Judul : St Mary's Hospital Long Beach
link : St Mary's Hospital Long Beach
St Mary's Hospital Long Beach
good evening i'm max taylor co-presidentof a asmp dc and this is kaveh sardari the other co-president. we would like to welcomeyou to the smithsonian american art museum and the mcevoy theater. it's a real honor to have mary ellen markspeak tonight and we welcome you to the theater. as you know our chapters been abig part of photo week and we have really
St Mary's Hospital Long Beach, enjoyed the partnership with theo andand his crew and we've had some really terrific programs in the past few years. it's nice being in this theater we'veexpanded the venue so it can include a lot more people and we like to thank thesmithsonian for their partnership with
that. we would also like to thank betsybrown the director of the museum and we'd also like to especially thankeugene mopsik the director of a asmp for his support of the photo week and ourprograms here tonight. for photo week we'd really like to thank some of their sponsors: the neanational endowment for the arts, squarespace, and pnc bank. withthat i'd like to bring on kaveh for a few more remarks. my part is really really easy andquick. i just want to thank our board - the dcchapter of asmp - they do amazing work and
i'm just so proud of all of them andworking with them through all these years. if i can have actually haveapplause for our board. thank you. these programs as you can imagine take alot of effort and we are all a volunteer board. it's months and months in the makingand we're just so happy that we could make this happen with the help oftheo and photo week. i also want to ask everyone if you'renot following us on social media please go on facebook we are asmp dc,and on twitter as well a asmp dc and we'd
love to hear from you and connect with you. we have a program was once a month inthe evening and then we have a new - not new - but a morning program we also haveonce a month and that brings photographers together. we juststarted the another program on tuesdays once a month it's a happy hour for all of us to gettogether and have a little fun. there we go. it's called beers and cheers, right? now i'm going to introduce lisa hostetler
who is the mcevoy family curator ofphotography who's going to introduce our guests mary ellen. thank you very much for coming and enjoy yourself. thanks max and kaveh, and thank you allfor coming. before i introduce tonight'sspeaker i want to echo the previous thanks to our sponsors. i want toextend my personal thanks to max and his team, to meredith lou at mary ellen mark's studio, and to kaylin lapan, and nona martin for organizing this evening's program.the smithsonian american art museum is pleased to be partnering with theamerican society of media photographers
dc chapter and with photo week dc on this event and we hope tocollaborate on other photography related activities in the future. in the meantime i hope you'll take sometime if you haven't already to see the two photography exhibitions that are onview here at the american art museum. the first is on the first floor. it's called a democracy of images:photographs from the smithsonian american art museum and it was curatedby merry foresta to celebrate 30 years of the museum's photography program. the other one is on the second floor on
the f street side. it's called landscapes and passing:photographs by steve fitch, robbert flick, and elaine mayes, which iorganized and it looks at america as seen from the road in the nineteenseventies. before going any further there are two housekeeping issues i'd liketo mention. please just take a moment to silence your cell phone or any other potentially noisy devicesyou might have. we are also recording this program so at the endduring the question and answer session if you could ask your questions from themicrophone so that our virtual audience
can hear it. now to the main event. mary ellen mark whose distinctivephotographs have gained her worldwide recognition as a major documentaryphotographer and photojournalist. she's published photo essays andportraits and such publications as life, new york times magazine, the new yorker,rolling stone, and vanity fair among many others. her work hasappeared in numerous museum and gallery exhibitions worldwide, and she's traveledextensively. some of her best-known subjects include mother teresa, indiancircuses and bombay brothels. closer to home she's well known for a photo essayon teenage runaways in seattle. which
became the basis for the academyaward-nominated film streetwise directed by her husband martin bell and releasedin 1983. one of the best known characters from that project is a woman calledteeny and she's continued to document her life for the past 30 years. thosephotographs were my introduction to her work and i've admired the penetratinghumanism of her vision ever since. miss mark has a long list of books toher credit including: passport, ward 81, falkland road, mother teresa's mission ofcharity in calcutta, streetwise, indian circus, portraits, a cry for help, twins, exposure, seen behind the scene, andprom - and those are just some of them.
in the spring a new body of work - manand beast - will be published by the university of texas press, and aperturewill release an updated version of the streetwise book in 2015. she's the recipient of a number ofprestigious awards including: the cornell kappa award from the international center of photography, theinfinity award for journalism, an erna and victor hasselblad foundation grant, aguggenheim fellowship, and three national national endowment for the arts fellowships. herphotographs are in major museum collections all over the world from thewhitney museum of american art in new
york to the los angeles county museum ofart, and the centre pompidou in paris among many many many others. we'rethrilled to have her here with us this evening. please join me in welcoming mary ellenmark. thank you. can you hear me? is this okay? thank you so much asit's really an honor to be here and i want to thank the asmp, max taylor, andkaveh. did i pronounce it right? kaveh sedari, and thesmithsonian museum of american art,
lisa hottsteler, and kaylin lapan. it's really wonderful to be in thiswonderful museum and i'm really honored. i thought i am going to go through mywork really quickly because i want to show you three short films at the end. i tried to break it down in a way that made sense. i hope it does. i'm going to firstshow you a book that i did about six years ago. it's like a retrospective book. and herewe go. it was called exposure. otherpictures that i did from the time i
started photographing. i startedphotographing when i was 23 years old. i had a fulbright in 1965 to go toturkey. i travel in turkey and it was my first experience of really goingaround the world with a camera. this is a man who won the mustachecontest. and just traveling and taking pictures. i went to the annenberg schoolfor communication at university of pennsylvania. at that time it was an artschool and they have bruce davidson there who is a wonderful photographer. he gave us each an assignment and it was during christmas. my assignmentwas to photograph santa claus. that's santa claus on his lunch break. imoved to new york in in the mid sixties.
