ONE OF A KIND PHOTOGRAPHS BY DONALD GRAHAM

Essay by Colin Westerbeck
Foreword by Casey Woods
Preface by Donald Graham
Edited by David Fahey

HATJE CANTZ / SPRING 2021 

“My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one’s inner dialog. I’m not interested in poses or performances for the benefit of the camera. I’m interested in what a person is like when they are their most authentic.” 

 – Donald Graham

Authenticity, honesty, and trust characterize Donald Graham’s portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience. 

One of a Kind (Hatje Cantz, April 2021), the first comprehensive monograph by internationally renowned photographer Donald Graham, brings together over 100 of his brilliant portraits spanning a wide cultural and social spectrum. Made in India, Tibet, Jamaica, Mali, Europe and throughout the United States, there is a unique story in every face, punctuated by combinations of strength and vulnerability. Graham writes: “These portraits come from a desire to honor the beauty of uniqueness, character, and imperfection while remaining sensitive to the pain of the human experience. Every life is one of a kind, never to be repeated. These are tough stories told with grace.” Reproduced in a four-color process, the printed photographs seem almost tangible, fully revealing Graham’s outstanding oeuvre.

 

One of a Kind began more than 30 years ago when Graham decided to make a portrait of his mother. She had Multiple Sclerosis, compounded by a severe stroke. Her body was ravaged, and she could barely speak, yet she lived with a gracefulness, an inner peace, and a smile that inspired her son. He took a photograph of her that “revealed who I knew her to be and honored the complexity of her situation. Her portrait began this series of photographs. It became the standard by which I judged all subsequent photographs I made.”

In his illuminating essay, noted curator, writer, and educator Colin Westerbeck writes eloquently on Graham’s portrait of his mother, as well as other subjects, including the largest single community from which subjects for One of a Kind were drawn: Taos, New Mexico. “In part the attraction of Taos was its history as a haven for artists like Georgia O’Keeffe and Paul Strand in the pre-war era … More importantly for Graham, the attraction was that, as he puts it, ‘Taos has three separate cultures; you have an Anglo-American culture, a Spanish-American culture, and a Native American culture … I wanted to photograph all three cultures.’ Most important was that the culture of Taos also provided Graham with a very special chance for his photographs to be made in the service of a charitable cause … ‘Non-Violence Works.’ Along with counseling, guidance, mentoring and gang resistance for youth at risk, the organization offers domestic violence rehabilitation … Over ten years, Graham photographed more than 500 local people, from gardeners to senators.”

While the focus of the book is everyday people, One of a Kind also presents a selection of less common citizens, among them:  performers Aidan Quinn, Snoop Dogg and Lenny Kravitz, photographer Gordon Parks, writer James Elroy and, from the George W. Bush presidency, Secretary of Defense Donald Rumsfeld and Vice-President Dan Quayle.

In an era of divisiveness, One of A Kind is a story in photographs of the great diversity that we find in this world, told in a way that recognizes the common struggles and triumphs that we each experience.

The book is edited by the renowned Los Angeles Gallerist and Curator David Fahey.

About the Photographer

Donald Graham is an internationally recognized portrait, fashion, and fine art photographer. His work is in the Metropolitan Museum of Art in New York and the International Center of Photography. His photographs have appeared in over 400 publications, he has done advertising campaigns for numerous Fortune 500 companies and Graham’s photographs have been exhibited in New York, Los Angeles, Paris, and Munich. Graham began his career in Paris as a fashion photographer. He then shifted his work to New York and Los Angeles where he broadened his photography to include portraiture for the movie, music, magazine, and advertising industries and began devoting significant time to fine-art. During his career, Graham has expanded his unique point of view with extensive travels through Europe, India, Tibet, Africa, and southeast Asia. He has received awards from Nikon, Hassleblad, Communication Arts, the American Society of Magazine Photographers, among others.  

Book Details:

Hardcover, 10 x 13 in.
224 pgs / 100 color.
ISBN 9783775746915
List Price: $95.00 CDN $133.00

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MAGNUM  SQUARE PRINT SALE.

March 22nd -March 28th

Dennis Stock Audrey Hepburn during the filming of “Sabrina”, directed by Billy Wilder. Long Island, New York, USA. 1954. © Dennis Stock | Magnum Photos

Celebrating the unpredictability of life, the curation of the Magnum’s Square Print Sale explores the happy accidents and unusual turns of events that lead to memorable images.

