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      Images of History, From Film to Digital

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      The reporter and photographer David Gonzalez once had to ship his film rolls to The Times’s Manhattan office. But in 1999, he went digital.In the In Times Past column, David W. Dunlap explores New York Times history through artifacts housed in the Museum of The Times.Two notable events in David Gonzalez’s nearly 34-year career at The New York Times occurred in 1999. He was appointed the Central America-Caribbean bureau chief, principally covering Cuba, Haiti, Guatemala, El Salvador and Panama.And he bought his first digital camera.Widely known as a Times reporter and columnist, Mr. Gonzalez is also an accomplished photographer. He served for eight years as co-editor of The Times’s Lens photojournalism blog and is a founding member of the Seis del Sur collective of Puerto Rican and Nuyorican photographers in the Bronx. “The Dancers,” which he took in 1979, depicts an elegant couple swept away by salsa music, rapturously indifferent to the fact that they’re in the middle of a street in the South Bronx.Mr. Gonzalez photographed his first assignments in Central America and the Caribbean on film. He had to ship undeveloped film rolls to The Times’s office in New York for processing, a cumbersome method that gave him no chance to review his work.So he bought a digital Olympus C-2020 in 1999, later upgrading to an Olympus C-4040, which was 4-by-3-by-2 inches and weighed 15 ounces. “I couldn’t afford one of the early Nikon digitals,” Mr. Gonzalez recalled in a recent email. (A Nikon Coolpix 950 cost $999.) “I knew Olympus, and the price was right, about $800. Since correspondents were paid $100 per photo, it paid for itself quickly.”With a digital camera, Mr. Gonzalez was immediately able to see what he’d photographed. He could also transmit his photos to New York with a modem that converted digital files into signals that traveled over telephone lines. Though much slower than a modern internet fiber-optic connection, this method was immensely faster than physical shipping.Mr. Gonzalez used the C-4040 digital camera to photograph the visit of former President Jimmy Carter to Cuba in May 2002.David Gonzalez/The New York TimesMr. Gonzalez used the C-4040 to photograph the visit of former President Jimmy Carter to Cuba in May 2002, a vigil Mass for the martyred Archbishop Óscar Arnulfo Romero of El Salvador in March 2003, and a Three Kings Day celebration in Manhattan.The battery compartment of his C-4040 is now broken and corroded. Otherwise, Mr. Gonzalez might have found an eager buyer among Gen Z influencers who prize digital cameras older than they are.On retiring from The Times last month, Mr. Gonzalez gave the C-4040 to the Museum at The Times. He also offered this reassurance: “I still have lots to say and show.” More

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      Scenes From the California Park Fire

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      Last Wednesday, a man pushed a burning car into a gully near Chico, a college town north of Sacramento, according to the authorities. Within days, the flames have consumed more than 370,000 acres and the Park fire has become the largest active blaze in the country.Thousands of people are under evacuation orders and at least 111 structures have been destroyed, according to Cal Fire.Residents of this part of California have dealt with one fire after another in recent years. In 2018, the Camp fire destroyed the town of Paradise and became the deadliest fire in state history. In 2021, the Dixie fire burned nearly a million acres. That history loomed large for Paul Mozzino, who was working an afternoon shift at a grocery store in Chico last week when he heard the alerts about a nearby fire. He thought, “Oh God, not again.”Here are photos from the last few days as the Park fire — already one of the largest in the state’s history — burned through this swath of Northern California.Loren Elliott for The New York TimesThe Park fire burned into the night in Butte County, northeast of Chico, on Sunday.Loren Elliott for The New York TimesA California Conservation Corps firefighter took part in a backfire operation on Monday.Noah Berger/Associated PressSmoke rose above the road as the Park fire jumped Highway 36 in Tehama County on Friday.Daniel Dreifuss for The New York TimesThe hills near Chico on Thursday.Daniel Dreifuss for The New York TimesA helicopter dropped water on the Park fire along Highway 32 in Butte County on Saturday.Daniel Dreifuss for The New York TimesThe plum of smoke from the Park fire on Friday.Daniel Dreifuss for The New York TimesA home destroyed by the Park fire in the Forest Ranch area in Butte County on Friday.John G Mabanglo/EPA, via ShutterstockThe burned remains of cars destroyed by the fire on Friday.Noah Berger/Associated PressThe Park fire burned below Highway 32 near Lomo on Friday.By Daniel Dreifuss For The New York TimesFirefighters set controlled burns along Highway 32 near Chico on Saturday.Daniel Dreifuss for The New York TimesA Cal Fire firefighter sprayed down hot spots along Highway 32 as the Park fire continued to grow on Saturday.Nic Coury/Associated PressA firefighter monitored a burn operation on Highway 32 near Forest Ranch on Sunday.Noah Berger/Associated PressHorses were evacuated as the Park fire tore though the Cohasset community in Butte County on Thursday.Daniel Dreifuss for The New York TimesA firefighter kept a close eye on a controlled burn along Highway 32 on Saturday.Daniel Dreifuss for The New York TimesFire trucks lined Highway 32 on Friday.Almendra Lawrence More

