A photograph (often shortened to photo) is an image created by light falling on a light-sensitive surface, usually photographic film or an electronic imager such as a CCD or a CMOS chip. Most photographs are created using a camera, which uses a lens to focus the scene's visible wavelengths of light into a reproduction of what the human eye would see. The process and practice of creating photographs is called photography. The word "photograph" was coined in 1839 by Sir John Herschel and is based on the Greek ''φῶς (phos)'', meaning "light", and ''γραφή (graphê)'', meaning "drawing, writing", together meaning "drawing with light".

History

The first permanent photograph was made in 1822 by a French inventor, Joseph Nicéphore Niépce, building on a discovery by Johann Heinrich Schultz (1724): that a silver and chalk mixture darkens under exposure to light. Niépce and Louis Daguerre refined this process. Daguerre discovered that exposing the silver first to iodine vapor, before exposure to light, and then to mercury fumes after the photograph was taken, could form a latent image; bathing the plate in a salt bath then fixes the image. These ideas led to the famous daguerreotype.

The daguerreotype had its problems, notably the fragility of the resulting picture, and that it was a positive-only process and thus could not be re-printed. Inventors set about looking for improved processes that would be more practical. Several processes were introduced and used for a short time between Niépce's first image and the introduction of the collodion process in 1848. Collodion-based wet-glass plate negatives with prints made on albumen paper remained the preferred photographic method for some time, even after the introduction of the even more practical gelatin process in 1871. Adaptations of the gelatin process have remained the primary black-and-white photographic process to this day, differing primarily in the film material itself, originally glass and then a variety of flexible films.

Color photography is almost as old as black-and-white, with early experiments dating to John Herschel's experiments with Anthotype from 1842, and Lippmann plate from 1891. Color photography became much more popular with the introduction of Autochrome Lumière in 1903, which was replaced by Kodachrome, Ilfochrome and similar processes. For many years these processes were used almost exclusively for transparencies (in slide projectors and similar devices), but color prints became popular with the introduction of the Chromogenic negative, which is the most-used system in the C-41 process. The needs of the movie industry have also introduced a host of special-purpose systems, perhaps the best-known being the now rare Technicolor.

Types of photographs

Non-digital photographs are produced with a two-step chemical process. In the two-step process the light-sensitive film captures a ''negative'' image (colors and lights/darks are inverted). To produce a ''positive'' image, the negative is most commonly transferred ('printed') onto photographic paper. Printing the negative onto transparent film stock is used to manufacture motion picture films.

Alternatively, the film is processed to invert the ''negative'' image, yielding positive transparencies. Such positive images are usually mounted in frames, called slides. Before recent advances in digital photography, transparencies were widely used by professionals because of their sharpness and accuracy of color rendition. Most photographs published in magazines were taken on color transparency film.

Originally all photographs were monochromatic, or hand-painted in color. Although methods for developing color photos were available as early as 1861, they did not become widely available until the 1940s or 50s, and even so, until the 1960s most photographs were taken in black and white. Since then, color photography has dominated popular photography, although black and white is still used, being easier to develop than color.

Panoramic format images can be taken with cameras like the Hasselblad Xpan on standard film. Since the 1990s, panoramic photos have been available on the Advanced Photo System film. APS was developed by several of the major film manufacturers to provide a film with different formats and computerized options available, though APS panoramas were created using a mask in panorama-capable cameras, far less desirable than a true panoramic camera, which achieves its effect through a wider film format. APS has become less popular and is being discontinued.

The advent of the microcomputer and digital photography has led to the rise of digital prints. These prints are created from stored graphic formats such as JPEG, TIFF, and RAW. The types of printers used include inkjet printers, dye-sublimation printer, laser printers, and thermal printers. Inkjet prints are sometimes given the coined name "Giclée".

The web has been a popular medium for storing and sharing photos ever since the first photograph was published on the web by Tim Berners-Lee in 1992 (an image of the CERN house band Les Horribles Cernettes). Today popular sites such as Flickr, Picasa and PhotoBucket are used by millions of people to share their pictures.

Preservation

Paper folders

Ideal photograph storage involves placing each photo in an individual folder constructed from buffered, or acid-free paper. Buffered paper folders are especially recommended in cases when a photograph was previously mounted onto poor quality material or using an adhesive that will lead to even more acid creation. Store photographs measuring 8x10 inches or smaller vertically along the longer edge of the photo in the buffered paper folder, within a larger archival box, and label each folder with relevant information to identify it. The rigid nature of the folder protects the photo from slumping or creasing, as long as the box is not packed too tightly or under filled. Folder larger photos or brittle photos stacked flat within archival boxes with other materials of comparable size.

