Photography

Jamel Shabazz Albums. The Book That Can Save Photography

Jamel Shabazz Albums. The Book That Can Save Photography
Spread the love

I turned 37 this month, and I often look around at the world of photography while trying to reinforce that what we do is art. With the way that technology changes so quickly, most people associate photography with content instead of art. That’s because of our failing arts education system worldwide — which does a terrible job of showing people how it can be art. And one of the best ways to do it is to show off more prints. Prints aren’t necessarily treated like a random swipe through a portfolio on Instagram, they’re often looked at with more revereance. The book Jamel Shabazz: Albums, bring the dream to life.

This is a book of albums he carried around with him and showed to the people he’s photographed. It’s something that he’d show people as he went around taking portraits. “With all due respect, I’m a photographer. When I look at you and your crew, I see greatness. If you don’t mind, I’d like to take your photograph.” And then he’d whip out albums to show his prints like a portfolio.

Jamel Shabazz: Albums is, quite literally, scans of those albums.

“Shabazz may describe himself as an alchemist. But to that I’d add a dreamer.”

A line by Deborah Willis

The book also details how te would teach conflict resolution using a chessboard. And he’d get people to trust him with orange juice and some bananas. It’s all just a testament to how great the man is.

Within the book itself, photographers will find albums of photos of West Germany and Rikers Island. It’s fascinating to think that he was able to do work like this. The images are understated in that very few other people were able to do work like this. Artistically, the images don’t lend themselves to technical excellence – but instead to human excellence. And often, that’s the more difficult thing to do.

Page through the book, and you’ll realize that you often need to rotate it and interact with it the way you would with an actual photo album. I love this fact. Unlike actual photo albums, the images aren’t covered and sleeved. Instead, it’s made on real paper. The paper has a bit of sheen, but not enough to be annoying. The paper feels like a textbook — thought it’s actually worth the price of what it costs instead of being majorly inflated like textbooks often are.

You’re supposed to sit and look at the photographs. And I like that the book is so interactive. Very few photo books make me want to cry, but this one is holistically excellent. Images aren’t split down the middle, and instead you need to physically really interact with the book to make it feel more special.

Jamel Shabazz: Albums is a book that every portrait photographer should consider getting — and that every photographer should have on their shelf. There hasn’t been a book like this that really makes you interact with the medium to see the images for what they really are. And if anything, it should inspire you to make your own album of prints to bring around and show people when you can.






Rating: 5 out of 5.

Jamel Shabazz: Albums receives five out of five stars from us, and an Editor’s Choice award as well. Pick up a hardcopy from Amazon.

The Book That Can Save Photography
Jamel Shabazz: Albums is a book that every portrait photographer should consider getting — and that every photographer should have on their shelf. There hasn’t been a book like this that really makes you interact with the medium to see the images for what they really are. And if anything, it should inspire you to make your own album of prints to bring around and show people when you can.

Los Alamos Photo Club Calls For Entries For 28th Annual Los Alamos Photographers’ Show April 15

Los Alamos Photo Club Calls For Entries For 28th Annual Los Alamos Photographers’ Show April 15

LOS ALAMOS PHOTO CLUB NEWS RELEASE

The Los Alamos Photo Club (LAPC) announces its 28th annual photography show, Monday, April 15 through Tuesday, May 14, 2024, in the Step-Up Gallery (https://stepupgallery.org/) on the upper level of the Mesa Public Library.

Entries will be accepted from anyone who lives or works in Los Alamos County or the surrounding area. There is generally no limit to the number of entries one may submit. However, if the available display space will not accommodate all entries, entries from Photo Club members will have preference. Nevertheless, each entrant will be able to display at least one photo. The Club will make every effort to accommodate all entries. Note, however, that an entry containing multiple images will be counted as the number of entries equal to the number of images. Please avoid entering photography that you have recently shown at Step Up Gallery.

