This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2007)

2012 IAAF World Indoor Championships photographer stand

Paparazzi at the Tribeca Film Festival

A hotel photographer and a hotel guest in an Hotel in Konaklı, Alanya, Turkey

A photographer (from Greek φωτός (photos), meaning "light", and γράφω (graphos), meaning "written") is a person who takes photographs. A professional photographer uses photography to earn money; amateur photographers take photographs for pleasure and to record an event, emotion, place, or person.

A professional photographer may be an employee, for example of a newspaper, or may contract to cover a particular event such as a wedding or graduation, or to illustrate an advertisement. Others, including paparazzi and fine art photographers, are freelancers, first making a picture and then offering it for sale or display. Some workers, such as policemen, estate agents, journalists and scientists, make photographs as part of other work. Photographers who produce moving rather than still pictures are often called cinematographers, videographers or camera operators, depending on the commercial context.

Photographers are also categorized based on the subjects they photograph. Some photographers explore subjects typical of paintings such as landscape, still life, and portraiture. Other photographers specialize in subjects unique to photography, including street photography, documentary photography, fashion photography, wedding photography, war photography, photojournalism, and commercial photography.

Selling photographs[link]

The exclusive right of photographers to copy and use their products is protected by copyright. Countless industries purchase photographs for use in publications and on products. The photographs seen on magazine covers, in television advertising, on greeting cards or calendars, on websites, or on products and packages, have generally been purchased for this use, either directly from the photographer or through an agency that represents the photographer. A photographer uses a contract to sell the "license" or use of his or her photograph with exact controls regarding how often the photograph will be used, in what territory it will be used (for example U.S. or U.K. or other), and exactly for which products. This is usually referred to as usage fee and is used to distinguish from production fees (payment for the actual creation of a photograph or photographs). An additional contract and royalty would apply for each additional use of the photograph.

The time duration of the contract may be for one year or other duration. The photographer usually charges a royalty as well as a one-time fee, depending on the terms of the contract. The contract may be for non-exclusive use of the photograph (meaning the photographer can sell the same photograph for more than one use during the same year) or for exclusive use of the photograph (i.e. only that company may use the photograph during the term). The contract can also stipulate that the photographer is entitled to audit the company for determination of royalty payments. Royalties vary depending on the industry buying the photograph and the use, for example, royalties for a photograph used on a poster or in television advertising may be higher than the royalty for use on a limited run of brochures. A royalty is also often based on the size the photo will be used in a magazine or book and cover photos usually command higher fees than photos used elsewhere in a book or magazine.

Photos taken by a photographer while working on assignment often belong to the company or publication unless stipulated otherwise by contract. Professional portrait and wedding photographers often stipulate by contract that they retain the copyright on wedding photos or portrait photos, so that only they can sell further prints of the photographs to the consumer, rather than the customer reproducing the photos by other means. If the customer wishes to be able to reproduce the photos themselves, they may discuss an alternative contract with the photographer in advance before the pictures are taken, in which a larger up front fee may be paid in exchange for reprint rights passing to the customer.

There are major companies who have maintained catalogues of stock photography and images for decades, such as Getty Images and others. Since the turn of the 21st century many online stock photography catalogues have appeared that invite photographers to sell their photos online easily and quickly, but often for very little money, without a royalty, and without control over the use of the photo, the market it will be used in, the products it will be used on, time duration, etc.

Photo sharing[link]

Many people upload their photographs to social networking websites and other websites, in order to share them with a particular group or with the general public. Those interested in legal precision may explicitly release them to the public domain or under a free content license. Some sites, including Wikimedia Commons, are punctilious about licenses and only accept pictures with clear information about permitted use.

Wikimedia Commons has media related to: Photographers

Helena Christensen
Christensen at the 2012 Tribeca Film Festival
Born	(1968-12-25) December 25, 1968 (age 43) Copenhagen, Denmark
Height	5 ft 10 in (1.78 m) [1]
Hair color	Brunette
Eye color	Blue/Green
Measurements	(US) 35-24-35 ; (EU) 89-61-88[1]
Dress size	(US) 4 ; (EU) 34[1]
Manager	Marilyn Model Agency

Helena Christensen (born December 25, 1968) is a Danish fashion model, (former) Victoria's Secret Angel, beauty queen, and photographer. She has also served as creative director for Nylon magazine, designed clothing, and supported funding for breast cancer organizations and other charities.