i started photographing events thatwere happening in the city. i traveled all around the city - went tocentral park - and i still i basically see myself as a street photographer.because for me that's the best exercise. to work, if you can work in the street,and photo, you could photograph anywhere or anything. this was on broadway, you know when itwas interesting. at that time, in the sixties - it was during thevietnam war - so there are a lot of protestors for the war and against thewar. it was very lively and i would go out with the camera. what was sodifferent that now when you go out on
the street with a camera, and i still do, everyone has a camera. everyone's aphotographer. everyone has a cell phone, or a video camera. people push andshove, it is very hard. at that time there weren't so many people out on thestreets. i started doing assignments for magazines. at that time, magazinesreally needed photographers and they need a documentary photographers. sadly that time is over. one of my first assignments was for ms. magazine and it was on appalachian women. i did all kinds of stories on it. i photographed, this was in hayden lakeidaho, the aryan nations.
i started to work commercially for filmcompanies and i would photograph on film sets and take pictures. one of my firstassignments was on the satyricon photographing federico fellini. itwas a fantastic experience. then i photographed lewis moonwell on tristana.i took this, this is edgar bergen and charlie mccarthy in los angeles. thiswas an assignment done in the nineties on old cowboys. it was my idea, andyou know when magazines flouished, you could actually bring an idea to a magazine andthey would do it. this was photographing old cowboys. actuallyhe came to the door dressed like that. that's the lone ranger.
you know, i'm not very conceptual. ialways, i kind of like to photograph people asthey are in the real environment. he was very paranoid. there used tobe this group called the day in the life of projects. it waswonderful actually because a whole bunch of photographers would get together andthey would fly us to spain or china or wherever and we would take pictures. youalways got pictures for yourself. this was in barcelona at a gypsy camp. this was in torino and in a hospital. this is one of my first assignmentsthat i did. it was for look magazine. it was on a hospital in london that wasgiving diminishing doses of heroin to
drug addicts. i teach at oaxaca and ihave taught there for 20 years. i've been going there for years. this wastaken in the sixties in oaxaca. it hasn't changed that much. this was in choppas, actually. this is traveling in the seventies with peter brooks (actor)in nigeria. in a story done for life magazine on street children in cartoon,and another one of the day in the life type projects in china in mickey mouseears - boy with mickey mouse ears. this was done a few years ago in northernmexico. it's at this very strange festival. worshipping a very strange saint. inorder to get this picture i had to go
into that pit of dirt, and i wasterrified that they were going to push me over because with myhasselblood but they didn't. this is in ireland a gypsy camp. first communion. it was a great time,there were so many things to photograph and so many places to go and people thatwould assign you to go to these places. this was in kiev when theformer soviet union opened up. this was a school for blind children. i read an interview when i was coming down here today that i did in 1991. it was for a smithsonian book, actually.it was on documentary photography.
they did a series of these small books.it made me so sad to read it because, you know, there was just oneassignment after another and it was it was an amazing time. i've had an amazing life andi'm very grateful for it, but i'm very sad that there are no more magazines. thiswas in ethiopia at corum. in corum they had a camp. i went to one place, i've alwaysfelt it's better to go to one place then to keep going back again and again. thisis one of the first stories that i did it was in india in the sixties. it was about young people that had goneto india. they had run away
actually, and they had gone there forenlightenment and for drugs. that was the first time i went to india. at thattime someone took me to falkland road. which was the street where the leastexpensive prostitutes lived. i swore i would go back one day. i convinceda magazine to spend the money to send me back there and i spent three monthsphotographing prostitutes in bombay. on falkland road. the name of the street was falkland road. then the next year, i love circus, but this is sort of acircus story but not really. india has street performers and it's atradition and it's passed on from generation to generation.
the snake charmer training his son. idid a story on street performance. that's a monkey trainer's daughter,and then mother teresa. when she won the nobel prize, and john, i convinced him to send me to calcutta. i did a story on the missionaries of charity, which is whather group is called. then i came back the following year and did more pictures fora book that was published by ansel adams. i just spent time in calcutta andphotographed all of her mission houses there. it was an incredible time.eventually, i had many many pictures i wanted to do, it was a tiny book - theseuntitled series - that the ansel adams did.
