Little Freddie King at the New Orleans Jazz & Heritage Festival, 2013, photographed by Skip Bolen.
Credit Courtesy of Skip Bolen
Little Freddie King at the New Orleans Jazz & Heritage Festival, 2013.
Credit Courtesy of Skip Bolen
Skip Bolen says B.B. King is one of this year's most photogenic performers at the festival: "He has such great expressions."
Credit Courtesy of Skip Bolen
Trombone Shorty at Jazz Fest in 2011.
Credit Courtesy of Skip Bolen
Dave Matthews' rain-soaked set at Jazz Fest 2013.
Credit Eve Troeh for NPR
Skip Bolen has attended the New Orleans Jazz & Heritage Festival for years, competing with other photographers for the best shots — and forming relationships with performers in the process.
Credit Courtesy of Skip Bolen
Bolen shot one of Troy "Trombone Shorty" Andrews' earliest public performances at the 2001 Jazz Fest. Andrews' teacher Clyde Kerr can be seen at the far right.
The 2013 New Orleans Jazz & Heritage Festival wraps up Monday. This weekend and last, 12 stages have mixed such marquee names as Fleetwood Mac, Phoenix and Los Lobos with dozens of local bluesmen, soul belters and Cajun fiddle players.
The list of people Steve Schapiro has photographed reads more like a Who’s Who list of the 1960s and ‘70s. During his career, Schapiro worked for magazines such as Life, Time, Rolling Stone and Vanity Fair and captured the images of influential politicians, celebrities and musicians. He also extensively covered the Civil Rights Movement in the South.
Those icons - Jackie Kennedy, Ray Charles and James Baldwin - are who Schapiro labels "Heroes" in an exhibit of work is on display at the West Baton Rouge Museum in Port Allen.
Here's a snapshot from the field as Harrington composed his image of Burnside Bridge — which involved schlepping the huge, fragile camera down a steep incline to get the right perspective.
Credit Claire O'Neill / NPR
The wet-plate camera used by Alexander Gardner after the Battle of Antietam was like this one: It had two lenses, which created a "stereo" image, or two identical images side by side on one plate.
Credit Claire O'Neill / NPR
Here's what you see when you go under that little black cloth. Naturally, the view is in color — though at first it's a bit surprising. You can see how the camera's twin lenses project two identical images. But it takes some getting used to: The images on the focus plate are upside down and backward.
Credit Claire O'Neill / NPR
To work like Gardner did in the field, the photographer needs a portable darkroom. The interior of Todd Harrington's is like an alchemist's laboratory.
Credit Claire O'Neill / NPR
Todd Harrington holds a developed wet plate up to the light to check its exposure.
Credit Claire O'Neill / (@clairevoyant)/Instagram
Harrington compares his exposure to the original, to see if they line up correctly.
Believe it or not, there's a lot of food involved in wet-plate photography. Egg whites (albumen) are used to make the glass plates adhesive to the light-sensitive chemicals. And one way to keep the plates from drying out after processing is to coat them in honey. It's also physically demanding, so you get really hungry.
Correspondent Zoe Sullivan brings us this snapshot of a Bywater mainstay — a barbershop that serves as a "community hub" for the neighborhood.
Says Zoe:
This is a photo essay that began in my mind when I lived in the Bywater and would bike by the door to this barber shop. Its obvious age and it’s position at an angle to the street intrigued me. A few weeks ago, I finally went to see if I could take some pictures. Michael Williamson gave me some wonderful suggestions on how to improve the work, and here is the result.