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A Roundup of What Happened While the Public Editor Was Away

Back from an intentionally unplugged vacation - where I got my news mostly through the print editions of newspapers and an occasional glance at the Twitter feed on my phone - I’m catching up with some of the issues that crossed the public editor’s desk in the past week.

Normally, each one might have made its own column or blog post. But for now, I’ll just mention each, with the possibility of returning to some of them later:

1. Jodi Rudoren’s front-page article on Palestinian young people who throw rocks caused a great many complaints. As is not unusual with articles in this part of the world, it made absolutely no one happy; readers on all sides of the conflict wrote to complain about bias and unfairness. The Times’s associate managing editor for standards, Philip B. Corbett, has responded to the complaints, disagreeing with those who believed the article was biased or that it glamorized the stone-throwers. “We described both the destructive impact on the teenagers themselves and the sometimes deadly consequences for others,” he said, also noting that the article was just one piece of continuing coverage of the region. “It was not meant to address every related issue,” he continued. “But I think it provided a thoughtful, memorable and detailed look that many readers found enlightening.”

2. The Times got some criticism for its decision to withhold, at the government’s request, the names of some leaders of Al Qaeda in a story about the decision to close embassies. Michael Calderone of The Huffington Post wrote about it, focusing on the decision by McClatchy, another news organization, to use the information when The Times and CNN did not; the McClatchy newspaper chain said its reporting was based on information from Yemen and it received no administration request to withhold it, but almost certainly would not have done so anyway. I’ve written previously on this topic, questioning The Times’s decisions not to publish information at the government’s request. It’s a elicate balance, no doubt, and every case is different. Still, it was heartening to read the words of the McClatchy chief of correspondents Mark Seibel: “We wouldn’t be disposed to honor such a request” from the administration, even if they’d had one.

3. Some readers were puzzled - or worse - about the timing of a profile of Katharine Weymouth, the publisher of The Washington Post, which appeared in The Times’s Styles section a day before The Post announced that it had been bought by Jeff Bezos, the founder of Amazon.com. One reader, Ed Kosner (the journalist who was top editor of Newsweek under Katharine Graham), wanted to know “how The Times managed to publish a bouquet to Katharine Weymouth on Sunday without a hint that the paper she was so heroically trying to save would be sold to Jeff Bezos the next day.” Ms. Weymouth later defended the Times reporter Sheryl Gay Stolberg, sayin under no circumstances would she have hinted to The Times about the sale since The Post itself hadn’t reported it. The story’s timing was unfortunate, to say the least â€" especially since Ms. Weymouth has been publisher for more than five years.

4. A few months ago, an article in The Times Magazine - a personal recollection of a man who was aboard a plane that had trouble in the sky - caused many complaints from aviation experts including James Fallows, a national correspondent for The Atlantic. Eventually, an editor’s note was appended to the article, linking to a blog post that took up and admitted some problems in how it was written and edited. I wrote about the subject twice. Now, a Frequent Fier interview in Business Day has Mr. Fallows, and others, once again questioning an aviation-related piece’s veracity and calling for more thorough fact-checking and sourcing on flying articles.

5. Finally, a reader, Stephen Barrett, wrote to complain about an article in Real Estate, with the print-edition headline “The ‘Leave Me Alone’ Zone,” which described how some New Yorkers are buying property they don’t intend to live in. He wrote: “I’d love to buy a studio or one-bedroom someday and now learn that I would have to compete with buyers looking for non-living space. Still, must The Times always devote its resources to articles about people who have so much that they need even more? Please, please assign a reporter to the poverty beat, or the just-getting-by beat, who looks at the struggles of more than young college graduates. New York City’s cost of living, and whether it is strangling the city’s vibrancy, should be the biggest issue in the mayoral race. Buying a co-op to dabble as a writer or for storage? Try looking at that critically.” I’ve written previously abou the need for more poverty coverage at The Times, and I liked Mr. Barrett’s “just-getting-by” idea, too. I have no objection to the specific article he mentions but his broader point is worth some attention.



Pictures of the Day: Gaza and Elsewhere

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Photos from Gaza, Egypt, Mali and Iran.

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Pictures of the Day: Gaza and Elsewhere

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Photos from Gaza, Egypt, Mali and Iran.