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      Doug Mills Describes the Trump Shooting Scene

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      Doug Mills, a veteran photographer for The New York Times who has been taking photographs of presidents since 1983, was only feet away from former President Donald J. Trump at the rally in Butler, Pa., when shooting started.He spoke with Victor Mather about the experience.What did you see and hear today?It was a very standard, typical rally. The former president was maybe an hour late. The crowd had been hot all day. Donald J. Trump arrived, waving to the crowd, just like any other rally he does.There’s a pool of photographers, maybe four of us, who were in what is called the buffer area just a couple feet from the former president. We were all jostling around in there trying to get our normal pictures.With his Secret Service detail between him and the crowd, Donald Trump walked to the stage in Butler, Pa., on Saturday.Doug Mills/The New York TimesAll of a sudden, there was what I thought were three or four loud pops. At first I thought it was a car. The last thing I thought was it was a gun.I kept taking pictures. He went down behind the lectern, and I thought, “Oh my God, something’s happened.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rencontres d’Arles Points the Camera Below the Surface

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      There’s always more to a photo than what we see, as shown by standout exhibitions at this year’s Rencontres d’Arles in southern France.Deep beneath the town hall in Arles, France, past some unassuming service counters and down several flights of narrow steps, the artist Sophie Calle has buried some things that she can’t bear to part with.Her show, called “Neither Give Nor Throw Away,” is a standout exhibition at this year’s Rencontres d’Arles, an annual summer photography festival founded in 1970 that presents group and solo shows of new and old photographic works in museums, churches, repurposed storefronts and parks across this Provençal city of 52,000 residents.This year’s edition of the Rencontres, which runs through Sept. 29, is titled “Beneath the Surface,” and Calle’s contribution takes place in a labyrinthine series of underground caverns bisected by long arched balustrades. The shadowy walkways and damp, moldy atmosphere are ideal for her project, in which she displays works from her storeroom that were damaged in a storm. Advised by restorers to destroy them, she decided instead to give them a subterranean afterlife. And so, the works are now “buried” in Arles, where they continue to decompose, but have not, at least, been forsaken.Sophie Calle’s exhibition “Neither Give Nor Throw Away” is in a series of underground caverns beneath Arles’s town hall.Teresa Suarez/EPA, via ShutterstockCalle — a photographer, writer and conceptual artist — is one of France’s most lauded and prolific contemporary art makers. Family, absence, death, romance and archives are themes that recur in her work, which often pairs images and text. In Arles, water-damaged photographs show a charred and discarded bed, formerly Calle’s own, in which a man who was renting a room from Calle’s mother burned to death, and a series of modest grave plots with stark markers: Mother, Sister, Child.Others come from a series titled “The Blind,” which matches modest black-and-white portraits that Calle took of blind people with her photographic interpretations of their responses, also present as framed texts, when she asked them what they imagine to be beautiful. (Answers include the sea, the color blue and Alan Delon.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      La mortal antesala de las primeras elecciones libres en Sudáfrica

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      [Estamos en WhatsApp. Empieza a seguirnos ahora]Hace 30 años, los sudafricanos negros votaron por primera vez mientras el país celebraba el monumental nacimiento de una democracia. Mientras escribo estas líneas, Sudáfrica está bañada por la cálida luz del sol invernal y los sudafricanos son libres.Ese día, el 27 de abril de 1994, cambió la vida de todos los habitantes del país. Yo estaba allí. Pero solo lo recuerdo vagamente.Sin embargo, recuerdo vívidamente el costo en vidas humanas que condujo a ese día victorioso, ya que lo que equivalía a una guerra por poderes alimentada por elementos del Estado del apartheid enfrentó a grupos étnicos entre sí. Quienes esperaban que el derramamiento de sangre hiciera descarrilar las negociaciones democráticas lo llamaron, convenientemente, violencia de personas negras contra personas negras.Pasaron cuatro años entre la salida de Nelson Mandela de la cárcel y las primeras elecciones reales. En ese tiempo, mientras el gobierno del apartheid resolvía lentamente los términos de su disolución con los líderes políticos que durante tanto tiempo había intentado reprimir, 14.000 personas murieron de forma violenta.Puede que muchos sudafricanos hayan optado por olvidar. Puede que los más jóvenes simplemente no lo sepan. Pero esto es lo que vi en los meses anteriores a la votación.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Veteran Describes Grizzly Bear Attack as ‘Most Violent’ Experience Ever

