By American PHOTO
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Extra info for American PHOTO - March April 2010
After some initial tests with simpler images, SERI and Ketchum began an artistic relationship that has lasted more than 20 years. In accepting Ketchum’s challenge, the institute’s artisans had to expand their language of stitches to simulate photographic effects (see detail, above). Their vocabulary now includes dozens of different kinds of loops, knots and bundles. And Ketchum has asked for ever-larger and more-complex work, including multipanel images that have required several years to complete.
As for Chaplin, what can I say that has not already been exaggerated by Life? He welcomed me where apparently he would not welcome most other photographers. I became very fond of him as a person as well. [I] was on the set from early morning to late at night. Many of the people on the set were very aware of my work and my reputation, and were most kind in their praise and in trying to be helpful. Only I was unhappy with the situation, for they were for the most part unaware of the struggle within myself and were sure everything would work out well.
Organizes exhibit and bestselling book, American Photographers and the National Parks, about the relationship between photographers, the parks and the growth of public environmental awareness. Contributes to ﬁrst photo exhibit ever held at the White House. Begins to shoot in the forests of the American East. Aperture publishes The Hudson River and the Highlands. Ketchum begins to photograph in Southeast Alaska’s Tongass rainforest, work that shows both the area’s untouched beauty and its increasing despoliation by logging companies.