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Kodachrome’s Lasting Color, and Memory

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On D-Day 1972, fresh and ready to begin a photo internship at National Geographic, Nathan Benn, hitherto a black-and-white photographer, was delivered his marching orders:

You shoot Kodachrome now.

“I hardly ever shot color until I shot for National Geographic, and then I shot all in color,” Mr. Benn, 63, recalled. “Ninety-nine point nine percent of my photography up until June 6, 1972, was done without color.”

It was a good thing the decision was made for him. Kodachrome was known at the time for rendering rich colors, but also turned out to be remarkably durable: while Ektachrome photos faded and warped over time, Kodachrome images resisted deterioration. So while Mr. Benn didn’t set out to assemble a book 40 years later composed exclusively of Kodachrome work, it happened that that work made up the bulk of his best-preserved images.

“That was not a calculated decision in 1972 that when I do my legacy book in 2013, I should use Kodachrome,” he said in a telephone interview from his home in New Mexico. “I’m not that forward thinking. I was lucky.”

By the time Eastman Kodak discontinued its production in 2009, Kodachrome had long been a thing of the past for Mr. Benn, who had not taken a picture professionally since 1991. While some photographers, like Jeff Jacobson, reacted to the film’s dreaded but anticipated end by buying up a cache for a final hurrah â€" he turned the resulting pictures into a book, “The Last Roll” â€" others, resigned to the inevitable, picked up their DSLRs and went back to work with a sigh.

For Mr. Benn, the demise of the beloved film wasn’t so much a funereal occasion as an invitation to peek into the boxes of transparencies from his days at National Geographic. He had ignored his archive for so long that, to him, the images were hardly even there.

“It was like a one-hand clap, or other metaphors like a tree falling in a forest and no one’s around to hear it,” he said. “The picture does not exist unless it is looked at. Those pictures did not exist.”

They do now, in his book “Kodachrome Memory: American Pictures 1972-1990,” to be published in September by powerHouse Books. The book collects 108 prints taken from the 350,000 transparencies Mr. Benn shot for National Geographic over nearly 20 years. But it features the pictures he treasures, not the ones his editors did â€" only a handful were published in the magazine. These images blend what Richard Buckley in the foreword calls Mr. Benn’s “painterly understanding of composition, light and color” with “the formality of their framing and the looseness and spontaneity of a snapshot.”

DESCRIPTIONNathan Benn Helena, Ark. 1983.

In the years since Mr. Benn put down his camera, he has busied himself with other aspects of photography. In the early ’90s, he founded an online portal to sell stock photography â€" the first service of its kind, back when the Internet was not yet carried around on phones or wearable on faces. He directed Magnum Photos from 2000 to 2003 and is a trustee of the George Eastman House.

But he hasn’t taken a picture, even for himself, in 22 years.

“I would have continued,” he said, “but I ran out of support. Emotional scaffolding, I guess, is the term I’ve learned, having a 13-year-old boy now. Emotional scaffolding is a good educational term. I just felt the scaffolding wasn’t there anymore and I had to put the cameras down.”

But the self-described “Jewish fat nerd,” who didn’t fit the mold of National Geographic photographers at the time â€" they “came from Missouri or from places where they grew up learning to ride horses, and that was not me,” he said â€" is happy to have had the experience. Revisiting his pictures, he found he not only enjoyed what he saw, but remembered it.

For instance, recalling a photograph taken in Pittsburgh on the Fourth of July (Slide 1), he said: “That’s the picture that, in retrospect, they might not have published. It’s not a classic National Geographic picture. But I’m grateful that they liked it. There’s some nice serendipity.” And, he said: “It was a limited color palette. I much prefer pictures with a limited color palette.”

That photo had another happy association as well.

“That was the first day that we had a young intern from Boston working with me on this assignment,” he said. “Usually I worked by myself, especially on domestic stories. But this was the Fourth of July, and that night I was planning on doing fireworks and it was helpful to have multiple camera positions, so they sent out an intern from Washington to be my second shooting position. She was a cute redhead from Boston who was in her graduate program at Yale.”

This time, he made the decision himself.

“And I married her.”

DESCRIPTIONNathan Benn Pittsfield, Vt. 1973.