i, eventually, want to put together abig book i have so many pictures from the period of time i spentthere. traveling in india. i traveled a lot in india. this is the man who loved histree. in benar on the burning ghats. i was always fascinated by thechildren who lived on the burning ghats. who lived right beside the burning ghats.they live there because their fathers worked there. the circus, i loved the circus, and from the first days - and this was in the sixties,this picture - i would always ask when i went there, "is there a circus in town?"then i would go, and i would take pictures. then finally, in the earlynineties, i was able to put together a
project where i spent six months inindia and photographed 18 different surfaces. that's pinky. that's ron and his elephant shiama. this picture has significance for mesimply because right after i took this image i went to shake his hand to thankhim. mirra his beloved elephant bit me. elephant sorry, that's my hostilitytowards her, chimp. she bit my hand. then the nextyear i came back and he told me she'd
forgive me and i should go and shake herhand. so i went to the training, she was in a big training cage, and i went up toit. she looked at me and then she went to the end of thecase and she took this really strange position and charged me. i pulledmy arm out to just in time. so she hadn't forgiven me. chips are very tricky theirtrainers are usually missing fingers. that's raja and gloria. i knew rajasince he was a baby and he remembered me. i think in a way, as with falklandroad, being a woman it gave me
access to the circus. it might have beenmore difficult for a man because the girls in india are hired by theirfamilies. they pay, the trainers pay the families. it's very much forthe female children. being a woman i was able to go back in the tents. this isin mexico. that's, her last name is madonna. that's in oaxaca were i teach. then iwent to vietnam. one of those projects - day in the lifeprojects - and that was shot before by five. that's in new york, that's anime. ihad to bribe her to photograph her. i
think i had to bring a whole crate ofdonuts for her. this is an early photograph taken in thesixties at a kadian wedding. this is jeanette. this is taken in the seventies. i met herin central park and then followed her for a summer and she was just theyoungest looking pregnant girl i'd ever seen. i was able to be there for whenshe went into labor. then in the seventies i did, mid to late seventies, i did a seriesof pictures on a mental, in a mental hospital. i worked on cuckoo's nest and imet the director of the hospital who
just recently died, actually. he was in hislate nineties. we became friends and he allowed me to come back. i wastalking to someone about how it was easier to get access at that time thannow. the internet now people sort of realized the power ofphotography and they realize if you take their picture the whole world isconnected. everyone is going to see it. that's lori she stole our keys. we had a setof keys. we lived in a deserted ward right off the main ward. mary frances, she had been in the hospitalsince she was 15. then i did another story.
right after this, in miami beach, with people, a lot of old people were living there then, in south beach. this is harryhessle and he was a window washer. i met him and all he wanted was for me to photograph him nude. i have to say i was frightened. he was strong. he claimed to be a hundred and five. i don't believe him. anyway so i wentto his house to photograph and i brought someone with me. because, you have to, youknow, anyway. this is a retirement community in st. petersburg, florida.this is a story i did on gigalos. men that dance with women for money inflorida. a story for poverty, about
poverty, i mean i used magazines to do myown work. i mean, it was, they were like grantsfor me. they were a way for me to produce my ownwork. this was a project assigned by fortune magazine on poverty. rural andurban poverty in america. then for a while, not anymore, butfor a while i was working for the new yorker doing a photograph about new yorkfor them. this was a project for a it's sort of a nonprofit called help.which is a shelter but it's a really wonderful shelter because it gives families apartments to live in so they have their privacy. when theyasked me to do this i decided to do it
through the eyes of children that livedin a shelter. hello halloween. she is a mermaid. that's in texas. one assignment fromlife magazine about mall in middle america. i happened to go there whenmickey and minnie were there. people would line up all day just to go andmeet, with their kids, to meet mickey and minnie. i was always interested in prom. iphotographed many proms and i would do it first as a documentaryphotographer in 35 millimeter. then i went up to two and a quarter. medium format, six by seven with my
movia 7. more street work for the newyorker. this is a club in las vegas forcelebrity lookalikes. a project done for texas monthly on small town rodeos infour by five. a project on the death of a child. a project for life magazine on a leprosyhospital in carville, louisiana. a story on on a family that lived in a car for lifemagazine, the dan family, and i'm still in touch with them. the woman, the mother, just died but thetwo kids i'm in touch with them. that's jesse.i went back, i did the story in 1988,
and i went back in 1994 and foundthem. they were squatting in the high desert. that's jesse and that's nick.i took nick with me when i left and gave him to a friend of mine in la, so hehad a good life. this is probably the hardest picture i ever took it andagreed to publish. that's chrissy and her boyfriend. that's jesse when i saw him. i went up to meet him in the high desert. unfortunately jesse's in prison now becausehe killed someone, he shot them. california has very very strict gun laws,which i guess they should but we found him a good lawyer. that's the onlytrouble has ever been in so it was a
fight and i don't know why he had a gunbut in any case in a few years he will probably be out. i think he will have to serve about12 years. more on poverty in america. that's amanda and her cousin amy. it wasa story for life on problem children. this is sort of when life was juststarting to close and story never ran but it was a great opportunity for me totake pictures. i was always fascinated with twins. everybody's beenfascinated with twins. august sander, i mean everybody. it is so interesting, to people look exactly alike. i mean what could be more strange? anyway so i started working with the 20 by 24 polaroid about 15 years agoand it's a fantastic camera.
it's kind of the opposite of digitalbecause what you see is what you get. there's no, let's take care of it andpost, there is none of that. i mean what you see, you have to do yourlighting is if you're making a print. it's technically extremely challengingbut it's a fantastic camera. it produces this picture that's likean object. so i thought about twins and i decided to do a project ontwins. that was carla and miley and the doctor said that eventheir freckles were alike. that's teresa meriwether and telli meriwetherand they were twins that took care of twins, hydrocephalic boys. this is riley and emily schultz.
that's kelsey and heather dietrich and they hadover a hundred barbie dolls. unfortunately they didn't bring with them or i would havephotographed them. then i did a story for life, in the eighties,called streetwise, well the story wasn't called for streetwise, but we made a film calledstreetwise. but it is about street kids in seattle. that's raton mike withthe gun and it was an incredible assignment and i went out with a writer,sheryl mccalt, to seattle and we photographed kids on the street. thencame back and went back three months later to make a film which became streetwise. that's tiny.
i've followed her now since, well for 30 - it was 30 years ago - but i followed her for almost the full 30 years. that'sher with her mother lader and she has ten children now. she always wanted ten children. that'stwo of her kids. that's tiny, and we're going to do akickstarter to try and go out and now make another film about her, you know 30 years later with 10 children. thekids ranging in age from five to twenty seven so it should be really interesting.life is still a struggle for her but she's an amazing person. i want to go to the nextone how do i progress to the next one?
