It’s raining! Suddenly, drops of water drip through the beautiful 19th century Beaux-Arts iron and glass vaults of the Grand Palais where 136 galleries and publishers are hosted for the 17th annual celebration of Paris Photo, headed by Julien Frydman. Gallery owners scramble to cover the photographs with plastic sheets…and then, the sun shines again.

At the Metropolitan Museum of Art's annual Costume Institute gala, "radical change" isn't necessarily what you'd expect it to be — last year's ball had a punk theme, but it's this year's that's earning such emphatic words from the New York <em>Times.</em> Why? Because of <a href="http://www.nytimes.com/2014/04/24/fashion/at-the-met-gala-a-strict-dress-code.html">an announcement</a> that this year's soiree, which will take place on May 5 and benefit the exhibition "<a href="http://www.metmuseum.org/about-the-museum/press-room/exhibitions/2013/charles-james">Charles James: Beyond Fashion,</a>" will require male attendees to wear "full evening dress and decorations," also known as "white tie."
                        
                        But going white tie is not as simple as swapping out the neck gear that came with your rented tux. In fact, to do so is a formal-wear no-no.
                        
                        <a href="http://www.emilypost.com/everyday-manners/your-personal-image/69-attire-guide-beach-casual-to-white-tie-">According to etiquette guru Emily Post</a>, a man in white tie clothing will be wearing a black tailcoat, pants with a stripe of satin or a braid down the leg, a white wing-collared shirt, a white waistcoat, matching studs and cufflinks, white or gray gloves, black shoes, black socks and, obviously, a white bow tie. The proper swallow-tail coat is cut sort of like a double-breasted jacket, with peaked lapels and far-apart buttons, but it isn't meant to close. To stand out from the crowd, midnight blue is an acceptable substitute for black; brown is not.
                        
                        All of that means, as the <em>Times</em> points out, that most attendees will have to scramble to find suitable clothes, as even the fancy-schmanciest of folks are unlikely to own a tailcoat these days. (Exception: former <a href="http://www.whiffenpoofs.com/">college a capella singers </a>should be all set.) But that wasn't always the case. Fans of <em>Downton Abbey</em> will recall that the Dowager Countess is easily <a href="http://blog.blacktieguide.com/2011/11/02/downton/">shocked to hear of men dining in casual wear</a> — read: tuxedos — rather than white tie.
                        
                        According to the guidebook <em>A Gentleman Gets Dressed Up</em><em>, </em>by John Bridges and Bryan Curtis, the originator of white-tie dress was Beau Brummell (sometimes spelled "Brummel"), the famous fop whose name became an synonymous with dandy-ism and whose 19th-century fashion know-how was more recently commemorated <a href="https://www.youtube.com/watch?v=ry79LzkkDb4">by the musical <em>Annie</em>.</a> Brummell favored what was then a minimalist aesthetic, compared to the colorful garb of the 18th century society gent, and he was so fashionable that he changed evening wear forever. (Toshiaki KanayamaDotou—Courtesy Martin Parr Collection)
At the Metropolitan Museum of Art's annual Costume Institute gala, "radical change" isn't necessarily what you'd expect it to be — last year's ball had a punk theme, but it's this year's that's earning such emphatic words from the New York Times. Why? Because of an announcement that this year's soiree, which will take place on May 5 and benefit the exhibition "Charles James: Beyond Fashion," will require male attendees to wear "full evening dress and decorations," also known as "white tie." But going white tie is not as simple as swapping out the neck gear that came with your rented tux. In fact, to do so is a formal-wear no-no. According to etiquette guru Emily Post, a man in white tie clothing will be wearing a black tailcoat, pants with a stripe of satin or a braid down the leg, a white wing-collared shirt, a white waistcoat, matching studs and cufflinks, white or gray gloves, black shoes, black socks and, obviously, a white bow tie. The proper swallow-tail coat is cut sort of like a double-breasted jacket, with peaked lapels and far-apart buttons, but it isn't meant to close. To stand out from the crowd, midnight blue is an acceptable substitute for black; brown is not. All of that means, as the Times points out, that most attendees will have to scramble to find suitable clothes, as even the fancy-schmanciest of folks are unlikely to own a tailcoat these days. (Exception: former college a capella singers should be all set.) But that wasn't always the case. Fans of Downton Abbey will recall that the Dowager Countess is easily shocked to hear of men dining in casual wear — read: tuxedos — rather than white tie. According to the guidebook A Gentleman Gets Dressed Up, by John Bridges and Bryan Curtis, the originator of white-tie dress was Beau Brummell (sometimes spelled "Brummel"), the famous fop whose name became an synonymous with dandy-ism and whose 19th-century fashion know-how was more recently commemorated by the musical Annie. Brummell favored what was then a minimalist aesthetic, compared to the colorful garb of the 18th century society gent, and he was so fashionable that he changed evening wear forever.
Toshiaki KanayamaDotou—Courtesy Martin Parr Collection