Early life[link]

Christensen was born in Copenhagen, Denmark. Her father is Danish, and her mother is Peruvian.^[2][3]

Miss Denmark[link]

Christensen won the Miss Denmark crown in 1986^[4][5] and represented Denmark in Miss Universe 1986.^[6] She left her home soon afterwards to pursue modeling in Paris.^[7]

Modeling career[link]

Christensen appeared on many magazine covers (including Vogue, Elle, Harper’s Bazaar, W) and in fashion campaigns (including Revlon, Chanel, Versace, Lanvin, Prada, Sonia Rykiel, Hermes, Valentino, Karl Lagerfeld) during the 1990s. One noted campaign featured her in a 20 by 40 feet (6 by 12 m) billboard in Times Square, bare, "except for a strategically placed banana leaf."^[8] She was in the Victoria's Secret catalog and in their television commercials as one of the signature Angels, along with Tyra Banks, Karen Mulder, Daniela Pestova, and Stephanie Seymour. She also became a spokesmodel for Revlon cosmetics.^{[citation needed]}

In 1991, she starred in the music video for Chris Isaak's song "Wicked Game."^[9] The video was later featured on MTV's "Sexiest Video of All-Time", voted #4 on VH1's "50 Sexiest Video Moments", and voted #13 on VH1's "100 Greatest Videos".

Christensen continues modelling; recently she graced the covers of Spanish Vogue, British Harper’s Bazaar and ELLE, and American Vs. Magazine. She was also featured in the advertising campaigns of Ermanno Screvino, Reebok, Caractere and Triumph. Christensen is signed to Unsigned Management in London, Marylin in Paris, D Management in Milan and 1/One Management in New York City.^[9]

At a 2007 Sustainable/Green Home opening party

Business[link]

Christensen was creative director of Nylon magazine at its 1999 founding by publisher Marvin Scott Jarrett.^{[10][11][12][13]} She launched her own clothing line, Christensen & Sigersen, with life-long friend Leif Sigersen. The pair previously ran Butik, a shop in New York's West Village.^[14][15] Christensen has sold some of her vintage clothes line in her mother's store, the Yo-Yo Second Hand Shop, in Christianshavn, Copenhagen, Denmark.^[16][17] Christensen famously once said, when asked if normal girls would feel comfortable in her new clothing line, "I don't care. I have no clue. I don't think about anyone but me." The quote is printed on the back of Denis Leary's 2008 book, Why We Suck: A Feel Good Guide to Staying Fat, Loud, Lazy and Stupid.^[18]

Christensen is a photographer whose work has appeared in Nylon,^[11] Marie Claire, and ELLE.^[9] Her exhibition "A Quiet Story", curated by Jim Cook, premiered in at the Locus Gallery in Rotterdam, 2006,^[19] and HotelArena in Amsterdam, 2007.^[20] Her exhibition "Far From, Close" appeared at Dactyl Foundation in 2008/09, to benefit International Center of Photography educational programs and Chernobyl Children's Project International.^[21][22]

Breast cancer fundraising[link]

Christensen launched the second Fashion Targets Breast Cancer campaign which involves the sale of exclusive designer t-shirts to raise millions for Ireland's Action Breast Cancer (Irish Cancer Society) and Europa Donna Ireland to help younger women with breast cancer.^[23][24]

Personal life[link]

Christensen lived with INXS frontman Michael Hutchence on and off in France and Denmark for a period of five years in the early 1990s.^[25] She was married to actor Norman Reedus for five years, together they have a son named Mingus Lucien Reedus (born October 13, 1999).^[26] Reedus and Christensen split in 2003.^[27][28] While maintaining careers in photography and clothing design, Christensen says of her son, "He's all that matters," she says. "He's my best friend."^[29]