Polyester enclosures

The most stable of plastics used in photo preservation, polyester, does not generate any harmful chemical elements, but nor does it have any capability to absorb acids generated by the photograph itself. Polyester sleeves and encapsulation have been praised for their ability to protect the photograph from humidity and environmental pollution, slowing the reaction between the item and the atmosphere. This is true, however the polyester just as frequently traps these elements next to the material it is intended to protect. This is especially risky in a storage environment that experiences drastic fluctuations in humidity or temperature, leading to ferrotyping, or sticking of the photograph to the plastic. Photographs sleeved or encapsulated in polyester cannot be stored vertically in boxes because they will slide down next to each other within the box, bending and folding, nor can the archivist write directly onto the polyester to identify the photograph. Therefore, it is necessary to either stack polyester protected photographs horizontally within a box, or bind them in a three ring binder. Stacking the photos horizontally within a flat box will greatly reduce ease of access, and binders leave three sides of the photo exposed to the effects of light and do not support the photograph evenly on both sides, leading to slumping and bending within the binder. The plastic used for enclosures has been manufactured to be as frictionless as possible to prevent scratching photos during insertion to the sleeves. Unfortunately, the slippery nature of the enclosure generates a build-up of static electricity, which attracts dust and lint particles. The static can attract the dust to the inside of the sleeve, as well, where it can scratch the photograph. Likewise, these components that aid in insertion of the photo, referred to as slip agents, can break down and transfer from the plastic to the photograph, where they deposit as an oily film, attracting further lint and dust. At this time, there is no test to evaluate the long-term effects of these components on photographs. In addition, the plastic sleeves can develop kinks or creases in the surface, which will scratch away at the emulsion during handling.

Handling and care

It is best to leave photographs lying flat on the table when viewing them. Do not pick it up from a corner, or even from two sides and hold it at eye level. Every time the photograph bends, even a little, this can break down the emulsion. The very nature of enclosing a photograph in plastic encourages users to pick it up; users tend to handle plastic enclosed photographs less gently than non-enclosed photographs, simply because they feel the plastic enclosure makes the photo impervious to all mishandling. As long as a photo is in its folder, there is no need to touch it; simply remove the folder from the box, lay it flat on the table, and open the folder. If for some reason the researcher or archivist does need to handle the actual photo, perhaps to examine the verso for writing, he or she can use gloves if there appears to be a risk from oils or dirt on the hands.

Myths and beliefs

Since daguerreotypes were rendered on a mirrored surface, many spiritualists also became practitioners of the new art form. Spiritualists would claim that the human image on the mirrored surface was akin to looking into one's soul. The spiritualists also believed that it would open their souls and let demons in. Aborigines believed that taking one's picture took part of one's soul away.

See also aniconism.

Legal issues

Laws on child pornography, extreme pornography, etc. often restrict photographs and films even more than the depicted acts: photographs and films of legal acts may be illegal.

See also

Archival science

Digital photography

Largest photographs in the world

Photo slideshow

Photograph stability

Photographic printing

Pseudo-photograph

Director of Photography

View from the Window at Le Gras

Hand-coloring of photographs

References

Category:Greek loanwords

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name	James Nachtwey
birth date	March 14, 1948
birth place	Syracuse, New York, USA
occupation	Photojournalist
gender
credits	See Awards, honors and films
url	http://www.jamesnachtwey.com/ }}

James Nachtwey (born March 14, 1948) is an American photojournalist and war photographer.

He grew up in Massachusetts and graduated from Dartmouth College, where he studied Art History and Political Science (1966–70).

He has been awarded the Overseas Press Club's Robert Capa Gold Medal five times. In 2003, he was injured by a grenade in an attack on his convoy while serving as a ''Time'' contributing correspondent in Baghdad, from which he has made a full recovery.

Photography

Nachtwey started working as a newspaper photographer in 1976 at the Albuquerque Journal. In 1980, he moved to New York and began working as a freelance photographer. In 1981, Nachtwey covered his first overseas assignment in Northern Ireland illustrating civil strife. He has documented a variety of armed conflicts and social issues, spending time in South Africa, Latin America, the Middle East, Russia, Eastern Europe, the former Soviet Union shooting pictures of war, conflict and famine, and images of socio-political issues (pollution, crime and punishment) in Western Europe and the United States. He currently lives in New York City.

