the experience of scrolling or viewing things online even though they aren’t digital.”

Lexi Pendzich is among the four photographers exhibiting their work at IRL (the other three being Jordon Hon, Wesley O’Driscoll and Salem Zurch). Pendzich, whose work focuses on portraiture of women and Queer people in Edmonton’s skateboarding subculture, says the different way of viewing her work has created new dimensions in viewership.

“It brings more presence,” Pendzich says. “Going from looking at these small negatives to uploading a digital image to then the quality … in physical print is really cool. It’s more all-encompassing and an engaging experience.”

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