People, Events, Changes.

People, events, changes. 20 years of photography in Gazeta Wyborcza exhibition is just about to close. sorry for the delay in informing, but was rather busy with it... [It was on 8th May 1989 that appeared the first edition of Gazeta Wyborcza Solidarności, or in English The Solidarity Election Newspaper. In the first edition were to be found only two photographs. ]

The exhibition People, Events, Changes is a multi-theme narrative of the last 20 years composed through the photos of the reporters of Gazeta Wyborcza. We present photos from all over the world: photo journalism, news photography, portraits, and sport and fashion photos.
20 years is 7305 days and over 6 thousand editions of Gazeta Wyborcza. Over this period, almost everything has changed. We have striven here to evoke the most significant events, to recall the people and places of our collective memory. The exhibition has been divided into two main sections: Poland and The World.
Over the last 20 years, there have also been profound changes in the technology of photography.
The beginning of the 90s is a time when a photographer might still use a roll of film on a given event. From this point on, photographic equipment has improved enormously, thus widening the potential for access to an event, and making excellent quality of scanned and printed images the norm. From 2007 on, we can observe the unquestioned domination of digital photography. This exhibition recounts the most recent history of photography and encourages reflection on the contemporary condition of the photo-reporter.

The first sessions of the Senate. Wojciech Jaruzelski, Lech Wałęsa, Bronisław Geremek, 1989. photo Sławomir Sierzputowski/Agencja Gazeta The first round of the presidential elections. Jacek Kuroń with his wife just after announcement of the initial results, 1991. photo Piotr Wójcik/Agencja Gazeta

The exhibition ignores chronology and rejects the traditional exposition mode. Thus it's an anniversary exhibition, it displays the art of photography. Curators focus on what is shared by both the authors and readers: the experience of freedom. This is what we are to rediscover and rethink. The exhibition have many heroes. Among them the greatest Poles: Jerzy Giedroyc, Wislawa Szymborska, Andrzej Wajda. Side by side, there are clerks, teachers, farmers, feminists, Roms, the unemployed, and anonymous passers-by. Our exhibition features its heroes. The main one is the change, stressed by the two-decade-old photographs, which contrast with the contemporary images. The change is recorded also by the amateurs, who post on photoblogs their pictures, although not ideal at times yet honest and immediate. Such works are also exhibited here. Professionals are taken away their exclusive right to take pictures. Today everyone takes pictures on any topic. For that reason, professional photographers pose questions concerning the social meaning of photo-journalism. Some reject the old, seemingly ideal forms for spontaneous creativity. Others return to the roots. Intense collective emotions are another hero of the exhibition: the events connected with politics, economy, religion, and sport and daily lives. The Polish reality, including politics, measures up with the European norms. Many pictures are devoid of the Polish specificity. The transformation was finally a great sucess. But still there is Poland that haven’t changed, and poverty looks quite simmilar from 1989 and 2009.

Having gained democracy, we got access to the world, with the opportunity to meet people of various cultures, religions, and ways of thinking. This has also been used by Gazeta’s photographers. A flamenco dancer in Seville, Arab immigrants in Paris suburbs, Sicilian fishermen, joyful American hippies, homeless children in Petersburg, the king of Romanian Gypsies, Kosovan refugees, Polish Christmas in Edinburgh – these are the people we have met on our way. We also display significant places: Chechnya, Palestine, Afghanistan, Iraq, and African countries. We are not blind to human lives marked by wars.

Against this background, the 1989-1990 revolutions in Central and East Europe seem to have been a miracle.

Palestine, Ramallah, 2nd Intifada, 2000. photo Piotr Janowski/Agencja Gazeta

The Bejing 2008 Olimpic marathon. photo Bartosz Bobkowski/Agencja Gazeta

Russia, the "Komiersant" newspaper with blank pages as a protest of the judges of Moscow's Court verdict, 2005. photo Krzysztof Miller/Agencja Gazeta

