Pelé is Brazil’s all-time leading scorer with 77 goals, although Neymar is closing in on that record with 64. But the Paris Saint-Germain striker trails far behind when it comes to World Cup titles, which Pelé won in 1958, 1962 and 1970.
No other player has accomplished that feat.
In this June 21, 1970 file photo, Brazil’s Pele holds up his team’s Jules Rimet Trophy, or the FIFA World Cup Trophy, following Brazil’s 4-1 victory over Italy at the World Cup at the Azteca Stadium in Mexico City. (AP Photo)In this June 25, 2008 file photo, Brazil’s former soccer player Pele attends the inauguration of an exhibit about his life, coined King’s Marks, commemorating the 50th anniversary of Brazil’s World Cup win in 1958, in Brasilia, Brazil. (AP Photo/Eraldo Peres)
Alberto Ferreira tinha a intuição que faz com que os grandes fotógrafos prevejam os fatos frações de segundos antes que eles aconteçam. Foi assim que, em uma época de equipamentos fotográficos inteiramente mecânicos, registrou com uma Leica M3, em fotograma isolado, o vôo de Pelé em sua famosa bicicleta, num jogo contra a Bélgica, no Maracanã, em 1965. É sua foto mais famosa: deu-lhe naquele ano o prêmio SIP (Sociedade Interamericana de Imprensa), e depois se tornou um símbolo: esteve exposta no Museu Nacional de Belas Artes, no Rio, no Maracanã, no Centro Cultural da Justiça Federal e no Centro Cultural Banco do Brasil, faz parte do Acervo do Museu Europeu de Fotografia como um dos 28 Instantâneos de Felicidade e tabém compõe as exposições L’Extreme em Paris e Extremos no Instituto Moreira Sales no Rio e em São Paulo. Foi escolhida por Pelé para representar a síntese de sua carreira.
Las imágenes sobre la pandemia que ha captado el fotógrafo jefe de The Associated Press en España y Portugal se han convertido en una referencia para entender los estragos provocados por la COVID-19
Una de las fotos que más llamó la atención fue la de una morgue con decenas de ataúdes.
En esa imagen del parking de Collserola convertido en morgue había 250 cadáveres. Pero en la foto no aparecían cadáveres, eran féretros. Cajas de madera que no tenían identidad, las preservé al evitar que se pudiese identificar los fallecidos a través de las etiquetas con los nombres. Me acusaron de querer crear alarma social por esa imagen y lo que pasaba es que es una imagen que nos incomoda.
Workers move a coffin with the body of a victim of COVID-19 as other coffins are stored waiting for burial or cremation at the Collserola morgue in Barcelona, Spain, on April 2, 2020. (AP Photo/Emilio Morenatti)
Algunos ciudadanos consideran que mostrar un muerto atenta contra la dignidad del fallecido.
En mi fotografía el muerto simboliza a todos los muertos. Si no lo simbolizas en uno, dos o cuatro, los que sean, no puedes hacer mención a los muertos. Que alguien me explique sino cómo se hace. La sutileza es nuestro objetivo pero a veces, cuando más sutil eres, las críticas siguen siendo exactamente las mismas que si mostrases a un muerto con todo detalle. Ha habido una evolución en la sociedad que va en el sentido contrario a la libertad de expresión. Muchas veces se apela a la dignidad cuando lo que se pretende es ocultar.
This is the world that Associated Press photographers captured in 2020, a world beset by every sort of catastrophe — natural and unnatural disaster, violent and non-violent conflict.
And, in every corner of that world, the coronavirus.
Cemetery workers carry the coffin of a person who died of COVID-19 for burial at the Martires 19 de Julio cemetery in Comas, on the outskirts of Lima, Peru, on July 8, 2020. (AP Photo/Rodrigo Abd)
For more than a century, AP photographers have captured the greatest moments in history, breaking news, sports, politics and entertainment. AP’s photography has won numerous awards, including 32 photo Pulitzers, the most of any news organization.
BARCELONA, Spain (AP) — When Marina Gómez and her fellow mortuary worker enter a room at a nursing home to remove the body of a COVID-19 victim, they work methodically and in silence.
They disinfect the mouth, nose and eyes to reduce the risk of contamination. They wrap the body in the bed sheets. Two white body bags are used, one inside the other, and the zippers are closed in the opposite direction: the first bag is sealed head to foot; the second, foot to head.
The only sound in the room is from the whisper of the zippers, sealing the dead from view for the last time.
The coffin of a COVID-19 victim before being cremated in Girona. (AP Photo/Emilio Morenatti)
Based on a collection of photographs by an unknown genius photographer, Orizon Carneiro Muniz, who documented the girls from Ipanema in the years leading up to the military coup in 1964. Peter found his photos at a flea market after being dumped in the trash by a janitor after the photographer died. With no relatives and no recognition of his talent during his lifetime, these pictures could have disappeared if Peter had not followed paths to find out who his author was.
The documentary, courted by Canal Brasil, will follow the search for women appearing in 5000 photos and rolls of undisclosed negatives to find out who Orizon Carneiro Muniz really was.
Peter Lucas é o cara! Amigo desde os tempos do PicturaPixel.com
Peter Lucas is a photographer, filmmaker and a professor at New York University and The New School. Most of his work is based in Brazil and information about his projects can be found at: http://peterlucas.net
Muere Víctor Basterra, el expreso político que retrató a los torturadores del mayor centro de detención clandestina de la dictadura argentina. Su testimonio fue vital en los juicios contra los militares
Recordaría siempre su llegada esa noche al centro de detención. “Nunca se me olvidará el ruido de la cadena chocando con los bajos del auto al entrar en la ESMA. Es uno de esos ruidos que te acompaña toda la vida”. Basterra lo llamaba “el cadenazo”. ¿Cuántas veces lo despertaría de una pesadilla a lo largo de su vida? Como otros detenidos, pasó por la huevera (la sala de torturas) y la capucha (los compartimentos de reclusión donde los detenidos pasaban meses con el rostro cubierto). Sufrió dos paros cardíacos y salvó la vida de casualidad. Los militares sabían que había trabajado como obrero gráfico en una empresa de valores bancarios. Tenía algunos conocimientos de fotografía y fue asignado al sector de Documentación, en el sótano del casino de oficiales de la ESMA, a principios de 1980. O aceptaba el trabajo esclavo o se preparaba para ser uno de los pasajeros de los vuelos de la muerte.
Detenidos desaparecidos en el ESMA Espacio para la Memoria
…En lugar de las cuatro fotografías de tipo carné que le pedían los oficiales, revelaría cinco y guardaría una. Así lo hizo durante tres años. En el tramo final de su cautiverio, los militares abrieron algo la mano y le permitieron realizar salidas periódicas y breves para visitar a su familia. Bajo amenaza de muerte, siempre regresaba a la ESMA, pero ese paréntesis de libertad le permitía ir sacando a la calle las fotos de los represores y las imágenes de algunos detenidos que rescató de la basura antes de que fueran lanzadas a la hoguera. Hace unos años, mientras caminábamos por el antiguo centro de represión, reconvertido en museo de la memoria, Víctor me explicaba cómo se las arregló para esconder las fotos y sacarlas más tarde de la ESMA: “Un día guardé una copia de sobra de uno de los retratos y la puse en una cajita de papel fotosensible. Sabía que nadie lo abriría porque echarían a perder el material. Poco a poco fui metiendo ahí las fotos y los negativos y cuando obtuve los primeros permisos, fui sacando el material entre mi ropa interior”. Y entre esa valiosa documentación figuraban las imágenes de unos ochenta represores de la dictadura argentina. Una lista negra encabezada por Alfredo Astiz, el Ángel de la Muerte, Jorge Tigre Acosta y Ricardo Cavallo, alias Sérpico… Astiz fue uno de los responsables del secuestro y desaparición de las fundadoras de Madres de Plaza de Mayo, la asociación en la que se infiltró en 1977 haciéndose pasar por un familiar de un detenido.
Durante su secuestro en la Escuela de Mecánica de la Armada, el detenido capturó fotografías de represores y obtuvo negativos de víctimas que luego se usaron como prueba en juicios por delitos de lesa humanidad
Gracias a las fotografías de Victor Basterra, la sociedad argentina puso cara y nombre a decenas de secuestradores, torturadores y responsables de desapariciones durante la última dictadura (1976-1983). Los militares posaron frente a Basterra en el centro clandestino de detención que funcionó en la Escuela Superior de Mecánica de la Armada (ESMA), pero nunca descubrieron que guardaba copias para él y que las sacó fuera de allí escondidas en su ropa interior. Este sobreviviente de la ESMA, uno de los principales testimonios en los juicios por crímenes de lesa humanidad perpetrados durante el régimen militar, falleció el sábado, víctima de un cáncer, a los 76 años.
Fotografías de represores de la dictadura argentina realizadas por Victor Basterra en la ESMA.
En vez de hacer cuatro fotos, hacía cinco y esa quinta la escondía en las cajas de papel fotosensible, a salvo de las requisas periódicas que se realizaban en la ESMA. “Para mí fotografiarlos no era solo disparar la foto sino la idea de que esa foto que le sacaba al represor tenía que salir de ese lugar. Saqué más de cien fotos y fueron más de cien momentos de riesgo porque algo que tenían escondidos los milicos era su identidad. Cuando te torturaban te ponían una capucha para que no los vieras, era como estar ciego. De alguna forma, las fotos muestran todo eso, sacan a la luz lo que calla la historia oficial. Sacar esas fotos fue robarles la identidad a esos tipos, fue una pequeña venganza después de lo horrible”, contó Basterra en el documental Fotos de la memoria.
Para quem se interessa pelo assunto e também se preocupa com o que acontece e aconteceu na América Latina, veja a seguir depoimentos de Víctor Basterra. Emocionante é pouco para descrever esses depoimentos.
…After slapping Mr. Dolloff, Mr. Keltner sprayed a Mace-like substance at him, “it seemed like simultaneously,” Ms. Richardson said, as Mr. Dolloff pulled out a firearm and opened fire.
“There was never a thought, Am I going to run?” she said. “I didn’t have enough time to, really.”
Two seconds after Mr. Keltner struck Mr. Dolloff, Mr. Keltner was shot and splayed on the pavement.
…A man was shot and killed Saturday after a conflict with a private security guard in downtown Denver. Denver Post photojournalist Helen Richardson witnessed the shooting firsthand. This video on Twitter also shows the moments leading up to the fatal gunfire. The Denver Post has decided to publish the full sequence of images along with the timestamps and other information recorded by the camera.