In 1994, Nachtwey was covering the upcoming elections in South Africa, the first non-racial ones in decades. As an associate of the Bang-Bang Club, he was at the scene when Ken Oosterbroek was killed and Greg Marinovich was seriously injured.

Nachtwey had been injured previously in his work, but it was during his extensive coverage of the United States invasion of Iraq that he received his first combat injury. As Nachtwey, along with ''Time'' correspondent Michael Weisskopf rode in the back of a Humvee with the United States Army "Tomb Raiders" Survey Platoon, an insurgent threw a grenade into the vehicle. Weisskopf grabbed the grenade to throw it out of the humvee, but it exploded in his hand. Two soldiers were injured in the explosion, along with the ''Time'' journalists. Nachtwey managed to take several photographs of medic Billie Grimes treating Weisskopf before passing out. Both journalists were airlifted to Germany and later to hospitals in the United States. Nachtwey recovered sufficiently to return overseas to cover the tsunami in Southeast Asia of December 26, 2004.

Nachtwey has worked with ''Time'' as a contract photographer since 1984. He worked for Black Star from 1980 until 1985 and was a member of Magnum Photos from 1986 until 2001. In 2001, he was a founding member of the VII Photo Agency (he disassociated from VII in August 2011)

Nachtwey was present during the September 11, 2001 attacks on the World Trade Center, and produced a well known related body of work. He also compiled a photo essay on the effects of the Sudan conflict on civilians.

In February 2011, Nachtwey contributed to a controversial piece for Vogue Magazine, which shone a favorable light on Syrian dictator Bashar al-Assad and his family. The article and the photo series were particularly controversial as a peaceful protest movement in the context of the Arab Spring that was gathering steam at the same time, was brutally put down by the Syrian regime's military and secret police services. By December 2011, death toll estimates of the uprising ranged between 3,500 and 5,000, while an approximate 30,000 civilians were imprisoned and, in many cases, tortured severely. Vogue later decided to remove the article from its pages. Nevertheless, the article can still be accessed on the Syrian presidency's own website.

Awards, honors and films

Nachtwey photographs have been exhibited throughout Europe and the United States and he has received numerous prizes and awards including the World Press Photo award in 1994. Nachtwey has also been awarded the Overseas Press Club's Robert Capa Gold Medal in 1983, 1984, 1986, 1994 and 1998. In 2001, the documentary ''War Photographer'' was released, focusing on Nachtwey and his work. Directed by Christian Frei, the film received an Academy Award nomination for best documentary film.

Nachtwey received the prestigious Dan David Prize in 2002 for his haunting photos aimed to burden viewers with an uncomfortable awareness that will force them to seek justice and change.

In 2006, Nachtwey was awarded the 12th Annual Heinz Award in Arts and Humanities from the Heinz Family Foundation for his body of work, an honor that includes a monetary prize of US $250,000. Nachtwey is one of three winners of the 2007 TED Prize. Each recipient was granted $100,000 and one "world-changing wish" to be revealed at the 2007 TED conference, in Monterey, California. Many members of the TED Community, and a group of world-class companies, have pledged support to help fulfill the wishes. Nachtwey's wish, revealed March 8, 2007, is this: "There's a vital story that needs to be told, and I wish for TED to help me gain access to it and then to help me come up with innovative and exciting ways to use news photography in the digital era." Those who wish to help him will sign an NDA and help him "gain access to a place in the world where a critical situation is occurring and fully document it with photography; set a date to unveil the pictures and find a series of innovative ways to create powerful impact with them, using novel display technologies and the power of the Internet as well as media; and use the campaign to generate resources for organizations that are working to address and transform the situation." Early results of this work have been unveiled at XDRTB.org to document extensively drug-resistant tuberculosis throughout the world.

In 2008, Nachtwey exhibited a series of original photographs at Le Laboratoire in Paris, France. The exhibit entitled "Struggle For Life" documented the human toll of TB and AIDS presented the work of Nachtwey with text by Dr. Anne Goldfeld of work they began together in Cambodia in 2003 as well as photos from Thailand, Africa and Siberia. The work was accompanied by film portraits of Nachtwey and several leading medical scientists participating in the Attention! Symposium by American filmmaker Asa Mader.

