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James Cockroft

William Albert Allard – ‘The Photographic Essay’

The Photographic Essay was introduced to me via a conversation on Twitter, if I recall. It was a couple of years ago, I think, and maybe I just read it but didn’t participate and that’s why I can’t find it now. No matter. William Albert Allard was a National Geographic photographer in the 1960s, and then a freelance photographer for the Geographic in the prime years for freelance National Geographic photographers and well into the magazine’s Fox-owned decline.*

In my YouTube blurb for the unboxing, I call The Photographic Essay “… a sort of master class on documentary photography and creating photographic essays….” After spending some time with it, well, I guess I stand by that. Sort of.

The Photographic Essay is one of two books in Bullfinch Press/Little Brown’s “American Photographer Master Series”** and isn’t really by William Albert Allard. Sure, the portfolios in the last third of the book have introductions from Allard with some memories of making the pictures and a very small bit of gear talk, but the first half of the book is a collection of essays about Allard, his biography, descriptions of his process and workshops, and etc.

As an introduction to Allard, it’s good, I guess, though I’d prefer something from National Geographic , I think, an actual series rather than a selection of pictures. Most of the portfolios contain pictures made over many trips to a place, often for different reasons/clients, and there’s no coherence to them, really, or maybe I’m just confusing what Allard calls “Picture Stories” with “Photographic Essays.”

I was weaned on the classic picture story: a series of images brought together on a certain subject, person, or place that has a beginning, a middle and an end…. In a picture story, you’re liable to see the same people throughout—Gene Smith’s country doctor, or nurse midwife. It’s narrative. But the stories I’ve photographed aren’t picture stories. I believe in the discipline of the picture story, but there’s almost no outlet anymore. In my work, you rarely see the same person more than once. The stories I do for National Geographic are much close to a photographic essay. I’d define the photographic essay in much broader terms. There’s more room for impressionism in a photo essay, and this leaves more room for the viewer. A photo essay isn’t as literal as a picture story.” Allard, William Albert. The Photographic Essay . Pond Press, Inc., Boston, 1989 (second printing 1991). p. 69.

So I suppose it could be argued that the portolios, from Allard’s “Basques,” “The West,” “Oaxaca, Mexico,” “Peru,” and the “Tea and Sugar Train,” are such photo essays, but then that would be at odds with how the publisher describes the series. From the back flap of the jacket: “Each volume… features the best of the photographer’s work….” So, unless the “best of” Allard’s work are completed photo essays, the images presented are just a hodgepodge of one-offs, and the title of the book, The Photographic Essay is more about Allard’s working process than what is contained in the book.

It’s not all bad. Really, it’s not bad at all. It’s just not really what was advertised. It’s something of a workshop-type book, though a far cry from Aperture’s excellent “Photography Workshop” series (see reviews of that series here , here , here , and here ). I guess that’s what it was trying to be, what, 15, 20 years before Aperture’s series, but it didn’t quite make it. There are some descriptions of the way the old National Geographic assignment process worked, with no mention of digital files or manipulation, and given that the book was written in 1989, there’s no hint that things will ever change.

The writing is a bit gear heavy, maybe. There’s quite a bit of talk about cameras, lenses, focal lengths, an equipment list, flashes, and etc. scattered throughout, and I guess that’s to be expected from a publication related to American Photographer magazine. In fact, now that I think about it, it reads like a very long profile piece from a mass market hobby magazine.

Allard’s photography is absolutely brilliant. I’m reminded somewhat of Alex Webb’s work. They have similar sensibilities, I think. Allard’s color saturation and contrast is more restrained than Webb’s, and he’s of an older generation, but they’re both drawn to eye-popping color and light. And the quotes about his process and thinking are valuable, I suppose. It’s just not quite what I expected when I ordered it. I was looking for something more of how to structure a photo essay, how to arrange the pictures, pacing, things like that, and this book could never provide that: Allard doesn’t talk about that part of the process at all. In fact, he couldn’t. Someone else put his stories together, and while he wrote the text for many Geographic stories in his early years, he handed off that part of the process to others in the mid-1970s. And this book doesn’t contain a single photo essay, but only some pictures from about 25 years of Allard’s professional career.

Overall, I give it 2.8 stars.

