Ghosts of New York: Photographer Arlene Gottfried Captures Disappearing Gotham — Vulture — Entertainment & Culture Blog — New York Magazine


Ask photographer Arlene Gottfried if she thinks the New York characters she’s shot for 40 years from Coney Island to Times Square and Harlem are freaks, and she bristles. “I don’t think they’re freaks, because then I’d be a freak, too.” With her little-girl Coney brogue (she and her brother, manic comic Gilbert, grew up there), old-soul eyes, and longtime avid membership in the Jerriese Johnson East Village Choir (she occasionally solos, she boasts), she’s a quiet defender of the grimily vibrant denizens of an older New York that’s disappearing daily. Now she’s their enshriner, too: Due out this week from powerHouse Books, Sometimes Overwhelming compiles images Gottfried took of the city in the seventies and eighties. An exhibit of Gottfried’s later work is also opening March 5 at the Alice Austen House Museum on Staten Island.

We interviewed Gottfried about some of her most striking images. An exclusive preview of photos from her book, and her memories of taking them

Check it out here.

Magnum Blog / It should be a dream – the photo blog of Magnum Photos

NYC16706.jpgBruce Gilden:

I went to Haiti because I wanted to do something to supplement my New York work. It wasn’t far, it’s three and a half hours direct flight from New York City. They have a Mardi Gras in February so that means people are on the street.

A very important factor is that historically Haitians weren’t against being photographed. Whereas if you go to some other Caribbean countries, it would be much tougher to photograph. In other words, you’d put your life really in danger. Like Jamaica, if you don’t have an ‘entre’ it’s a tough place and they don’t take to being photographed as well. If you’re going to the areas I go into, you’ll lose your camera or you lose your life.

Check it out here.

The F STOP » Professional Photographers Discuss Their Craft » Article Archive » Guy Neveling

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Compared to the monkey, everything else was a cinch, says Guy Neveling, when asked about the production of our featured image, an advertisement for Volkswagen. “The monkey was all over the studio.” That is, until the time came for something rarely heard of in stateside shoots—his afternoon nap.
A skilled photographer working in a small market like South Africa has to be versatile enough to let the monkey sleep, says Nevelling. “They’ll give you an animal shot one week and then next week, I’ll be shooting a car,” he says. His range serves him well in a region where work is plentiful and photographers are in short supply. “It’s like the Wild West,” Neveling says. “There is violence [in Johannesburg] but people are open to new things and new people.”

Check it out here.

A Photo Essay's Long Journey – – PopPhotoJanuary 2008

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From his first job at a small south Chicago paper to his current position as a staff photographer for the Chicago Tribune, Scott Strazzante has carried with him a personal project about a family farm near Lockport, Illinois. Now presented as a  slide show for the Chicago Tribune Magazine titled Another Country, Strazzante’s diptychs pair images of the Cagwin farm with subsequent shots from the subdivision that was built on their land. After American Photo senior editor Miki Johnson  wrote about the project on the magazine’s  State of the Art blog, Strazzante got in touch and the two struck up a conversation about the ongoing project.

Check it out here.

Gulfnews: Marriage wows – Denis Reggie


At a wedding, Denis Reggie rarely asks the couple to pose for pictures. In fact, they often do not even know that he is shooting photographs which will make it to their wedding album. Then why are clients willing to pay upwards of $25,000 for their wedding pictures? Ritu Raizada finds out.

Check it out here.

Behind the Lens with Brian Skerry – – PopPhotoJanuary 2008



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.

Categorized as Interviews

SpearTalks: Heather Powazek Champ – Josh Spear

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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.

Check it out here.

Categorized as Interviews

Nextbook: Fighting Shots

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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. | Exhibitions | 2008 | Jan De Cock | Interview



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.

Steve McCurry: An Interview with PDN

Check it out:



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

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.”

Interview with John Sexton

Digital Outback:

We conducted our first interview with John Sexton. John is a highly regarded master B&W photographer and printer. Bettina and I had the chance to meet John and his wife Anne in his Carmel Valley studio. We add some of John’s pictures to present the interview in the context of John’s masterful images. Of course these small JPEG images don’t do the real prints justice. But at least you get an idea how the real prints may look.


Audio interview with Joachim Ladefoged

From Journal of a Photographer:

I know Joachim Ladefogeds work for quite some time now. I met him during the New York VII Seminar on October 16th 2005 were we also recorded this interview in an empty classroom at the School of Visual Arts.

The total length of the interview is 41:50 minutes.

The God Effect: an interview with John Cliett

Cool interview with photographer Cliett, from Cabinet Magazine:

On November 1, 1977, Walter De Maria completed The Lightning Field, a monumental array of 400 polished stainless steel poles arranged in a rectangular grid roughly one mile by one kilometer in size. The following year, New York-based photographer John Cliett moved to site of the work, in the remote western New Mexico countryside near the town of Quemado, and spent the summer taking pictures of it. Over the next few months—and during another stay the next year—Cliett would shoot hundreds of pictures of The Lightning Field.

Q&A with photographer shot in Iraq

From PDN, Q&A with Toby Morris of ZUMA Press:

When it first happened, I was really embarrassed to be the photographer who got shot. Because you know that your peers might say, “That guy Toby, he’s a hot dog.” But I’m not Robert Capa, man, I wasn’t standing on top of the trench. I was there more to take portraits than to get news photos anyway.


The Web This Morning

Punk – Anti-Flag releases third song from their upcoming major label album, “For Blood and Empire” (I’ve heard the album, it ain’t bad. Listen to the song The Press Corpse to hear Anti-Flag at their best.)

Punk – FatWreckChords new podcast

Photography – Getty Images editorial photography grants to Andrew Testa and Kristen Ashburn (portfolios)
Gaming – Wired interview with David Jaffe

CBC – Pets dumped in Moscow’s “Forest of Death”

Wash Post video – AP video of Bush receiving warnings of Katrina

NYT – Taliban still menacing Afghan south, have closed down 200 schools, by Carlotta Gall

Photography – USA Today photographer Robert Hanashiro on Torino
Photography – Photographer Brad Mangin: Spring Training ‘Death March’

Photography – Darrell Miho on the LPGA credential controversy

David Leeson Interview

I met photographer David Leeson a few years ago when we were speaking at the same photojournalism workshop in Omaha. It was like finding a long lost brother, so many things did we have in common. We shared the same obsessive compulsive immersive behaviors, the inability to stop or slow down, and as the conversation flowed over a couple of days we weren’t ever filling each other in on anything we didn’t already know about. Since then, Leeson went on to win a Pulitzer Prize for his coverage of the invasion of Iraq. We haven’t spoken since Omaha.

Here’s the interview: Fayrouz in Beaumont