“I’ve always been attracted by the night, because it is the time when the most fascinating things can happen,” Alejandro said and that fascination is certainly evident in the cinematic feel of the final photos.
Link: La Lettre de la Photographie
What better city than New York to exhibit a photographic essay on the citizens of these “megalopolises” where the population numbers in the millions. Martin Roemers decided to look beyond the urban West to Asian and Middle Eastern cities like Karachi, Cairo and Istanbul. Through these images, the viewer discovers that these bustling cities are also home to men.
Christian Patterson’s Redheaded Peckerwood (also see the publisher’s website and my review) made it onto so many “best of 2011” lists that it was by far the most popular book last year. A body of amazing depth and sophistication, it is a shining example of what the contemporary photobook can do. There now is a second edition, and I used the occasion to talk with Christian about the book
So LeBron James, Dwayne Wade, and I were there together hanging out and….well, there really isn’t going to be a time I get to say that again, so I’m going to take advantage now.
I was lucky enough to be part of the huge team that the fine folks at ESPN the Magazine put together for their latest One Day, One Game series. The point is to give fans a glimpse into everything that it takes for one single game to be put on with vignettes from every angle imaginable. It was one of my most fun shooting days ever, and I don’t think I can really go back to “normal” access after this. Of course I will, but now will at least have a hard time wondering why I can come back into the locker room and photograph a player in the ice bath.
An award-winning street photographer who has been creating memorable images in the great photojournalistic tradition since 1962, Joel Meyerowitz pioneered the use…
via Vimeo: http://vimeo.com/38937942
Tony and I looked at each other and said, “That must be Henri Cartier-Bresson. Tony pushes me to go and see this guy and I walk over and ask him, “Are you Henri Cartier-Bresson?” He says, “No, no I am not. Are you the police?” I said, “No, no we are just two photographers and we saw you working and thought you must be mad.” He said, “Yes I am Cartier-Bresson. You meet me here later and I take you for coffee.”
Nearly half a century after her own prom night, Mary Ellen Mark and her husband, the filmmaker Martin Bell, went to 13 proms across the United States from 2006 to 2009 for their project “Prom.”
Interview by John Camp (Part I is here) John Camp: David, on your days off, do you walk around with a camera under your arm? David Burnett: About four years ago I needed a carry around camera, and ended up…
via The Online Photographer: http://theonlinephotographer.typepad.com/the_online_photographer/2012/03/burnett-part-ii.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29
The one thing I think I would advise young photographers, in particular, is that in most cases no one can be as hard on you as you will be on yourself. Do not settle for easy. Do not settle for that first image. Craft it, work it, and make something more out of it. And finally, don’t forget that the biggest joy in photography is making pictures of those things in your own life
Bryan Formhals lives and works in New York. He is the founder and managing editor of LPV Magazine, a thrice-yearly publication dedicated to contemporary documentary and fine art photography. Blake Andrews is a photographer based in Eugene, OR. He writes t
via WIRED: http://www.wired.com/rawfile/2012/03/10-photographers-you-should-ignore/all/1
how many perfectly exposed black and white vistas of snow-capped peaks or rivers snaking into the background do we need to see? Yes, nature is majestic. We get it. Saint Ansel showed us, and he did it better than you ever will, so move on already or we’ll score your performance as a negative.
Interview by John Camp Introduction: I’m a writer—a novelist —and a few weeks ago my publishing company sent a well-known professional photographer out to Santa Fe to take my picture for the backs of upcoming novels…which shows a bit of…
via The Online Photographer: http://theonlinephotographer.typepad.com/the_online_photographer/2012/03/burnett.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+typepad%2FZSjz+%28The+Online+Photographer%29
You can still make a living, but in so many aspects of editorial and commercial photography, the world has seen a quantum shift. A few people are doing extremely well, in most cases people who have not only talent with a camera but the ability to create an aura about themselves using social media and blogs. I am constantly amazed at the number of “comments” I see on some of the popular photo blogs. Dozens, sometimes hundreds of comments from what must truly be a large population of people with true photographic interest. Proof, I suppose that the photograph isn’t the only way to connect with your audience.
Ed Kashi’s new book “Witness Number 8: Photojournalisms” (Nazraeli Press 2012) is a collection of images, diary entries and letters to his wife, Julie Winokur. Mr. Kashi spoke about the book with James Estrin this month at the National Press Photographers Association’s Northern Short Course in Fairfax, Va. Their conversation has been edited.