Christensen was heading to actor Heath Ledger's New York apartment on the day that he died, calling Ledger, only to get his voicemail.^[30]

Christensen has an apartment in Copenhagen and lives in Manhattan, where she drives "the only type of car I've ever had", a Morris Minor.^[31][32] She reported in 2007 that she would be giving up her place in Monaco.^[33]

Christensen has claimed on several occasions to be a cheese addict.^[33][34][35]

References[link]

Wikimedia Commons has media related to: Helena Christensen

External links[link]

• Helena Christensen at the Internet Movie Database
• Helena Christensen at the Fashion Model Directory
• Helena Christensen Profile HELLO! Magazine
• Awareness Raising: "What's Your Excuse?" Food Bank For New York City Past Campaigns public service announcement
• Christensen's acceptance speech at the 2008 Can-Do Awards Dinner. Food Bank For New York City.

Mary Ellen Mark (born March 20, 1940) is an American photographer known for her photojournalism, portraiture, and advertising photography. She has had 16 collections of her work published and has been exhibited at galleries and museums worldwide. She has received numerous accolades, including three Robert F. Kennedy Journalism Awards and three fellowships from the National Endowment for the Arts.

Biography[link]

Early life and career[link]

Mary Ellen Mark was born in suburban Philadelphia, Pennsylvania,^[1] and began photographing with a Box Brownie camera at age nine. She attended Cheltenham High School,^[1] where she was head cheerleader and exhibited a knack for painting and drawing. She received a BFA degree in painting and art history from the University of Pennsylvania in 1962, and a Masters Degree in photojournalism from that university's Annenberg School for Communication in 1964.^[2] The following year, Mark received a Fulbright Scholarship to photograph in Turkey for a year.^[2] While there, she also traveled to photograph England, Germany, Greece, Italy, and Spain.^[3]

In 1966^[1] or 1967,^[3] she moved to New York City, where over the next several years she photographed Vietnam War demonstrations, the women's liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer, "away from mainstream society and toward its more interesting, often troubled fringes".^[3] As Mark explained in 1987, "I'm just interested in people on the edges. I feel an affinity for people who haven't had the best breaks in society. What I want to do more than anything is acknowledge their existence".^[4]

Her shooting style ranges from a 2 ¼ inch format, 35 mm, and 4x5 inch view camera. She also uses a Leica 4 for most photographs and Nikons for long-range shooting. Mark loves shooting with a Hasselblad for square format and she shoots primarily in black-and-white, using classic Kodak Tri-X film. .^[5]

Photography career[link]

Mark became a unit photographer on movie sets, shooting production stills for films including Arthur Penn's Alice's Restaurant (1969), Mike Nichols' Catch-22 (1970), Carnal Knowledge (1971) and Francis Ford Coppola's Apocalypse Now (1979) among her earliest. For Look magazine, she photographed Federico Fellini shooting his film Satyricon (1969).^[3] Mark has since photographed on the sets of more than 100 movies, up through at least director Baz Lurhmann's Australia (2008).^[6] Mark is well known for establishing strong relationships with her subjects, as she has spoken about after her experiences in the Home for the Dying in Calcutta, and her project "Street Kids" for LIFE Magazine, which developed into the movie Streetwise.^[7]

Mark has contributed to publications including the magazines Life, Rolling Stone, The New Yorker, and Vanity Fair. As of 2009, she has published 16 books including Passport (Lustrum Press, 1974), Ward 81 (Simon & Schuster, 1979), Falkland Road (Knopf, 1981), Mother Teresa's Mission of Charity in Calcutta (Friends of Photography, 1985), Streetwise (second printing, Aperture, 1992), Mary Ellen Mark: 25 Years (Bulfinch, 1991), Indian Circus (Chronicle Books, 1993, and Takarajimasha, 1993), Portraits (Motta Fotografica, 1995 and Smithsonian, 1997), A Cry for Help (Simon & Schuster, 1996), Mary Ellen Mark: American Odyssey (Aperture, 1999), Mary Ellen Mark 55 (Phaidon Press, 2001), Photo Poche: Mary Ellen Mark (Nathan, 2002), Twins (Aperture, 2003), Mary Ellen Mark: Exposure (Phaidon Press, 2005), Extraordinary Child (National Museum of Iceland, 2007), and Seen Behind the Scene (Phaidon Press, 2008).