The Magnum Square Print Sale will take place on the Magnum Photos Shop:  www. magnumphotos.com/shop

 

 

From its earliest days, photography has been associated with the unexpected: documentation of under-explored issues, reporting of events unfurling in far-flung locations, or single frames capturing split seconds of levity.

Over more than seven decades, Magnum photographers have reported on and witnessed events around the world which changed societies, nations, and peoples in unpredictable ways. Stuart Franklin’s image of an unarmed man stepping in front of a tank during the 1989 government crackdown on student protesters in Beijing’s Tiananmen Square was an “unexpected act of defiance”. Paul Fusco’s series of images taken from the moving train that bore RFK’s body across the United States created a candid portrait of that nation’s inhabitants at a moment in American history. The work also saw him experimenting with the practical limits of his photography. Raymond Depardon’s photograph of a youth sat astride the Berlin Wall on November 11, 1989 embodies the end of an historical era. Susan Meiselas, covering the 1979 Sandanista revolution in Nicaragua, photographed Pablo ‘Bareta’ Arauz launching a molotov cocktail at a National Guard HQ. This image became an unexpected symbol of revolution, which resonated with a generation and has been reproduced on t-shirts, matchbooks, murals and magazines across the world.

Some images are in themselves surreal, toying with the machinery of the medium or manipulating light and framing to create surprising abstractions. In René Burri’s image, wilting lotus flowers mirrored in Beijing’s Kunming Lake become abstract black scrawls more reminiscent of charcoal on paper than of a photograph. Colby Deal’s image of a silhouette seen through an erratically spray-painted window confuses the viewer. Fellow 2020 nominee Yael Martinez chose an image from his project Firefly, in which he pricked photographs with a pin to allow dots of light to intervene upon the images. Werner Bischof’s cascading snail- shells recall the words of his famed tutor Hans Fisler: “Bischof’s endeavour is to isolate law and regularity from the apparent chaos of the accidental.” Cristina de Middel’s image — from her series The Afronauts — experiments with recreating a little known historical space program, utilizing costume and staging to flex the limits of what ‘documentary’ photography can be.

Sometimes life simply throws up scenes of incongruity that a fast acting photographer needs only to record: elephants marching in front of the Eiffel Tower, a serpentine procession of tractors, a lone cloud seemingly mirrored as it floats over a bleached outcrop, or an outrageous expression on the face of an elderly passerby. Martin Parr’s image made in Pyongyang toys with the typical portrayals of stony-faced North Korean soldiers by capturing a paternal moment as one carries a small child. Olivia Arthur’s print, depicting well-wrapped skiers about to descend a pristine slope was created in the arid heat of Dubai.

The stories behind the making of images can present unexpected elements. Famed subjects can surprise those assigned to photograph them. Dennis Stock recalled that Audrey Hepburn was “indifferent to her (or anyone else’s) celebrity”. Eve Arnold’s portrait of Marilyn Monroe depicts a side of the superstar alien to most: pensive, withdrawn, and down to earth. For Thomas Hoepker, the surprising aspect of his portrait of Muhammad Ali was that it existed at all: this shot of the fighter’s left fist was re-discovered in 2015 as the photographer delved into a vast collection of negatives.

This collection of 90+ prints is available for one week only in this format. It represents the breadth and variety not only of the practices and outlooks within Magnum’s membership, but also of what photography can convey and capture.

Stuart Franklin Magnum Photos

Tiananmen Square. Beijing. China. 4th June 1989.

Ernst Haas. Magnum Photo« 

 

Bob Henriques. Magnum

Marilyn Monroe at Home

Emin Ozmen. Magnum Photos« 

Erbil. Iraq. September 2017

 

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I tested the new Sky replacement tool. It is a big trend today as most of the Photo apps are fighting for the best, and most eddicient solution. Photoshop CC2021, and Skylum’s Luminar AI are the most popular, but Cyberlink offers a very powerful tool. The sky selection is flawless, and you can anmate the sky if you want..

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PRESETS PACKS

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Another feeature I appreciate is the animation. If you know Plotaverse, it works exactly the same. You select the objects you want to animate, and mask what you want to keep still. Then adlust the movement speed.You can save it either as MP4 and WMV video files, or as animated Gifs.
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Affinity creative apps are ready to go on Apple’s new macOS Big Sur—and primed to deliver superfast performance on Macs with M1 chips. Available now, the Affinity 1.8.6 update for macOS is ready to tap straight into the potential of Apple’s next generation of Macs, allowing users of Affinity Designer, Photo and Publisher to do more, faster.