References

External links

Official website

James Nachtwey TEDTalk: Use my photographs to stop the worldwide XDR-TB epidemic

VII photo agency

Film Portrait of James Nachtwey by Asa Mader

Time.com: Shattered 9/11/2001

''War Photographer'' Documentary

Close Up: Five Questions With James Nachtwey

PBS online NewsHour: Conversation with James Nachtwey

The Independent Oct 2002 - Review of Nachtwey Lecture at the Royal Geographical Society

Creating awareness of extremely drug-resistant TB (XDR-TB)

2003 Dan David Prize laureate

The Heinz Awards, James Nachtwey profile

Category:1948 births Category:Living people Category:American photographers Category:American photojournalists Category:Dartmouth College alumni Category:War photographers Category:War correspondents Category:American war correspondents Category:People from New York City Category:People from Syracuse, New York Category:Photography in Cambodia Category:Photography in Iraq Category:Photography in Lebanon Category:American sailors

cs:James Nachtwey de:James Nachtwey es:James Nachtwey fa:جیمز نچوی fr:James Nachtwey it:James Nachtwey nl:James Nachtwey ja:ジェームズ・ナクトウェイ pl:James Nachtwey pt:James Nachtwey ru:Нахтвей, Джеймс sk:James Nachtwey sv:James Nachtwey zh:詹姆斯·纳赫特韦

name	James Beard
birth place	Portland, Oregon, United States
death place	New York City, New York, United States
style	French, Chinese
website	http://www.jamesbeard.org/ }}

James Andrew Beard (May 5, 1903 – January 21, 1985) was an American chef and food writer. The central figure in the story of the establishment of a gourmet American food identity, Beard was an eccentric personality who brought French cooking to the American middle and upper classes in the 1950s. His legacy lives on in twenty books, numerous writings, his own foundation, and his foundation's annual Beard awards in various culinary genres.

Early life

Beard was born in Portland, Oregon, to Elizabeth and John Beard. His mother operated The Gladstone Hotel and his father worked at the city's customs house. The family vacationed on the Pacific coast in Gearhart, Oregon. There, Beard was exposed to the unique local foods of the Pacific Northwest, including seafood and wild berries.

Beard's earliest memory of food was the Lewis and Clark Exposition of 1905, when he was just two years old. Beard in his memoir recalled:

I was taken to the exposition two or three times. The thing that remained in my mind above all others — I think it marked my life — was watching Triscuits and shredded wheat biscuits being made. Isn't that crazy? At two years old that memory was made. It intrigued the hell out of me.

At the age of three, Beard was bedridden with malaria. This sickness gave him time to eat and enjoy the food prepared by his mother and their Chinese helper. Beard's early childhood, and the influence that Chinese cooking had on him, helped prepare him for a later life at the forefront of culinary American ''chic''. According to Beard, he was raised by Thema and Let who instilled a passion for Chinese culture. According to David Kamp, "in 1940 — he realized that part of his mission [as a food connoisseur] was to defend the pleasure of real cooking and fresh ingredients against the assault of the Jell-O-mold people and the domestic scientists." Beard lived in France in the 1920s. Consequently, he experienced French cuisine at bistros. As a result of this exposure and the subsequent influence of French culinary culture, he became a Francophile.

Education

According to the James Beard Foundation, "After a brief stint at Reed College in Portland," (from which he was expelled in 1922 for homosexual activity) "in 1923 Beard went on the road with a theatrical troupe. He lived abroad for several years studying voice and theater, but returned to the United States for good in 1927."

Career

He trained initially as a singer and actor, and moved to New York City in 1937. Not having much luck in the theater, he and his friend, Bill Rhodes, capitalized on the cocktail party craze by opening a catering company, "Hors d'Oeuvre, Inc.", which led to the publication of Beard's first cookbook, ''Hors D'Oeuvre and Canapés'', a compilation of his catering recipes. Rationing difficulties during World War II brought his catering business to a halt. In 1946, he appeared on an early televised cooking show, ''I Love to Eat'', on NBC, and thus began his rise as an eminent American food authority.

