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B: Q & A with Bryan Formhals

That’s definitely true. Creation is only half the battle, distribution is the other half. Media companies have full teams dedicated to just monitoring the data and then boosting on social media. There’s definitely been a shift in how brands and media companies approach social media. A lot of them have created Audience Development departments that focus on growing audiences across different platforms.

“I’m an Outsider on the Inside”: An Interview with Bruce Davidson | The New Yorker

The photographer Bruce Davidson, who is eighty-five years old, has lived with his wife, Emily, in a rambling apartment on the Upper West Side for the past five decades. It is appointed with broken-in chairs and couches, an impressive folk-art collection, and has an extra bedroom, to accommodate visits from their four grandchildren. A bathroom has been transformed into a darkroom, complete with a custom-made Leitz enlarger and a fibre print washer installed in the claw-foot tub. An archive of Davidson’s prints and negatives are housed throughout the apartment in floor-to-ceiling shelving.

Bruce Gilden Has Balls | Leicaphilia

I like Gilden. It takes a lot of balls to walk up to someone on the street and push a flash camera in their face. Does it take some special photographic talent? No. But that’s not the point. It takes a certain unified vision. The point is Gilden has created an aesthetic unique to him and hasn’t much deviated from it in 50 years. As such, he’s created a large, coherent body of work. I’ve heard people criticize his work, claiming it gimmicky and artless, something any 8th grader would be capable of. Could your kid have taken these pictures? Yes. But your kid didn’t, and Gilden did, just like it would have been within your kid’s skill set to have painted Jackson Pollock’s Alchemy, 1947. Your kid didn’t, because your kid would have never considered the aesthetic potential inherent in the medium. The genius of Pollock -and Gilden- is having seen the aesthetic others missed.

Acclaimed photojournalist Tom Stoddart reflects on ‘ringside seat to history’ during remarkable career | London Evening Standard

Acclaimed photojournalist Tom Stoddart has vowed never to put down the camera as he reflects on his remarkable career today.

Raghu Rai: The Man Behind the Lens | The Daily Star

Indian photojournalist and member of the prestigious Magnum Photos, Raghu Rai, is better-known to Bangladeshis for the photos he took during our Liberation War in 1971. Rai, who has been awarded the Friends of Liberation War Honour, recently visited Bangladesh on account of Drik’s Chobi Mela X. This week’s In Focus publishes an interview of Rai with Ananta Yusuf, Producer, Star Live, The Daily Star.

Alex Majoli : « Today, the world is covered with images »

The Italian-born photographer presents his “Scene” series at the BAL in Paris until April 28th. Armed with an imposing device made with electronic flashes as in a studio, Alex Majoli catches the image of a group of people in strong situations, sometimes in events of the news. It questions the way of doing photojournalism today and tries to capture the theatricality of the world. He gave an interview to The Eye of Photography.

B: Street Resurfacing Project

John Sypal recently sent me a photocopy of this old interview with Garry Winogrand, conducted by Charles Hagen. It was originally published in Afterimage in December 1977, just before Winogrand’s 50th birthday, and arguably near the peak of his career. Some of the photos included are recognizable from Public Relations which had just been published, and Stock Photographs, which would out a few years later. Maybe they looked good in the original magazine, but here they’re severely degraded by multiple copy/scans. So it’s probably best to ignore them and just enjoy the text, which is chock full of interesting nuggets. To the best of my knowledge this is not online elsewhere. For serious photo nerds only!

Beyond war with conflict photographer Yuri Kozyrev

He talked in Moscow with host Nathan Thornburgh, who worked alongside Kozyrev throughout Russia and the Caucasus while they were both at TIME magazine. They talked about the late great Stanley Greene, about traveling with mujahedin, and about why it was hard to quit war for good.

David Bailey: ‘Legacy? I don’t care. Once you’re dead, you’re dead mate’

As he gears up to release a new book on his adventures in Peru, we sit down with the veteran photographer to talk swearing, switching off and why he reckons digital cameras ruined photography.