We began this project with what seemed like a straightforward idea: assemble a list of the 100 most influential photographs ever taken. How do you narrow a pool that large? You start by calling in the experts. We reached out to curators, historians and photo editors around the world for suggestions. Their thoughtful nominations whittled the field, and then we asked TIME reporters and editors to see if those held up to scrutiny. That meant conducting thousands of interviews with the photographers, picture subjects, their friends and family members and others, anywhere the rabbit holes led. It was an exhaustive process that unearthed some incredible stories that we are proud to tell for the first time, in both written stories and original documentary videos.
Impressionante edição! Beirando a irresponsabilidade vou editar uma fotografia e um vídeo de dois fotógrafos que fizeram o meu século. São os que mais gosto, assim justifico minha edição particular.
Nowhere was this clearer than in his landmark photo essay “Country Doctor.” Smith spent 23 days with Dr. Ernest Ceriani in and around Kremmling, Colo., trailing the hardy physician through the ranching community of 2,000 souls beneath the Rocky Mountains. He watched him tend to infants, deliver injections in the backseats of cars, develop his own x-rays, treat a man with a heart attack and then phone a priest to give last rites. By digging so deeply into his assignment, Smith created a singular, starkly intimate glimpse into the life of a remarkable man. It became not only the most influential photo essay in history but the aspirational template for the form.
…There is no formula that makes a picture influential. Some images are on our list because they were the first of their kind, others because they shaped the way we think. And some made the cut because they directly changed the way we live. What all 100 share is that they are turning points in our human experience.
…As James Nachtwey, who has dedicated his life to being there, put it some years ago, “You keep on going, keep on sending the pictures, because they can create an atmosphere where change is possible. I always hang on to that.”
—Ben Goldberger, Paul Moakley and Kira Pollack
PS: O ambicioso projeto da “Time” é de 2016. Verdadeiramente impressionante! Uma aula magna de fotografia.
The exhibition, at Alison Jacques gallery in London until 1 October, focuses on Parks’ intimate and nuanced portraits of the legendary athlete and human rights advocate Muhammad Ali. Receiving unprecedented access to the champion, Parks met Ali in 1966 during his training in Miami, before flying to London to document the run up to his fight against Henry Cooper
In old age, Parks summed up a photographic career of over 60 years with a pithy statement: “I chose my camera as a weapon against all the things I dislike about America – poverty, racism, discrimination.” To see these old photographs now, some of them more than 60 years old, is to be shocked all over again at the inexplicable evils of racism. These images speak again with their grave and solemn voice, out of the past and directly into our present.
De Gordon Parks, a gente sabe um pouco…
Clique na imagem para ir para antiga PicturaPixel.
…Um dia viu uma matéria sobre como viviam os pobres norte-americanos, com fotos produzidas pelo fotógrafos da FSA (Farm Security Administration). Foi o estopim para a decisão de sua vida. Aos 25 anos comprou a sua primeira camêra, uma Voightlander, por US$7,50. A máquina fotográfica se transformou no passaporte para uma longa jornada. Logo conseguiu um trabalho como fotógrafo, em uma loja de moda em St. Paul, Minnesota.
Mudou-se para Chicago, e lá fotografou os guetos da cidade. As injustiças sociais e a pobreza foram sua motivação permanente. Em 1942 foi trabalhar justamente na FSA em Washington. E para variar, foi o primeiro fotógrafo negro da agência. No seu primeiro dia de trabalho, foi barrado numa loja de roupas, num cinema e num restaurante. Frustrado e com raiva, voltou ao escritório e convenceu a faxineira a posar para ele. O resultado foi um dos ícones da fotografia norte-americana. É a famosa foto conhecida como “American Gothic”.
…Em 1961, Gordon Parks foi ao Brasil, fazer uma pauta sobre a pobreza na América Latina. Na favela da Catacumba, no Rio de Janeiro, Gordon descobriu Flávio da Silva, um garoto de 12 anos que cuidava dos 7 irmãos, enquanto o pai vendia querosene no asfalto e a mãe trabalhava de lavadeira. ” Eu estava no centro da pior pobreza que já havia visto.” Foi um encontro que mudou a vida de Gordon e salvou a de Flávio, que era asmático e tuberculoso. Gordon ficou comovido com a situação de Flávio e fez do garoto o centro de sua atenção. Ele conviveu por mais de 20 dias com os da Silva. Chegou a dormir uma noite no barraco da família.
Seguimos, mas ainda falta dizer que Gordon Parks mora no nosso coração, como se dizia antigamente.
Fotojornalistas foram detidos quando cobriam atos antiditadura e punidos com 11 dias de prisão
“Aqui deveria haver uma foto”, diz a mensagem reproduzida em vários espaços em branco na página principal da TV independente Belsat, na Belarus. No Tut.by, maior jornal online independente bielorrusso, uma câmera atrás das grades aparece em destaque no lugar da principal fotografia do dia.
Veículos informativos amanheceram nesta quinta (17) com mensagens em protesto contra a condenação, na véspera, de dois repórteres-fotográficos, acusados de participarem de eventos não proibidos.
…Eles são 2 de mais de 180 jornalistas detidos pela ditadura bielorrussa desde 9 de agosto, quando a suspeita de fraude na eleição presidencial levou milhares às ruas em protesto.
a ana estela e eu editamos fotografia durante anos na @folha. agora, editamos uma não foto para emular os protestos de jornalistas na Belarus https://t.co/d4BnhriJk1
Pulling off balaclavas and publishing names is new tactic to stem harassment and assaults
During the past month’s uprising against Alexander Lukashenko, riot police and assorted thugs loyal to his regime have been given carte blanche by the Belarusian president to harass, assault and arrest peaceful protesters.
In recent days, however, protesters have found out that for all Lukashenko’s men’s ruthlessness and impunity, they have a vulnerable point: their faces. Grab at the mask of a policeman and he will run for cover.
Alexander Yablonskiy, 67, a pensioner poses for a photo during an opposition rally in Minsk, Belarus, Thursday, Aug. 20, 2020. Behind each protester in Belarus is a surprising story of awakening. Holding signs or personal tokens of resistance, they described their fears and hopes to The Associated Press, after nearly two weeks of protests against President Alexander Lukashenko’s 26-year rule. (AP Photo/Evgeniy Maloletka)
Top: Protesters at the Great Patriotic War Museum in Minsk on Monday. Daily demonstrations have taken place in the capital and beyond after President Alexander Lukashenko claimed victory in the Aug. 9 election. Left: An opposition supporter with a drawing of Belarus’ former white-red-white flag in Minsk on Monday. Right: Opposition supporters at Independence Square in Minsk on Wednesday. Getty Images; Sergei Gapon/AFP via Getty Images; Dmitri Lovetsky/AP
What with threats and physical attacks, Brazil continues to be an especially violent country for the media, and many journalists have been killed in connection with their work. In most cases, these reporters, radio hosts, bloggers or information providers of other kinds were covering stories linked to corruption, public policy or organized crime in small or mid-sized cities, where they are more vulnerable. Jair Bolsonaro’s election as president in October 2018 after a campaign marked by hate speech, disinformation, violence against journalists and contempt for human rights has ushered in a particularly dark era for democracy and press freedom in Brazil. President Bolsonaro, his family and several members of his government constantly insult and humiliate some of the country’s leading journalists and media outlets, feeding a climate of hate and suspicion towards journalism in Brazil. Media ownership continues to be very concentrated, especially in the hands of big business families that are often closely linked to the political class. The confidentiality of journalists’ sources is under constant attack and many investigative reporters have been subjected to abusive judicial proceedings.
Como se vê, mais uma vez passamos vergonha. O Brasil ocupa uma nada honrosa colocação no indíce liberdade de imprensa. Estamos na posição número 107!
The way social justice protests are being framed by the White House, this seems to capture where things stand right now. (📷 Adémola/@visualsbyade. From The Commitment March, Lincoln Memorial, March 2020.) pic.twitter.com/5GbozoIntv
Reading the Pictures originated in 2001 as a daily political cartoon on a lunch bag called BagNews intended to engage high school kids in the news and civics. In 2003, with the advent of the online blogosphere, Michael Shaw, the publisher and clinical psychologist, renamed the site BagNewsNotes and repurposed it to focus on in-depth analysis of news photography. In confirmation of that mission, we took on our current name in 2015.
Filha de mãe japonesa e pai haitiano, a tenista mora nos Estados Unidos desde os três anos de idade. Desde que começaram as manifestações contra o racismo no país, em maio, ela se posicionou. Neste US Open, criou sete máscaras em que foram estampados os nomes de cidadãos negros mortos por causa do racismo. A cada partida, Naomi entrava em quadra com uma máscara diferente. Ela avançou até a final, participou de sete jogos e conseguiu homenagear as sete vítimas cujos nomes foram destacados nas máscaras. Quando indagada, após a decisão, sobre a mensagem que passou ao usar as sete peças, Osaka rebateu com outra pergunta: “Qual foi a mensagem que você recebeu? A pergunta é mais essa. O objetivo é fazer as pessoas falarem.”
“Eu sou uma mulher negra. E, como uma mulher negra, eu sinto que têm muitos assuntos mais importantes acontecendo que precisam de atenção imediata, mais do que me ver jogar tênis. Eu não espero que nada drástico aconteça por eu não jogar, mas se eu conseguir iniciar uma conversa em um esporte majoritariamente branco, eu considero um passo na direção certa. Assistir o contínuo genocídio de pessoas negras nas mãos de policiais me deixa enojada. Estou exausta de ver novas hashtags surgindo e extremamente cansada dessa mesma conversa de novo e outra vez. Quando isso terá um basta?
▪️ Breonna Taylor ▪️ Elijah McClain ▪️ Ahmaud Arbery ▪️ Trayvon Martin ▪️ George Floyd ▪️ Philando Castile ▪️ Tamir Rice
Verification chart shot on Kodachrome. Image by Kyle Hale
Last month, VSCO achieved a years-old dream of releasing a preset/filter that was based on Kodak’s iconic “Kodachrome” film stock. But creating the KC25 preset was anything but easy. In fact, it involved custom chemicals, custom hardware, and two years of experimentation to get this one right.
The main challenge with recreating Kodachrome isn’t so much getting the film itself, it’s the incredibly complex developing process involved in turning the film—which is actually a black and white emulsion—into the final product that produced such iconic and strikingly colorful shots as Steve McCurry’s Afghan Girl.