do i just? is it automatically going to go? oh, prom. ok, we're going to talk about prom. iwas talking about this 20 x 24 camera which i really really loved. i wasthinking what else can i do now? i want to do something else with it because iwas using it when i was working for the new yorker to do portraits. i saywhat can i do besides twins, what would be interesting?i thought about prom because i had been photographing proms. so i did a project where i photographedover four years 12 proms. it was really difficult to organize becauseat first i couldn't get any access to
any proms. because they are kids andagain the internet, they were afraid, you know, who was i? after the first yeari was able to get access. this is at tottenville high school in newyork. this was taken at palisades high, and this is their prom, and that'sin california, of course. this is at my high school. i went to my own high school, cheltenham high school in philadelphia. it's again my high school. we wanted a really fancy high school. the only school to turn me downwith sacred heart. i really wanted sacred
heart academy in new york so badlybecause it's a very fancy private school and it's very traditional. that'sthe only one that turned me down. we decided to go to harvard-westlakewhich is a very fancy school very good school in los angeles. theother schools in new york, they were too kind of cool for proms.they wear jeans they don't get dressed up, but at harvard-westlakeit's very california. you know in hollywood. it's a big deal so wegot into harvard westlake and that was harvard westlake. then this was in anotherschool. this was actually a really interesting school.
this is another westlake, butit's in austin and very upper middle class kids. this was at st. michael academya private catholic school in new york. but not fancy school. the nun was very upset. this is again st. michael academy. this is tottenville again, footballplayers. this is, actually tracked the kidsafterwards, this couple broke up it's very sad they were great couple.
this is at tottenville. this is my highschool and right when i was taking this picture the principal walked in and ithought, "uh oh i've had it," you know. but it was ok. this is tottenville again. tottenville was great, very italian. so she is very smart, actually. he's a hairdresser now, he is a hairstylist. i'd bump into them in new york all time. she's going tocolumbia graduate school in physics or something. this is at palisades charter high.this is at sloan kettering because sloan kettering has a prom. sloankettering is a cancer hospital in new
york. a great hospital. i've done, i've photographed there before so they let mecome to their prom to do this for the book. that's ashley and two of herfriends and ashely is doing fine now. she is, she is beautiful. we made afilm at the same time we did this and ashely was incredible in the film. this is at palisades high again. this was this incredible high school, it wasjust like being in mexico. exactly. it was at macarthur high school in texas, in houston. st. michael academy. this is a high school, mexico high school, in houston. this was a
wonderful high school. malcolm x shabazz high school in newark, new jersey. i love his watch, his bling. i've lost thisone. oh yeah, this again is at macarthurhigh school, that mexican high school in houston. this was at charlottesvillehigh school in charlottesville, virginia. ethica high. charlottesville again. charlottesville high. this is font bon hallprom. it is a private school, catholic school in newyork. lots of, sort of mafiosi daughters there.
it is an interesting high school.again this is malcolm x shabazz. this is charlottesville high. this is the schoolin houston, beautiful kids they were great. this is westlake high school in austin, texas. ok, the next one. man and beast. i wasn't goingto show this but i'm going to show it really quickly. it's just together and it's not a reallyorganized pdf but i'll do it really quickly. this book
i mean, i always wanted to do a book withthe title of man and beast, i did. i photograph animals a lot and mostof the images in this book are about the relationship between man and animals. the anthropomorphic quality of animalsand the animalistic quality of man. all the pictures are taken in india and in mexico. this is sort of about the similarities - strange similarities -of the two countries. that elephant there was an arcale andit's interesting because i gave her some bananas after doing this. they are so smart, elephants, and then i swearto you every time i would walk by her
after this, she would go into that pose. it's true, they are so smart and so sensitive. you have to be nice to elephants. more trainers are killed byelephants any other animal because if you hurt their feelings, they willkill you. i went to a semislaughterhouse, but never had the guts to go in. i neverhave. it terrifies me. they all go and look at their pictures and i think, "ehh," butthey've taken some amazing pictures there. i stayed after once and i went,and i couldn't go, i just couldn't do it. i went around back.
i got a slaughterhouse picture. thatact is called, "dr. elephant." the last thing i'm going to show youis are photographs of some of artists and then the films. just when i thoughteverything was all over, i had, last year, the most incredible assignment i've everhad. it was like one of those once in a million things at timessomething happens. it was to photograph for a pharmaceutical companycalled novartis. the director of novartis loves documentary photography. he hires really good people, i mean before me he hired james nachtweyand gene richardson. he loves
photography. so you get to go allover the world to pick your topic. it has to be medical, of course. i wanted to do something on pediatric medicine. he agreed. then martin, i suggested that martin make some filmsand so martin made some films and i'm going to show you those but i'll justshow you what i did very quickly. i went to iceland and photographed. because i did a book on disabled children in iceland. they have a great program fordisability in children in iceland. it is free, so i went to a summer camp fordisabled kids. a lot with cp or with with syndromes, various syndromes. i had known these kids because i
photographed them a couple years beforein the school so a lot of them i knew. which made it a little bit easier for me thenjust to kind of jump in and take their picture. this girl is amazing. some of mystudents in iceland i've taken them to her. she loves beingphotographed. she has severe cerebral palsy and so every summer she saves thetime for one of my students to come and photograph her. she's just amazing. hername is sola. but the camp is a wonderful place. it's free.they spend two weeks there. then we went to the children's hospital in losangeles. it was very hard to get access to a
hospital because they don't want to showfavoritism to one pharmaceutical company. but i know well the director ofoncology at children's hospital in la. he's a hematologist and an amazingdoctor so he let us come in there and we photographed in mainly hematologyoncology. that's ya saline. they used this actually on the cover oftheir annual report which is very brave for a company. this is a tough picture. she wanted to be acircus performer. went to indian and photographed a heart surgery
both catheterand open heart surgery. when i went to mexico, martin didn'tcome. because i teach there i know oaxaca really well. iphotographed doctors going out into the field and i photographed a school fordance children with which i know i know the owner really well because her child hasdown syndrome. i went out in the field with these doctors and dentists. the kidsin this village performed. that's martina and, you know,they wanted photographs of how older people live in europe and insouth america. older people live with the family, and i know her. that's herwith her family, and that's her grandchild.
