Showing posts with label Miami News. Show all posts
Showing posts with label Miami News. Show all posts

Monday, May 29, 2017

JFK at 100: My Dad’s Famous Miami Portrait of the President

Portrait of U.S. President John F. Kennedy, taken at a dinner held for Florida Senator George Smathers at the Fontainebleau Hotel on Miami Beach, on March 10, 1962. This is a framed print of the photograph, printed by the photographer, Charles Trainor, photographer for The Miami News.
CHARLES TRAINOR ctrainor@miamiherald.com


Read more here: http://www.miamiherald.com/opinion/editorials/article152887744.html#storylink=cpy

BY CHARLES TRAINOR JR.
ctrainor@MiamiHerald.com

In my elementary school’s main office hung a portrait of President John F. Kennedy. My father had taken the photograph while he was covering JFK for The Miami News during the president’s time here in March 1962. I was impressed. But what was more impressive was that same image hung in my childhood home in Hialeah. There was one difference: Ours was signed, “To Charles Trainor, with warm regards, John Kennedy.”

There was another bond that united the two prints. On Nov. 22, 1963, I was in Miss Addington’s third-grade class at John G. Dupuis Elementary School in Hialeah. Early that afternoon an announcement was made that the president had been shot and had died while on a trip to Dallas. We all were dismissed from school. We didn’t talk much as we headed home across the school field, and I’m not sure how much we understood that this day would resonate in history.

As I entered my house my mother was crying on the couch, my father’s portrait of Kennedy on the wall near the dining-room table, always impressive to guests. My parents were proud to have a connection to the popular, charismatic president — our strong Irish heritage. My mother was born in Dublin, and I still have on my bookshelf a photograph of my father’s grandmother’s grandmother, who came from Ireland to this country through Ellis Island.

That afternoon, my father’s photograph of Kennedy was delivered to our doorstep, published on the front page of The Miami News, Miami’s afternoon newspaper. It took up almost the entire page with a simple headline, “The Man.” There was one column of type on the left side of the page written by Bill Baggs, the editor. 
That day, I told my mom that I was going over to my friend’s house. She said, “No, you will stay home today and pay respect to the late president.” 
Over the years the portrait has graced the walls of our family’s homes as it was handed down, the strength of the photograph almost creating the presence of another person in the room.
Here’s the story of how the photo was taken and came to be autographed by the president:
On March 10, 1962, my father was assigned to cover Kennedy at a fundraising event at the Fontainebleau hotel on Miami Beach. Kennedy was sitting at a long dinner table, in formal wear, next to his close friend Florida Sen. George Smathers.

That day, my father was trying out an early version of a 300mm 2.8 lens — a monster for its time. I think the lens caught Kennedy’s eye because the president is looking straight down the barrel of it, inquisitively. The setting, his expression, my father’s lonely shot made it look almost as if it were a private portrait sitting, even though it was at a dinner table with scores of people around the president. It just came together in a serendipitously special way.

President John F. Kennedy with Senator Smathers
Charles L. Trainor The Miami News

Read more here: http://www.miamiherald.com/opinion/editorials/article152887744.html#storylink=cpy



JFK at 100

In 1988, when The Miami News folded, Pete Cross, a former director of photography at the Miami Herald, which was in the same bayfront building, was wise enough to salvage the lens my father used to take Kennedy’s photograph from the equipment locker room. The lens came in a specially made wooden Miami News case, now a family heirloom. 

In 1988, when The Miami News folded, Pete Cross, a former director of photography at the Miami Herald, which was in the same bayfront building, was wise enough to salvage the lens my father used to take Kennedy’s photograph from the equipment locker room. The lens came in a specially made wooden Miami News case, now a family heirloom. 
And how did my father get President John F. Kennedy to sign the print? Smathers, who was there with Kennedy that night, helped. Later, when Smathers saw the image, he asked my father for a copy and took it to the White House, where the president signed the mat surrounding the print. The signature has been authenticated. 

Here’s the sad ending: Only a few prints of this photograph have survived — and my father told me he lost the negative. 



CHARLES TRAINOR JR. IS A MIAMI HERALD PHOTOGRAPHER. HIS FATHER WAS A MIAMI NEWS PHOTOGRAPHER FROM THE MID-1950S TO 1987.







Friday, December 20, 2013

Photojournalist Joe Rimkus Jr. Reflects On His 40-Year Career At The Miami Herald

For the first time since the Miami Dolphins have started playing football, there won't be a Joe Rimkus on the sidelines.
By Joe Rimkus Jr.
My father worked as a photographer at the evening newspaper, The Miami News, covering everything from John F. Kennedy to the Miami Dolphins. I followed in his footsteps and started work at the Miami Herald in 1973 while still attending Florida International University. At first I worked in the photo lab developing and printing reporters film from all the Miami Herald bureaus all over the State, gradually working my way up to staff photographer. I’m now retiring after 40 years photographing history.

I mainly worked in the Broward County bureau of the Herald, but I often covered news and sports in Miami including the Dolphins, Florida Marlins, several Super Bowls, college championships, the University of Miami football team and traveling to Omaha with UM for the College World Series.


Some of my most memorable assignments were covering the Olympics for Knight-Ridder and then McClatchy newspapers. The best time was the Torino Olympics. Based in the Italian Alps in a ski condo with Alan Greth of the Contra Costa Times, I learned fast how to cover sports I’ve never heard of like snowboard cross competition. Living in South Florida I never had much experience covering luge, bobsled, ski jumping, halfpipe and curling. Alan and I had a good time working during the day and eating "anti-stress spaghetti" in a family run great Italian restaurant in this 500 year-old town.
 
