For Minneapolis-based photographer Teri Fullerton, the lens is a means of breaking down barriers and connecting with people, be they soldiers coming home after time at war or men who approach her on dating websites. Throughout her work, Fullerton approaches those who are often made to feel different or alien with an empathetic eye, seeking out common threads and moments of understanding between a subject and his audience.
Part two of my talk with Karen Mullarkey, who is one of the most influential and respected picture editors of all time. She’s a national treasure. Dozens, if not hundreds of photographers owe much of their success to her. Karen cut her chops at Life Magazine and quickly moved on to be the Director of Photography at Rolling Stone, Newsweek and Sports Illustrated. If you care about photography, photographers, the editorial world or history in general, read on.
Jeffrey Goldstein, who I’ve done a couple of exhibitions of and who over a number of years built up this collection of 17,500 Vivian Maier negatives really thought that Toronto would be a safe haven for them. And I think that he was wanting also to get back to his own life which he was enjoying before he got into his Vivian Maier project
This is only the second phone I ever had. When my first one stopped working my wife took me to a Verizon store and I asked the clerk if he had a camera with a phone inside. When he said no, I said okay then give me a phone without a camera in it. He couldn’t understand why I wouldn’t want it for the same price and I had to explain I like to keep my appliances separate. I’m happy to meet someone that shares my point of view.
Karen Mullarkey is one of the most influential and respected picture editors of all time. In my opinion she’s a national treasure. Dozens, if not hundreds of photographers owe much of their success to her
This week, as Laffont heads to the 2015 FOTOfusion festival to present his work, zPhotoJournal has a conversation with the passionate and eloquent Jean-Pierre Laffont as he discusses his “Magical Mystery Tour.”
A massive photo mag documenting a dreary decade in America
It was never easy, and even the oldest of the still-living old-timers will tell you that there never was this so-called “Golden Age” when it was all unicorns and money… and certainly there may be more venues now, online, and it may be easier to self-publish your own book and shove it into the very-limited photo-world pipeline, but who’s looking at this stuff? I guess I should say, who’s buying this stuff? Just the sheer volume is astounding….
In the field, we have to decide; win, lose or draw. We can’t wait for the meeting next week. And we will be second-guessed and our efforts criticized as lacking or inadequate. That’s all okay…because we were there; at that moment of exposure. Present. Engaged. Breathing the air, with an eye in the lens, hoping and waiting for a defining, conclusive bunch of elements to occur that fires the head, heart and finger…simultaneously!
We Interviewed Photojournalist Patrick Brown on Burnout, the Illegal Wildlife Trade, Photo Book Publishing, Crowdfunding and Instagram
For Trading to Extinction, Bangkok-based photographer Patrick Brown spent nearly a quarter of his life documenting the dark truths behind the illegal wildlife trade, from the poachers of Nepal and Cambodia to vendors along the Burmese border. Alternately shadowing anti-poaching teams and pretending the role of an interested buyer, Brown has collected over ten years’ worth of imagery that unveils the breadth of this multibillion dollar industry, pulling clandestine moments of cruelty and exploitation from the shadows and into light. Bearing witness to Brown’s austere black and white visions, we are overtaken by the enormity and pervasiveness of the industry, and ultimately, called to action.
I’m not emotionally attached to any piece of equipment. Sometimes music is better with a cello and other times it’s more effective if you play it on a banjo
My own shyness was the obstacle in some ways, but people did tease me about my role. I wasn’t seen as an outsider any more than any photographer would have been. When I had an assignment I would introduce myself in that manner, let people know what I was trying to do. I also told people I wanted to make a book, and the reason for the portraits was to make the book.
A: To me, the quality of your work is totally dependent on how connected you are to what you photograph. That doesn’t mean you have to be from a place to photograph it, of course, it’s just that you need to feel deeply about what you are doing. In my case the Central Valley, these small towns, and the issues they are facing are things I feel strongly about.
Last week, Tim and I talked over email about the process of making this documentary. It’s a fascinating piece, presented with no narration and mixing interviews, documentary footage, and graphic-novel-esque depictions of events that happened in the past. Here’s what Tim had to say:
We sat down during the masterclass to speak with all six of the masters about their professional backgrounds, photography and their experience of the masterclass.
In addition, we recorded interviews with all of the young photographers participating in the Joop Swart Masterclass. Who are they? How did they become interested in photography? And what is their photo story about?
Photojournalist recounts night of intensity in the wake of announcement that no charges would be brought against officer who killed Michael Brown
This exceptional interview was the final one given by the late Lewis Baltz. It was conducted by his friend, Jeff Rian. Baltz, a secretive and reserved person, speaks unreservedly here of his life and work. Thank you, Jeff, and thank you, Diane Dufour, who suggested us last summer during the Baltz exhibition at Le BAL in Paris.
Farewell, Lewis, you were an incredible man.
You know, I’ve never ONCE heard a Japanese photographer ever comment on form or structure of a single picture- – instead it’s an overview of all of them at once in a set.
get on the road and follow the photography … wherever I end up is where I’m supposed to be. I love living like that.”—Danny Wilcox Frazier
One of the most important lessons from the this project was the power of collaboration and reporting. In this case I feel like having the quotes and the captions and being able to read Kelly’s full text really enhances the viewing experience of the images and adds another layer of understanding