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James Karales (1930-2002) was big-time in the best time but is not as well known as he should be, argues§photographic historian Vicki Goldberg. This book will change that. Early in his career, Karales began a photo-essay§documenting Rendville, Ohio, an important stop on the Underground Railroad during the Civil War and one of the few§racially integrated communities in America in the late 1950s. These pictures demonstrate his striking ability to capture§the essential qualities of a community, are reminiscent of images made for the Farm Security Administration in the§1930s, and reflect Karales state of mind as he grappled with the racial issues that were to preoccupy him and America§for many years to come.§Karales worked for Look from 1960 until it ceased publication in 1971. Among many important assignments for the§magazine, Karales documented Martin Luther King and the 50 mile, five-day Selma (Alabama) march in 1965. 15 minutes§before the end of the march, the sky darkened and Karales wide-angle shot of the protesters silhouetted against the§horizon has since become an emblem of the march and has insured the photographer s place in this tumultuous period§of American history. Through this new publication we discover that Karales stature as a photojournalist and social§documentary photographer par excellence is based on much more than one iconic image from Selma.§James Karales was born in Canton, Ohio in 1930. In 1955, after earning his degree in Fine Arts from Ohio University,§he came to New York and worked as an assistant to the renowned W. Eugene Smith. As a photojournalist, Karales won§numerous awards, among them the Picture of the Year and the Overseas Press Club Award. His photographs are in§numerous collections including the High Museum in Atlanta, the International Center of Photography, and the Museum§of Modern Art, both in New York.