Mark's photographs have been exhibited worldwide.^[2]

Mark has served as a guest juror for photography call for entries at The Center for Fine Art Photography. ^[8]

Style[link]

Her photography has addressed such social issues as homelessness, loneliness, drug addiction, and prostitution. She works primarily in black and white. She has described her approach to her subjects: "I’ve always felt that children and teenagers are not “children,” they’re small people. I look at them as little people and I either like them or I don’t like them. I also have an obsession with mental illness. And strange people who are outside the borders of society." Mark has also said, "I’d rather pull up things from another culture that are universal, that we can all relate to….There are prostitutes all over the world. I try to show their way of life…”^[9]

Family[link]

Mark is married to film director Martin Bell. As of 2011, the couple reside in New York City, New York.

Awards and honors[link]

Mark's numerous awards and honors include the following:^[2]

• 1980 First Prize, Robert F. Kennedy Journalism Award, "Mother Teresa", Life
• 1980 Page One Award for Excellence in Journalism, The Newspaper Guild of New York, "Children of Desire", The New York Times Magazine
• 1981 First Prize, Robert F. Kennedy Journalism Award, "Mother Teresa in Calcutta", Life Magazine
• 1982 Leica Medal of Excellence, Falkland Road
• 1984 First Prize, Robert F. Kennedy Journalism Award, "Camp Good Times", Life
• 1986 The Phillipe Halsman Award for Photojournalism, American Society of Magazine Photographers
• 1987 Photographer of the Year Award, The Friends of Photography
• 1988 World Press Photo Award, for Outstanding Body of Work Throughout the Years
• 1988 George Polk Award, Photojournalism
• 1988 Distinguished Photographer's Award, Women in Photography*
• 1989 The World Hunger Media Awards, Best Photojournalism, "Children of Poverty", Life
• 1990 Pictures of the Year Award for Magazine Portrait/Personality, "The Face of Rural Poverty", Fortune Magazine
• 1992 Society of Newspaper Design, Award of Excellence, Magazine Cover and Photojournalism Feature, The New York Times Magazine
• 1993 Front Page Award, The Newswomen’s Club of New York, "Cree Indians" for Conde Nast Traveler, November 10, 1993
• 1994 The Professional Photographer of the Year Award, Photographic Manufacturers and Distributors Association
• 1995 Pictures of the Year, 1st Place Magazine Division, "Napping" Freelance/Life
• 1996 Pictures of the Year, 1st Place Magazine Division, for issue reporting "Damm Family"; 3rd place in Magazine division for picture essay
• 1996 Master Series Award, School of Visual Arts
• 1997 Infinity Award, International Center of Photography
• 1998 The Art Directors Club Silver Award, "El Circo"
• 1998 The Society of Publication Designers, Gold Medal Award for Design Entire Issue, "Battle of the Generations", Fast Company
• 1999 Leadership Award, International Photographic Council
• 1999 Photographic Administrators Incorporated, Award for Excellence in Photojournalism
• 2001 Cornell Capa Award, International Center of Photography
• 2003 Lucie Award for Outstanding Achievement in Documentary Photography^[10]
• 2004 World Press Photo Awards, First Prize in the Arts (Twins series)
• 2006 Visionary Woman Award, Moore College of Art & Design

Grants and fellowships:^[2]

• 1965-66 Fulbright Scholarship to photograph in Turkey
• 1975 U.S.I.A. Grant to lecture and exhibit in Yugoslavia
• 1977 National Endowment for the Arts
• 1977 New York State Council for the Arts: CAPS Grant
• 1978 Commissioned Artist with the Bell System Photography Project
• 1979-80 National Endowment for the Arts
• 1990 National Endowment for the Arts
• 1994 John Simon Guggenheim Fellowship
• 1997 Erna and Victor Hasselblad Foundation Grant to continue to make pictures for the American book & exhibition project

References[link]

External links[link]

• Mary Ellen Mark's website
• Scotsman newspaper interview, June 2005
• Audio interview, The Digital Journalist, March 1999
• Video interview, Charlie Rose, January 31, 2000
• Art HERStory: Mary Ellen Mark

For other uses of the title The Grid, see Grid (disambiguation).

