Jonathan May: The photograph I took of Stanford, the young boy in Kenya with a rare disease, Xeroderma pigmentosum, an autosomal recessive genetic disorder in which the ability to repair damage caused by ultraviolet (UV) light is deficient, is the most important image I’ve taken. I was able to win the Head On portrait prize in Sydney with the image I took, and give him the money to help with ongoing hospital costs. Unfortunately, it wasn’t a fairy tale ending though, and the disease can’t be cured, only managed, so it is an ongoing battle for young Stanford. I am still in touch with his mother and am continuing to help him on his journey.
The Passion of Muhammad Ali, April 1968
The final decline and total collapse of the American avant-garde, May 1969
When people learn that Michael Norseng is the Photo Director at Esquire, it’s not uncommon that they mention one name from the magazine’s eighty-two-year-old history: George Lois, the art director who served at its helm from 1962 until 1972. Although Lois was indeed responsible for many of the ideas behind Esquire’s iconic covers over that decade, it’s another man whose name surfaces when Norseng looks back on those unforgettable covers of Muhammed Ali as Saint Sebastian, Andy Warhol engulfed by his own can of Campbell’s soup, Nixon under the make-up brush, and so many more; for him, it’s the man behind the camera, Carl Fischer, a man of ninety-one who still lives and works out of his townhouse studio on East 83rd Street in Manhattan.