Ed’s Camera Gear Continuing my interview with Ed Burtynsky, we talk about every photographer’s favorite subject, cameras. Ed shares with us his evolution of camera systems from 4×5 and 8×10 film to the Hasselblad 100 mega-pixel digital camera. Much of Ed’s work is shot from high altitude, and he has a few stories about how…
For its thirteenth edition and continuing last year’s programme, the Promenades photographiques de Vendôme is continuing its reflection on the theme Qui est photographe? Odile Andrieu, the festival’s artistic director, tells us about the 2017 programme.
Throughout the years there is one photographer who I have admired, and that is Edward Burtynsky. He’s a landscape photographer like most of us, but he’s a different kind of landscape photographer. He focuses on landscapes that man has changed. His work is stunning. It draws a viewer in, and your eye wants to explore…
Mitch Dobrowner always brings two things when he takes off in his truck to capture a storm: his tripod and his beanie. Sometimes driving 500 miles to take a chance based on cell boosters and his “storm guide” named Roger, he thinks of each storm like a person— each one is born fragile, and no two behave alike. Drawn by the spectacular light and unpredictability of inclement weather, Mitch describes the surge of adrenaline and focus he feels when witnessing a storm’s growth, violence, and personality (sometimes before making a hasty exit to safety). For Polarr, I spoke to Mitch about the art and science of capturing storms.
The exceptionally talented Peter Yang has made a name for himself as one of the premiere portrait photographers of his generation. His self-effacing personality combined with an acerbic wit has landed him regular gigs with Variety, ESPN the Magazine, Men’s Fitness, Rolling Stone, Vanity Fair and more. For GQ’s annual Comedy Issue, Yang was tapped to…
Our work is our work, and in some ways it’s really not going to make any sort of significant sense until much later when it’s a part of a collective history of the times we are living in, so the only thing you can really measure your actual level of success is the people around you.
Today, Kate Bubacz is the Senior Photo Editor at BuzzFeed News. We talked with Kate to learn some of her challenges, mistakes she sees photographers making, and where she looks to find new talent (and yes, she’s always looking).
She has been photographing life on Skid Row since the fall of 2015, and in the last year, Suzanne Stein has borne witness to the acute suffering of others. She’s heard firsthand from survivors of rape and abuse. She’s befriended people who are addicted to heroin. She’s been in the presence of infections and illness, true life and death situations. And throughout all of it, a fundamental decency and humanity have remained at the heart of all her images.
Genevine and Jennifer Old Roses Little Cat, Skid Row Los Angeles photographer Suzanne Stein recently posted a picture of a badly abused, sick cat from Skid Row on her Instagram feed. In my mind, it’s a photograph that could not have been made by anyone but Stein. She has been photographing life on Skid Row…
With a background in literature and journalism, today Eugene Reznik is the Digital Features Photo Editor at Bloomberg
I want to go out and take photographs. I just relax and keep a focused mind and make the photographs. I don’t have any particular goals. I’ve always said that if you define my pictures with words other than enigmatic or mysterious, then the pictures are bad.
At a large publication like The New York Times, there are a number of photo editors – including those in charge of curating great photography on Instagram. To find out what these photo editors are looking for, we caught up with their Social Photo Editor Kerri MacDonald, who oversees the @nytimes and @nytarchives Instagram accounts.
The George Eastman Museum in Rochester will open the first museum retrospective of the work of the photographer Eugene Richards on June 10. The exhibit, “Eugene Richards: The Run-On of Time,” covers his career as a photojournalist and documentary photographer from 1968 to the present and was produced in collaboration with the Nelson-Atkins Museum of Art in Kansas City, Mo. Curated by April Watson and Lisa Hostetler, the retrospective includes 146 photographs, 15 books, and selected videos. It is accompanied by a catalog distributed by Yale University Press.
Every Day has received media attention because of what it is and what the media’s function has become. Although a number of journalists have written/commented about the project thoughtfully and with insight, much of the time I find myself in a position of trying to explain my motivation[s] in a way that might compel the interviewer not to file the project in the Ripley’s Believe it or Not/Guinness Book of World Records/Weird News Dept. Of course I fail more than I succeed; after all, one reason I’m being interviewed is because they already have me pegged. To some extent, this brings us back to the lack-of-website issue
Chuck Kennedy is a former White House Photographer and worked as Assistant Director of the White House Photo Office during the Obama Administration.
I think the obvious answer is that media organizations, even though they’ve made movements to become more diverse, ultimately aren’t the most diverse places