curators: Dominique Roynette, Piotr Wójcik, Joanna Kinowska
215 photographers: DANIEL ADAMSKI, SEBASTIAN ADAMUS, CEZARY ASZKIEŁOWICZ, KUBA ATYS, PIOTR AUGUSTYNIAK, DOROTA AWIORKO, JACEK BALK, BARTEK BARCZYK, ANNA BEDYŃSKA, PIOTR BERNAŚ, ANNA BIAŁA, MARTA BŁAŻEJOWSKA, BARTOSZ BOBKOWSKI, ANDRZEJ BOGACZ, KAMIL BROSZKO, BOGDAN BUGAJSKI, RADOSŁAW BUGAJSKI, IWONA BURDZANOWSKA, GRZEGORZ CELEJEWSKI, DAWID CHALIMONIUK, IRENEUSZ CIEŚLAK, ŁUKASZ CYNALEWSKI, FILIP ĆWIK, RENATA DĄBROWSKA, GRZEGORZ DĄBROWSKI, PIOTR DESKA, PIOTR DŁUGOSZ, MIROSŁAW DOMINEK, WOJCIECH DRUSZCZ, WOJCIECH DUSZENKO, DOMINIK DZIECINNY, BRUNO FIDRYCH, ŁUKASZ FOJT, DOMINIK GAJDA, ALINA GAJDAMOWICZ, TOMASZ GAŚ, ŁUKASZ GIZA, ANDRZEJ GOIŃSKI, ADAM GOLEC, DARIUSZ GORAJSKI, KAMIL GOZDAN, ROBERT GÓRECKI, PRZEMYSŁAW GRAF, MICHAŁ GROCHOLSKI, MICHAŁ GRZYBCZAK, JERZY GUMOWSKI, KRZYSZTOF GUTKOWSKI, PIOTR GUZIK, WOJCIECH HABDAS, MATEUSZ HALAWA, MARZENA HMIELEWICZ, ANDRZEJ IWAŃCZUK, WOJCIECH JAKUBIUK, PIOTR JANOWSKI, WOJCIECH JARGIŁO, MACIEJ JARZĘBIŃSKI, MICHAŁ JASIULEWICZ, GRAŻYNA JAWORSKA, PRZEMEK JENDROSKA, ROMAN JOCHER, RADOSŁAW JÓŹWIAK, SŁAWOMIR KAMIŃSKI, TOMASZ KAMIŃSKI, WOJCIECH KARDAS, KRZYSZTOF KAROLCZYK, RITA KATANA, BEATA KITOWSKA, TOMASZ KIZNY, MARCIN KLABAN, FILIP KLIMASZEWSKI, DANIEL KLIMCZAK, KRZYSZTOF KOCH, WALDEMAR KOMPAŁA, MACIEJ KONRAD, MAREK KOPEĆ, MICHAŁ KOPIŃSKI, ROBERT KOWALEWSKI, ADAM KOZAK, PAWEŁ KOZIOŁ, PRZEMYSŁAW KOZŁOWSKI, DAMIAN KRAMSKI, WOJCIECH KRÓLAK, ROBERT KRZANOWSKI, MAREK KRZĄKAŁA, JAROSŁAW KUBALSKI, ARTUR KUBASIK, MARCIN KUCEWICZ, BARTŁOMIEJ KUDOWICZ, MAŁGORZATA KUJAWKA, DARIUSZ KULESZA, BARTOSZ KURAŚ, MACIEJ KUROŃ, GRZEGORZ KWOLEK, ANNA LEWAŃSKA, JACEK ŁAGOWSKI, MICHAŁ ŁEPECKI, MARCIN ŁOBACZEWSKI, ANNA ŁOŚ, GRAŻYNA MAKARA, BARTOSZ MAKOWCZYŃSKI, MARIUSZ MAKOWSKI, RAFAŁ MALKO, PAWEŁ MAŁECKI, PIOTR MANASTERSKI, JACEK MARCZEWSKI, ADAM MARKOWSKI, TYMON MARKOWSKI, WOJCIECH MATUSIK, FRANCISZEK