that's on the coast. and veterinarymedicine. i went to kenyan and photographed malaria. that's actually burkitt's lymphoma,that's not malaria. i went to ukraine and photographed eyesurgery. with odessa in kiev. i went to china and photographed a biggeneral hospital and a school for autistic children. now, i'm going to show you the films. do you know how to put them on? ok, great. music playing
my son's name is ha-ha. he is handsome and shy but he cannot speak. he's a gift given to me by god. when hewas two he had a fever. before this fever he could speak and recognized pictures,but after that we found his language and intellect degrated. he became silent,wanting to be alone. gradually he did not speak at all. doctors told me it wasautism. our family life became chaotic. in the beginning, we knew nothing aboutautism and we were blindly optimistic thinking our son would recover withtreatment.
it turned out it will be an incurabledisease that would last his lifetime. it was then i made up my mind to start aschool and create a community of families to help each other. each schoolday there are 11 periods - six in themorning and five in the afternoon. we set our courses based on each child'scharacter and ability. we also provide guidance for the parents. my son is montengi. he's like a monkey jumping up and downmost of the time. doctors said he was suffering from autism.
it shocked me i couldn't accept it. i couldn't believe this would happen tomy little baby and my family. i even thought about committing suicide.until i watched the movie - the ocean heaven. it started me thinking if other peoplecan embrace their autistic children then why couldn't i? if i died my sweetheart would have roamed aboutin the street as those wondering cats and dogs. i realized only i could givehim a happy life. performing my duties as his mother. onthe internet
we found the autism school run bymrs. ja. i sent my baby there. there's be a great change in him. he canunderstand what people say to him and give responses. before he could only saymother and now he can speak words such as father, aunt, socks. when i used to ask him to work with me he did, but there was no eye contactbetween us. after going to school he gradually learned some life skills tocommunicate.
it's really helpful. i never considered having a second child.i just want him because he's my whole world. that's my daughter. before she was one year and two monthsold, the doctor had diagnosed her with autism, mental retardation, and cataract. i can't describe the feeling of it. i am just an ordinary person. threediseases? that's too much. it changed my whole life.
i found mrs. ja school. we were lucky. she change a lot. before shedid not share affection feelings with her family. now these feelings grow. my daughter and iare like friends. sometimes she calls me sister, sometimesshe asked to be the mom and i am the daughter. we get along with each othervery well. she's now in grade one in primaryschool. she has a friend in school - a little boy -she likes him. the boy told me he couldn't fullyunderstand my daughter's words. i think
the situation will change next semester. ithink it is a great love from all the teachers and mrs. ja that makes theschool great. it's definitely a kind of true love. i feel sorry for devoting much of mytime to the school. i'm sure i'm not a good mother. i leave solittle to spend with ha-ha. our goal is for the children that can togo to a normal school. even though i know ha-ha will never beable to go to a normal school. different people have different lives. this is the best way for him to live hislife and i respect that. i respect life.
i have to struggle with this blindness. i feel myself like a soldier during thewar he must struggle to win. to win the sight. every child have the right to sight. tolook to the face for the mother. to look for the sun, and all the beautiful surroundednature. when i restore this sight of a child, i'm happy. it gives me force, it gives me enthusiasm. it gives me love in my speciality, because it is wonderful thing. i havesome cases when the parents who are the
first who say, "oh, something wrong withthe eyes on my child." the first thing which the motherlook very carefully into the face of a child. of course it is eyes. when dasha was born she was put on me atonce. she opened her eyes and i saw that she had a problem. it was seeing. something's wrong with her eyes. cataract of both eyes, mycroft omiya ofher left eye,
mixed nystagmus, and high level of myopia. she had residual vision of lightperception. now she can see something. we have operated on both eyes and toremove cataract and remove big pieces of glass from both eyes. we were making preparations for theeaster celebration. we built a fire. there were some piecesof glass in the fire. they exploded. his sight was taken awayby this moment. he says, "don't cry mom, everything will be fine." he's getting better.
his left eye already can see a little. today, he had the surgery for his right eye.they were taking his stitches out. it is always so hard to wait. every time you have to think, do you doit well or no? the procedure of course is very delicate and their movements isvery little. the size of incision maybe one millimeter or even less than 1millimeter. for me to make this procedure you have to be very quiet, very calm. the surgeon opperate not by heavy hands,by the mind yoseline is, actually she's different frombefore she got sick.
now she is very independent. she's feisty, she's always been a girlygirl always wants to be wearing a dress. when she had her hair, she wanted herhair done. either a ponytail or braided but she always wanted to look nice. i would dressed her, and she would just go look inthe mirror. she'd model, pose just by looking at herself. that's funny, because she's so little. now it's even funnier because she acts like if she has hair. she brushes it.she just loves to dance and she sings.