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2010)

The Grid are an English electronic dance group, consisting of Richard Norris and David Ball (formerly of Soft Cell),^[1] with guest contributions from other musicians. They are best known for the hits "Swamp Thing", "Crystal Clear", "Rollercoaster", "Floatation", and "Cybernetic" (with Robert Fripp and Phil Manzanera).

Band members[link]

• Richard Norris (born 23 June 1965, London) - keyboards
• David Ball (born 3 May 1959, Blackpool, Lancashire) - keyboards
• Sacha Rebecca Souter (musician) (born 26 November 1963, Cockerton, County Durham) - Vocals

Biography[link]

The Grid formed in 1988 and had their first success with debut single, "Floatation", released on East West Records in 1990. They went on to release a string of ten UK hit singles and four albums,^[1] and toured the UK, Europe, Asia and Australia. The group's 1994 album Evolver reached #14 in the UK Albums Chart.^[1] The lead single from this album, "Swamp Thing", featuring elaborate banjo lines played by Roger Dinsdale. "Swamp Thing" proved to be a commercial success in the UK, Europe and Australia, reaching #3 in the UK^[1] and Australia and selling a total of one million copies.^{[citation needed]}

In 1996, Norris and Ball agreed to a hiatus period in order pursue individual music interests. Norris formed the Droyds, which went on to remix tracks by musicians including Armand Van Helden and Siobhan Fahey, and wrote the official biography of Paul Oakenfold (published in 2007): Ball reformed Soft Cell with Marc Almond, and also wrote music scores for films.^{[citation needed]} Norris has since formed the psychedelic duo, Beyond The Wizard's Sleeve, with DJ Erol Alkan, and has released a number of solo records and remixes under the name The Time and Space Machine.

The duo reunited in 2005, initially playing two gigs under the name GDM with female singer Misty Woods, before writing and recording new material as the Grid. A single, "Put Your Hands Together", was released in 2007 and an album, Doppelgänger, followed in 2008. Both were released on the Some Bizzare label. The album featured vocals by the British musician, Chris Braide.

Discography[link]

Albums[link]

Singles[link]

References[link]

External links[link]

• Grid Central - An Unofficial Page for The Grid
• Death of Roger Dinsdale.
• The Grid on allmusic.com
• The Grid MySpace page

Bernard Hoffman (1913-1979)

Bernard Hoffman (1913 – 1979) was an American photographer and documentary photographer. The bulk of his photographic journalism was done during the first 18 years of the revamped Life magazine, starting in 1936. During this time he produced many photo essays, including a shoot with Carl Sandburg in 1938. He is, perhaps, most known as the first American photographer on the ground at Hiroshima and Nagasaki after the atomic bomb was dropped in 1945, providing some harrowing glimpses into the destructive power of the bomb.

After leaving Life in 1951, Hoffman went on to establish Bernard Hoffman Laboratories, a company dedicated to improving the technology for professional photography. The lab was well-known enough that in 1963 he was brought on to process film from the Kennedy assassination, leading to support for belief in the infamous "shooter on the grassy knoll." Following the sale of the lab in 1973, he spent his retirement years running photography workshops with his wife, Inez. Hoffman died of Amyotrophic Lateral Sclerosis (also known as Lou Gehrig's Disease) in 1979.