The Protest Book 1956-2013 exhibit, curated from Martin Parr’s collection, ranges from anonymous or self-published books and brochures to classics by famous photographers such as Philip Jones-Griffiths’s Vietnam Inc., Peter Magubane’s The Fruit of Fear or Richard Avedon’s Nothing Personal. The issues concern civil rights, nuclear arms, gay and women issues, African-American civil rights, the Arab Spring… My only regret is that very few of the book spreads are visible in the vitrines.

At Jérôme Poggi gallery, the focus is on several series by Sophie Ristelhueber, ranging from the devastated facades of Beirut and Armenia to the overviews of the Kuwait desert. War and suffering are never shown directly but through their reflections in landscape or in scarred bodies such as those of the striking series EveryOne. At Bruce Silverstein Gallery, I discovered some unknown (by me), lush color work of wooden walls with geometric motifs in a square format by Aaron Siskind, made in Bahia in the 1980s. Galerie Polka had series by war photographer Stanley Greene, prints from Salgado’s recent work Genesis, and striking, enlarged contact sheets of Daido Moriyama’s Labyrinth, that he created by mixing together negatives from disparate rolls of films, regardless of chronology or provenance. It is an immersion into over fifty years of images.

If you’re a woman in your 40s or 50s, you’ve almost certainly been told that you should have a mammogram. Many women are pressured to do so by their doctors. This has a long tradition. In the dark ages of male chauvinism, the American Cancer Society wrote, “If you haven’t had a mammogram, you need more than your breasts examined.”
                        
                        Although that message wouldn't go down well today, the underlying paternalistic attitude towards women hasn’t changed much. Information about the actual benefits and harms of screening has been held back for years. Pink ribbons and teddy bears, rather than hard facts, dominate the discourse.
                        
                        Why is that? It's not because the information is hazy. No other cancer screening has been studied so extensively. The fact box below outlines benefits and harms. It is based on half a million women in North America and Europe who participated in randomized clinical trials, half of whom attended screening and half of whom did not. The fact box shows what happened to them 10 years later:
                        
                        <a href="http://time.com/wp-content/uploads/2014/04/untitled.png"></a>
                        
                        First, look at the benefit. Out of every thousand women aged 50 and older, five without screening died from breast cancer, compared to four in the screening group. This is an absolute reduction of 1 in 1,000. In fact, it might even be an optimistic estimate because the Canadian follow-up study of women for 25 years after these trials found no reduction at all. But the exact number is not my point here. What I want to explain is <em>how</em> women are being misled.
                        
                        <em>Trick #1: </em><em>State that screening reduces breast cancer mortality by 20% or more, because it sounds more impressive than explaining that the absolute risk reduction is 1 in 1,000.</em>
                        
                        This trick has been used for years in pamphlets. You might think, well, it’s not much, but at least one life is saved. But even that is not true. The number of deaths from <em>all </em>cancers, breast cancer included, is the same in both groups, as seen in line two of the fact box. And that leads us to trick #2:
                        
                        <em>Trick #2: Don’t mention that mammography screening doesn’t reduce the </em><em>chance of dying from cancer. Talk only about the reduction in dying </em><em>from breast cancer.</em>
                        
                        Often, and particularly if a person had multiple cancers, the exact cause of death is unclear. For this reason, total cancer mortality is the more reliable information when you look at it in terms of the larger goal: saving lives. In plain words, there is no evidence to date that routine mammography screening saves lives.
                        
                        Now let’s look at the harms.
                        
                        <em>Trick #3: Don’t tell women about unnecessary surgery, biopsies and other </em><em>harms from overtreatment. If you are asked, play these down.</em>
                        
                        The first way a mammogram can harm women is if it comes back with a false positive, leading to invasive and unnecessary biopsies. This isn’t the rare fluke most people seem to think it is. This happens to about a hundred out of every thousand women who participated in screening. Legions of women have suffered from this procedure and the related anxieties. After false alarms, many worried for months, developing sleeping problems and affecting relationships with family and friends.
                        
                        Second, not all breast cancers are life-threatening. Women who have a nonprogressive or slowly growing form that they would never have noticed during their lifetime often undergo lumpectomy, mastectomy, toxic chemotherapy or other interventions that have no benefit for them and that are often accompanied with damaging side-effects. This happened to about five women out of a thousand who participated in screening.
                        
