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
Glenna Gordon has been photographing objects—school uniforms, or a pair of medical gloves—and somehow getting them to express their latent energies and their uncanny ability to divulge more than one would expect. Teju Cole reached her in Abuja by e-mail to talk about these recent projects.
Visiting the legendary photographer who rejected the “decisive moment,” at his home studio on the occasion of a major career retrospective in Pittsburgh
For one person — after the surprise revelation that his own biological father was an African American and dealing with years of resentment and unanswered questions — insight, understanding and awareness came to him via a personal photographic project. Enter Zun Lee and “Father Figure.”
A resident of Paris for 60 years, Klein’s photographs of 1950s New York caught the city’s energy and grit and made his name. He talks about returning to Brooklyn, working for Vogue – and being praised by Picasso
His disturbing images are what despairing victims and survivors in Liberia hoped the world would see. An interview with Getty Images’ John Moore, speaking from his quarantine.
I failed a bunch of classes my first semester, I just took a whole semester of general education and absolutely hated it. Next semester I decided I was going to take photography classes, because my community college had a photo program which covered all types of photography. After a year, I had to a take a class called Photojournalism
People always ask, “What does NYC SALT stand for?” I wanted a name that spoke to who we wanted to be in the community and what we wanted to do in the lives of the students we serve. Salt flavors and preserves. Every good photo story starts with a photographer being moved to tell a story of unrepresented people, or to give a voice to an issue that needs attention
Ben Folds: These days I shoot three ways: color with my Sony digital camera, which I generally convert to black and white; black-and-white digital with my Monochrom and black-and-white film with my old Rolleiflex.
artists rep Jesse Miller will give you a glimpse of this burgeoning (big) business. His agency Tinker Street is the first to have created a “mobile” division, and he now has built a behemoth roster of many of Instagram’s most followed talent
Harry Callahan taught us to find all that you care about and care about it very deeply, said Jim Dow. “That is a luxury these days but that is one of the most important things that we can do
Kenny Irby interviewed Michel Du Cille, Washington Post photographer, about his work in Liberia covering the Ebola virus, but before we get into his work, we will address the controversial decision by Syracuse University to tell him not to come to a previously scheduled journalism workshop.
I have learned so many things in medicine that have helped me as a photographer. I learned how to insure that when a patient who was frightened about losing their vision…feel upon meeting me…that they came to the right doctor. This helps me a great deal with portraiture.
Robert Frank said “Black and White is the color of photography” and I really like that statement. I think taking out the color gives a photo a timeless quality. I think color can ruin a perfectly well composed photo, and conversely color can sometimes raise a mediocre photo into a beautiful one. I just like uniformity and the starkness
This week on #LightBoxFF, we speak with Alex Ogle (@alex_ogle), a Hong Kong-based photographer with Agence France-Presse, who has been covering the city’s unprecedented protests. He speaks to TIME about the power of mobile photography in times of change.
After working for a year at an advertising agency, he quit to pursue photography as a fulltime profession. He has worked for Venezuela’s largest newspaper, Ultimas Noticias, as well as freelanced in his country for the Associated Press. Earlier this year, he was recognized in Magnum Photo Agency’s 30 Under 30 contest and was the first-prize winner of the Ian Parry scholarship. We asked Alejandro a few questions about his work and burgeoning career as a photographer.
I’d have to say I spent the majority of my time thinking like a journalist – that’s what I was trained to do. In fact, I rarely carried a long rifle because I felt it distracted me from my real job. I kept a pistol on my hip for “oh shit” moments. I was of the mind that if the situation got bad enough, I could probably find a rifle not in use. This was the case only a couple times for me. Even during the most intense gun battles, I forced myself to stay behind my camera and not get behind the gun.
Kōan is the collaboration of five young journalists (Alex Potter, Allison Joyce, Amanda Mustard, Cooper Neill, and Nicolas Tanner) exploring both new and traditional means of communication and creating unique narratives – through text, photography and the moving image – that present distinct ways of seeing and understanding the world.