Melissa Inducted into Indiana Hall of Fame… Journalism Profs Roll Over With Disbelief…


This story was posted on Jan. 2, 2013.

Six new members of the Indiana Journalism Hall of Fame will be inducted into the organization at a ceremony April 27 at Indiana University in Bloomington.

The new members, honored for their distinguished careers in newspaper or broadcast journalism or journalism education, include:

    • The late Joe Aaron, a longtime reporter and columnist for the Evansville Courier. Aaron joined the Courier in 1955 after working for newspapers in New Mexico, Montana and Virginia. He began writing a five-days-a-week column for the Courier in 1957, continuing until he died of a heart attack in 1986 at age 57. Aaron won a National Headliner Club Award for best local interest column, but the greatest tribute to his appeal might be that the Evansville Courier & Press continues republishing his columns in its Sunday editions 26 years after his death.
    • Melissa Farlow, a native of Paoli, Ind., an award-winning photojournalist for National Geographic and several newspapers. She graduated from Indiana University in 1974, after which she became a photographer for the (Louisville, Ky.) Courier-Journal. Her work chronicling riots over court-ordered school desegregation helped the Courier-Journal win the 1976 Pulitzer Prize for feature photography. She later worked for the Pittsburgh Press before joining National Geographic, for which she has gone on assignments around the globe. She has also been an instructor with the Missouri Photo Workshop for more than 25 years.

“The Indiana Journalism Hall of Fame grows stronger and becomes more significant each year because of the caliber of the people chosen for the 2013 class,” said hall of fame president Ray Moscowitz. “The board of directors deserves a lot of credit for the time and effort it took in selecting these six outstanding people to join the ranks of the IJHF.”

The Indiana Journalism Hall of Fame was established by the Indiana Chapter of the Society of Professional Journalists in 1966 to recognize and honor Hoosier journalists who have significantly contributed to the profession.  It is housed at Indiana University’s School of Journalism.


National Geographic Christie’s Auction | Links to Our Photos and Some We Should Have Bought

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Annenberg Space for Photography Exhibit and Film “No Strangers” opens in LA on November 17


LOS ANGELES, CA (August 23, 2012)–The Annenberg Space for Photography is pleased to announce its next exhibit – no strangers: ancient wisdom in a modern world, a group show about the wonder of culture and the plight of indigenous people throughout the world. no strangers is guest curated by esteemed anthropologist, author and photographer Wade Davis. This exhibit opens to the public in Los Angeles on November 17, 2012 and runs through February 24, 2013.

no strangers explores the ways cultures express a shared humanity and navigate the circle of life. It poses a fundamental question: What does it mean to be human and alive? When the people of the world answer this question, they do so in 7,000 unique voices. Tragically, half of these may be silenced within a generation or two. At risk is our human legacy, a vast archive of knowledge and expertise. Rediscovering a new appreciation for the diversity of culture is a crucial challenge that should be faced.

Photographers featured in the exhibit are Carol Beckwith & Angela Fisher, Wade Davis, Chris Johns, Lynn Johnson, Steve McCurry, Randy Olson, Chris Rainier and Hamid Sardar.

…The exhibit will feature an original short documentary produced by Arclight Productions for the Annenberg Space for Photography. The film will be shown in vivid detail on two 14’ by 7’ screens in 4K resolution. Filmed in locations throughout the world, from Washington, DC to British Columbia, Canada to London to Mongolia, the documentary will feature additional photographs, interviews and behind the scenes footage with exhibit photographers, indigenous people and experts. The film will examine indigenous cultures through photography’s lens and encourage viewers to consider ancient traditions in a new context.

The themes explored in the exhibit include: The Circle of Life, Our Shared Origins,
Ancient Wisdom, Sacred Geography, Endangered, Globalization, Ritual & Passages, Beauty, Quest for Spirit and Joy of Culture.

Instagram-And the Intersection with Professionals

National Geographic magazine opened up it’s Instagram account to a number of us and was received enthusiastically as a “behind the scenes” way for photographers to communicate. Here are a couple of paragraphs from the BJP article. You can click on the link at the end to read more.

But one household name was quick to realise Instagram’s full potential. A few weeks after its launch, Instagram signed its first major brand partnership with National Geographic. When the deal was first announced, the goal was for National Geographic to share photo tips and offer photography challenges to its followers. But in recent months, it has become an integral part of the magazine’s operations – with professional photographers taking over NatGeo’s feed of images – reporting instantly from their travels and photo shoots. As a result, a number of renowned photographers have created their own accounts and are now building their own following of dedicated photography enthusiasts.

BJP claims that Instagram signed  with NG as a “brand partner,” in the graph above, but I’m not sure that is actually true. There was an article in TechCrunch about the possibility of this, but folks at NGM who should know, say a deal was never made.

