Regardless of what any teacher might say, there are two ways to become a photographer : take a lot of pictures and look at a lot of pictures. Everything else is secondary. And that is exactly what our teenagers are doing. In a recent study done by Facebook on teens and Instagram, “growing up in a visual world”, the social media giant reveals some very noteworthy information.
yesterday’s Times article made me feel profoundly sad. Sally as a young mother just brimmed with life-force—she was fearless, dedicated, and artistically assured; she crackled with intelligence and integrity. It never occurred to me to doubt her character as a mother, or to question her motives, even momentarily. She loved her kids as much as any woman.
Out of a conviction that my lens should remain open to the full scope of their childhood, and with the willing, creative participation of everyone involved, I photographed their triumphs, confusion, harmony and isolation, as well as the hardships that tend to befall children — bruises, vomit, bloody noses, wet beds — all of it.
For 30 years, two of the state’s most acclaimed photographers, Johnie Shimon and Julie Lindemann, captured, in shadows and light, the everyday freakishness of Wisconsin’s people and places. A portrait of the artists.
All Vivian Maier photos from A Photographer Found (Harper, 2014)
As The Islamic State attempts to recruit new members, their use of photography and imagery has arguably become more advanced than any other terrorist group in history. The group’s most deliberate imagery, made with high-quality cameras and using editing techniques similar to major Western media outlets, has come under scrutiny by news agencies as well as the intelligence community for its ability to capture both jarring battle footage and the group’s quotidian activities. In fact, IS has created an entire industry comprised of private groups, staffed by journalists and former government employees, all of whom are dedicated to sifting through IS media releases and analyzing the message and effect on a predominantly Western audience.
The Image, Deconstructed focuses on the ideas behind image-making. Put your cameras down, your thinking caps on, and come and join us.
Critics. They produce nothing. They rarely know much about the art we create, or why we create it. They are usually not prepared for actually having much to say, rather it is the saying of that nothing that is their reason for being.
In his 35-year career as a master black-and-white printer, Chuck Kelton has held some of the most important negatives in history: from Ansel Adams’s “Moonrise, Hernandez, New Mexico” to Alfred Eisenstaedt’s “V-J Day in Times Square.” So it makes sense that when he is in his darkroom with his chemicals and classical music, nobody can – or should – disturb him.
“Everything is so vulnerable in there,” he said. “Just a spec of spit could lead to a disaster.”
Magnum Photos member Alec Soth will share images that disappear after 10 seconds
Offering 35 million images for “free” is not the reason Getty is suffering. It is not eating at their core customer base. They have yet to turn on the monetization faucet and when they do, a lot of people will be surprised at its returns.
If this is true, this is major news for the photo industry and speaks to an increasingly difficult business landscape for the stock business and the photography market in general.
Getty Images Inc. burned through a third of its cash in the last three months of 2014 as declining earnings limit the Carlyle Group LP-controlled photo archiver’s ability to invest and curb its access to credit, according to two people with knowledge of the company’s finances
Here’s how a kid from Texas became a master
Peter Lik is in awe of himself. When he describes his career as a fine-art photographer, he speaks with the satisfaction of a guy who has performed miracles, at the pace of a bystander who just caught a glimpse of Superman. The words tumble forth in self-exalting, run-on sentences, most of them laced with profanity, all of them in the sunny, chummy accent of his native Australia.
All technology arises out of specific social circumstances. In our time, as in previous generations, cameras and the mechanical tools of photography have rarely made it easy to photograph black skin. The dynamic range of film emulsions, for example, were generally calibrated for white skin and had limited sensitivity to brown, red or yellow skin tones. Light meters had similar limitations, with a tendency to underexpose dark skin.
All it takes to be eligible to be chosen for the New York Portfolio Review on April 10 and 11 is to fill out the form below and submit up to 20 images from one or two projects. Everything else is free.
This post is a curmudgeonly look at the current state of landscape photography.
I hate to sound preachy, but anything you value, is because it’s something you had to fight for.