MAZUR, PIOTR MAZUR, PIOTR MAZUREK, MIECZYSŁAW MICHALAK, RAFAŁ MICHAŁOWSKI, JANUSZ MICZEK, RAFAŁ MIELNIK, SŁAWOMIR MIELNIK, JUSTYNA MIELNIKIEWICZ, KRZYSZTOF MILLER, GRZEGORZ MISIAK, ANDRZEJ MITURA, PIOTR MOLĘCKI, ANDRZEJ MONCZAK, AGNIESZKA MORCINEK, IGOR MORYE, MICHAŁ MUTOR, WOJCIECH NEC, TOMASZ NIESŁUCHOWSKI, MIKOŁAJ NOWACKI, MIROSŁAW NOWORYTA, MAREK OBREMSKI, WOJCIECH OKSZTOL, MARCIN OLEJNICZAK, ELIZA OLEKSY, WOJCIECH OLKUŚNIK, MARCIN ONUFRYJUK, JAKUB ORZECHOWSKI, JAROSŁAW PABIJAN, DANIEL PACH, SERGIUSZ PĘCZEK, WŁODZIMIERZ PIĄTEK, KAROL PIĘTEK, LESZEK PILICHOWSKI, AGNIESZKA PIOTROWSKA, JACEK PIOTROWSKI, PAWEŁ PIOTROWSKI, MAREK PODMOKŁY, ALEKSANDER PRUGAR, PAWEŁ RELIKOWSKI, JACEK RENARD, SZYMON ROGIŃSKI, TADEUSZ ROLKE, STANISŁAW ROZPĘDZIK, SEBASTIAN RZEPIEL, AGNIESZKA SADOWSKA-MAZUREK, DOMINIK SADOWSKI, SŁAWOMIR SAJKOWSKI, MARCIN SAUTER, BARTŁOMIEJ SERAFIŃSKI, RAFAŁ SIDERSKI, BARTOSZ SIEDLIK, MICHAŁ SIERSZAK, SŁAWOMIR SIERZPUTOWSKI, KAROLINA SIKORSKA, JOANNA SIWIEC, MACIEJ SKAWIŃSKI, KRZYSZTOF SKŁODOWSKI, GRZEGORZ SKOWRONEK, PIOTR SKÓRNICKI, PRZEMYSŁAW SKRZYDŁO, MATEUSZ SKWARCZEK, PAWEŁ SŁOMCZYŃSKI, ADAM SŁOWIKOWSKI, GRZEGORZ SOCHA, JULIAN SOJKA, WALDEMAR SOSNOWSKI, BARTŁOMIEJ SOWA, PAWEŁ SOWA, TOMASZ STAŃCZAK, ANDRZEJ STAWIARSKI, WOJCIECH STRÓŻYK, WOJCIECH SURDZIEL, KRZYSZTOF SZATKOWSKI, JERZY SZCZĘSNY, JERZY SZOT, GRZEGORZ SZYMAŃSKI, ARKADIUSZ ŚCICHOCKI, MACIEJ ŚWIERCZYŃSKI, MARCIN TOMALKA, PAWEŁ TOPOLSKI, TOMASZ TRUSIEWICZ, PAWEŁ ULATOWSKI, TOMASZ WAJSPRYCH, TOMASZ WALKÓW, TOMASZ WANTUŁA, TOMASZ WASZCZUK, TOMASZ WAWER, TOMASZ WIECH, TOMASZ WIERZEJSKI, ANDRZEJ WIŚNIEWSKI, LESŁAW WŁODARCZYK, AGNIESZKA WOCAL, KRZYSZTOF WOJCIECHOWSKI, MARCIN WOJCIECHOWSKI, ARKADIUSZ WOJTASIEWICZ, JÓZEF WOLNY, SEBASTIAN WOŁOSZ, MARCIN WOŁOSZCZAK, PIOTR WÓJCIK, BARTOSZ WRZEŚNIOWSKI, JAN ZAMOYSKI, ALBERT ZAWADA, BEATA ZIEMOWSKA, MACIEJ ZIENKIEWICZ, TOMASZ ŻUREK , PIOTR ŻYTNICKI