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      Shayne Patrick Burke, a disabled veteran in the Army Reserve, said the attack was “the most violent” thing he had experienced, including being shot at.Shayne Patrick Burke was on a short hike this month to photograph owls in the backcountry of Grand Teton National Park in Wyoming when he spotted a grizzly bear cub about 50 to 70 yards in front of him.Instantly, Mr. Burke knew that the cub’s presence signaled trouble, he wrote on Instagram.Moments later, Mr. Burke, 35, was attacked by the cub’s mother.He turned his back, got on his stomach and locked his hands behind his neck, following advice he had read about grizzly bear attacks, he said.During the attack, on May 19, the bear repeatedly bit Mr. Burke and picked him up and slammed him to the ground, before, he wrote, one of his screams “unfortunately, but fortunately, turned her attention to my head.”It was a terrifying moment, but it ultimately saved his life.The bear bit at Mr. Burke’s neck, but his hands and arms were still interlocked behind it and, crucially, he had grabbed a can of bear spray when he saw the cub.“I never let go of the bear spray can,” he wrote. “As she bit my hands in the back of my neck she simultaneously bit the bear spray can and it exploded in her mouth.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At Frieze, Photographer of Gay Life Seeks ‘a Place in the Sunshine’

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      Stanley Stellar has documented gay New York, on the streets and in his studio, for decades. Now he steps onto his biggest stage.Stanley Stellar was on Canal Street one Sunday morning in 1976 when a young man with a killer body passed by. Like many New York street photographers, Stellar is curious, bordering on nosy, and he can, when necessary, be a whiz at masking flirtation as flattery to put straight guys at ease.Stellar convinced the man to lift his T-shirt for a photo, and in return Stellar got an eyeful of chest and colorful bird tattoos, a picture Stellar later named “I Got Birds Too.”The man’s shirt went back on and a lightbulb went off.“I walked away from this and went, oh, this is who I am,’” Stellar, 79, said in a recent interview at his TriBeCa apartment.That chance encounter was an awakening that helped fuel Stellar’s decades-long drive to take pictures of unapologetic, maverick gayness as much as he can fit into a day. He’s still at it, as his nearly 40,000 Instagram followers can testify.To be clear, Stellar is gay. Spare him “queer.”“I don’t like how gay has been marginalized and dismissed,” he said. “At this point in my life, I’m not going to go, Oh yeah, I’ve always been a queer artist.’ No.”“I Got Birds Too,” 1976. Stellar’s work is a testament to a time and a community.via Stanley Stellar and Kapp KappWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Indigenous Artists Are the Heart of the Venice Biennale

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      Here are highlights of the range of work produced by Native artists in the pavilions and a central exhibition that proudly calls itself “Foreigners Everywhere.”Before visitors step into any gallery at the 2024 Venice Biennale, which opens April 20, Indigenous artists will have made their presence known.A collective of painters from the Brazilian Amazon, MAHKU (Movimento dos Artistas Huni Kuin), will cover the facade of the central exhibition hall with an intricate mural. Inuuteq Storch, the first Greenlandic and Inuk artist to represent Denmark at the international art festival, will erect a sign reading “Kalaallit Nunaat,” or “Greenland” above the pavilion’s entrance. (Greenland has been a self-governing country within the Danish Realm since 1979. )The Brazil Pavilion nearby has been renamed the Hãhãwpuá Pavilion — one of many terms that Indigenous people use to describe the territory that, after colonization, became Brazil. “There is a very political aspect to the Indigenous presence in an artistic space like the Venice Biennale,” said Denilson Baniwa, the Hãhãwpuá Pavilion’s co-curator. “Our aim is to rewrite history and add a new chapter to art history.”Beyond the United States Pavilion, which features the art of Jeffrey Gibson, the Venice Biennale offers a taste of the wide range of work produced by Indigenous, First Nations and Native artists around the globe. Here are some highlights.The Central ExhibitionMataaho Collective’s “Takapau” (2022), made of polyester tie-downs and stainless steel buckles. The first gallery at the Arsenale will host the monumental installation by a group of four Maori women known for making large fiber sculptures. Maarten Holl, via Te PapaIndigenous artists are at the heart of “Foreigners Everywhere,” the Venice Biennale’s central exhibition. As the Brazilian curator Adriano Pedrosa, artistic director of this year’s Biennale, sees it, the Indigenous artist is “frequently treated as a foreigner in his or her own land.” The first gallery at the Arsenale, Venice’s former shipyard complex, will host a monumental installation by the Mataaho Collective, a group of four Maori women known for making large-scale fiber sculptures. The 331-artist lineup also includes the Native American artists Kay WalkingStick and Emmi Whitehorse; the Brazilian Yanomani artists Joseca Mokahesi and André Taniki; Indigenous Australian artists Marlene Gilson and Naminapu Maymuru-White; and Maori artists Sandy Adsett and Selwyn Wilson, considered one of the founders of Maori Modernism, who died in 2002.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More