According to Julia Child, Beard was on the culinary road map in 1940 with the publication of his first book, ''Hors d'Oeuvre and Canapés''. Beard started out with a catering business in New York, followed by lecturing, teaching, and writing both books and articles. Child states, "Through the years he gradually became not only the leading culinary figure in the country, but 'The Dean of American Cuisine'." According to the James Beard Foundation website: "In 1955, he established The James Beard Cooking School. He continued to teach cooking to men and women for the next 30 years, both at his own schools (in New York City and Seaside, Oregon), and around the country at women's clubs, other cooking schools, and civic groups. He was a tireless traveler, bringing his message of good food, honestly prepared with fresh, wholesome, American ingredients, to a country just becoming aware of its own culinary heritage."

James Beard brought French cooking to the American middle and upper classes in the 1950s. Beard starred on TV as a cooking personality. David Kamp notes that this show was the first cooking show on TV. Kamp contrasts Dione Lucas's cooking show and cooking school with that of James Beard, noting also that their prominence in the 1950s marked the emergence of a New York-based, nationally- and internationally-known sophisticated food culture. Kamp notes, "It was in this decade [the 1950s] that Beard made his name as ''James Beard'', the brand name, the face and belly of American gastronomy." Kamp points out that Beard was able to meet Alice B. Toklas on a trip to Paris, illustrating Beard's extensive network of fellow food celebrities that would follow him throughout his life and carry on his legacy after his death.

Financial needs caused Beard to sign endorsement deals promoting products that he might otherwise have not used or suggested in his own cuisine, had he been financially independent. Beard entered into an endorsement project with the Green Giant canned food company. Kamp explains that Beard felt that he was a "gastronomic whore" for doing so. Apparently, mass-produced food that was neither fresh, local, nor seasonal, was a betrayal of Beard's gastronomic beliefs, but arose from his desire to pay for his cooking schools.

In 1981, along with friend Gael Greene, Beard founded Citymeals-on-Wheels, which continues to help feed the home-bound elderly in New York City.

Personal life

Julia Child accurately sums up Beard's personal life in a brief description:

Beard was the quintessential American cook. Well-educated and well-traveled during his eighty-two years, he was familiar with many cuisines but he remained fundamentally American. He was a big man, over six feet tall, with a big belly, and huge hands. An endearing and always lively teacher, he loved people, loved his work, loved gossip, loved to eat, loved a good time.

Child's summary makes two significant omissions. The first is that he was homosexual. Beard's memoir states: "By the time I was seven, I knew that I was gay. I think it's time to talk about that now." The second was Beard's own admission of possessing "until I was about forty-five, I guess a really violent temper."

Mark Bittman (who did not know Beard personally) describes him in a manner similar to that of Julia Child: "In a time when serious cooking meant French Cooking, Beard was quintessentially American, a Westerner whose mother ran a boardinghouse, a man who grew up with hotcakes and salmon and meatloaf in his blood. A man who was born a hundred years ago on the other side of the country, in a city, Portland, that at the time was every bit as cosmopolitan as, say, Allegheny PA."

Beard died January 21, 1985, in New York City, New York, United States, of heart failure at the age of 81. He was cremated, and his ashes were scattered over the beach in Gearhart, Oregon, United States, where he spent his summers as a child.

Foundation

The James Beard Foundation was set up in Beard's honor to provide scholarships to aspiring food professionals and to champion the American culinary tradition — which Beard helped create. Since 2001 the Beard Foundation has awarded over $2.2 million in scholarships and tuition waivers to young culinarians and career changers pursuing culinary studies.

For a time, the foundation was plagued by scandal; in 2004 its head, Leonard Pickell, resigned and was imprisoned for grand larceny and in 2005 the board of trustees resigned. It was during this period that chef and writer Anthony Bourdain referred to the foundation as "a kind of benevolent shakedown operation". Since that time a completely new board of trustees has instituted a new ethics policy and selected a new president, Susan Ungaro, both actions explicitly targeted at preventing further abuse.

The foundation continues to experience some financial difficulty; it has operated at a deficit for several consecutive years, though the size of that deficit has decreased since Pickell's departure and 2010 is expected to be a turnaround year for the organization.

After Beard's death in 1985, Julia Child had the idea to preserve his home in New York City as the gathering place it was throughout his life. Peter Kump, a former student of Beard's and the founder of the Institute of Culinary Education (formerly Peter Kump's New York Cooking School), spearheaded the effort to purchase the house and create the James Beard Foundation.