The first pair of pictures: left: Dismantling of the Feliks Dzierżyński monument in Warsaw, 1991. photo Jacek Maerczewski; right: Scyscraper evacuation excercises in Warsaw, 2005; photo Robert Kowalewski; both copyright: Agencja Gazeta

Everlasting moments

A few weeks ago I went to the cinema and saw a wonderful movie called Maria Larsson's Everlasting Moments by director Jan Troell. It's about a young working class woman in the city of Malmö, Sweden, during the early 20th century. She wins a camera on a lottery and starts to develop a passion for photography and begins to explore new ways of seeing.

When I got home from the cinema I came to think about some glassplates that I bought at a garage-sale in Dalecarlia. After looking through a lot of boxes I finaly found them and here they are. (If you're in to the history of cloathing maybe you can help me with their age.)

Btw, I highly recommend the movie.

The Mexican suitcase

The Zone Zero site has made an excellent presentation (author Trisha Ziff) about the lost Robert Capa negatives that now have been rediscovered. More about this story here on the F blog.

Chaplin exhibition in Stockholm

Charles Chaplin and Buster Keaton, Limelight (1952). © Roy Export Company Establishment, courtesy of NBC Photographie, Paris



Chaplin på enlevering (1915). © From the Archives of the Roy Export Company Establishment, courtesy of NBC Photographie, Paris

A major exhibition about Charlie Chaplin (1889-1977) opens on 1 March in Kulturhuset, Stockholm (ending 25 May.) This is the first large exhibition based on the archives of the Chaplin family. The exhibition holds more than 250 photographs - portraits and photos from film studios. Paintings, posters, film clips etc will also bee on show.

The exhibition is produced by NBC Photographie, Paris with support of the Chaplin Association.

Thousands of negatives of pictures by Robert Capa found in Mexico

The New York Times reports that three cardboard valises with over 3 000 negatives by Robert Capa has been found in Mexico City. Capa himself thought that these negatives were lost forever. They are reported to be in good condition. An amazing story.

I can´t help but thinking what will happen to the pictures of our times stored on CD or computers. Will they be around in 70 years to come? /Ulf

Politics, Power, and the FSA

The F Blog received the following article from Cecilia Strandroth, PhD, Uppsala University. It´s an interesting contribution to our ongoing discussion about documentary photography, "reality or fiction" and the importance of photography as an independent form of art. Thanks Cecilia! /Ulf


My dissertation In Search of the Pure Photograph investigates some of the lesser known Farm Security Administration photographs made in the United States of the 1930s. The FSA photographs are today regarded as documentary icons, as masterpieces of 20th century American art, and as a national treasure. But this status also implies limitations. A national treasure could only contain things to be proud of.

There are thus also FSA photographs which never have become part of the national monument: photographs which could be described as “propaganda”. The FSA agency which employed the photographers was a part of Franklin D. Roosevelt’s New Deal. The photographers’ job was to make images used to market the government’s politics. They produced photographs of the government’s programs meant to aid the poor rural population. Some examples made by Marion Post Wolcott in Alabama portray the interaction between the local FSA personnel and their clients. Here, one could see fieldworkers for instance conducting evening classes and meetings, delivering medicines and clean linen and inspecting the farms’ animals. These activities are adhering to a fixed pattern of gender and ethnicity. Female fieldworkers discuss sewing and cooking with female clients, male fieldworkers discuss economy and agricultural matters with male clients. Caucasian fieldworkers meet with Caucasian clients, African American fieldworkers with African American clients. Exceptions are qualified personnel with an education. Caucasian doctors and nurses treat the diseases of the African American population. Power relations appear to be inscribed in the very bodies of the subjects of these images. Behaviours, postures and identities are performed according to fixed New Deal roles of class, gender and ethnicity. The photographs make visible how power was exercised, capture the ideology behind the New Deal’s programs.


Such images therefore deserve to be rescued from their present historical oblivion. They could be as important as sources of historical research as the generally famous FSA photographs. Such a usage has been hindered by the traditional interpretation of how the documentary value of the photographic image functions. It looks upon the documentary photographer as an eyewitness who stands beside the flow of life and captures aesthetically pleasing slices for eternity. This eyewitness or observer has to be passive, the document is regarded as compromised if influenced by intruding intentions, staging and rhetorical arrangements. This naturally makes the documentary value of FSA’s “propagandistic” photographs dubious.


But to photograph is not to passively observe and record, but an activity which in itself creates meaning. Looked upon in this way, a photograph is always inherently rhetorical, never an authentic observation. The FSA’s “propagandistic” photographs rather make explicit the construction present in all images. They function as sources exactly through being rhetorical, staged and arranged; they are not windows to the world but windows to an ideology.

©Cecilia Strandroth, PhD, Department of Art History, Uppsala University
In Search of the Pure Photograph. A Historiographic Study of the Farm Security Administration, Walker Evans, and the Survey Histories of Photography is available from Fronton förlag,

Photos by: Marion Post Wolcott, Coffee County, Alabama, 1939.
For more photos see FSA/OWI Collection, Prints & Photographs Division, Library of Congress, Washington D.C.

The vanishing lamplighter and a profitable crop of onions

Bill Becker is director of the American Museum of Photography, a Virtual Museum "a Museum Without Walls...for an Art Without Boundaries" It´s a very interesting and fun place to visit with many stories from the history of Photography.

Lately on the blog, we have talked about how much "reality" there is to be found in a photograph. Well, the subject has been discussed almost since the birth of photography.