it's just, she's just.. i don't know. she just hassomething there. yaseline is a very, very special girl. she has a rare condition. that is the bilateral wilms tumor.it was presented to us at a very advanced stage. with both her two kidneys involvedby the disease, as well as with lung metastases. since the beginning she wasvery spunky. she had that willingness to fight. wewent through therapy and she was always there with a smile, with a big hug, with abig kiss for me. that's what makes the day by day of my life so bearable.
i becamea pediatrician because after training in brazil and having trained as an adulthematologist i realized that treating kids are muchmore fun. cancer in children is something thatwe encounter day by day. what i decided for my life is that my job is tohelp them get through their journey. once i realized that i don't decidewhere the journey ends. that my relationship with the parents and with thechildren is just to help them through. it became easier. it became much simplerfor me to be able to deal with the day by day challenges, because i don't definethe end results.
i'm here to help them go through thechallenges of their day by day. dr. marcio is a very nice doctor. the first day that we got here, we met him and hewas actually getting ready to get married. he left whatever he was doing and cameto talk to us. we were scared, afraid ofknowing anything about her sickness. he just comforted us. explained to us step bystep the process of her treatment. it is hardbecause she's our only daughter. the pain of dealing with kids how hard it is to give a diagnosis to afamily.
how hard it is to look at a child. the lesson a family and to give the newsthat you you or your loved one has cancer. what hasn't changed is thatdespite all of our improvement the pain of giving a diagnosis, the pain of sharing our failures, ourinability to cure them our ability to offer alternative ortherapies that will secure long-term outcomes. that pain hasn't changed. as long asthat pain is within me, it's a reason for me to continue topractice and continue to try to help my
children and my family's. so do we have questions, any questions? you have to go to the microphonebecause otherwise i won't hear you. i have this little device it'll help me.let's see if i can hear you without it. thank you so much for your presentationand sharing the stories. i'm over here on the right. it was especially amazing forme to see the images from india because i'm originally from india. i've alsospent quite a bit of time in mexico as well. it's just very inspiring to hear the stories. the question i have is
regarding, two questions actually. oneis regarding black and white vs color photography. especially, you know, havingworked in india and mexico it's just filled with colors. i haveto say your black and white images are absolutely stunning. what's been yourpersonal experience in terms of black and white vs color? the secondquestion i have is regarding how everything is changing from thetraditional cameras to now digital cameras. do you now use digital cameras? what's been your personal experience as things are changing withcameras and digital photography and
everything else? thank you so much. well i'vealways done some work in color. i mean i photographed in bombay thebrothels in color. then i photographed street performers in color. but i'vealways felt that i'm personally more of a black and white photographer. i'm the first toadmit i think colors more difficult because you have an added element ofcolor that makes it very hard. i'm always, you know, when i'm teaching i'malways looking to see if a student is shooting color whether they're reallyshooting color pictures or whether they're shooting black and white pictures incolor. i think there is a difference.
i mean i really admire colorphotography, i think it's incredibly difficult. it's all difficult but it's even moredifficult. i think just for myself that i've always i think i see in black and white and thesubjects that i've picked seems to work better in black andwhite even if i am photographing in mexico or india it's just the way iapproach them. i approach them more as a black and white photographer. it doesn't mean i don'tthink color is beautiful and have great admiration for those are good at it. i dobut you know as far as digital versus a
analog. most of my students are shootingdigitally and you can make great pictures. you know, digitally ithink it's a different mindset, definitely. i still am working analog althoughrecently i got a monochrome camera so i'm going to try and learn and see. i mean, i have to see. i broke myshoulder this summer so i've had to kind of go light. but it's much better so i can soon start again. it's still in it's box. to take it out and tosee. you know, it's something new
and is it something different but ithink you can make great pictures. i mean it's all in your eye and your mind. the one thing that i really don't feel. idon't feel that the cell phone pictures are photography. i don't. i've been reallystrong i mean i think its visual social media. i think it's completely different. i think photography is harder than that. it takes time andit takes years to develop a point of view and a technique and i have suchadmiration for so many photographers that have brilliant technique and have agreat point of view. i think you know
picking up a cell phone and justtaking a picture, it's harder. it doesn't deserve that credibilityyet. so i've made a new rulewhen i teach that my students can't take pictures with cell phones. they have touse a real camera. i don't care if it is digital or analog.it's about your mind and where your mind is. yes but, i think you have to work with it.for the moment for the real camera. another question? yep, i've got one. hi, it's really a pleasure to see you. i've been following your work since '74. igot a series of books with paul philsco,
will mcbride, you, andannie leibowitz, arc cane. it was a whole series they did. i brought my book withme. i've had it since '74 and hope you sign it. my question is that i'm curiousabout the films. were they shot on film? the film is shotdigitally. it's shot digitally? i mean, i, for film work i mean it would have been impossible toget. martin has, you know, the whole set of super 16 equipment and allthe lenses and everything. we worked with very light equipment when we didthis project. i mean, i worked with
my mia 7 and my licus. that was what iworked with. i started out with a hasselblad also but then it was just toomuch equipment to carry. he worked with, you know, we each had oneassistant and it just would have been impossible to have a ton of 16millimeter equipment. it was just too difficult, and expensive, and complicated. digitally film he worked with a sony high definition digital camera. i think for filming it's great that you can make afilm, you can actually afford to make a
film. expense wise i think film anddigital arts are different because if you're working professionally, you know,commercially whenever you have to have a tech with you and everything for digital. it's just as expensive and ,you know printing is just as expensive. in still pictures there is not that big a difference but in film there is a huge difference in expense. he still loves film, he loves film. they are certainly lovely and very moving films. this side of the room is hard for me to hear, i don't hard for me to hear from you i don't understand why? maybe i'll use this forthis side of the room. i'm off to your left.
