The great photographer Mary Ellen Mark, who died on Monday at the age of seventy-five, was fierce in her love of photography. Her love extended to the people she worked with: to her staff, her subjects, her students, and the other photographers in her life. Loyalty was one of her essential qualities. Once she embraced a person, that person became a part of her life. Magazine assignments, for her, were not finished after publication. They continued, and took on new lives as books, videos, or films. She never stopped photographing the disadvantaged, and the empathy that she felt toward her subjects made her an exquisite portrait photographer. One of the earliest assignments I worked with her on at The New Yorker was a portrait of Coretta Scott King, strong and respectful. Later, we commissioned her to spend a year taking photographs on the streets of New York City. I don’t think of Mary Ellen as someone who took funny pictures, but some of the images from that series still make me smile. Her commitment to her work and to the way that she worked—using analog photography, without compromise—never stopped. She worked, taught, gave it her all until yesterday. I’ll miss her.
Elisabeth Biondi was the Visuals Editor at The New Yorker from 1996 to 2011.
Goings On
What we’re watching, listening to, and doing this week, online, in N.Y.C., and beyond. Paid subscribers also receive book picks.
Our Local Correspondents
Can Turning Office Towers Into Apartments Save Downtowns?
Nathan Berman has helped rescue Manhattan’s financial district from a “doom loop” by carving attractive living spaces from hulking buildings that once housed fields of cubicles.
By D. T. Max
The Front Row
“Civil War” Is a Tale of Bad News
Alex Garland’s grim political fantasy about secession and violence revolves around a war photographer but has little to say about the making and consumption of news images.
By Richard Brody