It wasn’t easy being green. Or yellow or red or blue, for that matter. While color photography had been around in one form or another since the 1860s, until the Eastman Kodak Company came out with its Kodachrome film in 1935, those wishing to capture a color image had to deal with heavy glass plates, tripods, long exposures and an exacting development procedure, all of which resulted in less than satisfactory pictures — dull, tinted images that were far from true to life. So while Kodak’s discontinuation of the iconic color film will affect only the most devoted photo buffs — sales of Kodachrome account for less than 1% of the company’s revenue — the June 22 announcement breaks one of the largest remaining ties to the era of pre-digital photography. It also ends a legacy that includes some of the most enduring images of 20th century America.
VSCO is a creative channel. We build creative tools, spaces, and connections driven by self-expression. Our mission is to help everybody fall in love with their own creativity.
Kodachrome faz parte da minha infância fotográfica. Cheguei a fotografar com esse filme mítico. Mas era difícil de achar, muito caro e ainda por cima, a revelação era feita no Panamá. Demorava mais de mês para você ver as suas fotos. Contando assim ninguém acredita.
PS: Pesquise na rede sobre o Kodachrome. Tem vários livros, tem filme e muita foto para se ver e apreciar.
PS1: O Kodachome no subtítulo fica por conta da PetaPixel.
Pega-se uma foto qualquer que seja interessante e joga-se numa rede. Não importa o autor, não importa se é o assunto relativo ao post ou se é verdadeira. Não importa nada. Só importa fazer a rede girar!
The three sleek American fighter jets patriotically swooping over a battlefield in a pro-Trump ad that ran around the Sept. 11 commemoration were, in fact, from Russia.
The five soldiers marching under the planes were Russian too. The whole thing was downloaded from a Shutterstock database of off-the-shelf images accessible for the site’s $29.95 monthly fee.
The stock image used by the Trump campaign in a digital ad. Shutterstock
“Quando fiz essa foto, sentia esperança ao ver aqueles guerreiros protegerem suas terras. É o contrário do que sinto ao vê-las sendo usadas nessas fake news, que passam por cima de todos nós como um rolo compressor. Elas roubam a verdade daquele povo em resistência, e isto é uma síntese do genocídio que estamos vivendo. Sinto que estamos sendo esmagados, como todos provavelmente estão se sentindo, tendo clareza ou não do que está acontecendo”, afirmou Parracho sobre o uso de sua foto no conteúdo verificado aqui.
Viver na era das “Notícias Mentirosas” não está fácil! Pode acreditar! Isso é verdade!
Hello there, I hope you can take a few minutes of your day to read this.
During these tough times, we’re in this together. We just need to wear a mask-social distance, and try to make the best of it, and we’ll be fine, just a little patience and we’ll get out of this together. Stay safe and have an amazing day 😀
During this situation we’re in right now, we thought it couldn’t get worse, but it did. And what happened to George Floyd and many other innocent lives, it’s not okay.
We will not be judged by the color of our skin, it’s not okay! I know that some people are already aware of this, but many aren’t, and this message needs to be put out there.
BLACK LIVES MATTER
If You Have Stayed To Read This, Thank You. I Appreciate it Deeply.
O que leva a uma garota de 10 anos escrever um texto como esse e compartilhá-lo na sua vizinhança. Eu perguntei e ela me respondeu que simplesmente achou que tinha que fazer isso. Simples assim!
Caterina é minha neta e mais orgulhoso eu não poderia estar!
In sports arenas around the world, taking a knee is no longer taboo — it’s trending. But there’s at least one place where protesting is still not allowed.
Atleta afirma que foi demitido do Pinheiros após fazer denúncias internas no clube
Desempregado desde então, o atleta se sente abandonado. “De um dia para o outro, por se posicionar, você perde tudo. Todo mundo está empregado e eu não! Eu sou culpado por me posicionar sobre o que me machuca? Não dá para entender”, ele afirma à Folha.
Não foi a primeira vez que um caso de racismo o envolvendo ganhou repercussão. Em 2015, um vídeo nas redes sociais mostrou os então companheiros de seleção brasileira Arthur Nory, Felipe Arakawa e Henrique Flores fazendo supostas brincadeiras com conteúdo racista ao lado de Angelo.
Quando o vídeo repercutiu, o que você imaginou que aconteceria? Eu tomei um baque, fiquei um pouco assustado. Não queria que aquilo acontecesse. Achava, e tenho certeza hoje, que aquilo poderia mudar a minha vida. Lidar com isso publicamente é complicado. E ainda logo depois que você ganha uma medalha [da Copa do Mundo de Ginástica] que pode mudar a sua vida. Machucou, passei dois anos difíceis. Tive depressão, passei por psicólogo. As pessoas perguntam se foi racismo. Tinha um vídeo, eu não deveria ter que nomear.
O que você diz quando perguntam se foi racismo? Aquilo é racismo, não é brincadeira. As pessoas não têm vergonha de cometer racismo. Elas têm vergonha de serem apanhadas. E se você toma uma atitude? “Quer ferrar a vida do cara”, “vai acabar com a carreira do cara?”, a gente escuta isso. E a minha? O racismo está acabando com a minha vida. E quem está preocupado?
Na sua opinião, por que nos EUA o esporte convive mais com manifestações políticas e de igualdade racial que no Brasil? Aqui os atletas têm muito medo de perder as coisas. Quanto estamos dispostos a perder para combater o racismo? A gente precisa ter consciência e orgulho de quem somos. Todo dia está morrendo um George Floyd no nosso país. Todo mundo apoia os Estados Unidos e esquece dos nossos. Eu não consigo achar normal isso, a gente sempre fica olhando para os Estados Unidos e não faz o serviço de casa, com nossos atletas, com nossa sociedade. Eu não quero ganhar likes, não quero ganhar seguidores. Eu quero trabalhar.
Happy birthday to Ruby Bridges, who desegregated William Frantz Elementary School in New Orleans at age 6 in 1960. She inspired this Norman Rockwell painting, “The Problem We All Live With.” pic.twitter.com/zoEShieSDn
William Frantz Elementary School, New Orleans, 1960. “After a Federal court ordered the desegregation of schools in the South, U.S. Marshals escorted a young Black girl, Ruby Bridges, to school.” Note: Photo appears to show Bridges and the Marshals leaving the school. She was escorted both to and from the school while segregationist protests continued.
Bridges was the eldest of five children born to Abon and Lucille Bridges.[3] As a child, she spent much time taking care of her younger siblings,[4] though she also enjoyed playing jump rope, softball and climbing trees.[5] When she was four years old, the family relocated from Tylertown, Mississippi, where Bridges was born, to New Orleans, Louisiana. In 1960, when she was six years old, her parents responded to a request from the National Association for the Advancement of Colored People (NAACP) and volunteered her to participate in the integration of the New Orleans school system, even though her father was hesitant.
Seven inductees, a special Lifetime Achievement Award recipient and a Leadership Award recipient will be added to the Hall of Fame this year.
The IPHF annually awards and inducts notable photographers or photography industry visionaries for their artistry, innovation, and significant contributions to the art and science of photography. This year, IPHF will host its first-ever hybrid live/virtual induction ceremony in which a worldwide audience will be able to join online on Friday, October 30.
Wit leaps centuries and hemispheres. It does not collect dust, and, when done right, it does not age. “The Posthumous Memoirs of Brás Cubas,” by Joaquim Maria Machado de Assis, is a case in point. Long forgotten by most, it’s one of the wittiest, most playful, and therefore most alive and ageless books ever written. It is a love story—many love stories, really—and it’s a comedy of class and manners and ego, and it’s a reflection on a nation and a time, and an unflinching look at mortality, and all the while it’s an intimate and ecstatic exploration of storytelling itself. It is a glittering masterwork and an unmitigated joy to read, but, for no good reason at all, almost no English speakers in the twenty-first century have read it (and I first read it only recently, in 2019).
“Memórias Póstumas de Brás Cubas” caiu no gosto dos americanos sete dias após os protestos contra o racismo nos Estados Unidos
Machado de Assis era um homem negro — o que torna o lançamento de seu livro em inglês ainda mais simbólico. Em julho do ano passado, uma ação corrigiu a cor da pele do autor, consagrado por outras obras, como Dom Casmurro, seu livro mais famoso, e Quincas Borba, em fotos históricas. Por muitas décadas, a cor da pele de Machado foi colocada de lado e gerações de alunos entenderam que o maior nome da literatura brasileira era branco. O escritor era filho de pai negro e mãe branca e passou a infância na pobreza.
“Este livro é uma obra de seu tempo, mas, de muitas formas, para crédito de Machado e discrédito de nós mesmos, também fala sobre a nossa realidade. Existem ecos — troque a febre amarela pela covid-19 — e há a continuidade — racismo sistêmico, tão pungente hoje quanto em 1880”, escreveu a tradutora em outro tuíte.
Machado de Assis: autor, que era negro, teve sua cor corrigida em fotos históricas somente no ano passado; nova tradução de seu romance mais famoso virou febre nos EUA (Reprodução/Wikimedia Commons)
E o que essa nota tem a ver com imagem? Bueno, se não fosse a imagem você não conheceria a casa de Joaquim Maria Machado de Assis, o espirituoso. E de resistência não vou nem falar. O Brasil é um país espirituoso.
On August 20th and 21st, 1968, fifty years ago this week, hundreds of thousands of Soviet and allied Warsaw Pact troops poured over the Czechoslovak border from surrounding countries in a massive show of force that quickly deposed the government of Alexander Dubček. As the first secretary of the Central Committee of the Czech Communist Party, Dubček had presided over a short-lived experiment in Communist liberalization known as the Prague Spring. Dubček had rehabilitated political opponents, abolished restrictions on travel, erased press censorship, and encouraged freedom of expression; he later remembered being inspired by the French Revolution’s calls for “Liberté, Égalité, and Fraternité.” But the artistic and political ferment that resulted—Dubček referred to his program as “socialism with a human face”—proved too much for the doughty post-Stalinist Russian premier, Leonid Brezhnev. In the face of the Soviet invasion, the Prague Spring partisans adopted a policy of nonviolent resistance, which allowed them to hold out for another eight months, but the movement was ultimately crushed. The invasion evolved into an occupation that continued for twenty years, leading to a mass emigration from the country and breaking the spirit of many of those who stayed behind.
