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This month we focus on Brian Skerry, an underwater photographer with National Geographic Magazine. Skerry has been on nearly 10,000 dives throughout his career, visiting dive sites around the world. Skerry’s incredible talent for capturing marine life has led not only to his career at National Geographic, but has helped his work stand out among others in the field, with magazines such as U.S. News and World Report, Audubon, Sports Illustrated and many others publishing his work. Skerry takes some time during a recent National Geographic Society Expedition in Mexico’s Sea of Cortez to provide a glimpse into his life under the sea.

Check it out here.

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To my eye, there’s something integral to photography that’s not translating from film to digital. This isn’t to say that I think that digital is crap, but there’s definitely something missing.

I also think that a photographer’s relationship with shooting is quite different when it’s film and when it’s digital. If I buy fresh Polaroid film for my pinhole camera, it’s roughly $3.75 a shot. Shooting with an SX-70 is roughly $1 a shot. The choices that I make are an important and necessary part of my process.

With digital, you pretty much shoot ‘til your card’s full. I guess, I miss the ongoing interior editorial conversation that happens in my head.

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Even if you’ve never heard his name, chances are you know the work of David Rubinger. For roughly six decades he worked as a Time-Life photographer, documenting Israel’s tumultuous history. Some of his photographs, such as the 1967 shot of Israeli paratroopers reaching the Western Wall, have become icons. In 1997 he was awarded the Israel Prize, the country’s highest award for achievement in the arts and sciences. Rubinger has now written a memoir, Israel Through My Lens, Sixty Years as a Photojournalist, just out from Abbeville Press.

Check it out here.



Photography is a medium that feels natural to me. Once you place the camera in front of the eye, it constructs the world. The camera foregrounds the power of temporal and spatial affectivity as seen and thought. In fact, you could say that what I do is create frameworks. I frame the space within each image but also within the installation space. I devise a spatial montage that marks a rupture with the single moment in time and the one-point perspective.

Check it out here.

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Steve McCurry: An Interview with PDN

Long before he became a contributor to National Geographic, published dozens of books on Asia or took his famous portrait of “Afghan Girl,” Steve McCurry found his voice as a photographer during the during years he spent touring India and the subcontinent in the late Seventies.

McCurry, who we profile in this month’s Legends issue, had been working for a small-town newspaper, shooting “Lions Club meetings, high school wrestling, football games” in black-and-white. His portfolio wasn’t good enough to land a job at a bigger newspaper, he recalls. “I realized what I really wanted to do was travel, so I said, ok, I’m just going to quit.” At the time, he says, “I hadn’t shot color, but I knew the magazine world wanted color, “ so he packed 200 rolls of Kodachrome that he would send back to the States for processing, and went to India. Along the way, he supported himself with small travel assignments and some sales to Scholastic.

When asked what those two years of travel taught him, McCurry says simply, “Just because someone’s wearing a turban, doesn’t mean it’s an interesting photo.”

whats the jackanory ?: London calling: “I did a shoot for Sunday Times on the 3rd Jan. The wold champion female track cyclist. A Brit. Big hopes for the Olympics. Great ! A job immediately after the new year – it gets your confidence up and your new year is out the traps. I got £250 fee. One of my very first commissions ever was for The Sunday Times in 1993. My fee was £250. In 15 years they have held down their costs 100%. What an amazing achievement. The chief picture editor of the whole newspaper – a man I’ve never even heard of or met – so the boss over and above the PE’s in all the sections/magazines – was so impressed with my picture that he got his p.a. to call me and ‘ask’ me if it was alright if they could hold on to the pictures for a little bit longer as they were so good he felt that they were very syndicatable. How long for? Not long, just a while, well until after the Olympics. Is there going to be a split in it for me? We’d give you 10%. The institutional disrespect for photographers and photography cannot be over emphasised.”

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