Apple employee photo series

Photographer Joshua Brown:

Selection from a portrait series of 50 (of about 300 that I have photographed so far) of my coworkers in a conference room.


Gursky's "99 Cent" Prints Fetch Millions At Auction


Most recently, an anonymous bidder paid $2.48 million – with a sense of irony, one hopes – for Gursky’s “99 Cent II Diptychon” (2001), which shows the cluttered interior of a discount store.

The sale, made at a Nov. 16 auction at Phillips de Pury & Company in New York, set an auction record for a work by a living photographer. It fell short of the record for the highest price ever paid for a photo at auction, which was set in February when a 1904 Edward Steichen print sold for $2,928,000.

The work sold at Phillips consists of two chromogenic color prints displayed as a diptych that measures over 22 feet wide. The work is one of an edition of six.


Scanning, Safety, M8

Joe Reifer:

I’d rather go to the dentist than spend hours scanning negatives. This evening I remembered why I got interested in digital SLRs 5 years ago. I hate scanning. After watching volume 1 of Contacts, I decided to shoot a roll of Tri-X over the Thanksgiving holiday. Even though I own a bunch of fancy SLR gear, I would way rather shoot with a Leica rangefinder. I’m not going to wax poetic about how the Leica M6 is the most perfectly pleasing 35mm camera I’ve ever used, or how the 35mm f/2 ASPH lens has microcontrast and bokeh to die for, I promise. But it’s true.

What I’m going to say is one $4 roll of film, a $12.50 develop and contact sheet, two trips to the lab, and hour and a half of scanning my favorite images later, I remember why I gave this process up. What a pain. Not to mention the cost per shot is about 45 cents (Hey, I’m too lazy to soup my own negs anymore).


Categorized as Photography

Art flaps fade away, but Sturges and his nude photos thrive

SF Chronicle:

The photographs themselves, to my eyes, are more troublesome. The bodies on view, to a one, are all youthful, fit and lean. A warm bronze light prevails. But, somehow, in all this celebration of the body beautiful, there’s a nagging vacancy — in the models’ abstracted expressions and a slack structure and framing of the scenes. The elaborate picnic table shot seems artily contrived. So does the one of the two boys on the deck. Sturges’ photos have always looked a little stagey and arch to me, a little too studied in their bucolic innocence — of doorframe poses, riverside sun bathing or dogs casually flopped down at the feet of statuesque nudes.

Color presents fresh complications. Color literalizes, as it spells out every limb, hair and nipple in realistic, high-resolution detail. It challenges a photographer even more to discover an essence, to make us see the thing that’s plainly there but that we might not otherwise have registered. Sturges’ photographs just don’t do that very much. There’s something coy, whether by intention or not, about the way they invite us to puzzle out their meanings and then so consistently resist that kind of looking.

It’s not that Sturges exploits his subjects. Nothing in his work or history proves it. But he does expose them, without exposing much of anything about them. You don’t feel drawn into the mystery and wonder of the nudes he photographs. You see them and move on to the next and the next. Maybe Sturges just isn’t an especially good photographer — a possibility that he himself readily acknowledges. That doesn’t make him a pornographer by default. But it might make him a kind of poster boy for the dilemmas of photographic imagery in the Internet age. In the forthright yet strangely blank nature of his work, in its uncensored volume and digital technologies, Sturges presents the reflective image of a computer screen. Here, here it all is, his photographs say to us. Make what you will of them. That’s your private business, not mine.



Alec Soth:

Curious about my studio. Have a look here.

*pictured are Phillip Carpenter, Eric William Carroll, Linda Dobosenski, Brian Lesteberg and Josh Grubbs.


What’s Wrong With This Picture?


If this sounds confusing, that’s the nature of chaos, which can be as hard to photograph as it is to describe. Fortunately, Robert Polidori is a connoisseur of chaos, and the beauty of his pictures — they have a languid, almost underwater beauty — entails locating order in bedlam.

The X of wires and the diagonal thrust of that green house, extending horizontally across the photograph, are vertically anchored by the telephone pole, creating a tranquillity in the composition that belies the actual pandemonium. Given bearings by this geometry, a viewer is set free to find details like the teetering stop sign on the street corner where the green house landed: a black-humored punch line.

All artists, as best they can, make sense of a world that is often senseless. Mr. Polidori’s work, from Chernobyl to Havana — in sometimes dangerous, topsy-turvy, out-of-time places — generally bears witness to profound neglect. A photojournalist’s compulsion and problem is always to contrive beauty from misery, and it is only human to feel uneasy about admiring pictures like these from New Orleans, whose sumptuousness can be disorienting. But the works also express an archaeologist’s aspiration to document plain-spoken truth, and they are without most of the tricks of the trade that photographers exploit to turn victims into objects and pictures of pain into tributes to themselves.