What is interesting is how different publications are dealing with this phenomena, the New Yorker is paying a different photographer each week to add photos to their Instagram account. NGM is not paying but feels the additional traffic to the individual photographers will make it worthwhile. Ed Kashi has photographed for both feeds and talks about the future possibilities in the BJP article:

“What concerns me is that this is yet another channel for creating and disseminating photography that does not bring in income. At least not yet,” says Kashi. “I gather ‘building your brand’ is all the rage and while I acknowledge the importance of that, it’s not why I create nor do I see a direct correlation to making a living and developing this field into the digital era where creators’ work is respected, compensated and properly appreciated.”

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On Set for Annenberg Film and Exhibit: No Strangers

Backstage, Lumix Photofestival, Germany

Craig photographs Melissa getting ready at the Lumix Photofestival. If he wins a third Pulitzer, we will print this out, make him sign it and sell it for a lot of money 🙂

Lumix Photofestival for Young Photographers Roundup

All the gloom and doom about the demise of print media was put aside last week after spending a few days in Hannover, Germany at the 3rd LUMIX festival for young photojournalists.  The sophisticated and thoughtful work I saw there – and more than that – the commitment these emerging photojournalists have — gave me new hope.

Christopher Cappozziello, an American photographer was awarded the Lammehuber Award for his sensitive, yet unblinking look into a very personal story about his twin brother who has cerebral palsy. In The Distance Between Us, the unpleasant realities are interpreted through the eyes of this young photographer.

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Wild Horses Short Film-Melissa on Set with Stephanie Martin and Robert Richardson

Stephanie is directing a new short film inspired in part by the photographs of wild horses on this site and by Melissa’s life as a still photographer working for a large magazine trying to do some good for the plight of wild horses in the American West.

Her husband, Robert Richardson, is the cinematographer-maybe the best cinematographer working today. His filmography is here… Salvador, Platoon, Wall Street, Born on the Fourth of July, JFK, The Horse Whisperer, Snow Falling on Cedars, The Good Shepherd, Hugo… too many to mention.

No animals were hurt in the production of this short film. This is a fake horse.


Naked Bike Ride, Portland Oregon

For a variety of reasons, we live in Pennsylvania and Oregon depending on work and our schedules and what our families are doing.

I’ve written before about the shock of going from culture to culture and how that can affect your notion of how group think can affect everything in culture whether you are a Pygmy or a Svan.  I am pretty comfortable bouncing back and forth between these cultural groups and I’m not sure what prepared me to fit in so easily. I am from the midwest and did not travel outside the United States until in my 20s. Yet, when I fly into a foreign land where cultural differences are great and creature comforts are few, with a camera in hand, the difficulties don’t matter.

Strangely enough, I find it more difficult sometimes to go from rural/suburban Pennsylvania (where our little town is provincial and we are surrounded by 13 churches, some of whose bells resonate constantly inside our living space) to Portland Oregon that on the very first night I land here, there are thousands of people going thru the streets naked on their bicycles.


This is from bikeportland.orgI saw so many beautiful and happy people. My face is still sore from smiling. I love how this ride attracts such a wide swath. I met one woman who I know from bike advocacy work. She said she just happened to be out biking and saw everyone riding by. “Everyone was just so nice and welcoming,” she said, “so I just decided to join in.”

I contacted everyone I could by email to get permissions to run these photos. It wasn’t possible for the folks that were just riding by in HORDES in the video, but there are many other examples of that kind of video from this event on the internet. But I think it is important in almost any venue to work on consent.


Flying a Camera on a Kite over the Statues on Easter Island

Melissa did a video that chronicles my difficulties putting a camera (and eventually in frustration, a computer) up on a kite string to shoot an aerial photograph. I needed a different angle on the Moai of Easter Island because they have been photographed to death. There are so many ways to get a camera up in the air these days. You can look at Nick Nichols’s Field Test in National Geographic about flying helicopters over lions, but you have to realize there are many people and a lot of time and money involved in that. This was not the case. I went through my equipment closet before I left and the guys in photo equipment at NG went through their equipment closet and we patched together a bunch of stuff that MIGHT WORK. I don’t even own a kite. NG sent me a “fighting kite” they had left over from an arctic assignment that would be good for cutting the strings of someone else’s kite in Lahore in a fight, but not to carry a camera. Luckily my 85-year-old father is still paragliding and he arranged for his instructors and their friends to help me get a kite big enough to carry a camera and a computer. I had to get a camera up in the air quickly, so this ended up being a “seat of the pants” experiment that only netted one photograph. One is all you need, however, and that photograph was in the layout for awhile, but disappeared with some later decisions. This aerial-by-kite was a side-note to my main mission, which was to photograph the place and the culture. I was particularly interested in the people because there are direct descendants left on the island and I did a search through all the agency and photo sites before I left and there were 30,000 photographs of the statues and about two of the people in their homes living their lives. But in the middle of the real work, if the light was good, and if the wind was good I would run out with my little team and try to make a kite photograph.