                        There's one final trick I would like to share with you.
                        
                        <em>Trick #4: Tell women about increased survival. For instance, “If you participate </em><em>in screening and breast cancer is detected, your survival rate is 98%.” Don’t mention mortality.</em>
                        
                        Susan G. Komen uses this trick, as do many health brochures. How can 1 in 1,000 be the same as 98%? Good question. Five-year survival rates are measured from the time that cancer is diagnosed. What this means is that early diagnoses only seem to increase the rate of survival; it doesn’t mean that 98% were cured, or even lived longer than they would have without an early diagnosis from a mammogram. What’s more, screening also detects nonprogressive cancers, which further inflate short-term survival rates without having any effect on longevity. For those reasons, survival rates are often criticized as misleading when it comes to the benefits of screening. What you really need to know is the mortality rate. Again, look at the fact box, which uses neither 5-year-survival rates nor other misleading statistics such as relative risk reductions.
                        
                        Do men fare any better with screening for prostate cancer? In a 2007 advertisement campaign, former New York City major Rudi Giuliani explained, “I had prostate cancer five, six years ago. My chance of surviving prostate cancer—and thank God, I was cured of it—in the United States? Eighty-two percent. My chance of surviving prostate cancer in England? Only 44% under socialized medicine.” By now you will recognize that Giuliani fell prey to trick #4. In reality, despite the impressive difference in survival rates, the percentage of men who died of prostate cancer was virtually the same in the U.S. and the U.K. Most importantly, randomized clinical studies with hundreds of thousands of men have shown no proof at all that early detection with prostate-specific antigen (PSA) tests saves lives; it reduced neither deaths from prostate cancer nor total mortality. What PSA testing is good at is detecting more nonprogressive cancers than breast cancer screening. The subsequent (unnecessary) surgery or radiation has harmed many men, causing incontinence and impotence. What men should know: getting prostate cancer is not a death sentence. Almost every man lucky enough to live a long life will eventually get it. But only about 3% of American men die from it.
                        
                        Thanks to these tricks, quite a few doctors (perhaps yours?) are inadequately informed as well. But again, why is the misinformation so widely spread? Like those who refused to peer through Galileo's telescope for fear of what they would see, many who have financial or personal stakes in screening and cancer treatment—from medical businesses to patient advocacy groups sponsored by the industry—close their eyes to the scientific evidence and cling to a one-sided view.
                        
                        Mass screening is not the key to saving lives from cancer; the effective means are better therapy and healthier lifestyles. About half of all cancers in the U.S. are due to behavior: 20-30% to smoking; 10-20% to obesity and its causes, such as lack of exercise; and about 10% and 3% to alcohol in men and women, respectively. With respect to breast cancer, less alcohol and a less sedentary lifestyle with more physical activity, such as 30 minutes of walking a day, can help.
                        
                        Until five years ago, cancer screening brochures from organizations in Germany (where I live) used all four of the above tricks to advocate screening. That is no longer so. All misleading statistics have been axed, and for the first time harms are explained, including how often they occur. However, none of the organizations have yet dared to publish a fact box, which would make the evidence crystal clear to everyone. Then, every woman could finally make an informed decision on her own.
                        
