Li-Han Lin is a Taiwanese-German photographer who was born and raised in Hilden, Germany before moving to the States where to study photography at the Art Center College of Design. He has worked in Los Angeles , New York City, Shanghai and Taiwan. His work reflects his unique background, exploring themes of identity, friends and family . He has contributed to Monocle Magazine, Vogue Japan, GQ Japan, Nulon Japan. He has also shown work at the S+S Gallery in Taipei and recently was a winner of the Samsung NX project 2012. Currently based in Berlin where he is working on a stop motion animation short film.
In the universe of serious, meaningful photography, the chance to honor the lives and careers of peers, colleagues and, occasionally, heroes in an end-of-year “those we lost” tribute comes with a grim, one-time-only satisfaction: namely, the opportunity to see, in one place, the work of photographers who would otherwise never, ever be shown together.
Like politics, death can sometimes make for strange bedfellows.
Where else would, say, Cornel Lucas’ glamorous Hollywood portraits feel so right alongside LIFE staffer Lee Balterman’s edgy depictions of Sixties’ unrest? In what other context would a black-and-white image of Nehru by India’s first woman photojournalist, Homai Vyarawalla (a.k.a, “Dalda 13″), not seem out of place beside Jim McCrary’s famous 1971 Tapestry portrait of Carole King?
Of course, it’s hardly just the variety of photographers we lost in 2012 that’s so striking, but the cumulative power and excellence of their work.
Dody Weston Thompson, for example, who died in October at 89, not only worked as an assistant with titans like Edward Weston and Ansel Adams, but collaborated for years with her husband, Brett Weston. Over a five-plus-decade career, from the 1940s into the early 2000s, she forged friendships with many of the signature artists of the century (Minor White, Imogen Cunningham, Georgia O’Keeffe and others) while always doggedly — and joyfully — pursuing her own creative vision.
Another formidable woman, Eve Arnold, died early in 2012 at the age of 99. The Philadelphia native joined Magnum in 1957 and for decades produced indelible portraits of celebrities (Marlene Dietrich, Marilyn Monroe), political and cultural figures (Malcolm X, Jackie Kennedy, James Cagney) and the disenfranchised (migrant workers, prostitutes). Named a “Master of Photography” by ICP in 1995, Arnold lived in England until her death in January.
On staff at LIFE for 24 years, Michael Rougier was, according to magazine lore, the only unknown photographer who ever walked into the LIFE offices and was hired then and there. (He had smuggled pictures of a then-camera shy Eva Peron out of Argentina.) Rougier — who has a peak in Antarctica named after him; he tumbled down its side while on assignment for LIFE in the 1960s — died in January at the age of 86. Another LIFE photographer, Lee Balterman, whose work chronicled some of the signature events of the roiling Sixties (the ’68 Chicago convention, the Detroit riots) as well as the beauty and rigor of the arts, died in January at age 91. Ken Regan, who died in late November (nobody seems to have known his real age), made striking portraits of most of the biggest names of the 1960s and ’70s, including Dylan, the Stones, Hendrix and Muhammad Ali.
Prize-winning combat photographer Horst Faas, whose work across almost a half-century with the Associated Press helped redefine what war photography could (and perhaps should) look like, died in May. He was 79. In February, another award-winning war photographer, Rémi Ochlik, was killed by Syrian artillery fire while covering the siege of Homs in that country’s civil war. Ochlik, a World Press Photo honoree in 2012, was just 28.
The man who won both the Pulitzer Prize and the World Press Photo of the Year in 1963 for his image of a self-immolating monk in Saigon, Malcolm Browne, died in May at 81.
More than a few fine-art photographers passed away in 2012. Among them: New Jersey native Jan Groover, whose work has been shown at MoMa in New York, the Cleveland Museum of Art, ICP, the Corcoran Gallery and many other places; the self-taught, Kolkata-born Prabuddha Dasgupta, whose fashion work spanned more than three decades; and Arnaud Maggs, whose conceptual work — and especially his portraits of famous subjects, presented in grid-like formats — earned him acclaim in his native Canada and internationally.
