Wouda started to observe the relationships among groups of teenagers while they were on the school playground across the street from his studio. Something about those observations drew him to approaching the institutions in order to gain access to their hallways and common areas with his view camera and strobes. It wasn’t the classroom he was interested in but what was happening when the students were on their own and what that might reveal if photographed. His newest book School from Nazraeli published this year brings together a tight edit of 35 of these images.
Despite the early wake up time, the 2009 St. Anthony’s Meek & Mighty Triathlon was a blast to shoot. The athletes were incredibly inspiring, and there was no shortage of cool things to shoot at every turn.
Viewing Tim Hetherington’s “Sleeping Soldiers” film raises questions about finding new ways to communicate the experience of war, much of which is not covered by the familiar images used by the news media.
I think I’ll remember last week as the moment when I finally knew, with a certainty approaching fatigue, that the newspaper industry – the business and passion that both shaped and warped me over the past 20 years – had chosen ritual suicide. The choice appears grimly reached and irrevocable.
What is the motivation and intent of those photographers who choose to cover war? -Comments from Gary Knight.
Filmed on 22 May 2009 at VII Gallery, Brooklyn
CLICK NOTE: So I’m guessing they’re filing Gilles Perres’ work under photography, not peace or love.
A Picture’s Worth says:
Every summer, a healthy chunk of the photography world descends on Charlottesville, Virginia for several days of good, wholesome, photo loving. What started as a backyard slideshow at the home of Nick Nichols has blossomed into LOOK3: Festival of the Photograph http://look3.org, with dozens of exhibits, talks and workshops, and participation from some of the most recognized names in photography. This year, the festival is June 11-13, and if you love photography and have a way to get there, you should make it your business to do so
Photographers Steven Brahms, Emiliano Granado and Stephen K. Schuster went on a search for the American institution called “Spring Break,” in which tender youths put down their books temporarily in order to wrestle in vats of Jello, put pictures of their breasts on the internet, and wake in hospital beds, half-dead with alcohol poisoning.
A lot of early Dungeons & Dragons module-plots were more about scavenging then conquering. It wasn’t about beating one central bad guy, but getting in, scoring some loot, and escaping with your lives to brag about it back at the tavern. So many of the classic modules — The Sinister Secret of Saltmarsh, The Ghost Tower of Inverness, Expedition to the Barrier Peaks — have a wealth of minor bad-guys to wade through, but not one central villainous focus. On the other hand…some modules did. And when they did, it got nasty. Here are a host of the best bad guys of the original D&D modules–the ones who every party wanted a shot at.
After a lot of editing, toning, retoning, printing, reprinting, reordering(repeat a few more times for good measure) my print portfolio is finally finished. The beautiful or perhaps the ugly thing with a portfolio is that it’s never truly done. Your portfolio just like your mind will continue to grow and evolve. There’s a good chance the work you like today you’ll hate tomorrow.
I thought I’d share a few things about the process. Here are 11 random thoughts about the experience in no order.
One of the top questions photographers ask me is “how do I get an agent” but since I’ve never been a photographer I really have no clue how you get an agent. Recently a photographer in LA with some nice work emailed me after getting zero response from the agents he’d been contacting and I started to wonder what it takes, if you’ve got good work, to land an agent, so I called up Deborah Schwartz (dsreps.com), an LA agent I used to work with and asked her a few questions.
Terril Jones had only shown the photograph to friends.
While working as a reporter in Beijing during the Tiananmen Square protests of 1989, he shot many photographs and recorded several hours of video. It wasn’t until weeks afterwards, when he had returned to Japan, that he discovered the magnitude of what he had captured — an iconic moment in history from an entirely unique angle.
His version of the tank man has never been published until now.
All this is the familiarly messy, philosophical heart of photography, and it’s also the subject of a show that just closed here, itself a mess. “Controversies: A Legal and Ethical History of Photography” was organized by Christian Pirker and Daniel Girardin, a lawyer and a curator from Switzerland, where the exhibition originated. Louvre-length, two-hour lines daily snaked out the door of the Bibliothèque Nationale here until the end of last month. (The show moves on to South America.) Inside, scrums of visitors clustered before 80 or so pictures, more or less famous troublemakers, spanning the era of the daguerreotype through Abu Ghraib.
Now showing on the home page of the Big Sur Land Trust of Carmel, California, for instance, is a four-minute mini-documentary about the historical, physical and emotional connections Big Sur residents have with the land they live on. It’s a promotional and fund-raising video with the look and feel of a newspaper multimedia story. And no wonder: It was produced by Geri Migielicz, Richard Koci Hernandez, and Dai Sugano, the Emmy Award-winning multimedia team employed until recently by the San Jose Mercury News.