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2012/03/20/liu-bolin/#1
For Bolin, the most important element of his images is the background. By using iconic cultural landmarks such as the Temple of Heaven, the Great Wall, or the remains of Suo Jia Village where his studio was housed, Bolin seeks to direct awareness to the humanity caught between the relics of the imperial past and the sleek modern monoliths of 21st century China
Tomasz Wiech sought to capture the tug between Poland’s socialist past and the country’s free-market present. Melancholy and minimalist, his pictures portray “a land of the giant question mark.”
via Lens Blog: http://lens.blogs.nytimes.com/2012/03/13/polands-great-adventure/?pagewanted=all
“Poland is a country of endless Carnival and great disappointment. The Carnival is obvious, and the disappointment is explicable, because things were expected to be different.”
Stacy Kranitz The Other My project engages with history, representation, biography, personal narrative, and otherness in the documentary tradition. Each year in Pennsylvania, 500 people come togeth…
via burn magazine: http://www.burnmagazine.org/essays/2012/03/stacy-kranitz-the-other/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+burnmag+%28burn+magazine%29
Each year in Pennsylvania, 500 people come together to reenact the Battle of the Bulge. During the reenactment, I portray Leni Riefenstahl and behave with soldiers, as she would have. I am intrigued by the complex story of a woman with a problematic set of morals
Fred Baldwin and Wendy Watriss sought to change the world through words and pictures. Their influence has been felt in the United States and abroad, as they encourage photographers and inspire photo festivals.
via Lens Blog: http://lens.blogs.nytimes.com/2012/03/08/partners-in-words-pictures-and-life/?pagewanted=all
Before Fred Baldwin and Wendy Watriss became chroniclers of American rural life and inspired generations of photographers and scores of photo festivals around the world, there had to be a beginning.
So how did their partnership start?
“With a torrid affair,” Fred said.
“It was the end of the ’60s,” Wendy added, with a smile and a shrug.
New Mexico, 1957 (Figure 13)
Part I
By Carl Chiarenza
Originally Published in IMAGE Magazine: Journal of Photography and Motion Pictures of the International Museum of Photography at George Eastman House, Volume 34,
Number 3–4, Fall–Winter, 1991
There is no denying the force, the influence, the dominance of Winogrand’s presence during a critical time in the histories of both photography and America. There is no denying that he contributed mightily to important changes in how we view significant aspects of the relationships between the photographic medium and life in American society. Without question his work has had, and continues to have, a major influence on younger male photographers. One might even say that Winogrand invented a new form of “street photography,” a form that has transformed our view of our public selves, or, at least, has made us more conscious of our view of our public selves. A curious and perhaps relevant observation is the fact that “street photography” has been almost exclusively the domain of male photographers (with such very important exceptions as Helen Levitt and Lisette Model). In turning the documentary idea emphatically inward upon himself, while still turning the documentary camera outward upon the world, Winogrand forced the surfacing of new knowledge about both his reality and ours.
Nothing beats the feeling of being up on a roof and looking down at ant-like people scuttling below. Luckily for us, Katrin Korfmann has harnessed this sensation in the form of enormous, intricate photographs of crowds of people from high above
It was, they said, “the largest prize contest in photographic history.” The Rush Rhees Library in Rochester, N.Y., houses a collection of photographs from the first-ever picture contest sponsored by the Eastman Kodak Company.
via Lens Blog: http://lens.blogs.nytimes.com/2012/03/02/an-amateur-snapshot-of-kodaks-early-days/?pagewanted=all
Kodak advertised aggressively for its 1929 picture contest, spending hundreds of thousands to encourage “fortunate amateurs” to take part. Nancy Martin, a University of Rochester archivist and Rochester Collections librarian, says she believes the first contest was the company’s effort to “start cameras working and keep them working.”
From ‘Son’ by Christopher Anderson
Why show it ?
Interview with Christopher Anderson
By Baptiste Lignel, December 2, 2012, Paris
Baptiste Lignel- You seem to have a dilemma about your project “Son”…
Cristopher Anderson – I’m constantly confli
I’ve spent the last fifteen years with the title of “War photographer”, going to the other ends of the earth, to photographs stories of other people, looking for photographic intimacy from people that I didn’t know. In Afghanistan, which could not be further away from what I grew up in, which was milk and toast Texas. My father was an evangelical preacher, and I grew up in a very conservative and religious environment. My family is not right wing, born again, or that kind of thing, but the environment, the town, the culture that I grew up in were conservative, and I became a photographer, really, to escape that.
Then all of sudden you have a child, which is a crazy experience, because it is at the same time the most intimate and unique experience a person can have, and it is also the most common and universal experience a person can have. Then I was having this internal dialogue: “I’ve been going off to Afghanistan, and now I’ve come the full circle, where I’m not running away from home anymore, I want to be at my home. I want to understand myself through my family”.
