Link: Chris Pichler: The book maverick by Jeff Dunas | Le Journal de la Photographie
Nazraeli has published over 400 titles in the 25 years Chris Pichler has been exercising his vision for photo books. Jeff Dunas sat down with the maverick and tried to figure out what makes his publishing house so different from the others.
Link: A rambling conversation with Greg Gorman | Le Journal de la Photographie
If you get down to the nitty gritty – it’s about one concept: People. Relationships. Communication. Connection. That’s what gets my motor going. What’s great about meeting the wine-makers is it’s like meeting the stars I met before. They’re like my new heroes. My movie stars of today. They’re really glorified farmers – and awesome people
Link: Art Producers Speak: Adam Amengual
I assume I would get more work if I had more smiles in my pictures or if they were a bit more lit and “illustrated” or lifestyle based. I feel most clients want to have a creative look to their campaign that is on par with the current trends in advertising photography. So to be honest in some upcoming projects I will be trying to find a place where what I do more closely meets those client needs. It will be my aesthetic and subject matter with a small twist.
Link: Photo Journal: John Sale, Keeping Connected | NPPA
Shoot stories at the heart of your community. I’m not impressed by a portfolio that is heavy on visually loaded subjects. I am impressed by pictures that portray subjects intimately. It shows you’ve earned trust – and you’re likely to have both social skills and intuition
Link: Interview with Michelle McNally | Le Journal de la Photographie
I’m hoping we get a little retro, in the sense that not everybody can take a picture that can be published. I’m still attached to the idea of working with a professional photographer. One who is smart, that I can trust, that is recording events on the field and understand how we need to have them covered
Link: photo-eye | BLOG: Interview: Jon Naiman on Familiar Territory
Familiar Territory by Jon Naiman is a beautifully designed large-scale monograph of unusual portraits. For this series, Naiman photographed families with the farm animals they keep, but instead of making the portraits outside or in the barn, the creatures were invited into the family home
Link: A Chilling Look Inside Mexico’s Violent Drug War | Feature Shoot
Heavy Hand, Sunken Spirit documents the social costs and consequences of Mexico’s violent drug war. We recently talked to Detroit-born, Haiti-based photographer David Rochkind about his experience photographing a conflict that he says is increasingly “melting two worlds together, making a singular Mexico defined as much by violence and tension as by history and culture.”
Link: Marco del Pra’: An Obsessive Passion for Deceleration and Truth, Part 2 « The Leica Camera
My approach to photography going forward is to continue to shoot as much Tri-X film as possible. I tend to dismiss all this digital photography, Internet, Facebook, etc. I am fighting for deceleration, restoring my black-and-white darkroom. I prefer handcrafted photography
Link: Live Through This by Tony Fouhse & Stephanie MacDonald | LPV Magazine
We had many, many talks about whether what we were doing should be made public in a serialized way. I was much more worried about it that she was. I didn’t want to turn what we were doing into a reality show and I didn’t want to jeopardize her safety in any way, either on the street amongst her peers or with the police (who, after a while, were following the blog).
Link: Something more felt than known: a conversation with Curran Hatleberg | The Great Leap Sideways
The photographs I make, either found or invented, are my own fictionalized version of America and its inhabitants. My work strives to mediate and reimagine the American experience, in hopes of communicating a personal understanding of our shared time and place
Link: Close Out: a conversation with Brian Ulrich | The Great Leap Sideways
In this newer work, Brian has culled and edited together a collection of archival images made by press photographers at the time beginning with the end of World War II, and stretching on into the period of America’s Great Prosperity. These archival images, paired with other more contemporary Polaroids, maps, business plans, letters and objects found during his multi-year research into the aftermath of big box retail, connect the essential ideas underlying Is This Place Great or What together with their own cultural and political history.