Editorial Archives - Dispatch Press Images Blog

Posts from the ‘Editorial’ category

To the victims of the mass shooting: You are not forgotten. Forever in our hearts.

MASS SHOOTING: LAS VEGAS (2017)

To the victims of the mass shooting in Las Vegas, our thoughts and prayers will always be with you. In the many conversations that I have had before and since the mass shooting I have yet to hear a convincing argument for the justification for civilians to possess automatic weapons whether it be a hand gun or long rifle. Having an open mind I would welcome a discussion from anyone concerned about this issue. Presented here is “Mandalay Bay“; Las Vegas, Nevada (September 3, 1999) in happier times.

An encampment of U. S. soldiers bound for Cuba (1898).

SPANISH – AMERICAN WAR

You may recall that about 500 years ago Spain was a world power. Perhaps a superpower in its time. But even 120 years ago they were a force to be reckoned with as the United States began to emerge economically and militarily on the world scene.

HUMAN RIGHTS: POLISH REFUGEES

They could have been you. They could have been me. Refugees present a humanitarian crisis wherever and whenever to include the current situation on our southern border. Presented here are Polish refugees made homeless not once but twice in a generation. As a result of geography, Poland has experienced invasions in two world wars from both Germany and Russia. The lead photo shows Polish refugees on the road during the Great War c.1916. Perhaps some of the same people are seen below as they are once again forced to flee the Nazi invasion in September 1939

MEXICO: SOUTH OF THE BORDER

Sometimes a little gift just falls into your lap. We present this recent addition to our Immigration collection: “U.S. – Mexico Border“; c.1913. Migrant workers crossing the U.S.- Mexican border have been entering the U.S. for decades to do agricultural work which is seasonal and then return to Mexico. They have been employed in southern California, Texas, Florida and here on Long Island working in the potato fields before they were converted to vineyards. Many other states have also employed these migrant workers.

TRADE WAR: HARLEY-DAVIDSON MOVES SOME PRODUCTION OUT OF THE U. S.

Say it ain’t so, Joe. The result of the institution of new tariffs by the U. S. is forcing HARLEY-DAVIDSON to move some production to Europe. As this trade war deepens retaliatory measures by many nations is assured. The ultimate result will be higher prices for consumers and the loss of jobs. Welcome to a brand new world.

1983 NASCAR WINSTON CUP SERIES

These photos were taken at the Van Scoy Diamond Mine 500 at Pocono Raceway in Long Pond, Pennsylvania on June 12, 1983. Below we present a key as to who is driving what car in the images presented.

#22 Bobby Allison – Buick

#11 Darrell Waltrip – Chevrolet

#14 Tim Richmond – Pontiac

#55 Benny Parsons – Buick

#44 Terry Labonte – Chevrolet

#7 Kyle Petty – Pontiac

#48 Trevor Boys – Chevrolet

#33 Harry Gant – Buick

The winner was Bobby Allison with an average speed of 128.636 mph.

STREET PHOTOGRAPHY: FOR THE RECORD

What is the significance, after all, of street photography if it does not provide society with a record of important moments captured for the historical record? Ahh, “the decisive moment” as Henri Cartier-Bresson would say. Well, here we may have just one of those significant, historical moments frozen in time by a talented street photographer.

The locale is San Francisco in sight of the ferry terminal building: “San Francisco Ferry Terminal” (1914). The date has been changed on the tower to 1915, but we are still in 1914 as these two men are in conversation on the street. Other men stand at the ready next to an automobile. Perhaps one or both of these men are very important? Perhaps they are discussing news of the Great War unfolding in Europe? In any case, a fine example of street photography proving that if you are serious about this craft it is necessary to always have your camera at the ready.

On another note, DPI is proud to announce that we have been listed at #40 of the top 50 photojournalism and blog sites by photojournalists for 2018 by Feedspot (https://blog.feedspot.com/photojournalism_blogs/).

SEPARATION OF FAMILIES AT THE BORDER IS INTOLERABLE

Many of us living in the United States today have come here for freedom from persecution of one sort or another or our ancestors made the journey in the past for the same reason. Sometimes legally, sometimes not. While it is true that a country has to maintain control of its borders, walls, barbed wire and detention camps are not what the United States is about. Those people seeking asylum at our southern border are refugees, considered to be stateless under International Law. A county’s legal system does not apply to refugees in the same way as it would to those who have citizenship or who are legal residents.

THE POWER OF THE DIAGONAL LINE IN COMPOSITION

Diagonal lines are good. Horizontal and to a lesser extent vertical lines are bad by comparison. By this we mean that in photography, diagonal lines draw the viewer’s attention into the image creating a dynamic and tension element into an otherwise staid photograph.

This is why photos lacking diagonal lines do not move our subconscious to the same degree and are, in effect, boring by comparison. Take a look at the lead photo here: “Refugees: Rebuilding After Typhoon Mary“; Hong Kong (June 15, 1960). The toddler in the left foreground is a plus, but see how many vertical lines you can find in this photo. In the background is Victoria Peak. See: Typhoon Mary.

Rommel's Atlantic Wall is now a tourist attraction.

REMEMBERING D-DAY (June 6, 1944)

Lest we forget. Lead photo is called “Fortress Europa“, Normandy, France (1958). Today, a tourist attraction. Seen below is “Colleville“; Colleville-sur-Mer, France (1958), the American military cemetery. Freedom is not free.