Beard's renovated brownstone is located at 167 West 12th Street, in the heart of Greenwich Village. It is North America's only historical culinary center, a place where Foundation members, the press, and the general public are encouraged to savor the creations of both established and emerging chefs from across the country and around the globe.

The annual James Beard Foundation Awards are given at the industry's biggest party, part of a fortnight of activities that celebrate fine cuisine and Beard's birthday. Held on the first Monday in May, the Awards ceremony honors the finest chefs, restaurants, journalists, cookbook authors, restaurant designers, and electronic media professionals in the country. It culminates in a reception featuring a tasting of the signature dishes of more than 30 of the James Beard Foundation's very best chefs.

A quarterly magazine, ''Beard House'', is a comprehensive compendium of the best in culinary journalism. The foundation also publishes the ''James Beard Foundation Restaurant Directory'', a directory of all chefs who have either presented a meal at the Beard House or have participated in one of the foundation's out-of-House fundraising events.

Works

''Hors d'Oeuvre and Canapés'' 1940 (M. Barrows & Co.), revised in 1963 and 1985

''Cook It Outdoors'' 1941 (M. Barrows & Co.)

''Fowl and Game Cookery'' 1944 (M. Barrows & Co.)

''The Fireside Cook Book: A Complete Guide to Fine Cooking for Beginner and Expert'' 1949 (Simon and Schuster), reissued in 1982 as ''The Fireside Cookbook''

''Paris Cuisine'' 1952 (Little, Brown) Beard co-wrote Paris Cuisine with British journalist Alexander Watt.

''The Complete Book of Barbecue & Rotisserie Cooking'' 1954 (Maco Magazine Corp.), reissued in 1958 as ''New Barbecue Cookbook'' and again in 1966 as ''Jim Beard's Barbecue Cookbook''

''Complete Cookbook for Entertaining'' 1954 (Maco Magazine Corp.)

''How to Eat Better for Less Money'' 1954 (Simon and Schuster)

''James Beard's Fish Cookery'' 1954 (Little, Brown), reissued in 1976 and 1987 in paperback as ''James Beard's New Fish Cookery''

''Casserole Cookbook'' 1955 (Maco Magazine Corp.)

''The Complete Book of Outdoor Cookery'' 1955 (Doubleday)

''The James Beard Cookbook'' 1959 (Dell Publishing Co.), revised in 1961, 1970, 1987 (paperback) and 1996

''Treasury of Outdoor Cooking'' 1960 (Golden Press)

''Delights & Prejudices: A Memoir with Recipes'' 1964 (Atheneum), revised in 1981 and 1990

''James Beard's Menus for Entertaining'' 1965 (Delacorte Press)

''How to Eat (and Drink) Your Way through a French (or Italian) Menu'' 1971 (Atheneum)

''James Beard's American Cookery'' 1972 (Little, Brown)

''Beard on Bread'' 1973 (Knopf), revised in 1995 (paperback)

''James Beard Cooks with Corning'' 1973

''Beard on Food'' 1974 (Knopf)

''New Recipes for the Cuisinart Food Processor'' 1976

''James Beard's Theory & Practice of Good Cooking'' 1977 (Knopf), revised in 1978, 1986, and 1990

''The New James Beard'' 1981 (Knopf), revised in 1989

''Beard on Pasta'' 1983 (Knopf)

''The Grand Grand Marnier Cookbook''

''Benson & Hedges 100's Presents: 100 of the World's Greatest Recipes by James Beard'' 1976

''The James Beard Cookbook on CuisineVu'' 1987

''James Beard's Simple Foods'' 1993 (Macmillan)

''Love and Kisses and a Halo of Truffles'' 1994 (Arcade), edited by John Ferrone

''The James Beard Cookbooks'' 1997 (Thames and Hudson), edited by John Ferrone

''The Armchair James Beard'' 1999 (The Lyons Press), edited by John Ferrone

Archival collection

The James Beard Papers are housed in the Fales Library at New York University. See The Fales Library Guide to the James Beard Papers

Notes

References

Beard, James. ''A James Beard Memoir: The James Beard Celebration Cookbook''. Ed. Barbara Kafka. New York: Wings Books, 1990.

Beard, James. ''James Beard Beard on Food: The Best Recipes and Kitchen Wisdom from the Dean of American Cooking''. New York: Bloomsbury, 2007.

Beard, James. ''The Fireside Cook Book: A Complete Guide to Fine Cooking for Beginner and Expert''. New York: Simon And Schuster, 1949.