Martine Franck, who died of cancer in Paris at 74, was a Magnum photographer for more than three decades who began her career in the early 1960s, assisting the great LIFE photographers Eliot Elisofon and Gjon Mili. Magnum’s president, Alex Majoli, eulogized his friend and colleague with the simple and moving observation that the agency had “lost a point of reference, a lighthouse, and one of our most influential and beloved members.”
In September, Pedro Guerrero died in Arizona at the age of 95. For five decades in the middle part of the 20th century, Guerrero (an art school dropout) worked closely with Frank Lloyd Wright, chronicling the architect’s projects in photographs.
French-born Michelle Vignes, who co-founded the International Fund for Photography and Fotovision, worked as a photo editor in the early days at Magnum and was among the most important chroniclers of the pivotal social movements of the 1960s and ’70s (the American Indian Movement’s occupation of Wounded Knee; the Black Panthers; Vietnam War protests), died in October at 86.
Richard Gordon, whose pictures are in the permanent collections of the Library of Congress, SFMOMA, the Getty Museum, the Corcoran Gallery and other major institutions, died in October in Berkley, Calif., at 67.
Chilean street-photographer Sergio Larrain, who was invited by Cartier-Bresson to join Magnum in the late ’50s, but abandoned his camera in the early 1970s in order to pursue what became an increasingly solitary spiritual quest, died in February at the age of 80. Another Latin American photographer, the Argentine Horacio Coppola, who was documenting his native Buenos Aires as early as the 1930s, died in June at 105.
Walt Zeboski, who covered four California governors and other political power players in the state, as well as Ronald Reagan’s 1980 presidential campaign for the Associated Press, died on November 12. He was 83.
Yasuhiro Ishimoto, a Japanese-American who first learned photography while interned at Colorado’s Amache Internment Camp during World War II, died in February at 90. A key figure in the post-war movement (across all of the arts) that saw Eastern and Western sensibilities melding and, occasionally, clashing to such vivid effect, Ishimoto won numerous awards — including the Moholy-Nagy twice.
A photographer whose fashion work was published primarily in Harper’s Bazaar in the 1950s and ’60s and who was still working into her 90s — using contemporary digital technologies to manipulate her images — Lillian Bassman died in February at the age of 94.
Known primarily for an iconic image of Beat-era legends Michael McClure, Allen Ginsberg and others outside City Lights bookstore in San Francisco in December 1965 — made when he was just 22 — Bay Area native Larry Keenan worked as a photographer for the next four decades. He was an accomplished commercial photographer, but also made a point of continuing to shoot the counterculture as it evolved from the ’60s into the 21st century.
Wilhelm Brasse, a Pole and a prisoner at Auschwitz during the Second World War, was a professional photographer forced by the SS to document everything from the work performed by fellow inmates to the horrific medical experiments conducted by Nazi doctors at the notorious concentration camp.
Paula Lerner was just 52 years old when she died in March from cancer. Lerner, who often worked on commercial assignments to help finance the photojournalism projects that were her passion, was the principal photographer for Behind the Veil, about the lives of women and girls in contemporary Afghanistan.
In a career spanning 50 years, South Africa’s Alf Kumalo tirelessly (and artfully) chronicled the abuses of apartheid. He died in October at 82.
Known primarily for her pictures documenting the women’s movement of the 1970s and its high-profile leaders (Steinem, Friedan, Abzug), Bettye Lane also covered other people and events of the fraught era, including antiwar rallies and the stirrings of the modern environmental movement. She died in Manhattan in September at 82.
Architectural photographer Susan Carr died in early September in Chicago. A leader of the education programs at the American Society of Media Photographers, Carr was 49.
Robert McElroy died on February 22 in White Plains, New York. A photographer for Newsweek for almost 20 years, he was best-known for his pictures of the vibrant art “happenings” of the 1950s and early ’60s.
Stan Stearns — whose portrait of 3-year-old John F. Kennedy Jr. saluting his father’s coffin in 1963 poignantly distilled a nation’s grief — died of lung cancer in March. He was 76.