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Kodachrome’s Lasting Color, and Memory

#flashHeader{visibility:visible !important;}

On D-Day 1972, fresh and ready to begin a photo internship at National Geographic, Nathan Benn, hitherto a black-and-white photographer, was delivered his marching orders:

You shoot Kodachrome now.

“I hardly ever shot color until I shot for National Geographic, and then I shot all in color,” Mr. Benn, 63, recalled. “Ninety-nine point nine percent of my photography up until June 6, 1972, was done without color.”

It was a good thing the decision was made for him. Kodachrome was known at the time for rendering rich colors, but also turned out to be remarkably durable: while Ektachrome photos faded and warped over time, Kodachrome images resisted deterioration. So while Mr. Benn didn’t set out to assemble a book 40 years later composed exclusively of Kodachrome work, it happened that that work made up the bulk of his best-preserved images.

“That was not a calculated decision in 1972 that when I do my legacy book in 2013, I should use Kodachrome,” he said in a telephone interview from his home in New Mexico. “I’m not that forward thinking. I was lucky.”

By the time Eastman Kodak discontinued its production in 2009, Kodachrome had long been a thing of the past for Mr. Benn, who had not taken a picture professionally since 1991. While some photographers, like Jeff Jacobson, reacted to the film’s dreaded but anticipated end by buying up a cache for a final hurrah â€" he turned the resulting pictures into a book, “The Last Roll” â€" others, resigned to the inevitable, picked up their DSLRs and went back to work with a sigh.

For Mr. Benn, the demise of the beloved film wasn’t so much a funereal occasion as an invitation to peek into the boxes of transparencies from his days at National Geographic. He had ignored his archive for so long that, to him, the images were hardly even there.

“It was like a one-hand clap, or other metaphors like a tree falling in a forest and no one’s around to hear it,” he said. “The picture does not exist unless it is looked at. Those pictures did not exist.”

They do now, in his book “Kodachrome Memory: American Pictures 1972-1990,” to be published in September by powerHouse Books. The book collects 108 prints taken from the 350,000 transparencies Mr. Benn shot for National Geographic over nearly 20 years. But it features the pictures he treasures, not the ones his editors did â€" only a handful were published in the magazine. These images blend what Richard Buckley in the foreword calls Mr. Benn’s “painterly understanding of composition, light and color” with “the formality of their framing and the looseness and spontaneity of a snapshot.”

DESCRIPTIONNathan Benn Helena, Ark. 1983.

In the years since Mr. Benn put down his camera, he has busied himself with other aspects of photography. In the early ’90s, he founded an online portal to sell stock photography â€" the first service of its kind, back when the Internet was not yet carried around on phones or wearable on faces. He directed Magnum Photos from 2000 to 2003 and is a trustee of the George Eastman House.

But he hasn’t taken a picture, even for himself, in 22 years.

“I would have continued,” he said, “but I ran out of support. Emotional scaffolding, I guess, is the term I’ve learned, having a 13-year-old boy now. Emotional scaffolding is a good educational term. I just felt the scaffolding wasn’t there anymore and I had to put the cameras down.”

But the self-described “Jewish fat nerd,” who didn’t fit the mold of National Geographic photographers at the time â€" they “came from Missouri or from places where they grew up learning to ride horses, and that was not me,” he said â€" is happy to have had the experience. Revisiting his pictures, he found he not only enjoyed what he saw, but remembered it.

For instance, recalling a photograph taken in Pittsburgh on the Fourth of July (Slide 1), he said: “That’s the picture that, in retrospect, they might not have published. It’s not a classic National Geographic picture. But I’m grateful that they liked it. There’s some nice serendipity.” And, he said: “It was a limited color palette. I much prefer pictures with a limited color palette.”

That photo had another happy association as well.

“That was the first day that we had a young intern from Boston working with me on this assignment,” he said. “Usually I worked by myself, especially on domestic stories. But this was the Fourth of July, and that night I was planning on doing fireworks and it was helpful to have multiple camera positions, so they sent out an intern from Washington to be my second shooting position. She was a cute redhead from Boston who was in her graduate program at Yale.”

This time, he made the decision himself.

“And I married her.”

DESCRIPTIONNathan Benn Pittsfield, Vt. 1973.

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