Beard, James. ''The Best of Beard: Great Recipes From a Great Cook''. New York: Western Publishing Company, Inc., 1974.

Clark, Robert. ''James Beard: A Biography''. New York: HarperCollins, 1993.

Kamp, David. ''The United States of Arugula: The Sun Dried, Cold-pressed, Dark-Roasted, Extra Virgin Story of the American Food Revolution''. New York: Broadway Books, 2006.

Loughery, John. ''The Other Side of Silence – Men's Lives and Gay Identities: A Twentieth-Century History''. New York, Henry Holt and Company, 1998. ISBN 0805038965.

External links

The Fales Library Guide to the James Beard Papers

James Beard Foundation

James Beard Foundation Awards

Notable Oregonians: James Beard — Food Expert/Writer from Oregon Blue Book

James Beard Audio Recordings

James Beard Quotes

Category:1903 births Category:1985 deaths Category:American chefs Category:American food writers Category:American television chefs Category:People from Portland, Oregon Category:Reed College alumni Category:LGBT writers from the United States Category:Gay writers

de:James Beard (Koch) es:James Beard he:ג'יימס בירד no:James Beard pt:James Beard

name	Kevin Carter
birth date	September 13, 1960
birth place	Johannesburg, South Africa
death date	July 27, 1994
death place	Johannesburg, South Africa
occupation	Photojournalist }}

Kevin Carter (13 September 1960 in Johannesburg – 27 July 1994) was an award-winning South African photojournalist and member of the Bang-Bang Club.

Early life

Kevin Carter was born in apartheid South Africa and grew up in a middle-class, whites-only neighborhood. As a child, he occasionally saw police raids to arrest blacks who were illegally living in the area. He said later that he questioned how his parents, a Catholic, "liberal" family, could be what he described as 'lackadaisical' about fighting against apartheid.

After high school, Carter dropped out of his studies to become a pharmacist and was drafted into the army, which he hated. To escape from the infantry he signed up for the professional air force, mistakenly trapping himself into four years of service. In 1980, he witnessed a black mess-hall waiter being insulted. Carter defended the man, resulting in him being badly beaten by the other soldiers. He then went AWOL, attempted to start a new life as a radio disk-jockey named "David". This, however, proved more difficult than he had anticipated. Suffering from depression, he attempted suicide. Soon after, he decided to serve out the rest of his required military service. After witnessing the Church Street bombing in Pretoria in 1983, he decided he wanted to become a news photographer.

Early work

Carter had started to work as weekend sports photographer in 1983. In 1984 he moved on to work for the ''Johannesburg Star'', bent on exposing the brutality of apartheid.

Carter was the first to photograph a public execution by "necklacing" in South Africa in the mid-1980s. The victim was Maki Skosana, who had been accused of having a relationship with a police officer. He later spoke of the images; "I was appalled at what they were doing. I was appalled at what I was doing. But then people started talking about those pictures... then I felt that maybe my actions hadn't been at all bad. Being a witness to something this horrible wasn't necessarily such a bad thing to do."

Prize-winning photograph in Sudan

In March 1993, while on a trip to Sudan, Carter was preparing to photograph a starving toddler trying to reach a feeding center when a vulture landed nearby. Carter reported to have taken the picture, because it was his "job title", and leaving. He came under criticism for failing to help the girl:

: The ''St. Petersburg Times'' in Florida said this of Carter: "The man adjusting his lens to take just the right frame of her suffering, might just as well be a predator, another vulture on the scene."

Sold to the ''New York Times'', the photograph first appeared on March 26, 1993. Hundreds of people contacted the newspaper to ask the fate of the girl. The paper reported that it was unknown whether she had managed to reach the feeding center. In 1994, the photograph won the Pulitzer Prize for Feature Photography.

Alternative account of the photograph

João Silva, a Portuguese photojournalist based in South Africa who accompanied Carter to Sudan, gave a different version of events in an interview with Japanese journalist and writer Akio Fujiwara that was published in Fujiwara's book ''The Boy who Became a Postcard'' (絵葉書にされた少年 - Ehagaki ni sareta shōnen).

According to Silva, they (Carter and Silva) went to Sudan with the United Nations aboard Operation Lifeline Sudan and landed in Southern Sudan on March 11, 1993. The UN told them that they would take off again in 30 minutes (the time necessary to distribute food), so they ran around looking to take shots. The UN started to distribute corn and the women of the village came out of their wooden huts to meet the plane. Silva went looking for guerrilla fighters, while Carter strayed no more than a few dozen feet from the plane.