One good thing about The Photographic Essay , clean used copies are cheap . Oh, wait… no they’re not! Sheesh! smh. $75 for a beat up paperback? The price has shot up since I bought this one. I think I paid $25 or less for it. Wow. I should probably put it up for sale. Anyone want to offer me, say $60 for it, including shipping? It’s yours… Honestly, though, unless you know what you’re getting, I’d feel like I ripped you off. Really, for that, go and pick up Alex Webb and Rebecca Norris Webb On Street Photography and the Poetic Image workshop book, or maybe Dawoud Bey On Photographing People and Communities , which I’ve only just become aware of and ordered immediately. You can get both of those, new, direct from Aperture, for less than a used paperback copies of The Photographic Essay , and they’re better produced and better put together, and they know exactly what they’re trying to be, which can’t be said for The Photographic Essay .

It’s a shame, really, because Allard is a great photographer. I should really keep an eye out for one of his monographs or a collection of his stories for National Geographic , if such a thing exists (if there is, I can’t find it).

*Hopefully the Geographic will regain some of its credibility now that it’s part of Disney… after all, the Mouse is something of an environmentalist, something of a world-traveler, with some commitment to edu… tainment, anyway. **The other, Patrick Demarchelier: Fashion Photograhy is on order at time of writing. I don’t know why. Completion, I guess? At least it was cheap: like the Allard book, less than $20, shipped. Expect a review sometime.

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The Challenge of Facts and Other Essays

The third of four collections of essays on economics, liberty, and sociology by Sumner, edited by Albert Galloway Keller. Page scans are available.

THE CHALLENGE OF FACTS AND OTHER ESSAYS

BY WILLIAM GRAHAM SUMNER

EDITED BY ALBERT GALLOWAY KELLER

NEW HAVEN: YALE UNIVERSITY PRESS LONDON: HUMPHREY MILFORD OXFORD UNIVERSITY PRESS MDCCCCXIV

​ copyright, 1914 by yale university press

first printed october 1914. 1,000 copies

Copyright, 1886, by The Forum Copyright. 1886, 1887, 1890, 1891, 1902, by The Independent Copyright, 1887, 1889, by D. Appleton & Company Copyright, 1901, by The Macmillan Company Copyright, 1904, by P. F. Collier & Son. Inc. Copyright, 1905, by Longmans, Green & Company Copyright, 1907, by The University of Chicago Press

​ PREFATORY NOTE

All rights on the essays in this work are reserved by the holders of the copyright. The Publishers named in the subjoined list are the proprietors, either in their own right, or as agents for the author of the Essays of which the titles are given below, and of which the ownership is thus specifically noted. The Yale University Press makes grateful acknowledgment to the Publishers whose names appear below for their courteous permission to include in the present work the Essays of which they were the original publishers.

Yale University Press

The New Haven Palladium: "For President?" The Providence Evening Press: "Democracy and Responsible Government." The Chicago Tribune: "Republican Government." The Forum: "Industrial War." The Independent: "The Demand for Men," "The Significance of the Demand for Men," "What the 'Social Question' Is," "What Emancipates," "Power and Progress," "Consequences of Increased Social Power," "What is the 'Proletariat?'" "Who Win by Progress?" "Federal Legislation on Railroads," "Legislation by Clamor," "The Shifting of Responsibility," "The State as an 'Ethical Person,'" "The New Social Issue," "Speculative Legislation," "The Concentration of Wealth: Its Economic Justification." Messrs. D. Appleton & Company: "What makes the Rich Richer and the Poor Poorer," "Sketch of William Graham Sumner." The Reverend Peter Roberts and The Macmillan Company: "Foreword to 'The Anthracite Coal Industry.'" Messrs. P. F. Collier & Son, Inc.: "Reply to a Socialist." Professor James Elbert Cutler and Messrs. Longmans, Green, & Company: "Foreword to 'Lynch-Law.'" The University of Chicago Press: "Sociology as a College Subject."

This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.

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Albert Heath, Jazz Drum Virtuoso, Is Dead at 88

He accompanied stars like John Coltrane and worked frequently with his brothers. “I’ve always thought I was a master,” he once said. Few disagreed.

By Richard Sandomir

Albert Heath, a virtuoso jazz drummer who collaborated with luminaries like John Coltrane, Thelonious Monk, Nina Simone and Herbie Hancock; performed and recorded with his older brothers, Percy and Jimmy; and for a few years played alongside Percy in one of the great jazz ensembles, the Modern Jazz Quartet, died on Wednesday in Santa Fe, N.M. He was 88.

The cause of his death, it a hospital, was leukemia, his stepson Curt Flood Jr. said.