 

Affinity Designer running on macOS Big Sur

Ashley Hewson, Managing Director of Affinity developer Serif, says: “We’re proud that our Affinity apps are leading the way once again, this time in offering full native support for Apple’s new M1 chip. “The architecture of the chip, particularly having such a high-performance GPU with unified memory with the CPU, is perfect for professional creative applications. “The advantages are particularly noticeable when working on documents with thousands of pixel layers, vector objects and text. Edits to pixel layers are best handled on the GPU, while vector and text on the CPU. When you have unified memory it allows much faster handling of these complex documents.”Serif was one of the developers to receive the DTK from Apple, to be able to develop for M1 before launch. It didn’t take long to get Affinity apps running natively on the new hardware.

“Our fully-featured iPad apps already take advantage of very similar architecture on the A-series chips, so it actually only took us a day to port our Mac version to run natively on M1,” adds Hewson.

“In fact, ever since developing for iPad, we’d always hoped that chips with this architecture would eventually come to Mac, so we’re very excited that day is finally here.”

Affinity apps are the first professional creative applications to offer native M1 support

Mac customers with M1 can expect a more responsive user experience with respect to painting, pixel editing, filter effects, document rendering and more. It also enables many more elements like adjustment layers and live filters to be maintained before performance suffers – allowing for a more non-destructive workflow, even on the most complex of documents. “We have seen speed increases of over 3x faster running on the new MacBook Air. It just makes our apps run faster, smoother and feel more responsive than ever before.”Existing users of Affinity apps on macOS can download Affinity 1.8.6 for free. Users adopting macOS Big Sur will notice some tweaks to the UI and app icons to match the new styling of macOS Big Sur.

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Painting implies easels, brushes, careful or careless color choices, and time. These PMTs were an early manual form of today’s photoshop, and that perhaps is an innovation. And the result has an aesthetic whether you like it or not. So I concede it may actually be art, just not the art you thought it was. Gerard Melanga, who led the PMT team at Warhol’s factory during the ’60s, revealed the Warhol “deception” long ago, in a 1974 interview given to the publication Gay Sunshine“Andy’s whole trip was that he wanted something for nothing. Andy used what was available simply because he had no intellectual power or capacity with which to embrace art, there was nothing intellectual about the art except what some art critic wanted to read into it merely to sound intelligent.” Seemingly forever unmentioned are the source creators who made Warhol’s art possible in the first place. In this case, Gene Korman was the original photographer of the Marilyn Monroe publicity photograph that Warhol used. Neither Warhol nor an artist he allowed to appropriate Marilyn, Elaine Sturtevant, ever credited Korman. And the Soup Cans? The source photograph was made by Edward Wallowitch. It’s as if the theft is ok and even artful, as long as the original creator is unmentioned. 

This has its analogy in corporate generated art such as advertising. Unsigned by it’s actual human creator, there is no soul to it. There is nothing at its core except the machine. Yet it demands to be taken seriously, to be treated equally. This insistence over time has triggered a subtle dehumanization process, now visible, bringing us perilously close to an era where a majority of humans may not care if it is an AI-machine that makes the advert, the art or the novel. It’s been a slow grinding down and here we are. You could argue no. Insist that Warhol is a great artist because he thought of the “idea”. But what if it wasn’t even his idea? What if you knew prolific novelist Muriel Roberta Latow gave Warhol the idea for the Soup Cans during a brainstorming dinner. What if you knew Warhol’s friends at the Serendipity Cafe suggested he make a Marilyn picture?  Is this really your idea of a true artist, one deserving of being the #1 exhibited artist in the world every year for at least the past decade? Were you to sit at your computer and colorize someone else’s photograph, does that make you an artist? Perhaps yes. In America, judges have ruled that if you substantially transform any image, you are now the recognized artist and creator. But what if someone told you exactly which image to colorize? To make it bigger? To remove the wrinkles? Are you still a genuine artist? It’s all much less than our ideal of the artist working alone, the individual with a vivid and unique imagination, with his or her own talents and style derived over time. As an artist who knows other artists, that indeed is how it has been. Even when others collaborate with us, the idea, the vision, that spark of life, somehow, originates within us.

 

Sean Peter is the author of AntiWarhol, a dark and detailed deconstruction of the Warholian mythos. https://antiwarhol.com

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Cyberlink Photo Director 365 Sky Replacement Tool

Cyberlink Photo Editor is a strong Photo Editor. I had one of the first versions, when it was bundled in a Desktop PC I bought. I didn't use it much, as I go Photoshop 3, that became my main Photo editor.. 4 months ago, I go a Cyberlink Press release, announcing the...

