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The recording begins in the middle of the event. In the first of three segments, Brian Horton, the photo enterprise editor at the Associated Press (AP), discusses how AP acquires photographs of events, as well as the resale market. He discusses the AP's responsibility for verifying facts, using Ronald Reagan's assassination attempt as an example. Workshop participants ask questions throughout. In the second segment, Horton discusses how governments attempt to control the representation of their countries in the international press. After a short break, Horton presents a slideshow, discussing the AP's work with the new technologies of electronic photography and electronic darkrooms. In the third segment, Horton demonstrates various techniques for manipulating electronic images.

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Brian (AP) 6/8/83 Side 1

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Brian (AP) ICP Location 6/8/83 Side One [Two]

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This is the recording of the third annual Leica Medal of Excellence award ceremony. An unidentified person introduces Benedict (Ben) Fernandez, who introduces Walter Heun. Heun announces the award winners: Stephen Shames, William Albert Allard, Harry Benson, Claudio Edinger, and Steve Rubin. Fernandez discusses Heun's role in the establishment of the Leica Medal of Excellence award. Fernandez then introduces Dmitri Baltermants, indicating that Baltermants will deliver a lecture following the ceremony.

Inscription: Leica Medal of Excellence 1983

Scope and Contents In the first of two segments, Benedict (Ben) Fernandez introduces Walter Heun, who presents the Leica Medal of Excellence awards to three people. Charles Gatewood, who is not present, receives the award for his book on Wall Street; Claudio Edinger wins for the second time, this time for his book on Venice Beach. Due to low recording quality, it is not clear who the third award winner is, but it is given in recognition of the photographer's Olympic coverage and an essay in Life magazine. The awardees each receive a plaque and a $1,000 check. After Heun presents the awards, Jill Freedman speaks, replacing Eddie Adams, who was unable to come at the last minute. Freedman shows slides of her work and discusses her major photo stories, which often focus on political and social justice issues. Towards the end of the recording, Freedman begins to read from her book, Street Cops, which she discusses further during the second...

Scope and Contents

The recording starts mid-event. Jose Lopez presents slides of his work and discusses his experiences on a variety of photography projects. He later speaks on his early years in New York and the importance of authenticity. Workshop participants ask questions throughout.

Inscription: Jose Lopez - Focus '85

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The recording starts mid-event. In the first of two segments, Mary Ellen Mark presents a slideshow of her work. She discusses a photography project in which she lived in a maximum security ward for women. She goes on to discuss her research process, describing a project documenting the lives of sex workers in India. A question and answer session follows her presentation. This continues during the second segment, after which Mark discusses the difficulties of leaving a community after a project and the reception of her photographs by her subjects. She reflects upon how the photojournalism profession has changed, as well as how women photographers navigate the field.

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Keith McManus begins by discussing his transition from street photography to long-term projects documenting familiar subjects. He labels himself a documentarist, which he differentiates from a photojournalist. McManus then presents slideshow of his photographs. Workshop participants ask questions throughout.

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McManus Con't

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Keith McManus - Focus '85

Scope and Contents In the first of three segments, Walter Heun introduces Susan Meiselas. He indicates that this is the third week in a five-week series, and that the Leica Medal of Excellence award ceremony will take place the following day, followed by a lecture by Dmitri Baltermants. Meiselas presents slides of her work, discussing her first assignment, her experience teaching photography to children, and her first book, Carnival Strippers. She describes projects in Nicaragua and El Salvador and the ethical questions of gaining access and documenting and presenting conflicts. She then discusses the difficulties of working as a freelance photographer. Workshop participants ask questions throughout. In the second segment, Meiselas continues to present photographs, discussing issues around representation. After a question from the audience about documenting tragic events in black and white versus color, Meiselas discusses how to avoid aestheticizing these events. In...

Scope and Contents

The recording begins mid-event. In the first of two segments, Michael O'Brien describes a project he worked on for Life magazine, discussing the process of constructing a visual narrative. Ten minutes into the recording, John Loengard joins the discussion, speaking on editorial decisions. Workshop participants ask questions throughout. In the second segment, Loengard and O'Brian discuss how they collaborate throughout an assignment.

Inscription: John Loengard Lecture - Michael O'Brien - 6/8/82 4-6PM

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Sylvia Plachy discusses her work as photographer for The Village Voice, showing slides and tear sheets. She discusses how much control photographers have over the use of their work, and emphasizes the importance of getting release forms from subjects. Workshop participants ask questions throughout.

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Arthur Rothstein discusses the genre of the photo essay. He speaks on the qualities of a good photograph and the use of clichés. He then discusses visual literacy, describing the difference between a picture story and a photo essay. Following this, Rothstein presents a slideshow and discusses the history of photography.

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Focus '83 Lectures to students on photography - Arthur Rothstein, Monday morning, opening speech - Dan Dry, Part 1, Monday afternoon

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Arthur Rothstein - Monday morning opening speech