Wenceslas Square, Prague, August 21, 1968. Photograph by Vladimír Lammer / Courtesy Czech Center New York
Dvorakova had originally planned a commemorative exhibit featuring the work of Josef Koudelka, who took many of the iconic photographs of the Soviet invasion. (His images were initially published by the Sunday Times Magazine in London at the time of invasion itself, under the initials “P.P.,” for “Prague Photographer,” in order to protect Koudelka from retaliation.) But Koudelka’s photographs were already well known, and a friend suggested that Dvorakova instead speak with Dana Kyndrová, another Czech photographer, who was working inside the Czech Republic to collect photographs of major events in Czech history, including the invasion of 1968. Many of the photographs Kyndrova gathered had never previously been seen; some had to be printed directly from negatives. An exhibit of some of the images was staged in Prague in 2008, but they subsequently had little circulation outside of the Czech Republic. So, in July, Dvorakova met with Kyndrová in Prague, and they chose twenty photos taken during the initial twenty-four hours of the 1968 invasion. Dvorakova had prints made and brought them back in her suitcase. The photographs show the shock and grief of ordinary Prague citizens, and also residents’ efforts to impede and obstruct the plans of occupying troops. Dvorakova’s goal in the new exhibit, she said, is “to illustrate events that happened, hour by hour, on that one day.”
Prague, August 21, 1968. Photograph by Josef Hník / Courtesy Czech Center New YorkPrague, August 21, 1968. Photograph by Bohumil Dobrovolský / Courtesy Czech Center New York
To commemorate the 52nd anniversary of the invasion of Czechoslovakia by the armies of the Warsaw Pact, Czech Center New York presents the lesser known photographs of this historic event taken by reporter Dušan Neumann. The Czech-American journalist managed to capture unique shots of the first hours of the occupation in August ’68 that took place in Prague, the repercussions of which put a stop to the efforts to liberalize the Communist rule in Czechoslovakia.
Naomi Osaka wore a mask honoring #ElijahMcClain at her second U.S. Open match. She plans to draw attention to 7 police brutality victims as she advances in the tournament.
McClain was killed in 2019 after Colorado police put him in a chokehold as he was walking with groceries. pic.twitter.com/tyYrjW22d9
Here at the US Open, she has worn masks revealing names of the slain. For her first-round match Monday night, Osaka honored Breonna Taylor, a Black emergency medical technician who was fatally shot by Louisville Metro Police Department officers. This evening she paid tribute to Elijah McClain, a Black man from Colorado, killed while walking home from a convenience store.
“I think when I heard about his story it was very hurtful,” said Osaka. “I mean, they’re all very hurtful, but just the fact of the character and the way that he was, just to hear stories about him, for me it was very sad. I think this was a bit different because no one can really paint the narrative that he was a bad guy because they had so many stories and so many, like, warmhearted things to say about him.
“I don’t know. I feel like I still don’t think his name is very put out there compared to, like, George Floyd or Breonna Taylor. For me, today was very special in the way that I wanted to represent him very well.”
The idea came to Malone while sitting in his Orlando hotel room amid the NBA’s re-start. As teams and players grappled with the uncomfortable question of whether playing basketball during a time of racial and social unrest was prudent, Malone and the Nuggets made an effort to spark conversations that address racial inequities. The shirts, just one of the team’s many examples, were about highlighting discrimination within Colorado.
“Because this is Aurora, this is our backyard, these are the people that we represent on the court every night, I just felt really strongly about trying to do something where we could honor Elijah McClain, his memory, his name, his family,” Malone told The Post. “If the police cameras were not conveniently all knocked off the night of Aug. 24, when he was arrested, 2019, maybe it would’ve been a little bit more sensationalized, like George Floyd’s was, because everybody would’ve seen it. But that didn’t happen. It’s truly a tragic event.”
Já escrevi aqui no blog e repito, gosto muito da NBA. Não só por serem os melhores do mundo, mas também pelo ativismo, pela consciência e pelo bom uso da imagem. Poderosos!
This is the coloration of Dorothea Lange’s iconic ‘Migrant Mother’ photo. The stark reality of Dorothea’s original photograph is actuated by the addition of color, which I think brings out detail not apparent in the black & white original.
In 2013, the Oxford Dictionaries announced their word of the year to be “selfie”, which they define as “a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and uploaded to a social media website.” Although the rampant proliferation of the technique is quite recent, the “selfie” itself (if defined as being a photograph one takes of oneself) is far from being a strictly modern phenomenon. Indeed, the photographic self-portrait is surprisingly common in the very early days of photography exploration and invention, when it was often more convenient for the experimenting photographer to act as model as well. In fact, the picture considered by many to be the first photographic portrait ever taken was a “selfie”. The image in question was taken in 1839 by an amateur chemist and photography enthusiast from Philadelphia named Robert Cornelius. Setting up his camera at the back of the family store in Philadelphia, Cornelius took the image by removing the lens cap and then running into frame where he sat for a minute before covering up the lens again. On the back of the image he wrote “The first light Picture ever taken. 1839.”
In the 1880s, photographer William Jennings set out to prove that lightning was a far more varied and volatile thing than a simple zig zag in the sky. After some trial and error, he ultimately succeeded, capturing what is often shared online as “the world’s first photograph of lightning.”
Depois desse passeio pelo século XIX, vamos voltar para o século XXI, o séculos dos “selfies”, assim parece.
“I hope my portrait can help audiences see that Black Dreams Matter, and inclusive representation can inspire future generations — which benefits everyone. To win is a great feeling… Hopefully, it inspires young photographers from a similar background to me to keep pushing forward”
In the wake of Brexit and the midst of the COVID-19 crisis, Portrait of Britain 2020 compiles a vibrant record of modern Britain at a momentous time in our history.
It’s normal for a seven-year-old child to look forward to their birthday, particularly to the party – a chance to be wild with their friends. Joanna’s birthday fell during the pandemic lockdown and she was obliged to celebrate only with her family.
Perhaps the starkest reminders are the refrigerated trucks that now appear outside the city’s hospitals. In St. Vincent’s Triangle last week, across from where the now defunct St. Vincent’s Hospital treated victims of Sept. 11 and where the New York City AIDS Memorial casts triangular shadows in the afternoon light, a man and woman walked by. They stopped when they noticed the white trailer parked along West 12th Street, outside Lenox Health hospital.
They both looked at the truck and the man said, “It’s a morgue.”
The project originated during a brainstorming session with Jeffrey Furticella, a Metro photo editor, who in early May told me about eight audio tracks produced by the New York Public Library and Mother New York in a collaborative album, “Missing Sounds of New York.” Mr. Furticella wondered, was there some way we could photograph them?
The tweet announcing that the world had lost Chadwick Boseman is now the most liked tweet of all time.Twitter confirmed the accolade on its own verified account Saturday simply stating: “Most liked Tweet ever. A tribute fit for a King. #WakandaForever.”
It's impossible to read these words and not to be moved by this powerful and heart breaking message. If I may I would like to add the words once said by Darcy Ribeiro: "There are only two options in this life: to resign or to be indignant. And I will never resign myself."
When you question why Colin Kaepernick is kneeling and say that you don’t disagree with him but just wish the protests were done a different way, when you ask me to “tone down” my blog so I don’t offend White people, remember Dr. King said, “First, I must confess that over the past few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro’s great stumbling block in his stride toward freedom is not the White Citizen’s Counciler or the Ku Klux Klanner, but the white moderate, who is more devoted to “order” than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says: “I agree with you in the goal you seek, but I cannot agree with your methods of direct action”; who paternalistically believes he can set the timetable for another man’s freedom; who lives by a mythical concept of time and who constantly advises the Negro to wait for a “more convenient season.” Shallow understanding from people of good will is more frustrating than absolute misunderstanding from people of ill will. Lukewarm acceptance is much more bewildering than outright rejection.”
When you refuse to use your voice and privilege to challenge racism, when your first response to injustice is “not me” or “not all” remember Dr. King said, “In the end, we will remember not the words of our enemies but the silence of our friends.”
I challenge you on this coming Martin Luther King Jr. Day to move beyond as Dr. King’s daughter, Bernice King, stated, “#MLK Lite.” What are you doing to become the dream that Martin spoke about? How are you using your voice to spread a message of peace, love and compassion? How are you using your wisdom to educate others about racism and injustice? How are you using your privilege and power to stand up for others? Dr. Martin Luther King Jr. has left his legacy. What will you do to leave yours?
“I know it’s not that simple. But, at the end of the day, if we’re gonna sit here and talk about making change, then at some point we’re gonna have to put our nuts on the line and actually put something up to lose, rather than just money or visibility. I’m just over the media aspect of it. It’s sensationalized, we talk about it every day, that’s all we see, but it just feels like a big pacifier to me.”
…”I’m just happy by the grace of God that Jacob Blake is still alive, because the police who shot him, that wasn’t their intention. They shot him to kill him, and that’s a problem in this country. There’s a million different ways you could have dissolved that situation, and your thought was to kill him. That was the best method.
The NBA painted “Black Lives Matter” on the courts being used inside the bubble at the Walt Disney World Resort and allowed players to include messages for social justice on their jerseys, but the wounds remain raw. When asked about the Blake shooting and what players could do, Bucks veteran George Hill replied earlier this week, “We can’t do anything. First of all, we shouldn’t have even came to this damn place, to be honest.” A visibly emotional Doc Rivers said Tuesday night, “It’s amazing to me why we keep loving this country and this country does not love us back.”
Melhor repetir…
A visibly emotional Doc Rivers said Tuesday night, “It’s amazing to me why we keep loving this country and this country does not love us back.”
For the Love of Beirut brings together a selection of over 60 Lebanese, Middle East and international visual artists. This initiative is organised by Ruwa & GPP in partnership with Beirut Center of Photography, In My House, and Jadaliyya to celebrate a love and intimate appreciation for the city, and to support the communities affected by the blast.
For many, New York City’s subway system is simply a means of getting from A to B. Its 36 lines connect eight million residents from across the city’s five boroughs, shuttling them from the upper reaches of yhe Bronx, beneath the skyscrapers of Manhattan, then east to Queens, south to Brooklyn, and across the ferry to Staten Island.
But, down its concrete stairs, within graffitied tunnels and dusty carriages, Jamel Shabazz saw something more. He saw moments of joy between friends and families, looks of lust between lovers, the exhaustion of worn-out workers and late-night dancers, and extraordinary performers who brought the subway to life. What Shabazz captured for over 30 years is the beauty of the city’s many communities, and the extent to which the transport system serves as a fundamental part of urban life.
“You’re like in the center of the earth, when they were still cutting the rock and blasting for the East Side Access Tunnel,” said Mr. Cashin, who recently retired. “The camera gives you a false sense of security. I got to go to the top of a lot of bridges. I went to highest point of the city and the deepest.”
Para quem gosta de fotojornalismo é o endereço certo para visitar. O festival é uma celebração da fotografia documental. Hoje e amanhã tem uma programação intensa. Para quem não pode ver ao vivo, os vídeos ficam disponíveis no canal. Vá lá conferir!