Early life[link]

Bernard Hoffman was born in New York City in 1913,^[1] and little is publicly known about his youth, besides the fact that he received a camera as a birthday present in 1931, when he was 18 years of age.^[2] Hoffman used the camera to snap photos of friends skinny dipping, but was told by the local shopkeeper that they would not develop the film into prints. He decided to take matters into his own hands and purchased a kit to develop the pictures himself.^[3] This incident would chart the course of his entire adult life.

In 1935, he accepted a job as staff photographer for Life, the first of the original four members of that department, as Henry Luce revamped the publication into an all-photographic American news magazine.

Life Magazine[link]

Hoffman was brought on board approximately one year before the relaunch of Life would turn the magazine from its original format into a photojournal of modern American life. In his role as staff photographer, Hoffman worked on dummy layouts and design elements prior to the reworked magazine's debut on November 23, 1936, as well as contributing photography for the first issue.

After the magazine's launch, Bernard Hoffman covered a dizzying number of assignments worldwide, ranging from the glamorous to the deadly. According to the International Center of Photography in a brochure for a Bernard Hoffman exhibit, "...politics, heavy industry, science, medicine, beauty, sports, animals, theatre, agriculture, art, photo-micrography, motion pictures. Name it, he did it." ^[4]

Notable events during his 18 years with Life include:

To illustrate an essay on the "World of Animals," he blindfolded a rattlesnake and stuffed cotton in a shark's nostrils.^[5]

He reported the social effects of the dictatorship in Portugal during 1937.^[5]

While on one of the first transatlantic commercial flights, aboard a Boeing flying boat, Hoffman had Archduke Otto of Hapsburg hold his flashes while photographing the plane's interior. The flight took 19 hours to travel from New York City to the Azores in Portugal.^[5]

Hoffman covered actor John Barrymore a number of times. During a performance of Barrymore's last play, My Dear Children, the actor had to run out on stage and kiss his then new wife, Elaine Barry, and run off stage again. With Hoffman in the audience, Barrymore performed the bit as usual, but then without any warning ran back out onto the stage and shouted to Hoffman, "Did you get that picture, Bernie?"^[3]

In one day, Hoffman was given assignments with short deadlines in three different states. Editor Wilson Hicks gave him the advice, "If this is too tough, you can always cut your throat." Hoffman chartered a private plane to cover a rifle match, Gold Cup motorboat races, and a thigh operation.^[3]

One of Hoffman's most cherished memories were that of poet Carl Sandburg, a man Hoffman referred to as "the only genius I have ever met." He and Sandburg became close friends, and Hoffman's photos of Sandburg singing to his goats in the living room became an instant classic Life photo essay in the February 31, 1938 issue,^[6] om which Hoffman also received a cover photo credit.

The sculpture The Kiss, by Auguste Rodin, got Hoffman and Life in some trouble. His layouts on the art exhibition came out so lifelike that the magazine was temporarily banned in Boston and Argentina on morality grounds.^[5]

Dropped via parachute behind enemy lines in the Burmese jungle in 1943, Hoffman brought back the story of the trapped battalion of Merrill's Marauders.^[7] On the way to the drop destination, Japanese Zeros shot the wheels off the plane he was in, which diverted the flight to a clearing behind the lines. Of the 500 men in the Marauders, only Hoffman and 35 others emerged from the jungle.^[5] Back home, his wife and Life editors had no word on his whereabouts for over eight weeks.^[3] Of this event, Hoffman quipped, "Risk? There was no risk, I had my press card!"

To take a dangerous photo sequence of a 500 lb. bomb detonating, Hoffman placed his camera two and a half feet from the center of impact. When the bomb left the plane, he pressed the automatic shutter release and ran. The bomb exploded only 20 feet away from him, and when the dust cleared, he found the bomb had hit precisely where it was supposed to, getting Hoffman accolades for the innovative shots featured in Life's November 15, 1943 issue.^[8]

Hoffman was on board the first low-level B-29 air raid on Japan.^[1]

On special assignment, Hoffman was the first American photojournalist on the ground in Hiroshima and Nagasaki in 1945, recording the devastating effects of the atomic bomb blasts while the peace agreement was being signed aboard the USS Missouri.^[5][3][7] The results were featured on the cover, an in-depth photo essay, and as "Picture of the Week" in Life's October 15, 1945 issue.^[9] One tragically ironic photo captured the image of a seven-year-old's skeleton lying in the debris of her home, while a fragile vase sat untouched next to the body.^[5]