i'm off to your left, over here. let's see if i canhear on this side of the room. i'll tip my cap, in fact. off to your left, here we are. i don't know why? hi, thank you somuch for coming. i'll second the complements of your films. i started outas a filmmaker and the clarity and simplicity, the cutting away of allthe unnecessary stuff in the films i thought was wonderful. i did find myselfasking a question during your prom photos. i wanted to ask you how youmade the decision to shoot or to publish print and show some of thecouple's closer and some of them really deep farther away into the room?
how the decision was made between the closer up stuff. was it just where they stood? well, i thought it was really important to vary the scale in thephotographs. if it was one project it was going to be a book, or show, or both. i wanted to vary the scale because in working with a big twenty by twentyfour camera everything can kind of look the same. you can get caught in that. iwant definitely to vary the scale. i had to make a decision about the distance i wanted to be form the couples. i had to make that quicklybecause if you don't, first of all, especially with the prom,
you had a limited time whereyou could work with people. you're taking their prom away from them.also the film is so expensive. it's two hundred dollars a sheet. onesheet. you can't like try this, this, this. you have to reallymake a decision. so you moved the camera? i just made a decision. they didn't move, you move the camera? yeah. now because it was lit, it'svery lit. i mean we had sometimes 16 strokes. we had, not sometimes, we had 16 strokes. it's very lit. because you're shooting with
that you're shooting it with a lens. it'san 800 millimeter lens and an f 64. so you need a lot of light, you know. we wanted a depth of field. i didn't want to have to be so careful witheverything. we wanted it to be sharp enough that they can move a bit if they wantedto. so it needed a lot of light. i wantedit to be lit, i didn't want it to just be splash light on it. so it's almost lit like cinnamon, in a sense. it's a lot of nets and flags and is carefully lit. it's marked where they can stand. so yeah, the camera moved. mrs. mark, thank you for being here. i got to put these on.
thank you for being here. given your longevity in thebusiness, i watched your career for a long time. you have donemainly a recurring magazine work. can you hear me ok? ask me the question again? i'm sorry. given your longevity in the business, you have done mainly magazine in your careerwork. very little to no advertising, is great to see. i'm sorry, longevity to? well, your career. my career? yeah. oh, that's long.
i've been shooting a long time. right. i've followed you for a long time. myquestion is this. giving the girth or the maze of many media outlets along themarket of photography became apparent to what will help you. what would you say is the future? you have to rephrase that because i'm confused here.given what's happened in the photographic world. right. what am i going to do? yeah. exactly. okay. well, you know, it's a major problem.i mean basically i'm teaching.
i teach, and i sell my work. iwant to photograph, i still love taking pictures. i want to photograph. buti'm not working for magazines anymore. i haven't had a magazine call me in almost a year. surprising isn't it? well, that's because i don't walk around withit on instagram. you know, it's true. it's because they want very heavily photoshopped. a certain style.they want a certain style. so i mean it's not only me. i think it's a lotof people you don't see any more because they all want the quick fix and theywant to illustrate, i know, they want an
illustration. i'm not an illustrator. magazinesthat's, you know, they kind of follow each other like sheep. it is true, and they want illustrations.basically what you're seeing in magazines are illustrations that are veryheavily. i've nothing against photoshop. when it's use as a darkroom, it's great. itcan, you know, print, beautiful prints can be made. it's not really used as a darkroom. often the photographer doesn't even do thepost-production. it's done, but with somebody else who is actually doing the realwork. that's just not what i do.
i mean, i'm kind of a purist that lovesreality. that's not to trend now. they don't, that's not what they want. they want, you know, very commercial and very commercial, very decorated illustrations. so basically whati'm going to do, i mean, martin and i are trying toget funding. i'm going to work more with tiny in seattle. i'm gonna,i'm not gonna let a bunch of like art directors make me stop photographing. that's ridiculous. cheers in audience.
i think that we just have to, you know, thatyou just have to say with it. i believe in it. in the photographer's whosework i love the most are the photographers that do real work. you know, that are in a way purist. that take real pictures and that believe in content. i think the most important thing in aphotograph is its content. not it's, you know, flashy decorativedivisiveness - that's not interesting to me. i'd rather see that in a realillustrated drawing. i think it does it better. i mean, ijust, so i won't work for magazines.
basically that's just the wayit is. but i think you have to go on with your work. you know, ok. i feel very lucky in away because i did have a best of it. i was able to really do, youknow, and i felt that when i read the piece of 1991 in the smithsonian book. i was talking about when i was always goingto india for three months thats when i was working on the the circuses. then i was going tocome back and do this work for life magazine. there was never a questionthat when you doing a story.
the big thing was reality, that youweren't allowed to change anything in an image. now it's all aboutchanging everything. that's just not what i do. i mean it'sfine, you know, it's an illustration but i'm a photographer. so that's the way it is. mary ellen? yes. yes, we had the opportunity towork together before you went to seattle. when you came and you did ashoot of gallaudet. oh i remember that. loooonnng time ago. it was a long time ago. i think what you're talking about,
and i'd like to hear more about it, isthe story that goes with the photography. the point of view. when you're talkingwith your students about point of view. you know, as i've evolved over time all my work now has to do with threethings: race, class, and culture. that's the point of view, that's the lens that i lookat the world through. how do you work with your students nowon helping them get over their cellphone photographs, instant photographs?you are not allowed to take them in my class. yeah but how do you, how do you help themto develop that dere, that point of view?
