Frontcountry is Lucas Foglia‘s exploration of the American West, where human figures are swallowed up by an endless horizon and everyday life swells with raw wildness. Foglia spent 7 years traveling through the expanse that is rural Idaho, Montana, Nevada, New Mexico, Texas and Wyoming
To celebrate James Nachtwey’s 30 years as a contract photographer for TIME, we have organized an exhibit of 54 layouts that have appeared in the magazine featuring his work from Chechnya to Somalia and from Afghanistan to Burma, along with a series of his powerful, previously unpublished photographs. Below, James Nachtwey, and TIME’s Managing Editor Nancy Gibbs, reflect on the relationship between photographer and publication.
I see a lot out there and what I see is people who have talent and work hard…or think they work hard…but the priority they need to get to that special place is going to escape them. They don’t understand that the level of passion and drive that you have to have to be really successful in this business today is amplified. Everybody has a camera and it’s incredible who you’re competing with. So my advice is something Jay Maisel once told me, “You gotta eat, sleep, breathe and drink it. And if you don’t do that, find something else to do!”
When Kenneth Jarecke photographed an Iraqi man burned alive, he thought it would change the way Americans saw the Gulf War. But the media wouldn’t run the picture.
Link: The Last Sentimentalist: a Q. & A. with Duane Michals | The New Yorker
The photographer Duane Michals is perhaps best known for his “fictionettes”: dream-like stagings in which Marcel Duchamp, René Magritte, and Andy Warhol have all appeared. These enchanting photo sequences and montages, which are often accompanied by Michals’s handwritten prose, make innovative use of the medium’s ability to suggest what cannot be seen
Link: Christine Osinski: Shoppers, Chicago, and Swimmers 1980-1996 | LENSCRATCH
I believe that good work will eventually find a place in the world, regardless of how long it takes to find its way. It’s most important for photographers to continue to take pictures, regardless of the attention or lack of attention that the work initially receives. I get great pleasure from being a working artist, day in and day out. By continuing to work consistently, I feel I will be ready should opportunity knock.
Link: Q&A: Robert Nickelsberg on a Distant War | PROOF
In his new book, Afghanistan: A Distant War, veteran photojournalist Robert Nickelsberg offers a vivid close-up of the past quarter-century of Afghan history. As a photographer for Time Magazine, Nickelsberg first observed Afghanistan emerge from an eight-year war against the Soviet Union and then descend into a brutal civil war followed by a Taliban takeover. Since 2001, he’s continued going back to chronicle what he calls America’s War. He has documented things many Afghans themselves never experienced firsthand, and earned an unusually deep understanding of this complex country.
Client: ”Want to spend five hours in a helicopter for us over Tampa?” Me: ”Sure, what do you want me to shoot?” Client: “Whatever you want.” Me: Big smile.
Link: Dominic Nahr Is a Master of Photographing Human Eeriness | VICE United Kingdom
For this round of VICE Loves Magnum we spoke to Dominic Nahr, who – unlike previous interviewees – is still running the gauntlet of selection before becoming a full Magnum member. We discussed Africa’s endless potential for stories, the eeriness of post-tsunami Japan and how a feeling of homelessness can be conducive to taking amazing photos.
Link: Bruce Gilden Takes Street Photos Like You’ve Never Seen Before | VICE United Kingdom
I wouldn’t call it challenging, but a little annoying. In Paris, you’ll always have one person who comes over and gives you the, “Why’d you take the picture, why’d you take the picture?” Sometimes we’ve had cops come over. And this isn’t going to a war or working where people are doing heroin on the streets – which I’ve already seen – or dealing with lowlifes, I’m just talking about ordinary people here. Parisians tend to be a little “intellectual” and it becomes a whole exercise for them, so it gets me a little flustered. What I mean by “flustered” is that I don’t have much respect for it. I just say, “Okay, get a cop.” I’m not going to get into a whole dialogue because, for me, I don’t agree with their premise. I do agree that you could ask me why I took a photo, but it depends how you ask me. You don’t treat me as a piece of shit; I’m not going to take it. You have to have a tough skin to be a street photographer.
Link: Gavin WatsonChroniques anglaises | Le Journal de la Photographie
Born in 1965 in northwest London, Gavin Watson started taking pictures at an early age. By the time he was 14 he was a skinhead, immersed in the world of Madness and Two Tone, and set about documenting the antics of his friends and especially this ‘muse’, his brother Neville
Link: Platinum Palladium Printing with Leica M Monochrom on Vimeo
Manuel Gomes Teixeira, photographer and Platinum Palladium printer, usually uses traditional methods, with photographic film in medium and large format cameras.
Invited by the exclusive distributor of Leica cameras in Portugal, he tested the Leica Monochrom. The high quality files, showing a rich tonal range, adapt very well to Platinum printing.
In the five years Baghdad was my home, I got to work (or just hang out) with some of the finest news photographers in the world: Yuri Kozyrev, Franco Pagetti, Kate Brooks, James Nachtwey, Robert Nicklesberg, Lynsey Addario, the late Chris Hondros… the list is as long as it is distinguished. Their immense talent and incredible bravery combined to make the Iraq war arguably the most exhaustively photographed conflict in human history. This selection doesn’t begin to capture the immensity of their collective achievement, but it is evocative of the horrors — and just occasionally, hope — they were able to chronicle.