As a correspondent under the watch of Major Tex McCrary, Hoffman was permitted to photograph the horrors of German's concentration camps. Said Hoffman of this assignment, "I try not to feel anything when I am taking pictures of something unpleasant. I detach myself and concentrate on the picture. After seeing the camps, many of the war correspondents wanted to stop right there, but it was important to continue and record everything." ^[5]

Of Hoffman's photography in covering the war in the China-Burma-India Theatre, General "Vinegar" Joe Stilwell said, "It is the best collection of pictures of this type that I have ever seen."

Hoffman left Life in 1951 to pursue freelance photojournalism.^[1]

Bernard Hoffman Laboratories and the JFK Assassination[link]

Without the resources of Life's labs behind him, Hoffman very quickly found dissatisfaction with the development labs available to freelance and professional photographers. To remedy this, he founded Bernard Hoffman Laboratories (BHL), with the goal of providing the highest possible quality prints from negatives of all sorts.^[7]

BHL set an aggressive pace towards improving the technology of photography, and was earmarked as "one of the two most interesting and progressive labs going" by Minor White. The lab made several noteworthy additions to the field, including chemical formulas that made it possible to shoot full detail motion photos in low illumination, a montage process for combining many photographs without the need of airbrushing, a new lens design with the ability to focus from four inches to infinity, and process of bringing detail to badly under-exposed negatives.

During his tenure with the company, Hoffman gained such acclaim that his labs were used to process much of the footage from the assassination of John F. Kennedy in 1963.^[1] The resulting detailed prints led to the belief that a person aiming a rifle at the President stood atop a car behind a wall near the path of the motorcade.

Additionally, the United States Atomic Energy Commission regularly consulted BHL as an expert in important film and print analyses.^[7]

Hoffman sold the custom lab business and retired in 1973 after suffering a mild cardiac arrest.^[5]

Late life[link]

After officially retiring from business life, Bernard Hoffman published a book, The Man From Kankakee in 1973, chronicling the life of Romy Hammes, a self-made millionaire whom he had first met in 1938 when he photographed Hammes for Life.

Following this, he started a small home-based photography training course to teach new students the art in 1974, in partnership with his wife, Inez. One of his early students, John DeSanto, went on to become a well-known American photojournalist and is currently Director of Photography of the Times Herald-Record in Middletown, New York.

The training business closed in late 1978, due to Hoffman's deteriorating health.^[1] Hoffman died of Amyotrophic Lateral Sclerosis (also known as Lou Gehrig's Disease) in November 1979.

References[link]

1. ^ ^{a b c d e} "Bernard Hoffman, photographer; operated laboratory, workshop," Obituary, "Asbury Park Press", November 24, 1979, page A19
2. ^ "Life's Pictures," a sidebar article, Life (magazine), April 12, 1937, page 74
3. ^ ^{a b c d e} "Photographer recalls LIFE on run," article, New Jersey News Tribune, August 20, 1977, page 3
4. ^ Bernard Hoffman Exhibition brochure from International Center of Photography. Exact publication date unknown.
5. ^ ^{a b c d e f g h i} "Photographer Recalls His Years With Life," article, "The Livingston Daily Press", May 12, 1973, page 3
6. ^ "Sandburg Sings American," article, "Life (magazine)", February 21, 1938, page 43
7. ^ ^{a b c d} "Teaching amateurs and professionals," article, "The Journal-News", June 19, 1977, page 8S
8. ^ "Life's Pictures," sidebar article, "Life (magazine)", November 15, 1943, page 25
9. ^ "Picture of the Week," article, "Life (magazine)", October 15, 1945, page 37

External links[link]

• YouTube short video: Life Magazine Photographer Bernard Hoffman
• Comprehensive collection of Hoffman art
• Getty Images Collected Hoffman art