Edward Burtynsky – Interview Part Two – Luminous Landscape

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 that is accomplished. You’ll also hear why during the film days Ed decided to shoot his work with color negative film. He shares his evolution of color printing and how he went from a hybrid color workflow to his eventual full digital workflow.

Vendôme : Who’s a photographer? #2 – The Eye of Photography

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.

Edward Burtynsky – Interview Part One – Luminous Landscape

Edward is a true photographer because for him taking the photo is one part, but making the print is the second and the most important part.  His prints are large, very large.  Because of this, he has had to use cameras that would allow him to print big.  He’s worked with 8×10 cameras and, as of lately, the Hasselblad H6D 100.

An Interview with Photographer Joe McNally

Joe McNally is a photographer and a storyteller. The word photography comes from Greek and means to write with light. That, in a nutshell, is what McNally does: he a writes with light, whether it be daylight or Speedlight. And for a student who started out as a writing major and ended up being a photographer, that is just the perfect result.

War photographer Alessio Romenzi on covering conflict and managing his fear – LA Times

Photographer Alessio Remenzi has been covering conflict in the Middle East since the Arab Spring and was among the first photographers smuggled into Syria to cover the civil war. Most recently he has been covering the battle for Mosul, Iraq. He was previously interviewed by The Times in 2012. He recently discussed covering the fighting in Iraq.

We Have to Get the F#@! Out of Here – Vantage – Medium

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.

Peter Yang Makes Us Laugh with Photos for the GQ Comedy Issue – PhotoShelter Blog

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.

How Do You Photograph Lions? Be as Boring as Possible. – The New York Times

Michael “Nick” Nichols has been photographing wildlife for four decades, mostly for National Geographic. Now, Aperture Foundation has published “A Wild Life: A Visual Biography of Photographer Michael Nichols” by Melissa Harris. Mr. Nichols spoke with James Estrin about his life with gorillas, elephants and lions

Jimmy Marble

All of our interviewees inspire us. But Jimmy Marble is a special case. As a multi-disciplinary visual artist, he exudes creativity and thoughtful application at every turn. Every medium influences the other. Within every still, there is a video – every composition created with a carefully inspired eye.

This BuzzFeed Photo Editor is Always on the Lookout For New Photographers

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).

The Trauma of Life on Skid Row, in Photos

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. 

An Interview with Fine Art Photographer Roger Ballen

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.

The Social Photo Editor of The New York Times Breaks Down Her Job

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.

Eugene Richards: A Life in Photography

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.

Q & A with Karl Baden

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