We always need to consider that somebody is doing the selecting. These things are not just thrown up on the wall, in any kind of objective way. And I think we can learn a lot about ourselves, and about each other, if we critically examine the choices and selections of pictures and photographs.
This video is part of our Exposure series, in which National Geographic photographers share the stories behind their images. Listen to photographer Wayne Lawrence talk about his assignment photographing the people of Detroit.
Sometimes I’ve had to put my creative motives aside to get job done, but always put my best efforts to fulfill both the job and my own desires on making a great image
This video is part of our “Exposure” series—where National Geographic photographers share the stories behind their images. Listen to photographer Eugene Richards talk about his assignment: Looking for Lincoln’s legacy in our modern times.
In his living room in Paris, William Klein flips through the new edition of his book, Tokyo, which just arrived from Japan. Klein, always particular, is pleased with the quality of the thick, glossy paper which enhances the contrasts of his 1961 photographs. Tokyo is a major work by Klein, part historical document and part personal diary. Over the course of three months, he captured the madness and strangeness of the city at the dawn of the turbulent 1960s. He returned from the trip with over 1,000 photographs. William Klein revisited that journey.
Salgado the photographer was rejuvenated. He began work on Genesis, an eight-year magnum opus documenting the incredible beauty of the planet, rather than its tragedies. Along the way, he asked film directors Wim Wenders and Juliano Ribeiro Salgado, his son, to accompany him on some of his Genesis trips. From these journeys, “Salt of the Earth” was born. The film joins Juliano’s Genesis footage with interviews Wenders conducted with Salgado in a dark room, through a two-way mirror, as the photographer analyzes his own work.
A lot has been said about Mr. Erwitt’s keen eye for the incongruous or absurd and his wry humor. His favorite interview question happened in Moscow when someone asked him — seriously — “Were you there when you took that picture?” His reply: probably.
The first-place winner discusses telling stories that matter, including the challenges of a family dealing with Down’s Syndrome
Photographer and writer Ken Weingart has been producing interviews for his Art and Photography blog, and he has kindly offered to share a few with the Lenscratch audience over the next few months. Today, Ken shares an interview with Siri Kaur is a conceptual fine art photographer who has been breaking some interesting ground and news with her fascinating series This Kind of Face. The unique series was recently exhibited at the Cohen Gallery in Los Angeles and also has a book under the same title.
I used to use a 400mm f2.8 lens for covering college football, in large part because we were stuck on the sidelines. My #1 lens for shooting Weird Sports is my Canon 35mm f1.4, in part because I’m not battling a sports information director for access. There are times like with Drag Queen Prom Dress Rugby that I was actually on the pitch taking photos with players flying around me.
Listen, I am not a social photographer. I am not an economic photographer. I’m not a photojournalist. Photography is much more than that. Photography is my life. It’s my way of life, and my language. I went to photograph the things that I had a great curiosity to see and to organize. I felt a certain revulsion, and a compulsion to show that others also have dignity, that dignity is not an exclusive property of the rich countries of the north but exists all over the planet. That’s what photography was for me, my language, my life and my way of going about and doing things
A chat with Stacy Kranitz and Missy Prince
I spoke with Selkirk in his New York studio last week about his upcoming exhibition, Certain Women, at Howard Greenberg Gallery and the history of his career through the decades. He is the only person ever authorized to make posthumous prints of the work of Diane Arbus.
I’m really only making the photos for me. It’s a record of where I was and what I tried to do with the camera at that moment. I send the film off, wait to get it back, and see if I nailed it or not. If I didn’t, I’m back out there again. If I did, I’m back out there again. I do this every day. It isn’t for anyone else. Why would I spend that much time on my own walking the streets for anyone else?! Gotta be joking… It is for me. I would guess other photographers are the main audience for my work.
I had delusions of grandeur thinking I’m gonna be like Annie Leibovitz with the Rolling Stones or something. Unfortunately the reality was much much worse. Their time and access was over promised and I had to fight tooth and nail to even get the band together for a quick portrait. It was a pretty acrimonious setting, I felt like I was in a real life version of Spinal Tap.
Look, I extend the antennas to detect pools of energy, respond and react with little if no thought, shoot like a blind man with ADHD and bail. Or maybe not ADHD but Aspergers where I understand empathy might be an issue. That’s another subject.
Since the end of 2013, France has sent more than 1200 soldiers to the Central African Republic – including a large number of foreign legionnaires. They come from different countries and fight for a common cause: the end of the civil war. Photographer Edouard Elias accompanied the troops. We spoke with him about his motivation, his difficulties in justifying that he is a professional and the importance of remembrance
Last week, Krantz’s story: “A Life Apart: The Toll of Obesity,” won the Community Awareness Award at the 72nd POYi photography contest. (See link below) The poignant story was first published in the San Antonio Express-News where she is a full time staff photographer. It documented the struggles of one man’s battle with obesity
I think violence attracts a lot of people, not just journalists. But journalists do seem to love it so. Not that violence is the only magnet for our profession, not at all. But it does seem to be a central attraction. Are we vultures, perhaps, but vultures play an important role in the ecosystem, so I don’t really see that as a bad thing. On second thought, we behave much worse than vultures in many cases
Photographer and writer Ken Weingart has been producing interviews for his Art and Photography blog, and he has kindly offered to share a few with the Lenscratch audience over the next few months. Today, Ken shares an interview with Martin Schoeller, the a highly successful German portrait photographer who just finished a show called Portraits at the prestigious Hasted Kraeutler Art Gallery in New York City.