well, i mean i, first of all i think it'simportant for them to work on their own. i never believed in them going,you know, when you are teaching, in a group and everyone taking pictures overeveryone's shoulder. so they have to work as individuals on their own project. even if they go to an event that'shappening in oaxaca or in wikavika or wherever. what i'mteaching for like, it's like, i mean don't teach over long periods of time. it's like a10 day workshop in oaxaca. i look at their work every day and i tryand see what direction they're going in and by looking at their contactsheets or with digital. it's not i'm
looking at a computer i have them cut itdown to the equivalent of lets say five or six rolls a day. i'm looking at what of what they'veshot. i try to show them how they see things well, and how they don'tsee things well, and how to be able to transfer. i mean, the cameras is a machine thatyou operate in a way to translate what you're thinking. it's more like writingphotography in a way. what you're thinking. in away there's nothing accidental about it. it has to be deliberate. you're shootingsomething for a reason. you're going after something for a reason.
it's not accidental. i don't think it's accidental. i guess that's what i feel with the cell phone. accidentally you can make areally pretty picture, easily. where as with the camera you have to really thinkabout your decision more, about why you are shooting something. i asked them a lot,"why'd you shoot that?" i mean, the work that they've done isreally great. some people that i have worked with over the years, they'vereally turned into a wonderful photographers. they have. by just thinking and havingthe courage to be able to have a point of view, an opinion aboutsomething. it's very important.
i remember that story atgallaudet. that was such a hard assignment. i've never felt more isolated in my life.being a hearing person among people that can't hear because it was sucha closed society. i really felt like an outsider. it was interesting, it wasalso it's very difficult to photograph. it is easy to photograph people that areblind because it's very visual being blind. it's very difficult to photograph peoplethat cannot hear because how do you show that with your camera? youcould film it, if you're making a film. but to show itin a still picture is extremely difficult. it
was, it was a very challenging assignment.the girl was beautiful. i remember her, she was beautiful. thathelped because she was so incredible looking. it was, it was difficult. yeah and she was a dance student. she was a dancer. she had a boyfriend a lovely boyfriend. i remember that. they broke up. what? they broke up. it was a great assignment, but there were somany assignments like that. they were just great and really challenged you.
for young people today i think it'sreally hard. they have to make their own assignments. they can't bediscouraged, you know, because it's not trendy to be interested in reality instead of decoration. it's not trendy to have a strong point ofview and to make images that are powerful with content. you can't, youknow, you have to fight for what you believe in and stick to what you believe in. i've always thought that. iguess i'm known to be like a tough cookie, but i'm not really. i'vealways felt that you have to fight for what you believe in.
if you want to do anythingworthwhile you have to do that. didn't mother teresa have you workand contribute to the mission before you could do the photographs? well, it wasn'ther, it was sister luke who ran the home for the dying. i had to, you know,help. mother teresa made me sit under the stairs, to learn humility. she punished me. she was stricter, more strict, more strict. sister luke ran home for the dying. now i think that yeah, i mean, i don't think younecessarily have to do that, though. i think that you are there as aphotographer and that's what you do but
it was it was interesting. i do believe in going back though. you go back to a placeagain and again and the people know you. then you have access because ofthat, you know, a certain access. although it's harder today than it was, because of the internet. i'm not sure if i went onfalkland road today whether i would be able to have access because of the internet. thank you. thanks. that actually leads into my questionperfectly. i'm curious if you see someone you wantto photograph or a situation you want to
photograph. do you always approach itthe same way? do you have a similar way of getting in to people, or do you alwaysvary it based on the situation? well now i'm in this period where i really don'tlike people looking at the camera. when i go out on the street ireally don't want them looking at, seeing me. i really like it to be able to be a fly on the wall. so i try and catch things. i'm trying more andmore to do that. but let's say if they see me or whatever i might sayto them, "you know, i'm a photographer. do you mind if i take your picture?" it was easier before because they say, "oh, so who you work for?" and then i'd say, "oh, i'm working for the new yorker, or i'm
working for life, or whatever." so now i can say, "well i'm just aphotographer, you know." i think there'snothing wrong with asking and if people say no, i never i never pushit. usually they don't say no. it depends, you know, you have to,everything is just different and you kind of, you sort of feel the situation. when i go on the street is usually around an event. but not the event itself, it's like the sidelines of the event and people arethere and they know they're going to be
photograped. so usually, it's okay. butyou can ask, there's nothing wrong with asking, or i'd like not to beseen now. you've had these long relationshipswith some of your subjects, do you feel like that's still possible? of course. likethat you still do that. yeah, i do that, i mean,that's why we hoped we're going to go out and photograph tiny again because weknow her, and they are there waiting for us. i was going to go this summer except for my arm. no, no, that's howi work, in a way. i like to do that because they know me and i feel morecomfortable.
although often i find it harder tophotograph someone i know then someone i don't know. with her ifyou have a photographic relationship with someone and go back to them that'sdifferent. thank you. mary ellen, i think that's itfor questions. kaveh, if you have any last comments? iwant to thank you very much for the presentation is wonderful. absolutely, terrific. thank you, thank you very much. i just want to also take a minute to thankour past presidents. a few of them are here.
they really showed us a lot goingforward. paul and irene, and rick, and hannile. thankyou so much for everything you've done through the years for a asmp dc, and ifi've missed anybody. thanks again to our board, theo, and theaudio visual guy, he was great. absolutely. thanks to the smithsonian andphoto week is still going on for quite a few days, right? theo, anything they should know? come ondown, join, have fun. there's a book signing with mary ellen. she has graciouslyagreed to sign your books. thank you so much.
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