                        <em>Gerd Gigerenzer is the author of </em><a href="http://www.amazon.com/Risk-Savvy-Make-Good-Decisions/dp/0670025658" target="_blank">Risk Savvy: How to Make Good Decisions</a><em>. He is currently the director of the Max Planck Institute for Human Development in Berlin, Germany, and lectures around the world on the importance of proper risk education from everyone from school-age children to prominent doctors, bankers, and politicians.</em> (Daido Miroyama—Courtesy Galerie Polka, Paris)
If you’re a woman in your 40s or 50s, you’ve almost certainly been told that you should have a mammogram. Many women are pressured to do so by their doctors. This has a long tradition. In the dark ages of male chauvinism, the American Cancer Society wrote, “If you haven’t had a mammogram, you need more than your breasts examined.” Although that message wouldn't go down well today, the underlying paternalistic attitude towards women hasn’t changed much. Information about the actual benefits and harms of screening has been held back for years. Pink ribbons and teddy bears, rather than hard facts, dominate the discourse. Why is that? It's not because the information is hazy. No other cancer screening has been studied so extensively. The fact box below outlines benefits and harms. It is based on half a million women in North America and Europe who participated in randomized clinical trials, half of whom attended screening and half of whom did not. The fact box shows what happened to them 10 years later: First, look at the benefit. Out of every thousand women aged 50 and older, five without screening died from breast cancer, compared to four in the screening group. This is an absolute reduction of 1 in 1,000. In fact, it might even be an optimistic estimate because the Canadian follow-up study of women for 25 years after these trials found no reduction at all. But the exact number is not my point here. What I want to explain is how women are being misled. Trick #1: State that screening reduces breast cancer mortality by 20% or more, because it sounds more impressive than explaining that the absolute risk reduction is 1 in 1,000. This trick has been used for years in pamphlets. You might think, well, it’s not much, but at least one life is saved. But even that is not true. The number of deaths from all cancers, breast cancer included, is the same in both groups, as seen in line two of the fact box. And that leads us to trick #2: Trick #2: Don’t mention that mammography screening doesn’t reduce the chance of dying from cancer. Talk only about the reduction in dying from breast cancer. Often, and particularly if a person had multiple cancers, the exact cause of death is unclear. For this reason, total cancer mortality is the more reliable information when you look at it in terms of the larger goal: saving lives. In plain words, there is no evidence to date that routine mammography screening saves lives. Now let’s look at the harms. Trick #3: Don’t tell women about unnecessary surgery, biopsies and other harms from overtreatment. If you are asked, play these down. The first way a mammogram can harm women is if it comes back with a false positive, leading to invasive and unnecessary biopsies. This isn’t the rare fluke most people seem to think it is. This happens to about a hundred out of every thousand women who participated in screening. Legions of women have suffered from this procedure and the related anxieties. After false alarms, many worried for months, developing sleeping problems and affecting relationships with family and friends. Second, not all breast cancers are life-threatening. Women who have a nonprogressive or slowly growing form that they would never have noticed during their lifetime often undergo lumpectomy, mastectomy, toxic chemotherapy or other interventions that have no benefit for them and that are often accompanied with damaging side-effects. This happened to about five women out of a thousand who participated in screening. There's one final trick I would like to share with you. Trick #4: Tell women about increased survival. For instance, “If you participate in screening and breast cancer is detected, your survival rate is 98%.” Don’t mention mortality. Susan G. Komen uses this trick, as do many health brochures. How can 1 in 1,000 be the same as 98%? Good question. Five-year survival rates are measured from the time that cancer is diagnosed. What this means is that early diagnoses only seem to increase the rate of survival; it doesn’t mean that 98% were cured, or even lived longer than they would have without an early diagnosis from a mammogram. What’s more, screening also detects nonprogressive cancers, which further inflate short-term survival rates without having any effect on longevity. For those reasons, survival rates are often criticized as misleading when it comes to the benefits of screening. What you really need to know is the mortality rate. Again, look at the fact box, which uses neither 5-year-survival rates nor other misleading statistics such as relative risk reductions. Do men fare any better with screening for prostate cancer? In a 2007 advertisement campaign, former New York City major Rudi Giuliani explained, “I had prostate cancer five, six years ago. My chance of surviving prostate cancer—and thank God, I was cured of it—in the United States? Eighty-two percent. My chance of surviving prostate cancer in England? Only 44% under socialized medicine.” By now you will recognize that Giuliani fell prey to trick #4. In reality, despite the impressive difference in survival rates, the percentage of men who died of prostate cancer was virtually the same in the U.S. and the U.K. Most importantly, randomized clinical studies with hundreds of thousands of men have shown no proof at all that early detection with prostate-specific antigen (PSA) tests saves lives; it reduced neither deaths from prostate cancer nor total mortality. What PSA testing is good at is detecting more nonprogressive cancers than breast cancer screening. The subsequent (unnecessary) surgery or radiation has harmed many men, causing incontinence and impotence. What men should know: getting prostate cancer is not a death sentence. Almost every man lucky enough to live a long life will eventually get it. But only about 3% of American men die from it. Thanks to these tricks, quite a few doctors (perhaps yours?) are inadequately informed as well. But again, why is the misinformation so widely spread? Like those who refused to peer through Galileo's telescope for fear of what they would see, many who have financial or personal stakes in screening and cancer treatment—from medical businesses to patient advocacy groups sponsored by the industry—close their eyes to the scientific evidence and cling to a one-sided view. Mass screening is not the key to saving lives from cancer; the effective means are better therapy and healthier lifestyles. About half of all cancers in the U.S. are due to behavior: 20-30% to smoking; 10-20% to obesity and its causes, such as lack of exercise; and about 10% and 3% to alcohol in men and women, respectively. With respect to breast cancer, less alcohol and a less sedentary lifestyle with more physical activity, such as 30 minutes of walking a day, can help. Until five years ago, cancer screening brochures from organizations in Germany (where I live) used all four of the above tricks to advocate screening. That is no longer so. All misleading statistics have been axed, and for the first time harms are explained, including how often they occur. However, none of the organizations have yet dared to publish a fact box, which would make the evidence crystal clear to everyone. Then, every woman could finally make an informed decision on her own. Gerd Gigerenzer is the author of Risk Savvy: How to Make Good Decisions. He is currently the director of the Max Planck Institute for Human Development in Berlin, Germany, and lectures around the world on the importance of proper risk education from everyone from school-age children to prominent doctors, bankers, and politicians.
Daido Miroyama—Courtesy Galerie Polka, Paris