Affinity & MacOs BIG SUR M1 support

Affinity apps accelerate with macOS Big Sur and native M1 support  Affinity creative apps are ready to go on Apple’s new macOS Big Sur—and primed to deliver superfast performance on Macs with M1 chips. Available now, the Affinity 1.8.6 update for macOS is ready to tap...

ANTIWARHOL

IWhat do you really know about Andy Warhol? Why and how do you know his name? Even if you've not read any of the numerous biographies of his life, you probably know he painted Soup Cans and Marilyn Monroe. But you've been misled on purpose because these really aren't...

EVO II Drones series

Evo II Drones SERIES Cette nouvelle gamme se compose de 3 drones : le EVO II Standard, le EVO II Pro et le EVO II Dual.   Leur batterie rechargeable de 7100 mAh offre une autonomie de 40 minutes en vol et utilise également un nouveau système breveté, nommée...

Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman

Phillips  announce Tailor-Made: Fashion Photographs from the Collection of Peter Fetterman , an exclusive online auction that celebrates a century of fashion photography, tracing the history of women’s fashion through 64 quintessential images spanning from the 1920s...

Portraits of Humanity 2019 Winners revealed.

The 50 winning and 200 shortlisted Portrait of Humanity images have been announced.  1854 Media, publisher of British Journal of Photography, in partnership with Magnum Photos, have created Portrait of Humanity - an award aiming to unite the global community through...

Magnum Photographer Paolo Pellegrin Anthology

Paolo Pellegrin is known today as one of the world’s leading photojournalists and conflict photographers. The winner of ten World Press Photo awards and the Robert Capa Gold Medal (among many others), he has been a full member of Magnum since 2005.

Reform and Dreams – Kings Cross

A brand new free photography exhibition celebrating the 40th anniversary of China’s Reform and Opening up will launch on Monday 10 December at London’s Kings Cross Station.   Commissioned by the China International Culture & Image Communication Corporation “Reform...

How do you photograph fracking?

Since September 2018, photographer Rhiannon Adam has been documenting individuals on both sides of the fracking debate. For Adam, listening to an individual’s story dictates how she photographs them. Her ultimate aim: to redirect the narrative away from the singular...

EVO II Drones series

Evo II Drones SERIES

Cette nouvelle gamme se compose de 3 drones : le EVO II Standard, le EVO II Pro et le EVO II Dual.  

Leur batterie rechargeable de 7100 mAh offre une autonomie de 40 minutes en vol et utilise également un nouveau système breveté, nommée “Battlock”, qui protège la batterie lors de manœuvres à grande vitesse ou d’atterrissages difficiles. Ils sont tous équipés de 12 capteurs de vision informatique contrôlés par un processeur dual-core et une intelligence artificielle adaptative qui créera une protection omnidirectionnelle du drone.

Leur portée s’élève à 9km et leur vitesse atteint les 15 m/s en mode standard et les 20 m/s en mode “Ludicruous”.

EVO II Standard

L’EO II standard possède un appareil photo 8K, 48MP avec un capteur CMOS 1/2″. Il capture du contenu avec une résolution pouvant atteindre les 8000 x 6000 pixels pour les photos, ce qui permet d’imprimer une image de 100 pouces de large. La prise vidéo atteint une résolution maximale de 7720 x 4320 pixels. Le drone est également doté d’un zoom sans perte pouvant atteindre 4x.

EVO II est disponible chez PowerData Prix public conseillé : 1 489 EUR TTC

EVO II Pro

L’EVO II Pro se différencie par sa caméra 6K, ce qui fait de lui, le premier drone pliable 6K au monde. Il est doté d’un appareil photo de 20MP avec un capteur CMOS de 1″, une ouverture réglable (de f/2,8 à f/11), un HDR, une plage ISO de 100 à 12 800 et la possibilité de capturer des vidéos 6K.

 

EVO II Pro est disponible sur PowerData Prix public conseillé : 1 779 EUR TTC

EVO II Dual

L’EVO II Dual, destiné à un public professionnel, est équipé d’un capteur FLIR Boson, avec une résolution thermique allant jusqu’à 640 x 512 pixels, et de la même caméra 8K que celle fournie avec le modèle EVO II standard.

 

EVO II Dual est uniquement disponible sur demande

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