Link: Photo Journal: Karen Kuehn – Burn Notice | NPPA
Back in the day when magazine photojournalism was strong and assignments were plentiful just maintaining a visual presence and having a unique style got you work. We all know that’s no longer the case. In the 80s and 90s, Karen Kuehn’s credit line appeared in almost every major publication. Today, like so many photographers, she struggles finding the balance that will satisfy both her heart…and her rent.
Link: APAD blog
The reasoning behind every picture I make or story I pursue has changed drastically over the past two years or so. I have always been interested in the creation of imagery. I like the idea of documenting a changing world and when I look back at people like Robert Frank or Walker Evans work I see photographs that capture the history of then. Thats something I really enjoy with photography
Link: Ananias Léki Dago: Being There Where Things Are Fragile « The Leica Camera
Indeed, my images are often layered, offering several possibilities of interpretation. I like carving up space, creating constructions in which I can introduce openings that allude, for example, to hope. I also oppose forms or insist on lines. It’s a language that follows a logic and tries to say more than what is seen at a first glance. You have to take the time to dissect each image, just as I take my time to create them. It’s a principal of framing that I have developed over time. It’s a thought-through disorder in which I organize several things at once. I try to say things subtly, to show things with delicacy
Link: APAD blog
His pursuit of turning his personal passion into his life’s work, endless love of travel and appreciation for all people and things new, different and weird — as well as the desire to make everything fun — makes Sol one of my favorite people in the world. He also encourages that in others, which I love and appreciate.
Link: NEWSLINK – Winter 2014
I think what photography can do is open up all sorts of lives for people — worlds that people couldn’t understand. Some of the very dramatic pictures people have done, particularly of wars, the Vietnam war especially (because access was better), made people aware of how horrible it was – for example, the photograph that Eddie Adams took of General Nguyen Ngoc Loan executing a Viet Cong prisoner or the photograph that Nick Ut took of the burned child running down the street — it’s very important to make people aware of what’s going on in the world.
Link: Portfolio Reviews – Review Santa Fe | A Photo Editor
I took the opportunity of their annual call for entries to interview the Executive Director, Laura Pressley. She brings together a very high level group of Gallerists, Curators, Photo Editors, Book Publisher and Photographers annually for the event, which is no easy task. What’s always impressed me more is her ability to network, forge relationships and engage a group of people who have zero time for anything extra. Ask any additional questions you have in the comments.
Link: A conversation with Dorothee Deiss | Conscientious Photography Magazine
You can tell a lot about a person from their face, but the way we perceive that face and body also tells a lot about ourselves. Our own prejudices have to be questioned the moment we look at somebody’s face. I have been frequently accused for exposing someone as a freak. But to what extent do we project ourselves when we consider a portrait as a caricature because we cannot deal with our own awkwardness?
Link: Spotlight on Angelo Merendino | The Image, Deconstructed
Jennifer was comfortable with me having a camera and she was open with sharing her experience; she kept a blog about her experience and felt it was important to share what she was going through. So much of the information about breast cancer that is available on the Internet can be sterile and Jen wanted to share what it was like from her perspective. At first my photographs were heavy handed. I would make a photograph of a bag of chemotherapy and expect people to understand how messed up it was that my wife had cancer. The photographs were sterile, just like the internet content Jen and I didn’t like.
Then it hit me that I was thinking too much and I just needed to listen to my gut. I decided that the best way to make these photographs would be to always be prepared with my exposure and when I felt something, then I would make a photo. If it moved me, it meant something. The thing is, making these photographs was always second to taking care of Jennifer. I had no intentions of making a book or having exhibitions. These photographs were a way for us to communicate with our family and friends. I wasn’t working with an editor and thinking about the different shots I should be making.
via APAD blog
Link: Observance, an exhibition by The New York Times’ James Estrin » British Journal of Photography
James Estrin is best-known in photography circles for his work on Lens, a photography blog at The New York Times. But the editor is also a senior staff photographer, and next week, for the first time in 20 years, he will be showing his own work – a project called Observance
Link: Yunghi Kim: Core Values | NPPA
Veteran photojournalist Yunghi Kim is a strong proponent of photographer’s rights and offers suggestions to problems that all photographers now face as they tread through the morass of digital landmines. She also is quite vocal regarding protecting the value of one’s work. Kim says, “without monetary support, in whatever form that takes, photojournalism as an industry is dead!”
Peter and I have traveled the road of environmental photojournalism together, teaming on 14 stories with subjects as diverse as nuclear waste, paleoclimatology, America’s wilderness, and the chemical pollution cocktail we each carry inside us. We collaborated on a 74-page climate change project in September 2004, and in 2010 we explored Greenland as it “greens up” in the face of rising global temperatures
Link: In Ford’s White House, Not Holding Back – NYTimes.com
Someone once asked David Hume Kennerly if he ever held back when he was President Gerald R. Ford’s White House photographer. Though it was sometimes difficult — as when the Fords cried after his 1976 election loss — Mr. Kennerly said he did not. “I think it comes from my background,” he said. “It comes from journalism.”