With the kind permission of Bill Becker I quote from the site: "Photographers, .... understood that their art was not always unimpeachable, and that the choice of lens, camera angle, even the time of day that a picture was made could all have an impact on the final image." The quote is from an article called "The Camera Does Not Lie" by Bill Becker, published in a section of the site called Photographic Fictions - how the camera learned to lie. Great reading and pictures and it will hopefully result in a book as well.

The picture above "the Vanishing Lamplighter - (I love that title btw) is an example of an "accidental" effect. The lamplighter was moving around and it looks like he is about to disappear forever. (detail from photograph by the London Stereoscopic Company.)

"Harvesting a Profitable Crop of Onions"
William H. Martin (1865-1940)
Silver Print postcard, 3.5 x 5.5 inches, 1909

Mr. Becker says."Optical illusions teach an important lesson, because they convincingly demonstrate that seeing isn't always believing. And in the same way, manipulated "trick photographs" provide incontrovertible proof that the camera can be taught to lie."

Mr Martin was a photographer in the beginning of the 20th century making a fortune in producing trick photographs. Compare it to the Photoshop fictions of today. Nothing is new under the sun.

You will find much more if you visit the American Museum of Photography.
We hope to get back to Bill and this fascinating place again some day.
- American Museum of Photography
- Photographic fictions

Sydney police mug shots, 1912-1930

Lou Sterling, 1921 Central cells*

"We have learned to be suspicious of the photographic image." This is the starting point of an essay written by Peter Doyle who teaches writing in the Media Department, Macquarie University, Sydney. (Scan vol 2 number 3 december 2005)

Over a four year research period, Doyle examined around two thirds of the pre-1950 section of the NSW Police forensic archive — around fifteen thousand glass plate and acetate negatives.

In the essay he uses a collection of police "mug shots" to examine the relationship between
- the subjects of the photographs and the camera
- the photographic subject and the police photographer
- the subjects "captured" in the photographs and the viewer of the pictures

Doyle writes: "As historical documents, as instances of an important type in the evolutionary history of the photograph, and as gripping images, the prison mug shots are clearly of great importance. Yet I came to dread them. The refrain of defeat and despair became increasingly oppressive. The affectless convict stare seemed to convey neither acceptance nor even anger."

Doyle about the picture above: "Among the most surprising are the many smiling subjects found among the Special Photographs, such as jaunty pickpocket and gunman Lou Sterling, a well-known crime figure of the 1920s"

Scan is an on-line journal devoted to the media arts and culture, hosted by the Media Department at Macquarie University, Sydney.

Photographs by Shotaro Shimomura 1934-1935

"Magasin du Nord of Copenhagen, Denmark"
Silver-Gelatine Print by Shotaro Shimomura XXI (1883-1944), 6" x 8". Private Collection. Courtesy of American Museum of Photography

"An eye for the world" is the title of an online exhibition hosted by the American Museum of Photography showing 17 pictures by Mr Shimomura. He toured Europe and the United States to study the management of department stores and returned to Japan with these remarkable photos now being rediscovered. You will find the exhibition here.

Child labor - Lewis W Hine collection online

TITLE: Toting wood - Scavenger. Location: Fall River, Massachusetts / Lewis W. Hine.
CREATED/PUBLISHED: 1916 June 16.
CREATOR: Hine, Lewis Wickes, 1874-1940, photographer.
Library of Congress, Prints & Photographs Division, National Child Labor Committee Collection, [reproduction number, LC-DIG-nclc-05048]

Lewis W Hine was employed by the National Child Labor Committee (NCLC) and documented working and living conditions of children in USA between 1908 and 1924. Go and have a look at this remarkable collection that consist of more than 5,100 photographic prints and 355 glass negatives, given to the Library of Congress.

For more pictures by this great photographer, see George Eastman House Still Photograph Archive with 105 Selected Images.

In Search of the Pure Photograph

On 14 December a disputation is held at the Department of Art History, Uppsala University, Sweden. The doctorand Cecilia Strandroth has made a Historiographic Study of the Farm Security Administration. See some details below. We are hoping to hear more here on The F Blog from Cecilia Strandroth in the near future about the study. We have published several pictures from the FSA archives on the F Blog. Use the Blogger search tool to find out more.
-----------------------
Research Interests
The history and theory of photography, historiography, gender, visual culture, internet image use

Dissertation
In Search of the Pure Photograph. A Historiographic Study of the Farm Security Administration, Walker Evans, and the Survey Histories of Photography.