There are several changes in arrangements for this year’s Photo Show. Please read this carefully. A complete copy of this Call for Entries, including the Supplemental Information referred to below, is at: https://groups.io/g/lapc/wiki

For clarification of any information in the call, send an email to laphotoclubshow@yahoo.com.

How to Enter:

Send entry information by Monday, April 8 to laphotoclubshow@yahoo.com with the subject line: “Description of entries for 2024 LAPC show by [name of photographer]”. 

For each photo you wish to enter, include the following on separate lines:

  • Your Name (Required): e.g. Jane Doe;
  • Title (Required): e.g. Red Rocks of Los Alamos; 
  • Brief Description (Optional): e.g. Shot with Canon 20D, ISO 100, f/8 on December 25, 2008;
  • Sale Price or NFS (if you do not list a sale price, we will assume Not for Sale);
  • Your web site (Optional); 
  • Your contact: e-mail and/or phone number (required if your entry is for sale; otherwise, optional)
  • Priority for hanging (Required): e.g. 1, 2, 3, …
  • Frame Size (Required): e.g. 12 by 16 inches; and
  • Note that there will be no Club or Library insurance coverage for photos in the gallery.

The club will provide a 4” by 5” display label for each entry using the above information. On occasion, all the information about an image the entrant wishes to include may not fit on the label. In that event, entrants are encouraged to create their own placard or note sheet up to approximately 8.25” wide by 5” tall to place below the photo. 

Entrants are encouraged to provide a bio/artist statement to accompany their photos. Guidelines for this statement are found in the Supplemental Information at https://groups.io/g/lapc/wiki.

Images are accepted on paper prints, canvas, acrylic, wood, and metal.  Please note, photo tiles will not be accepted and that all paper prints must be framed unless they are mounted with the Xposer mounting system. Furthermore, all entries should have a wire or a way to accommodate the hooked hanging rod supplied by the Gallery. On the back of each picture make your own label with your name, phone number, email address and the title. Please include your ranking of #1, #2, #3, etc. This ranking will help us if we need to limit the number of photo entries. 

After you submit your entry information, you should receive a confirmation e-mail within a few days, or at the latest by Thursday, April 11, 2024.

Entrants may provide a location in the Gallery they prefer to have their photos hung in. Requests will be honored if possible. A map of the Gallery is part of the Supplemental Information at https://groups.io/g/lapc/wiki

Schedule and Details

Monday April 8. Last day to submit entry information (unless prior arrangements are made)
Entry information (as described above) is due. Send any request for a late entry to laphotoclubshow@yahoo.com with the subject line: “Request for late entry”

Thursday April 11. Gallery Manager hangs photos 
Bring your photos to the Step-Up Gallery on the upper level of Mesa Public Library between Noon and 6 p.m. Thursday, April 11. Gallery Manager Diane Stoffel will hang your photos. You will be able to preview your photo labels and make corrections or changes if needed. At this time, you may request special hanging instructions.

Friday April 12. Entrants hang photos
Bring your photos to the Step-Up Gallery on the upper level of Mesa Public Library between Noon and 5:30 p.m. Friday April 12. Note that the library has recently installed hanging hardware for all show entries. Accordingly, entrants may hang their own photos using the provided hardware. Gallery Manager Diane Stoffel and one or more Club members will be available for assistance. You will be able to preview your photo labels and make corrections or changes if needed.

Saturday April 13.  Gallery Manager walk through
The Gallery Manger reserves 10 a.m.-2 p.m. Saturday, April 13 to make adjustments to the hanging of entries and to ensure that all the wall tags are in place.

Photo Show Book. Photo Show Book.  For the past decade, entry into the Los Alamos Photography Club show has entitled each entrant to have some of their pictures published in the Portfolio Book.  If you are unfamiliar with the books, you can see one at  https://98bb6bb1-0251-4a6b-b2f7-3ea480fe369c.usrfiles.com/ugd/98bb6b_20875d67cfbf42419764c87fb9791c85.pdf.  By entering your images in the show, you will automatically receive an E-mail solicitation to submit electronic versions of your images for the book that will contain instructions on how to do so.