Photographer Corey Arnold

Corey Arnold, 30, is a Freelance Photographer and Alaska Crab Fisherman. During October, January, and February you will find him working and photographing aboard the f/v Rollo in the Bering Sea. The rest of the year he lives in Norway or San Francisco and spends the working hours photographing for exhibitions, art projects, books, magazines, bands, and advertisments. Recently, Corey has been focused on making pictures aboard fishing and whaling vessels in Northern Norway and Alaska (His so-called “life project”) You might have seen him as a deckhand aboard the f/v Rollo in the Discovery Channel’s emmy nominated series “Deadliest Catch”. He is also the co-founder and editor of Fisk Magazine, a new international “Cultural” fishing magazine which will launch in September 2006.


Arnold Newman, Portrait Photographer Who Captured the Essence of His Subjects, Dies at 88

From the New York Times:

Mr. Newman photographed so many of the world’s most prominent and accomplished men and women that it sometimes seemed as if there was no public figure that his lens had left untouched. But there were subjects he generally steered clear of: actors, actresses, rock stars and anyone he considered, as he put it, “famous for being famous.”

“I hate the whole idea of celebrity,” he said.


A picture is truly worth 1000 words

From The Spectrum:

My life, though, is about to get a lot easier. The Daily News finally has a “real” photographer on staff.

A month after I introduced you to our new-look reporting staff, I’m happy – thrilled, actually – to introduce you to Garrett Davis, who has more photography talent in his right index finger than I have in my entire body.

Just look at his photo on this page. The one of the American flag on the rooftop at Steve Giger Auto Sales. Cool, huh?


Henry Wessel: Capturing the Image, Transcending the Subject

From The New York Times:
MOST musicians I know don’t just play music on Saturday night,” Henry Wessel explained. “They play music every day. They are always fiddling around, letting the notes lead them from one place to another. Taking still photographs is like that. It is a generative process. It pulls you along.”


Andrew D. Bernstein at the Sports Shooter Academy (video)

From SportsShooter:

This is video from NBA senior photographer Andrew D. Bernstein’s presentation at the Sports Shooter Academy 2, held April, 2006 in Southern California. Bernstein has been shooting the NBA since 1981 and has photographed every NBA Finals and NBA All Star game since 1983. His company, Bernstein Associates, Inc., has served as the official photographer for most of Los Angeles’ professional sports teams, including the Lakers, Dodgers, Clippers and Kings. In addition, Bernstein holds the position of Director of Photography for STAPLES Center, the sports and entertainment complex in Los Angeles.


C-Heads Magazine #2

Make sure you look at photographer Adriano Avila’s images from Brazil, in C-Heads issue #2.
From Creative Heads:

We proudly present the second issue of C-Heads!

This issue contains great artists, touching and amazing pictures and music for the soul.


Hamburger Eyes Magazine

From Hamburger Eyes:

When opening Hamburger Eyes Photo Magazine you enter a pictorial history of both the unseen and iconic moments of everyday life. It is organized in such a way that it has become many things to many people. As a photo journal, we share our travels and experiences. As a photo diary, we share our accomplishments and heartaches. And as a photo album, we share our families and friends and reach people on a level they have been familiar with since their first birthday party. Our publication is currently composed of black + white photography. We have contributions from photographers of all levels. Inspired by the traditions that began with National Geographic and Life Magazine, we hope to revitalize the sensation of photography as a craft as well as a tool to record and document.


Staying Sharp: veteran news shooter seeks new challenges

From RobGalbraith:

“You have to set a goal for yourself every year,” Dresling says, explaining what that experience taught him. “I do it partly because it’s fun, but also to keep myself on my toes because if you let everything roll over you, you’ll be out of business in a short period of time.”


Thomas E. Witte on building a website for the professional photographer

From, Thomas E. Witte on building a website for the professional photographer:

If you set a pile of Lincoln Logs down in front of a 5-year-old they’ll eventually figure out how to make a house out of them. Likewise, two weeks after plopping a $900 design program in to my computer, I eventually created a rudimentary frames based site that while designed so-so, had major flaws in terms of advertising myself.


The Web This Morning

Photos – Antonin Kratochvil’s Troubles in the Niger Delta

PDN – Photo groups lobby to protect copyright orphans

PDN – From darkroom to classroom

BBC – Al Qaeda attack on Saudi oil facility

Balkans, BBC – 10,000 SRS members hold pro-Mladic rally in Belgrade

National Review – William F. Buckley Jr. on Iraq

NYT – US supbpoenas 2 Dow writers, then backs off

NYT – Taking spying to a higher level

NYT – Armed group shuts down part of Nigeria’s oil output

NYT – Arabs tell Rice violence like Iraq’s could spread