Mr. Heath, who was known as Tootie, was primarily a bebop and hard bop drummer but was adept in a range of styles. In 2020, the National Endowment for the Arts named him a Jazz Master , an honor that his brothers had received earlier.

He accepted the news with a mixture of humility and self-confidence.

“I am honored that they acknowledged me,” he told The Santa Fe New Mexican, “but it doesn’t mean anything because I’ve always thought I was a master.”

Mr. Heath’s career had its origins with his family in Philadelphia, where his father played clarinet in an Elks marching band, his mother sang in a church choir and his brother Jimmy, a saxophonist, brought members of his big band — including his fellow saxophonist John Coltrane — to the Heaths’ house.

“They’d have section rehearsals in our parents’ house because it wasn’t big enough to have the whole band in there, 18 pieces or so,” Mr. Heath said i n an interview with the website All About Jazz in 2015. “So the trumpets would come one day, the reeds the next. The drummers and the bassists would be there a third day.”

His career began early. As a teenager, Tootie — he was given the nickname by his paternal grandfather because he loved tutti-frutti ice cream — played a weeklong gig as part of a pickup ensemble backing Thelonious Monk at the Blue Note in Philadelphia. Monk did not tell the musicians what he wanted them to play.

“He never turned around and said hello,” Mr. Heath said in an interview for the N.E.A. in 2021. “He never turned around and said, ‘Thank you,’ ‘Goodbye,’ ‘I hated you guys’ or ‘I liked you guys,’ or whatever, and I never heard him say a word in the microphone to anybody.”

In 1957, when Coltrane was working with Mr. Heath, the pianist Red Garland and the bassist Paul Chambers at a club in Philadelphia, he hired them for what became the album “Coltrane,” his first as a leader.

Over the next two years, Mr. Heath began a prolific career as a session musician, appearing on albums by Mr. Garland (“Groovy”), the saxophonist Cannonball Adderley (“Cannonball Takes Charge”), Coltrane (“Lush Life”) and Ms. Simone (“Little Girl Blue”).

He went on to perform with the trombonist J.J. Johnson’s band and, briefly, with the Jazztet, a sextet led by the trumpeter Art Farmer and the tenor saxophonist Benny Golson.

Reviewing a Jazztet performance in San Francisco in 1961, Russ Wilson of The Oakland Tribune described Mr. Heath’s drumming as “extraordinary.” He added, “Besides fast hands and excellent rhythm, he is graced with the good taste that marks great drummers and is evidenced by their willingness to subordinate their sound to that of the group.”

Mr. Heath left for Europe in 1965 and stayed there for a decade, living in Sweden and Denmark. He found more opportunities to perform there and in Western Europe than he had in the United States, where he had to deal with racism, Mr. Flood said in a phone interview. In Europe, Mr. Flood said, “He was treated like a rock star.”

He returned often enough to become part of Mr. Hancock’s sextet in the late 1960s and to record two albums with him, “The Prisoner” and “Fat Albert Rotunda.”

In 1970, Mr. Heath released his first album as a leader, “Kawaida” (Mr. Hancock and Jimmy Heath were among the musicians who accompanied him). Three years later he released another, “Kwanza (The First).” His other albums included “Tootie’s Tempo” (2013) and “Philadelphia Beat” (2014), with Ethan Iverson on piano and Ben Street on bass.

Albert William Heath was born on May 31, 1935, in Philadelphia. His father, Percy Sr., was an auto mechanic. His mother, Arlethia (Wall) Heath, was a hairdresser. His brother Jimmy, who was eight years older, was his first music teacher, but he also took lessons from Specs Wright, the drummer in Jimmy’s band.

Albert, Jimmy and Percy had played together on occasion, but in 1975 they made their partnership official when they formed the Heath Brothers, initially with Stanley Cowell on piano.

Their freewheeling brand of jazz was captured on several albums, including “Marchin’ On” (1975), “Passin’ Thru (1978) and “Straight Ahead” (2009), which was released after Percy died in 2005.

In a review of the brothers’ performance, with Jeb Patton on piano, at the Village Vanguard in 2003, Ben Ratliff of The New York Times wrote , “Albert cultivated a solo from the barest rustling, beginning with tambourine and bass drum alone; it represented the antithesis of most drummers’ showcases, never getting loud.”

Albert joined the Modern Jazz Quartet, of which Percy was a founding member, in 1994, after the quartet's longtime drummer Connie Kay died. He remained until the quartet broke up in 1997.