Juan Antonio Serrano, a documentary photographer and brother of the Ecuadorian Interior Minister, Jose Serrano, was stabbed to death in the city of Cuenca in southern Ecuador. The murder was, evidently, not associated with his photography work. Serrano was 34.
For most of us, he’s that cheerful, rotund guy who drops by for a quick visit on the same night every December. For others, though, he’s a year-round presence. Or so Touko Hujanen found out in the summer of 2011, while working as a photojournalist for a Finnish newspaper. On assignment in Helsinki and looking for quirky stories, he came across a fully-costumed professional Santa named Timo Pakkanen sitting in a park, waiting patiently for tourist cruise ships to dock.
“It’s 140 days to Christmas!” Pakkanen exclaimed as Hujanen approached. Hujanen photographed the red-coated, bearded Pakkanen for his newspaper. The two hit it off pretty quickly, and so began a seven-month documentary relationship between Santa and photographer.
Hujanen hitched a ride as Pakkanen toured Japan, a country where he is popular, and also hung out with him in Finland. The resulting work he calls, simply, Joulupukki — Finnish for “Santa Claus.”
The portraits that came out of the collaboration are as playful as they are unexpected. After all, we’re not used to seeing Santa powdering his eyebrows, taking a dip or enjoying a cigar. This is Christmas at its most elemental, without the tinsel.
That said, Pakkanen is no novelty act: 68 years old, he has been playing the part since 1961 and has an office in downtown Helsinki. What started as a small gig for local Finnish families eventually saw him become the de facto national Father Christmas — a significant honor in a country that, by some accounts, is St Nick’s home.
“My job for me is bigger than life,” Pakkanen told TIME, speaking on the phone from Japan. “It’s much, much more than work.”
In some ways it was an obvious career, he adds. His mother, Kaija Pakkanen, was a prolific children’s author who told him stories as a child; his sister, Outi, is a writer, as well.
“I lived all my childhood in a fairytale world, and that is very good grounds to be a Santa,” he says, laughing.
Pakkanen often works 12-hour days during the holiday season, and for many years has spent Christmas Eve in a Tokyo hotel room, tired but fulfilled after weeks of hearing Christmas lists and visiting kindergartens. He likes to celebrate with a can of Yebisu beer and a cup of warm sake.
The best thing about his job? It allows him to not only see joy on people’s faces, but to experience it himself. He may seem old, but he claims he feels like a kid.
“First we are children, then we get older, and we return to our childhood,” he says. “That’s the circle of life.”
Santa and Timo Pakkanen can be found year-round at santaclausforever.com
Lydia Panas is an award-winning photographer whose work has been exhibited widely throughout the United States and abroad, and has won numerous awards. She was one of nine International Discoveries, Houston Fotofest in 2007. Her work is included in numerous collections, including Museum of Fine Arts, Houston, Brooklyn Museum, and Museum of Contemporary Photography, Chicago. Lydia has degrees from Boston College, the School of Visual Arts, New York University/International Center of Photography, as well as an Independent Study Fellowship from the Whitney Museum of American Art. Lydia has taught photography at a number of institutions, including The Museum of Modern Art, Lafayette, Muhlenberg and Moravian Colleges, Kutztown University, The Maine Media Workshops, The Vermont College MFA program, and the Baum School of Art/Lehigh Carbon Community College.
William Rugen is a fine art and commercial photographer in Seattle, Washington. After working as a biologist for 20 years he quit his job to pursue photography. His projects are widely varied in style and subject matter. Current projects include the American west, botanical prints, and state and county fair exhibitions. William's work has been included in exhibitions throughout the United States.
For my final guest post before Christmas at the World Photo Organisation and to mark the end of the year and the start of a new one, I asked the team at Hotshoe magazine to look ahead to 2013, rather than back at 2012, to comment on any trends in the world of photography and to pick out some up-coming events, photographers and works to look out for.
If you ever wondered who we were and about the history of this independent publication (first published in 1979) then follow this link Forward Thinking for some photos, comments and photos. There’s also a pre-Christmas competition to win a year’s subscription to Hotshoe magazine, just LIKE Hotshoe International Facebook page this week, see the end of the WPO post for details.