Who I’ve Hired: Chloe Coleman, The Washington Post | PDN Online

Chloe Coleman currently works on The Washington Post’s international news desk. She is also a photo editor for Outlook, the newspaper’s weekly section for for news analysis and opinion, and a contributing writer and editor on The Washington Post’s In Sight photo blog. Previously, Coleman worked as a photo editor at NPR and The Denver Post, and has served as a faculty member at The Kalish Visual Editing Workshop.

B: Q & A & A & Q & Q & A with Mark Shapiro

When I first became aware of digital I maintained that prints or books are the sine qua non, not the computer screen. Everyone’s monitor is different in quality and brightness and contrast, so your pictures are subject to the vagaries of bad monitors, bad settings, and in general the distraction of the computer interface. But I wanted my work to be seen on the Internet. So I came to the idea that at least my own calibrated monitor can be a kind of “platonic” standard and that there is a tacit disclaimer that the pictures might not look the way they are meant to look on other displays or as they would look definitively in prints.

The Evolved Documentarian : Interview with Burk Uzzle | LENSCRATCH

I’ve been corresponding with legendary photographer Burk Uzzle over the past months and am excited to share a wonderful interview today, written by Janet Kagan. Burk is an exceptional photographer with a most amazing legacy. I was recently listening to an NPR podcast and Burk’s name came up. It turns out that Burk was the photographer who shot the Woodstock album cover, of the couple wrapped in a blanket. After exploring his legacy these past months, my first thought was “Of course it was!” Thank you Burk, for a life time of incredible work. – Aline Smithson

Quick Tip: Gus Powell on Shooting Better Street Photography | PDNPulse

Gus Powell, a member of the street photography collective iN-PUBLiC and author of two monographs of street photography, will lead a seminar called “Street Photography How & Why” at PhotoPlus Expo on October 25. Street photographers Michelle Groskopf and Elizabeth Bick will also participate in the panel. The following excerpt from “Q&A: Gus Powell on Street Photography as Poetry” offers a preview of street photography strategy and advice that Powell and his colleagues will discuss at the PhotoPlus seminar.

The Daily Edit: Interview with Frank Ockenfels Part Two | A Photo Editor

You look at photography now, and most photographers, which I kind of make a joke about. Jeff Dunas does this photographers breakfast once a year and it’s  about 25 of us. We get together and sit around this table having breakfast at the Beverly Hills Tennis Club and discuss life. We discuss what happened in the last year and we’ll tell stories to each other.  Everyone from Douglas Kirkland to Gerhard Ludwig attends, it’s a wide variety of photographers, Claxton and Marshall and Herman Leonard.

Triggered: David Hobby Reflects on 12 Years with Strobist – PhotoShelter Blog

For the past 12 years, David Hobby has been living his life as Strobist – one of the first and greatest online photography resources. Entire photo empires have come and gone, but Hobby remains stubbornly wedded to teaching people how to use off-camera flash to augment their photographic skills and inspire their creativity.

The Daily Edit – Interview with Frank Ockenfels Part One | A Photo Editor

I probably didn’t have that till I got to New York and probably my third year of college is when I finally hit it where I was like, Oh! This is something you do every day. Every single day, you wake up and you have to take pictures and to basically answer that question that’s in your head. That is the reason why you would become a photographer. Why is it that one person figures it out while another person doesn’t figure it out? There is no rhyme or reason even though there’s a passion in photography on both ends equally. At my workshops people are looking for me to for the answer, I wish I had the golden ticket. “Look at my book and tell me why I can’t get a job.” I tell them,

Noah Kalina on The Great Discontent (TGD)

For more than fifteen years, Noah Kalina has carved out a freelance career that manages to strike a balance between fine art and commercial photography. Here, the Barryville, NY-based photographer talks to us about the path he took to get there—the high school awards that gave him the confidence to keep taking pictures; attending art school, and jump starting an independent career by taking $20 head shots out of a small Manhattan apartment; and why he chose to move his life and studio to rural Upstate NY. Despite the ups and downs that working solo can often present, Noah still says he wouldn’t have it any other way.

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