I just caught up with the trailer above, and I’ve got to say I’m excited about Everybody Street. It’s a look at street photographers who’ve been working in New York over the past few decades, long before Humans Of New York or street style blogs such as The Sartorialist rose to popularity. They’re photographers who’ve found the gritty, the sublime, and the human moments in the city over the years. The movie includes photos from, footage of, and interviews with Bruce Davidson , Elliott Erwitt, Jill Freedman, Bruce Gilden, Joel Meyerowitz, Rebecca Lepkoff, Mary Ellen Mark, Jeff Mermelstein, Clayton Patterson, Ricky Powell, Jamel Shabazz, Martha Cooper, Jeff Mermelstein, and Boogie, with Max Kozloff and Luc Sante.
We’ve covered photographers being treated as criminalspreviously (and look at Photography is Not a Crime, or Thomas Hawk’s collection of related posts), and now some photographers in London are pushing back against illegal limitations on photographers. In the video above–skip to 1:15 for the actual video–six photographers took to the streets of London to take pictures on public space. All six were approached by guards asking them to stop taking pictures for “security reasons” or because of concerns over terrorism. Three of the incidents elevated to police involvement, but happily, the police stated that the photographers were all allowed to continue taking pictures. In one case, the photographer thanks the police officer for not asking to see or delete the photos, and the officer responds that not only was he not interested in doing so, but he couldn’t because he didn’t have reasonable suspicion of any wrongdoing. The video was apparently produced as part of the London Street Photography Festival 2011.
In the US, there’ve been some recent run-ins between Transportation Security Administration officials in airports and photographers wanting to take pictures or video of security screening areas. Here’s one video that a videographer rescued from his camera after police forced him to delete his video, and here’s another couple of videos that brought attention on the TSA blog about whether security screening areas can be photographed. The TSA blog outlines the current regulations regarding photography at TSA checkpoints, thus: “We don’t prohibit public, passengers or press from photographing, videotaping, or filming at screening locations. You can take pictures at our checkpoints as long as you’re not interfering with the screening process or slowing things down. We also ask that you do not film or take pictures of our monitors.”
The NPPA has also recently pushed the issue with the TSA and gotten an official response from Margot Bester, Principle Deputy of the TSA’s Office of Chief Counsel, dated 22 June 2011 (pdf copy of letter). Here’s the relevant passage from that letter: “…TSA’ s goal is to protect passenger’s rights, including the right to record at passenger screening checkpoints, while ensuring that passenger screening operations can take place in an effective and efficient manner.”
The NPPA also points to the Department of Homeland Security’s official bulletin on rules and laws regarding photographing federal facilities in the US, which includes the statement that “officers should not seize the camera or its contents and must be cautious not to give such ‘orders’ to a photographer to erase the contents of a camera, as this constitutes a seizure or detention.”
Also, for photographers in the US, be sure to know your rights. There’s a handy pdf at that link that you can print out and keep in your wallet or camera bag.
Photographer Nick Turpin, who I first came across through the in-public street photography site and who writes the blog 779, has just published a rare selection of 20 Garry Winogrand color photographs. The profilic street photographer is almost exclusively known for his black and white work but apparantly (like Henri Cartier-Bresson) used color photography often enough. I first came across this fact while looking through one of my favorite photo books of all time years ago, the epic “Winogrand 1964″. The cover features one of the coolest shots of all time, a color photograph from White Sands, New Mexico.
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