Again according to Silva, Carter was quite shocked as it was the first time that he had seen a famine situation and so he took many shots of the children suffering from famine. Silva also started to take photos of children on the ground as if crying, which were not published. The parents of the children were busy taking food from the plane, so they had left their children only briefly while they collected the food. This was the situation for the girl in the photo taken by Carter. A vulture landed behind the girl. To get the two in focus, Carter approached the scene very slowly so as not to scare the vulture away and took a photo from approximately 10 metres. He took a few more photos before chasing the bird away.

Two Spanish photographers who were in the same area at that time, José María Luis Arenzana and Luis Davilla, without knowing the photograph of Kevin Carter, took a picture in a similar situation. As recounted on several occasions, it was a feeding center, and the vultures came from a manure pit waste:

::''"We took him and Pepe Arenzana to Ayod, where most of the time were in a feeding center where locals go. At one end of the enclosure, was a dump where waste and was pulling people to defecate. As these children are so weak and malnourished they are going head giving the impression that they are dead. As part of the fauna there are vultures go for these remains. So if you grab a telephoto crush the child's perspective in the foreground and background and it seems that the vultures will eat it, but that's an absolute hoax, perhaps the animal is 20 meters."''

Death

On 27 July 1994 Carter drove to the Braamfontein Spruit river, near the Field and Study Centre, an area where he used to play as a child, and took his own life by taping one end of a hose to his pickup truck’s exhaust pipe and running the other end to the passenger-side window. He died of carbon monoxide poisoning, aged 33. Portions of Carter's suicide note read:

:"I am depressed ... without phone ... money for rent ... money for child support ... money for debts ... money!!! ... I am haunted by the vivid memories of killings and corpses and anger and pain ... of starving or wounded children, of trigger-happy madmen, often police, of killer executioners ... I have gone to join Ken [recently deceased colleague Ken Oosterbroek] if I am that lucky."

Cultural depictions

A documentary entitled ''The Death of Kevin Carter: Casualty of the Bang Bang Club'' was nominated for an Academy Award in 2006.

The Welsh band Manic Street Preachers recorded a song about him on their 1996 album ''Everything Must Go''.

There is a song 'Kevin Carter' on the 1996 album of Martin Simpson and Jessica Ruby Simpson, ''Band of Angels'', which is a mainly factual, minimalist, and informative ballad.

''Poets and Madmen'' by heavy metal band Savatage is a loose concept-album based on a fictitious investigation of his legacy.

Mark Danielewski's novel ''House of Leaves'' attributes a prize-winning photograph, based on that of Carter, to the novel's protagonist, Will Navidson. Within the confines of the novel, the starving Sudanese child is named Delial by Navidson. The story describes a photo similar to Carter's Pulitzer Prize-winning image, with footnotes directly referring to Carter and his suicide.

Masha Hamilton's 2004 novel ''The Distance Between Us'' mentions Kevin Carter and is dedicated to "Kevin Carter and journalists everywhere who put their bodies and their souls on the line to cover war."

Chilean born visual artist Alfredo Jaar presented the story of Kevin Carter and his Pullitzer Prize-winning photograph in the work ''The Sound of Silence'', a cinematic video installation presented in his ''Politics of the Image'' exhibition at the South London Gallery in 2008. The narration goes on to tell about the life of the photograph after the death of its author.

In 2010, he was played by Taylor Kitsch in the film ''The Bang-Bang-Club''.

References

"The Death of Kevin Carter: Casualty of the Bang Bang Club" HBO documentary. August 17, 2006,

"The boy who became a postcard" (Ehagakini Sareta Shōnen). Akio Fujiwara 2005. ISBN 4-08-781338-X

External links

The Death of Kevin Carter

Pulitzer Prize-winning photo of the girl in Sudan

Category:1960 births Category:1994 deaths Category:Anglo-African people Category:The New York Times visual journalists Category:People from Johannesburg Category:Photographers who committed suicide Category:South African photojournalists Category:Pulitzer Prize for Feature Photography winners Category:War photographers Category:South African Roman Catholics Category:South African photographers Category:Suicides by carbon monoxide poisoning Category:Suicides in South Africa Category:White South African people

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