“Las fotografías legendarias de Leo Goldstein del Harlem hispano“
La Photo League fue atacada por el FBI en el período de caza de brujas de la posguerra como una organización subversiva y se vio obligada a disolverse en 1951. Sin embargo, Leo y varios ex miembros continuaron reuniéndose en sus respectivas casas para mostrar y criticar su trabajo. Según el hijo de Leo, Fred Goldstein, algunos de los que el recuerda haber conocido de esta manera fueron Walter Rosenblum, Bernard (Barney) Cole, Jack Lessinger, Ida Berman y Sam Mahl, entre otros.
Fred Goldstein también describe cómo su padre trabajó muy duro en el proceso de impresión, imprimiendo sus imágenes una y otra vez para obtener las áreas claras y oscuras tal como las quería. Leo sintió que revelar e imprimir sus propias fotografías era tan parte de su proceso creativo como tomar la fotografía en sí. Para ilustrar cuán fuertemente creía esto, Leo rechazó una invitación para enviar negativos para su uso en la exhibición de la Familia del Hombre en el Museo de Arte Moderno porque sintió que tener a alguien más imprimiendo una imagen de su negativo realmente no representaría su trabajo.
Tras la muerte de Leo en Nueva York en 1972, no se pudo encontrar ninguno de sus negativos. Pudieron haber sido desechados cuando su cuarto oscuro fue desmantelado. Esto refleja lo poco que se sabía sobre el valor de la obra en ese momento.
As part of a global effort to interpret a theme of “hope” across 26 editions, Vogue U.K. is putting the spotlight on the people effecting change across various fields and issues, from systemic racism to disability discrimination to gender inequality, in its September 2020 issue.
Titled “Activism Now,” the fold-out cover features 20 activists, photographed in black and white. It’s fronted by model and Gurls Talk founder Adwoa Aboah and professional footballer and philanthropist Marcus Rashford, shot by Misan Harriman (the first Black male photographer to lens a British Vogue cover, he noted on Instagram).
…“This month, all international Vogues, of which there are currently an impressive 26, are uniting to dedicate their September covers to one shared theme: hope. I knew instantly and deeply believed in what British Vogue’s interpretation needed to be — an ode to the extraordinary voices, old and young, who in this difficult year have devoted their energies to fighting for a fairer society,” he wrote.
Vogue photographer: ‘My images are about hope’
Christiane speaks with Misan Harriman, who made history as the first Black photographer to shoot the cover for British Vogue’s all-important September Issue.
I see the future right now as extremely uncertain but also filled with new questions and possibilities that I want to explore. Can’t say I’ll stay in Venezuela forever but part of me knows that I’ll always have a reason to come back. At least until it gets better. When it does, I’ll know for sure that I did my part.
I previously worked at an art gallery, La Plataforma, whose director, Claudia Costa, is Venezuelan. She always told me how much she yearned to go back, and that she’d love to grow old there because it’s a tropical paradise. I guess it’s a shared feeling among those who lived there long enough before everything collapsed… Do you have any memories of a better time in Venezuela? I think all Venezuelans share the nostalgia. The ones who left and the ones who stayed too, because the country’s collapse has been so steady that even us who are still here struggle to recognize what we’ve become. I think we all feel estranged. I think many of us are homeless in that sense, like we don’t have a home to go back to. And this idea is heartbreaking because there’s no other feeling like the safety of feeling at home. We all lost that. I think at its core, that is the Venezuelan struggle: us trying to find a way back to better times. That’s the ending that I’m waiting to photograph for Paradise Lost. Whenever it feels honest to say that Venezuela is doing better – that it is safe to go home.
Mais de 60 anos depois de sua morte, o tema fetiche de Billie Holiday, ‘Strange fruit’, ressurgiu como hino dos protestos contra o racismo nos Estados Unidos.
Mas o que tinha aquela canção que tanto incomodava os brancos? A letra não insultava a supremacia dominante nem explicitava protesto algum contra a opressão em que os negros viviam. Fazia algo pior: descrevia de maneira crua o panorama vomitivo que havia depois do linchamento de dois homens negros, a ponto de excitar os odores da cena e desenhar a feição desconjuntada dos cadáveres: “Das árvores no sul, pende uma fruta estranha. / Sangue nas folhas e sangue na raiz. Corpos negros balançando na brisa do sul. / (…) Os olhos esbugalhados e a boca torta. / Aroma de magnólias, doce e fresco, / e o repentino odor de carne queimada. / Aqui está a fruta para que os corvos a colham, / (…) para que o sol a apodreça, para que as árvores a soltem. / Esta é uma colheita estranha e amarga”.
Não é que o texto parecia uma fotografia, ele o era. A canção havia sido criada em 1938 por Abel Meeropol, um professor judeu de ensino médio, e se limitava a reproduzir um instantâneo da imprensa que falava de um linchamento acontecido em Marion, Indiana, em 7 de agosto de 90 anos atrás. Naqueles tempos os linchamentos não só aconteciam, eram comemorados. Eram eventos premeditados e não resultantes de um arrebato de um ou vários ofendidos que, clandestinamente, faziam justiça com as próprias mãos. Este e muitos outros detalhes do contexto histórico estão em Con Billie Holiday. Una biografia coral, de Julia Blackburn, que cita o jornalista e escritor H. L. Mencken: “[No sul dos EUA] Os linchamentos ocupavam o lugar do carrossel, do teatro, da orquestra sinfônica e de outras diversões habituais”. A selvageria era tal que se fretavam ônibus para levar o público, que davam gritos de incentivo e até cartões postais do resultado eram editados como lembrança.
…Billie Holiday nunca assistiu a um linchamento, mas certamente o seu próprio lhe bastou. Antes de se tornar famosa, cantou na orquestra de Artie Shaw, formada por brancos. Na turnê pelo sul dos EUA de 1938, a cantora não podia dormir no hotel de seus colegas —se não havia hotel para negros, ela dormia no carro— e também não podia usar os banheiros públicos dos bares. Em Nova York as coisas não eram melhores para ela: entrava e saía pela cozinha do hotel Lincoln e durante os intervalos não podia ficar na sala, mas tinha de aguardar em um quartinho o início da apresentação seguinte. Mais? Um programa de rádio contratou a orquestra de Shaw para animar as horas, mas a marca que o patrocinava se recusou que ela cantasse porque era negra. Holiday teve de ceder esse trabalho a Helen Forrest, uma melosa voz branca.
Para quem não viu, não leu e não assistiu, veja, leia e assista Billie Holiday.
A general view of the city of Hiroshima shows damage wrought by the atomic bomb in March 1946, six months after the bomb was dropped. REUTERS
Clique na imagem para ir ao NYT.
In August 1945, a Japanese newspaper sent a photographer from Tokyo to two cities that the United States military had just leveled with atomic bombs.
The photographer, Eiichi Matsumoto, had covered the firebombings of other Japanese cities. But the scale of the calamity that he encountered in Hiroshima and Nagasaki, he later recalled, was on another level.
At a Red Cross hospital near Hiroshima’s ground zero, he met victims dotted with red spots, a sign of radiation sickness. And on the desolate, rubble-strewn streets of Nagasaki, he watched families cremating loved ones in open-air fires.
“I beg you to allow me to take pictures of your utmost sufferings,” Mr. Matsumoto, who was 30 at the time, said he told survivors. “I am determined to let people in this world know without speaking a word what kind of apocalyptic tragedies you have gone through.”
Para quem se interessa pelo tema, duas matérias que valem a pena ler.
Fervent défenseur des droits indigènes et de la préservation de la forêt amazonienne, le cacique était un important responsable de la région du Parc national du Xingu, dans le Mato Grosso, dans le sud de l’Amazonie, dont est également originaire le chef emblématique Raoni Metuktire au célèbre plateau labial.
« Un jour noir »
« C’était un grand avocat du combat pour préserver et perpétuer la culture de son peuple pour les générations futures et un militant infatigable contre la déforestation », a déclaré sa famille dans un communiqué.
…Le coronavirus, dont le bilan va franchir ces prochains jours le cap des 100 000 morts au Brésil, a touché de plein fouet les indigènes, en raison de leur immunité plus faible et d’une difficulté d’accès aux soins.
Plus de 22 000 d’entre eux ont été contaminés par le COVID-19 et 633 en sont morts, selon l’APIB, l’Association des peuples indigènes du Brésil. Cette organisation a accusé le président d’extrême droite Jair Bolsonaro de n’avoir rien fait pour protéger les autochtones de la pandémie.
Aritana, 71, a chief of the Yawalapiti people in the Amazon, was known for fighting to protect the world’s biggest rainforest and the rights of the indigenous peoples who live there.
A triste morte do cacique Aritana Yawalapiti é notícia no Canadá, na Nigéria e em outras partes do planeta. Na imprensa brasileira, eu pouco vi. Mais do que não conhecer , o Brasil não respeita o Brasil! Mais um dia triste na nossa triste história!
He decided to devote his life to mountains and photography. Now that he was fully focused on photography, he still had to solve one problem. You know this feeling when you see a scene but the photograph is not quite like what you have visualized? Adams had it as well. He wasn’t quite satisfied with the photographs he took. Specifically, with the representation of what he saw in his mind and then later on prints.
As his style changed over the course of his life, so did the composition of his pictures. One of the composition changes we can see in his work is how he worked with the horizon. We can see it in the example of probably his most famous photograph Moonrise, Hernandez, New Mexico, which actually has quite an interesting story.
“John’s life was shaped by war. He was a child of the Great War and lived thorough WWII and Vietnam — and every other conflict until Iraq and Syria. He followed these conflicts as an observer and a humanist,” Pledge told TIME. “When I look back at what he did with his career, war was his primary concern — it framed his understanding of humanity. Human enlightenment and understanding were always his goals.”
Jean-Francois Leroy, director of the Visa pour l’Image photojournalism festival
John G. Morris is this kind of guy you’re always impressed to meet. He had a friend called Robert Capa. Another called Henri Cartier-Bresson. So, like everybody else, I was really intimidated during our first meeting. But he is so generous, he tells you all of the stories you’ve always wanted to hear. He’s a living memory and such a good friend!
I have had the privilege to have another friend, one year older than John: David Douglas Duncan. Both of them are proof that this photo field is a very good way to have a long life!
John Morris, Bayeux, Normandy, July 23, 1944, photographed by Ned Buddy.
In the early 1970s, the acclaimed South African photographer documented the residents of the township. These portraits form part of Goldblatt’s first major solo exhibition in London since 1986, now showing at the Goodman Gallery.
Miriam Diale in her bedroom, 5357 Orlando East, Soweto, October 1972. Photograph: Courtesy of The David Goldblatt Legacy Trust and Goodman Gallery
Clique na imagem para ir ao Guardian. E também visite a Goodman Gallery, link no começo da nota.