Monday, April 15. Show opens at 10 a.m.  Opening reception that evening from 5:30-7 p.m.
Exhibit opens for viewing. We will have an opening reception for the public between 5:30 and 7 p.m. Monday, April 15. LAPC will provide entrants, club members and the public with more details. 

Tuesday, April 11. Guided Tour.
We will have an in-person guided tour of the show between 5:30 and 7:30 p.m. Entrants are invited to attend and describe their photos. The public will also be invited to attend. 

Thursday, May 14.  Last day of the show.

Wednesday and Thursday, May 15 and 16. Pick-up days.
Please pick up your photos on either Wednesday, May 15 or Thursday, May 16 between 2 and 6 p.m. If you will not be able to pick up your photos on those days, please make arrangements for alternate storage/pick up well in advance. 

Sunday May 19.  Last day to submit photos for Photo Show Book 
Submit your photo files for publication in the photo show book. Details will be provided by email to entrants.

Note that the show will be open April 15 to May 14 according to the library hours, which are currently 10 a.m. to 8 p.m. Monday-Thursday, 10 a.m. to 6 p.m. Friday, 10 a.m. to 5 p.m. Saturday, and Sunday.

Village Arts offers a 15 percent discount on full framing of photos for the show as well as a 10 percent discount for mattes alone. For them to have time to fulfill your order, particularly if you wish to have it framed, please bring your order to Village Arts by Mar. 29. Should you be unable to meet this deadline, please contact Village Arts directly. They are located at 216 DP Road, Los Alamos. Their phone number is (505) 661-2526.

Dame Dash Faces Another Massive Lawsuit From Photographer

Dame Dash Faces Another Massive Lawsuit From Photographer

Dame Dash is facing another lawsuit, this time from photographer Monique Bunn, who claims he cost her nearly $400 million. Bunn argues that her previously heard case against the Roc-A-Fella executive should be reopened because the jury didn’t fully understand the extent of the damages. In a new filing, she argues that the trial proved her photos to be worth $1,500 each and in turn, she wants compensation.

“The evidence at trial – which was uncontroverted – established that each photo was worth $1,500, which should have resulted in a verdict for at least $384,750,000,” Bunn wrote in a memorandum of law, as noted by HipHopDX. “It is well known that professional photographers earn much of their income through licensing their portfolio of photographs, and Defendants’ actions destroyed Ms. Bunn’s economic prospects. The jury ignored the valuation evidence and awarded zero to Ms. Bunn.”

Read More: Dame Dash Escapes Sexual Assault Lawsuit

Dame Dash Arrives At “The Prince Of Detroit” Premiere

DETROIT, MICHIGAN – JUNE 23: Entrepreneur/Director Damon Dash arrives at “The Prince. Of Detroit” Detroit Premiere at Detroit Music Hall on June 23, 2023 in Detroit, Michigan. (Photo by Monica Morgan/Getty Images)

She continued: “It is impossible to conceive how a jury could conclude that a professional photographer’s portfolio of thousands of photos, as well as photography equipment, could be worth zero. Especially when the Plaintiff and the Defendants both testify that the damages are in the millions. A new trial is warranted under these circumstances.”

Bunn previously sued Dash back in 2019. At the time, she claimed he inappropriately touched her while she was sleeping at his house during a video project. More recently, Dash was ordered to sell his remaining shares in Roc-A-Fella to cover debts from a 2022 civil case. A film producer sued him for copyright infringement at the time. Be on the lookout for further updates on Dame Dash on HotNewHipHop.

Read More: Jay-Z Protects Dame Dash From Having To Sell His Roc-A-Fella Shares

[Via]

Dame Dash Facing Suit From Photog Who Claims He Cost Her $400M

Dame Dash Facing Suit From Photog Who Claims He Cost Her $400M

Dame Dash has just found out he’s facing a whole new round of legal drama, according to documents obtained by HipHopDX.