Street portrait of 1916

Blind, 1916
Paul Strand (American, 1890–1976)
Platinum print; 13 3/8 x 10 1/8 in. (34 x 25.7 cm)
Alfred Stieglitz Collection, 1933 (33.43.334)
© 1997, Aperture Foundation Inc., Paul Strand Archive

"In 1916, Strand made a series of candid street portraits with a handheld camera fitted with a special prismatic lens, which allowed him to point the camera in one direction while taking the photograph at a ninety-degree angle. This seminal image of a street beggar was published in 1917 as a gravure in Stieglitz's magazine Camera Work and immediately became an icon of the new American photography, which integrated the objectivity of social documentation with the boldly simplified forms of modernism."
"Paul Strand: Blind". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.www.metmuseum.org.

Steam

General view of one of the yards of the Chicago and Northwestern railroad, Chicago, Ill.
Delano, Jack, photographer.
CREATED/PUBLISHED 1942 Dec.
See more color pictures by Jack Delano and others at Library of Congress

literature and photography

A couple of weeks ago at the library I stumbled upon these books written by the Swedish author Ivar-Lo Johansson (1901-1990). I guess they are almost forgotten and unknown by the public in these days, but the books had a great impact when they were published, especially the book about old people´s homes (Old age,1949)

In the introduction to this volume containing all four books, the writer describes the cooperation with the photographers. Yes, these books could also be seen as books of photographs with text by Ivar Lo-Johansson. Many of the photographs are truly unforgettable and my guess is that they will be remembered even longer than the text. In any case, it was a brave and progressive project. The author tells about visiting over 1 000 old people´s homes in all of Sweden, travelling 3 000 km with the Swedish Romanies (gypsies) to Camargue in southern France or living with "les clochards" of Paris. The book about the landless peasants was part of his own life - he was brought up by parents that once were "statare".

Find out more about Ivar Lo-Johansson

Photographer: ©Gunnar Lund (from the book about the landless Swedish
peasants known as "statare") - 1949





Photographer:©Sven Järås (From the book "Old Age", 1949)





Photographer:©Tore Johnson, from the book "Unknown Paris"-1954- the picture
shows firemen carrying a young woman drowned in the river Seine.






Photographer: ©Anna Riwkin-Brick from the book "Road of the gypsies" -1955.

Babe Ruth

Photographer: Nickolas Muray
Year: ca 1927
Courtesy of Nickolas Muray Photo Archives, LLC

coocoo lunatic of the Surrealists

" ... I had to wait like an idiot till I met Marcel Duchamp (a marvelous painter) who is the only one who has his feet on the earth, among all this bunch of coocoo lunatic - of the Surrealists .... They are so damn "intelectual" [sic] and rotten that I can't stand them any more. It is really too much for my character - I rather sit on the floor in the market of Toluca and sell tortillas, than to have anything to do with those "artistic" --- of Paris."

Frida Kahlo to Nickolas Muray, 1939 Feb. 16. Letter. Nickolas Muray papers, 1911-1978. Archives of American Art.

Monet in his garden

Photographer: Nickolas Muray
Year: 1926
Courtesy of Nickolas Muray Photo Archives, LLC

Frida Kahlo portrayed by Nickolas Muray

Frida Kahlo on white Bench, 1939 - New York, in Nickolas Muray´s studio (photo
copyright by Nickolas Muray / Nickolas Muray Photo Archives, LLC 2004)
Courtesy of Mimi Levitt

Claude Monet and the man from Szeged

I received a very nice email from Mimi Levitt. She is the daughter of
Nickolas Muray, a photographer that I have told you about in some of
my postings to The F Blog. I am glad that this story continues. Mimi sent
me some pictures, this one shows her father with painter Claude Monet.
Mimi Levitt is manager of the Nickolas Muray Photo Archives, LLC.
More about Muray on the F blog:
The Man from Szeged
Nickolas Muray
Rediscovered photographs of Frida Kahlo

go ahead

Indiana Harbor Belt RR, switchman demonstrating signalwith a "fusee"-
used at twilight and dawn - when visibility is poor. This signal means
"go ahead." Calumet City, Ill.
Delano, Jack, 1914- photographer.
CREATED/PUBLISHED
1943 Jan.





In the roundhouse at a Chicago and Northwestern Railroad yard, Chicago, Ill.
Delano, Jack, 1914- photographer.
CREATED/PUBLISHED
1942 Dec.

Have a look at more of Jack Delano´s colour photos at the FSA site
(see F links) A true pleasure.