One of my stories I often tell was the time I was covering the NFC Championship game at Soldier field with the wind chill at minus 30 degrees. For a Florida boy it was quite the education on how not to shoot in cold weather. Besides my film getting brittle and tearing from the cold, my Canon T90's viewfinder flashed HELP then died. Frozen up!

For now, my time will be split time between Sunrise and Vero Beach where I have my "retirement" home. I’m hoping to catch more fish, reduce my golf handicap, take art classes at the Vero Beach Museum of Art, do some freelance and finally take it easy.

It’s been a whirlwind ride and a great experience working with some of the greatest photographers and journalists anywhere. I've learned an awful lot about photography and life from our staff and I will never forget that.....

Bye,

Joe

Related Stories: 


Dolphins rout Jets in Joe's final game.
Doug Flutie celebrates win

Joey Marino

Monday, July 23, 2012

US Olympic Portraits: So Bad They're Good

AFP's Joe Klamar responds, click here.

BY AL DIAZ
ALDIAZ305@AOL.COM
All photographers are artists but there is a difference between photojournalism and fine-art photography. One serves up healthy portions of reality the other fantasy and whimsy.

Back in the early 80’s when I was minoring in the visual arts program at the University of Florida I found myself failing art photography. My photos for class looked like they belonged in a daily newspaper.

Influenced by the likes of photographer Michael O’Brien of the now defunct Miami News, the impressive news images in the Miami Herald, the incredible mentoring by staffers at the Associated Press, Phil Sandlin, Kathy Willens, Doug Jennings, Hal Moore, Mark Foley and so many other AP staffers, I built a photojournalism portfolio that launched my life-long career in an incredible news town.

But in art photo, my grades did not reflect a bright future.  So… I went the weird route; shot anything funky, abstract and bizarre. My grades shot up and my art photography professor, whose name escaped me three decades ago, smiled.

Recently, the photographic portraits of US Olympic athletes, by Agence France-Presse photographer Joe Klamar, ignited a firestorm of vitriol on the Internet from fellow photographers and the general public.

With my experience as a staff photographer for a major daily newspaper I don’t doubt Klamar when he says he was unprepared, totally unaware how his assignment was going to play out. Klamar says he thought he was going to shoot head shots at a press conference.

Be honest, how often has that happened to you? It happens! Over the years there have been times my editors have sold me a bill of goods only to find the assignment is not quite what it has been presented to be. I believe Klamar. What we have here is a failure to communicate. Hey, we are in the communication business right?

So what did Klamar do? His suite of images of the US Olympic athletes is funky, abstract and bizarre. They are so bad they are good. Brilliant really. There is no redundancy. His approach has a continuous theme while varying the poses for each subject. If you hang the photographic collection at any museum of modern art, my guess is it would get rave reviews.

Put in the same situation, many of us would approach this assignment in a totally different manner. One that reflects a collective vision of the visual arts department at our daily newspaper or wire service. Respectful of our personal history while keeping in mind how the work will be presented in the mainstream media.

If I know there is only a minute or so with each athlete, no set up time and no proper equipment I would streamline it all down and take a simple approach.  Do more with less. I would recommend a classic journalistic style. Clean it up. That is what I would expect from any photojournalist, including from myself.

No shuttlecocks on an athlete’s head, moose antlers, contorted bodies or creepy lighting. That’s not to say I would not reserve any of the above in my realm of creativity. No, these are all options. Why limit yourself?

That said, the notion that Klamar took a nefarious approach in the way he photographed US Olympic athletes, as many suggest, can only be judged by those that know his true character. When I first saw Klamar’s images, mischief is the first thing that crossed my mind. A treacherous yet witty body of work reflecting US Olympians as incompetent.

One person’s trash is another one's treasure. I do believe that Klamar failed to create images that serve the general public, newspapers and magazines but as fine-art the photographs may certainly have value, just not for me.
See the good, the funky, the abstract and the bizarre, here.

Here is an update on Joe Klamar, July 24th.

FOR IMMEDIATE RELEASE
The POWERHOUSE Arena is proud to present Olympic Portraits by award-winning Agence France-Presse photographer, Joe Klamar. The exhibition consists of color portraits shot by Klamar at a Dallas, Texas hotel during the U.S. Olympic Committee's Media Summit this May.

Many of the photographs were first met with harsh criticism from a bevy of news sites and photo blogs quick to highlight the images' alleged defects—citing the off-hand poses, the stressed lighting, the scarred backdrops—and labeled the work an affront to the elite status of the American Olympic athletic team.

Such criticisms miss the work's powerful and nuanced compositions and display of personality. Here we see real individuals at the peak of their athletic career in ordinary and impromptu poses, sometimes playful, some quite intense, in an unplanned setting. You will not see world-class athletes like this anywhere.

The POWERHOUSE Arena is proud to bring these images to a U.S. audience starting July 27 to coincide with the 2012 Olympics in London.

Exhibition dates: July 27 – September 4

POWERHOUSE Arena Hours:
Monday – Wednesday: 10 am – 7 pm
Thursday – Friday: 10 am – 8 pm
Saturday: 11 am – 8 pm
Sunday: 11 am – 7 pm

For more information, please contact Jacob Pastrovich:
The POWERHOUSE Arena, 37 Main Street, Brooklyn, NY 11201
tel: 347.853.37447 x134 email: jacob@nyphotofestival.com
Bad Olympic Portraits Rewarded with an Exhibition in NYC