The documents were filed on Thursday (February 22) by Christopher Brown on behalf of photographer Monique Bunn. Brown is requesting that the courts reopen Bunn’s case of damages against the embattled Roc-A-Fella executive, claiming that the jury in the previous case didn’t fully understand the nature of the damages Bunn had incurred as a result of Dash’s alleged actions.

AD LOADING…

According to the 285-page memorandum of law, Dame Dash confirmed the value of the photographs he allegedly withheld from Bunn and knew that he didn’t properly compensate her for using the photographs the way he’d done (that is, outside of the scope of promotional purposes). For this reason, Bunn argued, the case needs to be reopened.

“The evidence at trial – which was uncontroverted – established that each photo was worth $1,500, which should have resulted in a verdict for at least $384,750,000,” Bunn wrote in his memorandum of law. “It is well known that professional photographers earn much of their income through licensing their portfolio of photographs, and Defendants’ actions destroyed Ms. Bunn’s economic prospects. The jury ignored the valuation evidence and awarded zero to Ms. Bunn.”

AD LOADING…

He continued: “It is impossible to conceive how a jury could conclude that a professional photographer’s portfolio of thousands of photos, as well as photography equipment, could be worth zero. Especially when the Plaintiff and the Defendants both testify that the damages are in the millions. A new trial is warranted under these circumstances.”

HipHopDX has reached out to Dame Dash’s legal team for a statement.

Christopher Brown is also the same attorney behind the order to sell Dame Dash’s shares in Roc-A-Fella Records to satisfy a nearly $900,000 judgment awarded to Josh Webber, the producer behind the film Dear Frank.

According to documents obtained by Radar Online on February 16, a judge ordered Dame to sell his shares of Roc-A-Fella Records after he allegedly refused to pay a $823k judgment to movie producer Josh Weber that stemmed from the 2016 film Dear Frank.

AD LOADING…

Both Jay and Kareem “Biggs” Burke objected to Dame having to sell his shares in an auction, on the basis that company bylaws mandate that the board of directors must first approve the sell-off. However, U.S. Magistrate Robert W. Lehrburger ruled that the former exec’s one-third ownership of Roc-A-Fella can be seized to help cover the judgment since it is his personal property.

In his 15-page decision, Lehrburger blasted Jay and Biggs for creating a no-sell-off clause during a 2021 board meeting that Dame did not attend or vote for. He ordered Roc-A-Fella to deliver Dame’s stock certificate to the U.S. Marshals Service for an auction in 180 days.

AD LOADING…

Jay and Biggs’ main objection is less about siding with Dame, however, and stems from concerns that an outsider can purchase the intellectual rights of Roc-A-Fella. To address the issue, Lehrburger said, “They can participate in the auction and place the winning bid.”

As previously reported, Dame Dash was sued for copyright infringement and defamation over the Dear Frank film in 2019. Although he was originally asked to direct the movie in 2016, he was ultimately removed from the project after he was deemed unfit for the job.

Dame Dash Tells Judge In Child Support Battle That He Made Just Over $5K In 2022
Dame Dash Tells Judge In Child Support Battle That He Made Just Over $5K In 2022

Webber and Muddy Water Pictures claimed he was always high on set while shooting the film on his Sherman Oaks property. They eventually finished the film without him.

They then sued Dash three years later, claiming he tried to shop Dear Frank around as his own. They also alleged he sent promotional ephemera to networks such as BET but changed the film’s title to The List. Dame argued they shot the film at his home using all of his equipment then stole the footage to do the movie without him.

AD LOADING…

The jury failed to see Dash’s perspective and handed down its decision in 2022. In response, attorney Christopher Brown, who repped the plaintiffs, said, “I will get every penny due to my clients.”