In addition to Mr. Flood, Mr. Heath, who lived in Santa Fe, is survived by his wife, Beverly (Collins) Johnson Heath, whom he married in 1976, after her divorces from the baseball player Curt Flood and Richard Johnson; two sons, Jens Heath, from his marriage to Anita Petersson, which ended in divorce in 1974, and Jonas Liedberg, from his relationship with Margaretta Liedberg; two stepdaughters, Shelly and Debbie Flood; another stepson, Scott Flood; a sister, Elizabeth Heath, nine grandchildren; and two great-grandchildren.

Over the last 25 years, Mr. Heath led a trio, with Mr. Iverson and Mr. Street, and the Whole Drum Truth, an all-drum ensemble with a rotating membership.

“You should pay attention to music from all around the world that use different drums,” Mr. Heath told The New Mexican in 2020. “There are a lot of different types of folk music and music of different countries that drummers should be astute to.”

Richard Sandomir is an obituaries writer. He previously wrote about sports media and sports business. He is also the author of several books, including “The Pride of the Yankees: Lou Gehrig, Gary Cooper and the Making of a Classic.” More about Richard Sandomir

War and Other Essays

• Albert Galloway Keller (editor)
• William Graham Sumner (author)

One of several collections of Sumner’s essays which were published in the early 20th century. This volume contains his famous essay on the Spanish-American War.

• EBook PDF This text-based PDF or EBook was created from the HTML version of this book and is part of the Portable Library of Liberty.
• Facsimile PDF This is a facsimile or image-based PDF made from scans of the original book.
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War and Other Essays, ed. Albert Galloway Keller (New Haven: Yale University Press, 1919).

The text is in the public domain.

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A Taste for Evil: A woman uses Evil to corrupt Paperback – November 3, 2023

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"Johnathan P. Hart is dead. Ben his grandson, shot him in a hunting accident. He suspects it was not accidental. For some reason, he can still see and hear everything and begins to relive his life right up to when he was shot. No one knows he is watching and judging.

Abigale, his son Henry's wife, is in Evil's grasp. She killed two men by 18. Seduced her Bank Manager to gain access to bank records. Uses her beauty and sexuality to entrap weak men to gain ownership of their property and build the biggest ranch on the Camas Prairie.

She kidnaps Jacob, her newborn grandson, to be raised by a victim of her evil. Kate, Abigale's daughter, thinks her son was stillborn. All an evil scheme to secure Abigale's line of inheritance to John P's fortune.

Later, Abigale frames Jacob for the murder of Kate and spends five years in prison, fighting for his life. He is released unexpectedly and returns far different than the young, naive man they sent to prison.

Evil is not kind to Abigale. With each evil act, web-like lines are slowly etched deep into her face, destroying her beauty and power. Even the black veil she now wears can hide them.

Abigale is guilty of murder, theft, and betrayal. No one is safe, not even Abigale."

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Albert William Palmer was born in the small town of Gooding, Idaho, in 1934. He spent his early years living in the beautiful states of Idaho and Oregon. In 1953, he joined a pump manufacturer in Portland, Oregon.

In 1957, he married Mary Alice Clark, and they had two daughters, Karen Sue Smith and Judy Alice Blough. They have two grandchildren, Casey and Kali Smith, and three great-grandchildren, Lila, Atwood, and Runi. They will celebrate their sixty-sixth wedding anniversary on August 30, 2023.

In 1958, he was transferred to the Pump Company’s home office in San Leandro, California. Over thirteen years, he worked in his trade in the pump business. In 1966, he opened his own Manufactures Representative business, representing eastern pump manufacturers in Northern California. In 1968, he sold his business and moved back to Oregon. There, he founded the Al Palmer Co. Over the next 29 years, he and his salesman traveled the northwest from Alaska, Washington, then south to Fresno, California, and east through Idaho, Montana, Utah, and Northern Wyoming. They sold products to Pump Dealers, Paint Stores, Farm stores, and large retailers. He retired in 1997.

It was during the many miles of travel and nights in motels that he began his writings. He wrote short stories and finally, in 2015, published his first novel, Fool’s Gold.

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He and his wife are living in Bozeman Montana enjoying the Big Sky Country and where he is working on his third novel.

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William Albert Allard: The Photographic Essay

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144 pages, Paperback

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Philosophy as Literature: The Dialogue

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