RITY Signs Legendary Photographer Gered Mankowitz
Reelin’ In The Years Photo Archive has signed a deal to represent the music photography of Gered Mankowitz, who since 1963 has taken some of rock music’s most iconic images. Gered’s work has appeared in documentaries, museums, art galleries, books, magazines and on nearly 500 album covers from the 1960s through the 1980s.
David Peck, RITY’s President, says, “We have admired Gered’s images for many years and it’s truly an honour to rep his music stills which have been viewed and loved by millions across the globe.” When asked why he chose Reelin’ In The Years Photo Archive to handle his incredible body of work he replied, "In these days of monolithic corporations it is a joy to be working with such a passionate and knowledgeable person as David Peck and his team at Reelin’ In The Years Photo Archive."
Gered established his first studio in Mason’s Yard in 1963, in what was to become the very heart of 60s swinging London. In 1963, Gered met and photographed the singing duo Chad and Jeremy and one of these photos was used as the cover of the duo’s first album, Yesterday’s Gone. He began to work with a new generation of producers like John Barry, Shel Talmy and Chris Blackwell photographing artists who were of his own age group and who felt at ease with him in a way that had not been possible with other photographers.
As well as Jimi Hendrix (above), through the 60’s, Gered photographed many other major music artists including Free, Traffic, The Yardbirds, The Small Faces and Soft Machine. Because of the quality of his work, Gered’s skills were in such demand that during the 1970s and1980s he took portrait shots and album covers of artists such as George Harrison, Elton John, The Jam, Slade, Suzi Quatro, Sweet, Kate Bush, Generation X, Eurythmics, Duran Duran, Genesis and many others.
Over the past 50 plus years Gered has continued to work in the music business as well as contributing to many leading magazines and also taking prize winning images for the advertising industry.
The Reelin’ In The Years Photo Archive site can be accessed directly at www.photos.reelinintheyears.com, or through RITY’s main site, www.reelinintheyears.com.
9-11 The Horror and the Humanity
GIW looks back nearly 20 years to the events that changed the world on September 11th, 2001.
Their 9/11 footage and photo collection was captured by videographers with unrestricted access.
These videographers captured the horrific events as they unfolded before them in real time, and in some moments, barely escaping with their lives.
Now nearly 20 years later, GIW presents previously unseen photos and footage from their archives.
Images include aftermath, recovery, clean-up, construction of the 9/11 Memorial, the opening of the Freedom Tower, and nearly every moment in between. GIW has some of the most dramatic footage captured on that day.
Global ImageWorks continues to provide you with our normal high level of service in these most difficult times. They are here to assist you with research, screeners, masters, and answer any questions you may have. Be safe and healthy!
Website: Global ImageWorks
Mary Evans Collection of the week - Margaret Monck
If you regularly follow Mary Evans’ Collection of the Week emails, you will know that street photography is one of their specialisms, and while photographers Roger Mayne and Shirley Baker are well known in this genre, another name, Margaret Monck, is probably less familiar.
Born into a world of privilege in 1911, Margaret Thesiger was the youngest child of Frederic Thesiger, who was Viceroy of India from 1916 to 1921. Her upbringing revolved around the nursery, piano playing and French lessons, gymkhanas and the typical social functions associated with upper class life in colonial India. As a small girl, she would often play hostess at viceregal functions, and recalled dinners where she would be seated between a Maharajah and Colonel-in-Chief, a situation she took entirely in her stride, such was its familiarity. Margaret was fully expected to follow the route of most women of her class, ’coming out’ in society and then, within a couple of years, marrying well and settling down to a comfortable life as a wife and mother.
However, at the age of 8, she had been given a Box Brownie camera for her birthday and began to take photographs, including views of the Taj Mahal on a visit there. A creative impulse had been sparked and when, years later, she acquired a Leica camera, she began to take her photography more seriously, encouraged by her husband, the filmmaker and lifelong socialist, John Goldman Monck, whom she married in 1934. ’He was the catalyst who cracked life open for me,’ she explained in a 1986 documentary. In London, her family had inhabited the rarefied environs of Eaton Square, but a move to (still smart) Adelphi Terrace near the Strand prompted Margaret to take herself and her camera further east. Here she was inspired to capture the industrial docklands and streets of the East End, producing the kind of candid, yet atmospheric, shots we are more likely to associate with pictures by street photographers who were working two or three decades later. In order to achieve her naturalistic style, she likened photographing her subjects to stalking a bird, advocating patience above all else. She took a particular interest in children, in housing and immigrant communities, befriending the Italians who had settled around Saffron Hill and observing that, as a woman,’you’re more accepted as a passerby.’ The outbreak of World War Two, motherhood and a move to take up a new career in farming put an end to Margaret’s photography, but her penetrating record of 1930s London, in particular its impoverished communities, has sealed her status within the firmament of groundbreaking female photographers.
Mary Evans Picture Library’s representation of Margaret Monck’s collection includes all these subjects, as well as stunning examples of photographs of India taken from family albums. Furthermore, they have recently found photographic portraits of Margaret herself in the magazines of the ILN archive, which they have added to the selection here.
The Mary Evans team has been continuing to provide their usual service while working remotely and they encourage you to contact them via firstname.lastname@example.org or on 020 8318 0034 if you require research, a quote or have any other questions.
Global ImageWorks - 10% Off Your Next Production or Project
GIW are offering a discount off their footage and stills collections. They cover a wealth of subjects including travel, music, and classic TV show archives.
They have a superb collection of 1970s Punk footage and photos? If you enjoyed these they have plenty more in their wide-ranging archive of top-quality content.
If you are interested in licencing their footage or photos for your next project, please contact Morgan Strong Director of Footage & Photo Sales at GIW for 10%* off your next order (excludes premium collections).
They look forward to working with you.
Smoking Through The Ages from Werner Forman Archive
Browsing through the eclectic Werner Forman Archive Collection we found various images connected to smoking, particularly pipes. Here are some of the most interesting and unusual pictures, spanning the globe and hundreds of years.
Akha lady smoking a pipe. The Akha are a hill tribe of subsistence farmers living in China, Laos, Burma and Northern Thailand. Country: Thailand, photographed 1977.
A Memento Mori (Latin phrase meaning "remember your mortality") in the form of a pipe. Germany, 18th Century.
An official of the East India Company enjoying smoking a water-pipe. He is attended by his Indian servants. Country of Origin: India. Culture: Moghul. Date/Period: c.1760.
The Werner Forman Archive is a treasure trove of ancient and wonderful artefacts from all over the world and many different cultures.