Protests flared up across the country this weekend, two months after the police killing of George Floyd in Minneapolis catalyzed a nationwide reckoning over race and policing. From Portland to Seattle to Louisville, Kentucky, protesters took to the streets, as the nation honored the life of civil rights hero John Lewis.Some protests were largely peaceful. Others descended into clashes between law enforcement and demonstrators.
Foi por dois dramas inspirados em fatos, no entanto, que Parker conseguiu suas indicações ao Oscar: a primeira por “O Expresso da Meia-Noite” (1978), sobre um jovem americano preso por tráfico de drogas na Turquia; e a segunda por “Mississippi em Chamas” (1988), sobre agentes do FBI investigando o desaparecimento de ativistas do movimento de direitos civis dos negros.
Every NBA player who restarted the NBA’s season on Thursday kneeled during the National Anthem, wearing “Black Lives Matter” shirts.Moments before tipoff on Thursday evening, players with the New Orleans Pelicans and the Utah Jazz, joined by coaches and game officials, all took a knee.The Los Angeles Lakers and Los Angeles Clippers followed suit ahead of their game in Orlando.On some game jerseys, players’ names were replaced with messages, such as “Equality,” “I am a man,” “Ally,” and “Say her name,” sending a clear message in support of the social justice movement.
LW: Do you see Libyan Sugar as conforming to or breaking with conventions in the coverage of war?
MCB:It breaks the conventions in several ways. I used an iPhone, which at the time was both technically challenging and ethically contestable by some, due to the quality of images it produced. Also, in this book I do not allow myself to be John Wayne, something I often think war photographers do, or did; they become heroes and feed off this persona — and this includes myself, at least at the time. In addition, the book breaks with tradition in that that I placed myself in the story as the main character, when some would say it should only be about the Libyans. I also incorporated many images of the dead in ways that might be ethically debatable; these are images that would never, say, run in the New York Times.But the book also conforms with conventions in some of its other images—there is classic revolutionary imagery, for instance. At the same time, there is also a more artistic interpretation. So it bridges photojournalism with a more contemporary art perspective.
Eliana Aponte was a staff Reuters photographer for 12 years. Based in Israel and Palestinian territories, Mexico, Guatemala and Colombia, she covered the Israeli-Palestinian conflict, the Lebanon-Israel war, the Iraq war, Colombia’s conflict, Haiti’s 2004 political crisis, Haiti’s 2010 earthquake, Central American migration through Mexico to the U.S. She also covered Rio de Janeiro’s carnival and Athens Summer Olympic games and many sport events and top news around the región. Before joining Reuters, Aponte worked for AFP in Panama two years, and for newspapers and magazines in Colombia. Aponte is a graduate of the University Externado de Colombia’s communications and journalism school. She was a jury member of World Press Photo contest 2016 in General News category. Speaker of TedxBogotáMujeres in Colombia 2017. Jury member in Image category of Fundación Nuevo Periodismo Iberoamericano (FNPI) 2018.
‘I felt like the pandemic was being censored.’ Photographing the fight for life – and grief of death – in COVID-19 Britain
This photojournalist documented two little-seen front lines in the UK’s war against coronavirus. Her images reveal intensive care of every kind – amidst a pandemic close to every home.
50 year-old COVID-19 patient William Ferguson receives care at the Royal Papworth Hospital, near Cambridge, June 2020. Since the coronavirus pandemic began, the UK’s death toll has risen to be amongst the highest in the world. Papworth houses one of the specialist units that care for the sickest victims. PHOTOGRAPH BY LYNSEY ADDARIO
Pesquisadora na Califórnia, brasileira Marina Reis afirma que comparação entre protestos é injusta: “não se pode falar em apatia dos negros; resistimos, sim”
Manifestantes negros cobram punição de seguranças do metrô de SP que agrediram imigrantes haitianos, em outubro de 2018 | Foto: Daniel Arroyo/Ponte Jornalismo
Ponte – É correta a percepção de que as mortes de jovens negros pela polícia despertam mais reação nos EUA do que no Brasil? Por que?
Marina Reis –É necessário primeiro contextualizar qual grupo e qual reação estamos falando e comparando. Isso porque muitas vezes usam o movimento negro norte-americano e, mais especificamente, o Black Lives Matter, para traçar uma comparação com o Brasil e concluir que negras e negros no Brasil não se revoltam como nos Estados Unidos. Essas comparações ganham uma proporção tão grande e chegam ao limite de culpabilizar a população negra brasileira por não se articular. Na minha opinião, não é isso que acontece e não é de apatia que estamos falando.No Rio de Janeiro, por exemplo, de onde venho: moradores e integrantes do movimento negro com frequência paralisam a avenida Brasil em protesto contra mortes de responsabilidade da polícia. Temos incessantes mobilizações do movimento de familiares contra violência do Estado no Rio de Janeiro. Não podemos falar de uma apatia. Resistimos, sim, de forma incansável.
Viral photo shows line of white people between police, black protesters at Thursday rally https://t.co/kK4GXJBMGV
No primeiro semestre deste ano, PM matou 20% a mais e prendeu 19% a menos; para especialista, dados colocam em dúvida desculpa do governo de que mortes ocorrem em confronto
Ato da Coalizão Negra Por Direitos protesta contra a violência policial, em 4/12/19 | Foto: Sergio Silva/Ponte
A Ponte também tem saído bem por aqui. Também não dá para não ver!
Brazil has been battered by the pandemic, with the second-highest death toll in the world.
A New York Times photographer, Tyler Hicks, traveled the river for weeks, documenting how the virus spread.
Clique na imagem para ir ao New York Times
The Amazon River is South America’s essential life source, a glittering superhighway that cuts through the continent. It is the central artery in a vast network of tributaries that sustains some 30 million people across eight countries, moving supplies, people and industry deep into forested regions often untouched by road.
But once again, in a painful echo of history, it is also bringing disease.
Mas mais uma vez, o NYT mostra como se fazer jornalismo nesse século XXI, tempo de pandemia.
PS: Vale a pena ler os comentários na matéria do NYT, também conhecido por “The Old Gray Lady”. O jornal tem aparecido muito por aqui, mas para quem gosta de jornalismo e fotografia é impossível ficar sem ver a velha senhora.
In 1968 – on commission for Look – Fusco travelled across the United States on the funeral train of presidential candidate Robert F. Kennedy – following his assassination. Of the assassination Fusco said, “The blow was monumental. Hope-on-the-rise had again been shattered and those in most need of hope crowded the tracks of Bobby’s last train, stunned into disbelief, and watched that hope trapped in a coffin pass and disappear from their lives.” This work – a series of photos of track-side mourners – became his book RFK Funeral Train – a portrait of a nation in mourning.
“Paul is, and will always be, in my heart and mind, the kind of human being that I think of as the best of what a human can be. A wonderful caring human being who happens to be a photographer. He is the best of us who speak with our respective approaches of capturing this world that we live in for a while.”
“As I remained the owner of my photos,” he told the French publication L’Indépendant in 2008, “every five years, on the anniversary of Bobby’s death, I offered them to magazines. They never took them.”
That is, until George magazine, whose founders included Senator Kennedy’s nephew John F. Kennedy Jr., published some for the 30th anniversary of the assassination. That led to a book, “RFK Funeral Train,” in 2000. For the 40th anniversary of the assassination, in 2008, Lesley A. Martin of the Aperture Foundation was seeking to update that book.
Onlookers saluting the Robert Kennedy funeral train. Paul Fusco/Magnum Photos
…
The photographs he shot in the Chernobyl area during visits in 1997, 1999 and 2000 documented birth defects among the population, patients in a children’s cancer ward and more. They were collected in a 2005 book, “Chernobyl Legacy.”
In the 2008 interview with L’Indépendant, he called that project “the most important job of my life.”
In 1997, 1999 and 2000, Mr. Fusco photographed the zone irradiated by the 1986 Chernobyl nuclear disaster. Here, the harvest of a tainted potato crop in 2000. Paul Fusco/Magnum Photos
Mais um grande que se foi!
E se você quiser comprar o livro de Paul Fusco, aqui tem um…
Durante uma abordagem policial na tarde da última quarta-feira (15/7), PMs do Batalhão Tiradentes, que realiza patrulhamento com motos, agrediram moradores de Desterro, periferia do centro de São Luís, no Maranhão. A ação foi gravada por celular. Por volta das 17h, o atleta de caratê Yan Santos Arouche, 20 anos, que trabalha como garçom no Bar do Francisco, foi abordado com violência pelos policiais.
Yan estava descarregando uma encomenda para o seu patrão quando a PM chegou no local. Ele e outro garçom, branco, foram abordados, mas só Yan foi colocado contra a parede, enquanto um PM apertava a sua mão com força. Depois que questionou por que estava sendo tratado daquela forma se estava no horário de trabalho, os PMs começaram a agredi-lo com socos.
Um vídeo obtido pela Ponte mostra quando o sargento reformado Josivaldo Mendes Pinheiro, 55 anos, cliente do bar onde Yan trabalha, tenta impedir a ação, mas acaba sendo agredido. Nas imagens é possível ver o momento em que Yan é puxado pela gola da blusa e encostado na parede. Na sequência, Josivaldo entra na frente para que um dos PMs não bata no jovem.
O trabalho da Ponte é bacana, existem várias outras organizações tão bacanas quanto. Essa nota só está aqui para reafirmar o poder da imagem, e no caso, do som também. Seja uma câmera de segurança, seja o celular, a imagem pode mudar tudo. Muitas pessoas negras foram mortas e sofreram a brutalidade da polícia, nos últimos anos aqui nos EUA. A cada caso, uma nova onda de indignação, mas a situação só mudou de verdade e continua mudando depois dos vídeos do assassinato de George Floyd.
Enquanto isso, “Big Brother” continua ali na esquina. O contraponto é o celular cidadão, sem dúvida alguma!
“Who controls the past controls the future. Who controls the present controls the past.”
Então vamos em frente, com o celular sempre afiado.
É só isso mesmo. Seguimos.
PS: O título é uma mistura de “falas” de desembargadores, empresários, advogadas e engenheiros, que não merecem esses títulos e muito menos o de cidadão!
Desconfio que para essa pergunta não existe uma resposta. Já são quase dois meses de protestos e a situação no Oregon está muito confusa. Alguns articulistas norte-americanos tem descrito o conflito como uma luta para salvar a democracia.
Protesters are being snatched from the streets without warrants. Can we call it fascism yet?