Enjoy the run up to the holidays and here’s wishing you all a healthy, happy holiday.
Filed under: HotShoe magazine, iPad app, Photographers Tagged: Bill Kouwenhoven, Gregory Barker, Hotshoe International Contemporary photography magazine, Hotshoe iPad app, Melissa Dewitt, Miranda Gavin
At 9:59 last Friday morning, Shannon Hicks pulled her 2006 Jeep Wrangler off the road just outside Sandy Hook Elementary school. As associate editor and photographer for Newtown, Connecticuts local paper, The Newtown Bee, she was responding to a radio dispatch heard over a local police scanner.
I thought it was going to be a false alarm, Hicks tells TIME, remembering the call last week. Gunshots fired inside an elementary school? No. seo marketing . Excellent SEO service . Not here, she thought.
But as she pulled up to the school, what she saw and heard removed all doubt.
Parents just started yelling their childrens names, remembers Hicks, careful to grab her camera off the passenger seat as she climbed out of her vehicle and into the chaos of the scene.
The screams echoed loudly as Hicks tried to stay focused, composing each image though the eyepiece of her camera. She remembers watching a state trooper drive past her, get out of his vehicle, don his flak jacket, and announce to the panicked crowd that the scene was not secure.
She snapped frames of police and emergency personnel rushing to the school as well as of anxious parents already on scene pressed against police barriers, straining to see if their children had emerged from the building. Among armed police officers and weeping parents, she kept watch, diligently clicking the shutter.
At 10:09 am, 10 minutes after she climbed out of her vehicle, she snapped the shutter on an elementary school class being led out of the school by two Connecticut State Police officers.
I knew that, coming out of the building as terrified as they were those children were safe, Hicks said, of the photograph soon to grace the front pages of newspapers, magazines, and nearly every breaking news website around the world. I just felt that it was an important moment.
The picture wasnt sensational or disturbing, said Hicks, but it captured a feeling at least for the subjects and their families of relative safety amidst a maelstrom of fear and the harrowing unknown.
For the children freed from the school, parents rushed to their side, sweeping them up in firm embraces as they walked the 1100 feet to the nearby fire station. Hicks, camera in hand, followed them every step.
Ive heard from a few adults who anonymously called us [at The Newton Bee], and said it was very, very wrong to publish that one photograph. Hicks said, But Ive also had people come up to me mothers in particular whove said that the photograph was important because it showed that those children were safe.
By 11:30 that morning, Hicks, who is also a volunteer firefighter in Newtown, had passed the baton to another reporter from the paper, and had returned to the Bees office to coordinate the coverage.
There, for the next week, the small editorial staff would pull near-24 hour shifts, updating the website the paper is published weekly with news, community response and the obituaries of the 27 victims left in Fridays wake.
As a journalist, Hicks is proud to have documented the event, but issues caution to many media outlets now trolling the grounds in Newtown.
There are different levels of journalism out there, and ours [at The Bee] is not to follow people when they go to the funeral home, or the cemetery. We dont go knocking on the doors of victims of anything, said Hicks. Its very hard for us to watch other journalists do this to our neighbors.
Regarding her photographs popularity for lack of a better term Hicks said it came as a surprise and brings little personal relief. It is the cache of photographs buried on her cameras memory card, she said, that are hardest to look at and impossible to forget.
Im sure I will look through them someday, Hicks said, cognizant that the photographs she took that morning are now part of history.I just kind of wish that there were some that I could erase from my memory.”
George Holroyd was born in Philadelphia, Pennsylvania, USA. When he was a child, George's family relocated often, transporting him to a variety of cities and towns throughout the eastern half of the United States. From an early age, he developed a sense of being a visitor to these new places, rather than a resident. That feeling of transience stayed with him and he has traveled extensively throughout his adult life, including to Europe, Asia, Africa, and the Middle East. He now lives in Paris with his wife, Sarah. His current project, And I, presents a diaristic set of images, made in collaboration with the artist's most faithful companion, a progressive neurological disorder known as Essential Tremor.