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
The New York Times staff photographer Josh Haner was an early adopter of drone photography. His earliest forays were with a $60 gadget that he maneuvered around his living room. Since then, he has aimed ever higher, doing videos and stills high above the Gobi Desert and the Marshall Islands. He has embraced the technology in ways that add a stunning dimension to his storytelling, while at the same time presenting unforeseen challenges
I think that my particular approach to photography stems from my love of many different aspects of the medium itself, which is one of the reasons that I often work in multiple genres concurrently. My approach very much vacillates between my love of documentary and my desire to express myself emotionally with images.
In the darkness, everything that was once familiar becomes alien. Photographers who choose wandering over sleep grow to understand the strange, parallel world that emerges under the moonlight, and every frame they bring back with them has a story behind it.
In such a configuration people will find out immediately when you photograph them. If your intervention with the camera is objectionable for them, they will quickly fight back and virtually compress you.
On a tip from a friend, Mosse bought a military-grade camera meant for long-range battle surveillance that doesn’t see visible light. Instead, this camera sees heat and produces crisp black-and-white images that are exposed based on the relative warmth of everything in the frame. Mosse then used this camera, intended to track and target, as a way to document displacement and the daily fight for survival by the refugees living in camps across Europe for a new project called Heat Maps.
There’s a staggering fact on photographer Malin Fezehai’s website. “The number of people forced to flee their homes across the world has exceeded 50 million for the first time since the second World War.”
Earlier this year Zagaris released Total Excess through Reel Art Press, which brings a number of these images together. A show by the same name is currently on view at Milk Gallery in New York. Zagaris spoke with American Photo about his unlikely journey to photography and what it was like to cull through his massive archive.
Photography is the easiest thing to keep you motivated. The camera will basically do whatever you want it to do. There is a simplicity and excitement; it doesn’t have to be complicated. You can judge what’s a good picture, what’s a bad picture – don’t take anybody else’s opinion – it’s what you like.
Tim Tadder is an internationally acclaimed photographic artist. Most recognized for his highly inventive conceptual advertising photography Tadder has been ranked in the top 200 photographers worldwide by the prestigious Luezer Archive Magazine 8 years running. In 2015 Epson, the world leader in photographic printing technology recognized Tadder as one of the top influential photographers, producing a TV commercial and worldwide ad campaign featuring Tadder and his work.
We asked Paul Melcher to share what drives him, which trends have his attention, and where he thinks the visual web is headed.
AS: That’s a tough one, and I love processing Szarkowski quotes. He also talked about how photography, on a mental level, is just pointing. It’s just pointing your finger, and saying, “look at that.” And when you point to something you’re not showing the molecules, you’re not showing its history, its ‘everything.’ You’re showing this thing in this context, in this fraction of a second, in this light. Everything beneath the surface exists, but it’s imagined. And one has to come to terms with that.
Brittany Marcoux is a photographer based in Boston and the creator of The Shore Project, a rephotographing of Stephen Shore’s Uncommon Places.
If you don’t know the name Yorgos Efthymiadis, you should. Because he is one of those really good people making things happen for photographers, using his own innovative ideas, time, and energy. I met Yorgos a number of years ago when he was volunteering at the Flash Forward Festival in Boston
The future of visual story telling session at Mobile Photo Connect this year will feature Filipe Vasconcellos, CEO of Storyo, a startup that is tackling the challenges involved in building and sharing visual memories. To learn more about this startup’s technology we interviewed Manuel Costa, the company’s CTO.
A former tech entrepreneur now pursuing photography as a second career, Dotan Saguy has gained notice for his project about the vitality, energy and spectacle of Venice Beach.
Toni Greaves has spent her life around visual arts, and storytelling in one form or another has been a fascinated thread throughout her work. With a passion for documentary photography, Toni has traveled to tell stories from around the world. Recently, Blink’s Social Media News Editor Sahiba Chawdhary spoke to her about her seven-year photo book project, Radical Love, documenting the transformative journey of a young nun.
Jean-François Leroy speaks to TIME ahead of the photo festival’s 28th edition