Federal agents confronting Black Lives Matter protesters in Portland, Ore., on Monday Noah Berger/Associated Press
…In 2017, the idea of unidentified agents in camouflage snatching leftists off the streets without warrants might have seemed like a febrile Resistance fantasy. Now it’s happening.
According to a lawsuit filed by Oregon’s attorney general, Ellen Rosenblum, on Friday, federal agents “have been using unmarked vehicles to drive around downtown Portland, detain protesters, and place them into the officers’ unmarked vehicles” since at least last Tuesday. The protesters are neither arrested nor told why they’re being held.
…There’s something particularly terrifying in the use of Border Patrol agents against American dissidents. After the attack on protesters near the White House last month, the military pushed back on Trump’s attempts to turn it against the citizenry. Police officers in many cities are willing to brutalize demonstrators, but they’re under local control. U.S. Customs and Border Protection, however, is under federal authority, has leadership that’s fanatically devoted to Trump and is saturated with far-right politics.
…It is true that C.B.P. is not an extragovernmental militia, and so might not fit precisely into Snyder’s “On Tyranny” schema. But when I spoke to Snyder on Monday, he suggested the distinction isn’t that significant. “The state is allowed to use force, but the state is allowed to use force according to rules,” he said. These agents, operating outside their normal roles, are by all appearances behaving lawlessly.
Snyder pointed out that the history of autocracy offers several examples of border agents being used against regime enemies.
“This is a classic way that violence happens in authoritarian regimes, whether it’s Franco’s Spain or whether it’s the Russian Empire,” said Snyder. “The people who are getting used to committing violence on the border are then brought in to commit violence against people in the interior.”
As Portland entered its 50th night of protests on July 16, here’s a look back at how tensions between protesters and police have risen. (Monica Rodman/The Washington Post)
NBA planeja volta em meio a protestos antirracistas. Parte dos atletas teme que partidas tirem o foco da luta
“A injustiça em qualquer lugar é uma ameaça à justiça em todo lugar”
Martin Luther King Jr.
Somos uma comunidade oprimida que tem sido sistematicamente alvo por mais de 500 anos. Usados pela nossa propriedade intelectual e talento e, ainda assim, sendo mortos por aqueles que, supostamente, deveriam nos ‘proteger e servir’.
JÁ AGUENTAMOS O BASTANTE!
Texto escrito por um coletivo de jogadores da NBA e da WNBA, liderados por Avery Bradley, dos Los Angeles Lakers, e Kyrie Irving, do Brooklyn Nets.
O racismo sistêmico nos Estados Unidos teve fortes reflexos nas primeiras décadas da hoje principal liga de basquete do mundo. Muito mais fortes do que aqueles sentidos ainda hoje. Criada em 1946, a Basketball Association of America, que só após a fusão com a National Basketball se tornou a NBA, contava com 11 times e 150 jogadores na primeira temporada. Nenhum atleta era preto. Foi assim por mais três edições.
O jogador mais vitorioso da NBA também enfrentou o racismo
Foram 11 títulos em 13 anos. Ninguém foi mais vencedor na NBA do que Bill Russell, que dá nome ao troféu entregue anualmente pela liga ao destaque da temporada. A lenda do Boston Celtics teve números assombrosos, mas foi um dos atletas que mais sofreu com o racismo durante a carreira profissional. Ele é um grande exemplo do que foi o preconceito racial no basquete profissional norte-americano.
Na época em que Russell jogava, os Celtics nem de perto eram o time mais popular de Boston. Era normal ver assentos vazios no ginásio, mesmo com tantas glórias. De acordo com o ex-jogador, a franquia fez uma pesquisa para saber o que poderia ser feito para melhorar a presença do público. Mais da metade das respostas apontaram o alto número de jogadores pretos no time como principal motivo para não irem aos jogos.
Formula One world champion Lewis Hamilton attended a ‘Black Lives Matter’ protest at Hyde Park in London on Sunday.
Hamilton has been vocal in the fight against racism after George Floyd – an African-American man – died while in police custody in the United States on May 25.
lewishamilton Went down to Hyde Park today for the peaceful protest and I was so proud to see in person so many people of all races and backgrounds supporting this movement. I was proud to be out there acknowledging and supporting the Black Lives Matter movement, and my black heritage. I was so happy to see people of all ages, sporting Black Lives Matter signs and saying it just as passionately as I was. I was also happy to see so many white supporters out there today in the name of equality for all. It was really moving. I’m feeling extremely positive that change will come, but we cannot stop now. Keep pushing. #blacklivesmatter ✊🏾 📸 @spinzbeatsinc(more…)
O NYT vai na contra-mão do imediatismo que só se preocupa com a quantidade de cliques que pode gerar cada matéria e brinda seus leitores com excelência jornalística.
O seu jornal do dia a dia também é assim? O seu jornal também conta histórias fotográficas? Não precisa responder. Ninguém responde mesmo, e além disso, eu e você sabemos a resposta.
“Do not get lost in a sea of despair. Be hopeful, be optimistic. Our struggle is not the struggle of a day, a week, a month, or a year, it is the struggle of a lifetime. Never, ever be afraid to make some noise and get in good trouble, necessary trouble.”
— A tweet from June 2018
“When you see something that is not right, not just, not fair, you have a moral obligation to say something. To do something. Our children and their children will ask us, ‘What did you do? What did you say?’ For some, this vote may be hard. But we have a mission and a mandate to be on the right side of history.”
— December 2019 remarks in the House on impeachment of President Donald Trump
No Twitter em 28/08/2018
55 years ago today, we marched on Washington for jobs and freedom. I spoke number six, Dr King spoke number ten, and out of everybody who spoke that day I’m the only one still around. #goodtrouble
Images of his beating at Selma shocked the nation and led to swift passage of the 1965 Voting Rights Act. He was later called the conscience of the Congress.
Mr. Lewis was arrested 40 times from 1960 to 1966. He was repeatedly beaten senseless by Southern policemen and freelance hoodlums. During the Freedom Rides in 1961, he was left unconscious in a pool of his own blood outside the Greyhound Bus Terminal in Montgomery, Ala., after he and others were attacked by hundreds of white people. He spent countless days and nights in county jails and 31 days in Mississippi’s notoriously brutal Parchman Penitentiary.
“Hold only love, only peace in your heart, knowing that the battle of good to overcome evil is already won.
“Choose confrontation wisely, but when it is your time don’t be afraid to stand up, speak up, and speak out against injustice.”
John Lewis forged his legacy as a lifetime champion for civil rights and racial equality during the struggles of the 1960s as he preached a message of non-violence alongside Dr Martin Luther King Jr.
State troopers swing billy clubs to break up a civil rights voting march in Selma, Ala., March 7, 1965. John Lewis, chairman of the Student Nonviolent Coordinating Committee (in the foreground) is being beaten by a state trooper. Lewis, a future U.S. Congressman sustained a fractured skull. (AP Photo)
…In his memoir, Lewis said Alabama’s “Bloody Sunday” was a strange day from the get-go. “It was somber and subdued, almost like a funeral procession,” he wrote in “Walking With the Wind“ of the march he led with Hosea Williams. “There were no big names up front, no celebrities. This was just plain folks moving through the streets of Selma.”
Investigative Reporters, Photojournalist and Audio Journalist Win
Columbia Journalism School announced the 2020 winners of the Maria Moors Cabot Prizes for outstanding reporting on the Americas. The 2020 Cabot Prize winners are Ricardo Calderón Villegas, investigative reporter, Colombia; Patrícia Campos Mello, Folha de S. Paulo, Brazil; Stephen Ferry, photojournalist, United States; and reporter Carrie Kahn, NPR, United States.
The Cabot Prizes honor journalists for career excellence and coverage of the Western Hemisphere that furthers inter-American understanding. Godfrey Lowell Cabot of Boston founded the Maria Moors Cabot Prizes as a memorial to his wife in 1938. They are the oldest international journalism awards.
Patrícia Campos Mello, Folha de S. Paulo, Brazil
In these challenging times when independent journalism is under attack in Brazil and other countries throughout the Americas, the Maria Moors Cabot Board honors Patrícia Campos Mello as a prime example of a professional journalist who continues to do her job in the face of adversity. There is no democracy without Patrícias, without a free press.
Stephen Ferry, photojournalist, United States
With the patience of an anthropologist and great humanity, photographer Stephen Ferry has dedicated more than three decades of his life to projects with impact that have become models of immersive photojournalism.
Words like “epic” and “iconic” get thrown about when it comes to describing photographs, but this image by Matthew Abbott is truly worthy of such description. Shot for The New York Times, the image is emblematic of the crisis facing Australia, and a grim forecast of what the world can expect to see a great deal of in the future.
My last day of the decade felt like the apocalypse. Been covering the Australian bushfires for the last 6 weeks, but haven’t seen anything like yesterdays fire that decimated the town of Conjola, NSW. #bushfirecrisis#AustralianBushfires#NSWisburning work for @nytimes
“O maior massacre da história contemporânea de São Paulo continua sem resposta doze anos depois”, diz Debora Maria da Silva, de 59 anos, mãe de Rogério Silva dos Santos, morto aos 29 anos em maio de 2006.
Santos está entre as 564 vítimas executadas no período conhecido como ‘Crimes de Maio’. Na época, rebeliões foram feitas em 74 cadeias do Estado de São Paulo como resultado de uma transferência de 765 presos para uma penitenciária de segurança máxima. Do lado de fora, toque de recolher foi espalhado, estabelecimentos fecharam as portas e a cidade que nunca para, parou.
…
A ausência de impunidade está aliada ao fato de os assassinatos terem sido execuções, como aponta a pesquisa. O texto mostra que o local ou a vítima são previamente definidos e são assassinados por encapuzados ou veículos sem identificação, em regiões de alta letalidade (cabeça e tronco) e, na maioria dos casos, efetuados pelas costas e a curta distância — a lista, para Amadeo, qualifica os crimes como execuções.
“As vítimas, em sua maioria, eram jovens, negros, pobres e moradores de periferias”, explica o coordenador. O perfil dos executados, segundo Debora, mostra que no Brasil, “pobre e negro é tratado como inimigo”.
O movimento independente Mães de Maio, composto por mulheres que perderam os filhos no sangrento mês de maio de 2006, quando centenas de pessoas perderam a vida em meio a ofensiva policial como resposta a ataques da facção criminosa PCC (Primeiro Comando da Capital) em todo Estado de São Paulo, sobretudo capital e Baixada Santista, também é usado de exemplo nas reivindicações que hoje tomam as ruas dos Estados Unidos.
Quatro anos atrás, quando estava marcando uma década dos crimes de maio e da luta por justiça e pela verdade sobre os acontecimentos, o movimento de mães foi convidado para compartilhar com movimentos e organizações dos Estados Unidos, incluindo o Black Lives Matter, as experiências vividas no Brasil com a polícia.