At Galerie Vu, another discovery was Le Temps d’Avant (1966-1969), square color images that Bernard Faucon did when he was still a teenager, before he became known for his staged photographs of mannequins. Van der Elsken series on love in St Germain des Prés (1961) and Anders Petersen’s Café Lehmitz complete this flashback into the sixties. At Howard Greenberg’s gallery, the choice is extraordinary, from Roy deCarava’s still life to Gordon Parks Harlem portrait, and prints of Kertesz, Brassai, Gjon Mili, Saul Leiter, Bill Brandt…

I especially enjoyed Vivian Maier’s self-portraits: she was a nanny who worked in Chicago from the 1950s into the late 1990s and whose beautiful body of work was only discovered by chance after her death in a thrift auction house. André Magnin gallery specializes in African photography, a field long ignored, with photographs by well-known artists such as studio portraitist Malik Sidibé but also unknowns such as Seydou Keyne or J. Dokhai Ojeikere, who photographed elaborate African hairstyles.

The Daniel Blau gallery made an amazing discovery in the archives of a photo agency that was closing: to celebrate Robert Capa’s 100th anniversary (he was born in 1913), they exhibit 65 prints that he made on European war fronts in Italy, France and Russia. An entire wall of mostly unknown photographs, shot in Rolleiflex and 35mm, to discover.

Beyond Paris Photo, the feast has spilled all over town with fifty other photography shows, most of them lasting into December and the new year. The Brassai retrospective at the Hôtel de Ville is one of the best. Apart from his famous images from the book Paris by Night, his studies of Picasso in his studio and his café shots, I was especially drawn to a poetic, mysterious set of images taken at Les Halles market: a black man carrying a meat carcass across his shoulders, like Christ with his cross. A new gallery, Le Comptoir Général, also home to a bar and a restaurant, specializes in showing unknown work made in 1960s African photography studios. Their current show of Oumar Ly is a series of portraits of villagers clothed in their Sunday best, against a makeshift painted background. The work is strong and fresh.

One of pizza’s most divisive flavors, Hawaiian pizza (topped with pineapple and ham) was invented far from its namesake islands by a Greek pizza maker in Chatham, Ontario in the 1960s. Its wonky popularity paved the way for future hybrid hits, like buffalo chicken and barbecue pizzas, now widely available on menus as mass-market as Domino’s. (Marc Cohen—Courtesy Le Bal, Paris)
One of pizza’s most divisive flavors, Hawaiian pizza (topped with pineapple and ham) was invented far from its namesake islands by a Greek pizza maker in Chatham, Ontario in the 1960s. Its wonky popularity paved the way for future hybrid hits, like buffalo chicken and barbecue pizzas, now widely available on menus as mass-market as Domino’s.
Marc Cohen—Courtesy Le Bal, Paris

Marc Cohen’s Dark Knees at Le Bal is intriguing, stark and sophisticated, capturing fragmented slices of life from his hometown Wilkes-Barre, Pennsylvania. It is a world askew, vibrating. Sylvia Plachy’s nostalgic and ironic portraits at Espaces 54 seem to capture their subjects’souls. Marguerite Duras’s serious gaze, Jorge Luis Borges leaning on a wall next to his shadow, Adrian Brody as a child, blowing a chewing gum that veils his face…

Coinciding with Paris Photo’s opening, the daily Libération published this Thursday an entire issue where photographs are but empty white rectangles, with only copyrights and captions. The editor explains that while the photography market is blossoming, magazines are dwindling and the fate of press photographers, war photographers in particular, remains uncertain, dangerous and poorly paid. Set in Paris’s current flood of images, this homage in absentia seems to make photography all the more visible.


Carole Naggar is a photo historian, poet and regular contributor to LightBox. She recently wrote on the work of Swedish photographer Anders Petersen.


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