How Agnès Varda’s photography career shaped her filmmaking

How Agnès Varda’s photography career shaped her filmmaking

It is hard to believe that Agnès Varda, one of the most revered filmmakers of all time, had little cinematic knowledge before she made her first film, La Pointe Courte. Predating the movies often credited as the first entries to the French New Wave, such as Claude Chabrol’s Le Beau Serge and François Truffaut’s The 400 Blows, Varda’s 1955 film was incredibly innovative. 

She wouldn’t begin to attract widespread attention until the release of Cleo from 5 to 7 in 1962, a feminist film about a woman’s journey of self-discovery which subverted the male gaze and stereotypical notions of femininity. It didn’t take long for Varda to become one of France’s most acclaimed directors, always pushing the boundaries of the medium and creating films that tackled womanhood unlike anyone else.

Over the years, Varda discussed her approach to filmmaking, citing her lack of previous cinematic awareness and her background in photography as key to shaping her style. Paired with a love for paintings, such as those by Edgar Degas, Varda chose to shoot scenes with an emphasis on composition and lighting, with many stills from her movies appearing as though they could be photographs.

Varda once explained, via Agnes Varda between Film, Photography, and Art, “I took photographs of everything I wanted to film, photographs that are almost models for the shots. And I started making films with the sole experience of photography, that’s to say, where to place the camera, at what distance, with which lens and what lights?” In many ways, La Pointe Courte was an extension of Varda’s photographic career, challenging her to use a new medium to expand her creative practice. 

While Varda wasn’t the cinematographer for her film, she directed the camera so that her characters were framed distinctively, giving her movie a strong visual identity defined by carefully composed close-ups of the two main actors and street-photography-like shots of the villagers. From then on, Varda always ensured that her movies were visually impressive, sometimes even centring the practice of photography in her films, such as One Sings, The Other Doesn’t and Ulysse.

In the latter, Varda deconstructs a photograph that she took in 1954, almost 30 years before, allowing us to sit with the image for an extended period to consider its potential meaning. She once told Film Comment, “I learned a lot about how people can look at an image and load it with different feelings—the same image.” It’s this notion that propels much of Varda’s work. How can we freeze meaning into one image without words? 

The filmmaker approached her work in the same vein as a photographer, working with compositions which could be interpreted in a variety of ways in order to probe the audience into thinking about what they are consuming. Varda didn’t just frame her subjects artistically so that her films looked nice – she forces us to treat her films the same way we would a photograph, drawing attention to their very form with an almost-meta quality. We are made to acknowledge that we are watching something constructed, with Varda addressing us directly and asking us to pay attention.

[embedded content]

Related Topics

National Geographic Flips the Camera Around in a New Series

National Geographic Flips the Camera Around in a New Series

National Geographic is heralded as “the top of the mountain” when it comes to photographic journalism, or photography in general. This new six-part series gives us a glimpse into what it takes to be at the top of the mountain. As a landscape photographer, something I constantly hear from friends and family when they see one of my images is, “Wow, this could be in National Geographic!” If photography was a scale from never having taken a photo to being a photographer for National Geographic, I’m certainly closer to the “never taken a photo” side. Most of the time, these remarks happen because National Geographic is the most widely known and renowned photographic publication in existence.

Most people, even many photographers, don’t realize what it takes to be a National Geographic photographer. The trailer they released highlights six different photographers, all with very different genres, styles, and missions that will be highlighted over a six-part series. I suspect this means each episode will revolve around a specific photographer or mission. Seeing what it takes to create the images that can impact the world fascinates me. When I watch a series like the BBC’s Planet Earth, I’m left absolutely bewildered by how they film the animals in their natural habitat. War Photographer still sits vividly in my mind for what it takes to be a photographer in some of these spaces.

National Geographic’s “Photographer” premieres March 18th on National Geographic at 8:00 PM EST. If you miss it, you can watch it a day later on Disney+ or Hulu.