Nos Estados Unidos, a fundadora e líder das Mães de Maio, Débora Maria da Silva, se encontrou com representantes do movimento Black Lives Matter, que hoje tomam as ruas do país norte-americano.
Nos Estados Unidos, mães de jovens negros mortos pela polícia enfrentam a epidemia, o desemprego e o racismo
Constance Malcolm, 48, perdeu a conta de quantos protestos já participou desde que seu filho Ramarley Graham, 18, foi assassinado pela polícia de Nova York dentro de casa em 2012. Mesmo durante a pandemia, resolveu ir a mais um, dessa vez maior e impulsionado pela morte de George Floyd. Na tarde de 9 de junho, em frente à Prefeitura de Nova York, ela se juntou a uma fila com pessoas que vestiam máscaras, camisetas e seguravam cartazes com fotos de familiares mortos. Ao microfone, pediu o fim da violência e do abuso policial, além de cortes no orçamento da polícia. Nos EUA, os negros são mortos pela polícia 2,5 vezes mais do que os brancos,segundo dados deste estudo publicado na Nature.
Five years ago today, my unarmed 18-year-old son, Ramarley Graham, was unjustly killed when police officers burst into our home in the Bronx and shot him in front of his grandmother and 6-year-old brother.
Minutes before, my son was calmly walking down the street with his friends when he paused to pull up his pants. The officers wrongly thought he had a gun in his waistband, followed him home, knocked down our door without cause or a warrant and killed him.
To this day, none of the officers responsible have been fired.
These portraits were created in response to the murders of African American men, due to police violence. The mothers in these photos have not lost their sons, but understand that their son could be next.
It was abundantly clear in our meeting today that Mark Zuckerberg and the Facebook team is not yet ready to address the vitriolic hate on their platform. Zuckerberg offered the same old defense of white supremacist, antisemitic, Islamophobic and other hateful groups on Facebook that the Stop Hate For Profit Coalitions, advertisers and society at large have heard too many times before. Instead of actually responding to the demands of dozens of the platform’s largest advertisers that have joined the #StopHateForProfit ad boycott during the month of July, Facebook wants us to accept the same old rhetoric, repackaged as a fresh response.
Decency
4. Find and remove public and private groups focused on white supremacy, militia, antisemitism, violent conspiracies, Holocaust denialism, vaccine misinformation, and climate denialism.
Não estamos no Facebook e nem no Instagram porque não gostamos do Mark Zuckerberg! E não é de hoje, é de ontem, é de anteontem, é desde sempre. Nos faltam adjetivos para nominar esse Zuckerberg. Ele simplesmente é do lado escuro da força! Ele é do mal! E tem muita culpa no cartório! Simples assim!
Desde o último dia 31, o programador de softwares Emerson Márcio Vitalino, conhecido como Emerson Osasco, de 35 anos, ganhou uma notoriedade que não esperava. Ele ficou conhecido e acabou se tornando um símbolo da luta pela democracia e antirracista no Brasil ao enfrentar alguns bolsonaristas que carregavam uma bandeira com um símbolo fascista.
…
Yahoo: Por qual motivo acha que eles selecionaram você no meio da multidão para agredir?
Emerson: Na realidade, eles não me selecionaram. Eles tentaram me calar. Quando eu vi que eles estavam fazendo isso, eu automaticamente vi um grupo de jornalistas e denunciei para eles. Eu falei: “Cara, olha isso. Em plena avenida Paulista, essa galera exaltando uma bandeira de nazistas ucranianos”. O Brasil é um país de maioria de nordestinos e descendentes de negros e negras, que são descendentes de índios e índias. Então, é impossível que aqui no Brasil a gente aceitasse isso. Então, eles não me escolheram. Eles vieram para cima de mim tentando me silenciar.
Essa imagem foi feita por um dos trabalhadores abarrotados que retrata. O carioca Yan Marcelo, 25 anos, é fotógrafo há sete, formou-se professor de história há um, mas trabalha na expedição do delivery de uma hamburgueria do shopping Città América, na Barra da Tijuca. Ele mora em Rio das Pedras, favela encravada perto de Jacarepaguá, e voltava do trabalho no BRT sentido Alvorada, por volta das 22h45 da segunda (8), quando notou que a condução estava especialmente lotada. “Estava com meu equipamento na mochila e achei que seria um registro legal, importante. Mas fiquei meio com medo de sacar a câmera ali dentro, tirar foto do povo”, contou Yan à reportagem às 2 da manhã desta quinta, horário em que chegou em casa do trabalho.
…Estudou, aprendeu e desde então, vem se dedicando a construir seu portfólio paralelamente ao emprego fixo e uma outra vocação: “tenho paixão insaciável pelo magistério”, diz o jovem professor de História. “Mas sou preto, tenho tatuagem, é muito punk conseguir arrumar emprego em escola”. Então se virou também para isso, e leciona em um cursinho comunitário em Guadalupe, zona norte do Rio. Mas acredita que nada o levaria “onde a fotografia está me levando”. “A fotografia é um mecanismo retratar coisas óbvias, mas que, na correria do dia a dia, a gente não para para pensar, para notar. A galera negra na fotografia vem conquistando uma área por retratar mais essas realidades próximas”
Allen was at a protest on June 5 in Baltimore organized by demonstrators representing the city’s black, transgender community. Though the protests were held in response to the death of George Floyd, who was killed in Minneapolis by a city police officer, chants of “Black Trans Lives Matter” were heard from the crowd.
The photograph shows a protester sitting with a megaphone, while other demonstrators lie down on the ground.
“When I found out about the black trans march, I wanted to come out and make sure that their voices can be heard,” Allen says. “I wanted to give them the same energy that I give any protest.”
“You can’t hire me,” Allen said. “I have a moral compass. Most of my work that gets published, I’ve already posted it on Instagram. … I do this stuff because this is what I do. This is my life’s work. I was shooting for myself because that’s what I believe in.”
Through the civil unrest in Baltimore over the past five years, Allen said, “as a photographer, I’ve been there on the front lines.”
“The work that I do is to give voice to my community, any black person,” he said. “I just try to make the work so people can be seen and be heard. … Once the smoke is done, the fire is done, the protests are done, the real work really begins.”
Em 2020, o ano que não existiu, a pandemia bateu forte no mês de abril, aqui em New York City. No pico da doença foram 800 mortes diárias. Milhares de infectados, falta de leitos hospitalares, UTIs lotadas, respiradores requisitados em qualquer lugar do mundo e os profissionais de saúde exaustos e muitos também infectados. Um clima de um grande velório coletivo.
A cidade viveu o caos, literalmente! Uma sensação de que o mundo estava acabando e que o vírus iria nos levar a todos, mais cedo ou mais tarde. Mais cedo, era só colocar o pé na rua. Essa era a sensação.
As imagens de Manhattan deserta eram impressionantes! Históricas! Mas o medo da Covid me afastou da vontade de fotografar. O instinto de sobrevivência e o medo de poder ser um vetor de transmissão anularam, ou adormeceram qualquer impulso de registrar essa história.
Maio já estava acabando e veio a morte de George Floyd no dia 25. Ele foi morto por um policial branco, assistido por três outros colegas de farda. O vídeo da morte de Floyd acendeu a faísca de fogo num caldeirão de gasolina. A América negra demonstrou estar farta de tanta injustiça e desigualdade. E também da brutalidade policial. E o país ardeu em chamas.
As imagens do protesto na rede, na TV e nos impressos me despertaram novamente a vontade de registrar e viver a história de nossos dias. Mas mais uma vez o medo do Corona me deixou em casa.
No dia 07 de junho, tomei coragem e me aventurei a ver um protesto, pequeno e familiar, que estava acontecendo aqui no Brooklyn. Uma sensação de vulnerabiidade imensa. Muita gente, algumas pessoas sem máscara, aglomeração, do jeito que o Corona gosta. Procurei não estar perto de ninguém, tarefa quase impossível.
“She had no idea she would witness and document one of the most important and high-profile police murders in American history,” Darnella Frazier’s attorney, Seth Cobin, said. “If it wasn’t for her bravery, presence of mind, and steady hand, and her willingness to post the video on Facebook and share her trauma with the world, all four of those police officers would still be on the streets, possibly terrorizing other members of the community.”
Cobin said Frazier wasn’t looking to be a hero but is “just a 17-year-old high school student, with a boyfriend and a job at the mall, who did the right thing. She’s the Rosa Parks of her generation.”
At that point, Ms Frazier could never have imagined the chain of events that her video would set in motion. At the click of a button, the teen spurred wave after wave of protests, not only in the US but across the world.
“She felt she had to document it,” Ms Frazier’s lawyer Seth Cobin told the BBC. “It’s like the civil rights movement was reborn in a whole new way, because of that video.”
It is a remarkable picture. A single woman stands in the roadway, feet firmly planted. She poses no obvious threat. She is there to protest the excessive force which Baton Rouge police allegedly deploy against the city’s black citizens. She stands in front of police headquarters, on Saturday. And she is being arrested by officers who look better prepared for a war than a peaceful protest.
“Pretty sure Im no hero but my Aero Liberator just might be – in any case thanks to dpreview.com for recognizing that digital and film can get along so well.”
“Digital and film can get along so well”
Com essa bela frase de David Burnett, que sintetiza o nosso pensamento, começamos a nossa aventura de resistência.
Somos do tempo do daguerreótipo (como brincamos por aqui) e somos fotógrafos. Observamos, criamos e registramos o mundo `a nossa volta.
A fotografia digital é o futuro do presente. Não somos contra ela, pelo contrário! Mas não gostamos da banalização da imagem. Respeitamos a Fotografia.
A revolução digital trouxe avanços tecnológicos formidáveis. Os drones, para ficar em só um exemplo, nos mostram um mundo nunca dantes visto.
No entanto, não dá para esquecer o filme e outros processos mais antigos. É impossível deixar de lado o fascínio de um laboratório fotográfico. Estamos interessados em processos alternativos, analógicos e digitais, para além ou para aquém da fotografia tradicional.
Já veremos!
Fotografar é preciso! Resistir é vital.
PS: Fotografia documental, fotografia jornalística, é essa a nossa praia. Nesse mundo virado de cabeça para baixo, a fotografia exerce mais do que nunca o papel fundamental de testemunha. Ela é parceira da ânsia por um mundo mais justo. A fotografia cidadã foi um dos avanços da revolução digital.
Seguimos na mesma onda do antigo Pictura Pixel. E seguimos creditando as fontes, os autores e as idéias.
