Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2011/04/28/alinka-echeverria-the-road-to-tepeyac/#1
Each year, six million Mexican Catholic pilgrims journey to the Basilica de Guadalupe in Mexico City to pay homage to the Virgin of Guadalupe. In The Road to Tepeyac, Mexican Artist Alinka Echeverria photographs 300 pilgrims bearing treasures of the Virgin to be blessed.
John Cyr has spent the past year visiting darkrooms of notable black and white photographers in order to photograph their developer trays.
Alan Chin, Scout Tufankjian, and Stephanie Sinclair share their memories of Chris Hondros.
via Reading The Pictures: http://www.bagnewsnotes.com/2011/04/remembering-chris-hondros-part-ii/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+Bagnewsnotes+(BAGnewsNotes)
During the war in Kosovo, Tyler Hicks was driving a battered old Renault we were renting, with five or six of us crammed into it lurching around the streets of Pristina. Hondros was holding Tyler’s bag with computer and camera inside. Suddenly a faulty lock popped the door open and the bag flew out and thudded onto the cobblestones. Tyler asked, “What was that?” and Chris responded, “Oh, I think that was your Leica, man.” Luckily we backtracked and found everything intact. That’s how I first met Chris Hondros twelve years ago.
From 1994 to 2002, Robert Capa Gold Medal recipient Bruce Haley traversed the former Soviet Bloc, photographing war-torn settlements, disfigured industrial sites, and rural landscapes and isolated villages seemingly frozen in time. He combined this disparate subject matter, shot in both 35mm and panoramic formats, in his new monograph, Sunder
I am totally not up to this…Writing obits is not what I do…This will not be my best of anything. Yet, it is all I can do at the moment. I found out yesterday, at exactly this time by te…
via burn magazine: http://www.burnmagazine.org/dialogue/2011/04/only-the-good-die-young/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+burnmag
I found out yesterday, at exactly this time by text message while driving in a blinding rainstorm, that my friend and next door neighbor Tim Hetherington had been killed in Libya along with colleague Chris Hondros. Mike Brown , who lives just upstairs and featured here with his Libya work was thankfully spared…So, two men who hang with me at home, stop by for a beer from time to time, were caught in the same mortar attack and one of them gone forever. I did not know Chris Hondros, but was an admirer of his work. I write here only of my friend Tim.
Tim Hetherington was a great photographer. That was just the starting point.
via Lens Blog: http://lens.blogs.nytimes.com/2011/04/20/parting-glance-tim-hetherington/
To call Tim Hetherington a great photographer would be a mistake. That’s not how he saw it.
Dan Winters interview part 3. Part 1 is (here). Part 2 is (here). Rob: So when did you move to Austin? Dan: We moved in 2000. I knew going into this that there’s no market in Austin. There are a lot of photographers here… Rob: It’s amazing how many photog
via A Photo Editor: http://www.aphotoeditor.com/2011/04/15/dan-winters-interview-part-3/
Rob: That leads me to my next question, the now legendary fact that you deliver final prints, and that’s it.
Dan: Yeah usually, and it’s one of those things, too, where when I started out in New York, I really stuck my neck out a little bit, but I say I know the kind of picture I want to make, and I know the aesthetic that I want to apply to the picture. And I knew back then, at that time, the kind of pictures I was making. They’re different now, but when you look at them, you see they’re very similar, really. They really are. They’re square, little square black and white pictures, but they’re very similar to the ones that I do now and have done for many years. I felt like a part of my job was to see the thing through all the way, and I knew exactly what I wanted, so I didn’t want someone editing what my version of the picture was.
Dan Winters interview part 2. Part 1 is (here). Dan: I worked for Chris for exactly a year. When my year was coming up, and I said, ” two more months left.” And he’s like, “you’re really going to stop?” and I said, “yeah, I want to shoot.” The entire time
via A Photo Editor: http://www.aphotoeditor.com/2011/04/14/dan-winters-interview-part-2/
You know, it’s funny, you either get this, or don’t really at all. You tell people you’re a photographer, and they say, “Oh, what kind of camera do you use?” It’s like asking Eddie Van Halen “What kind of guitar do you play?” or, “Yeah, I heard one of your records, man, you must have a killer guitar.” It’s not the camera, it’s the operator. But, with photography, as with a lot of things, the tools that you choose inform the aesthetic, to an extent. The 35mm looks different than 4×5, so the tools will vary, but the voice needs to be consistent. I started feeling like you get hired for your opinion. Wherever you come back with is your take on that experience.
Dan Winters is one of the most recognizable, awarded and sought-after editorial photographers in the world. I’ve worked with him a number of times, even visited his studio in Austin, but it wasn’t until I got the chance to interview him that I fully under
via A Photo Editor: http://www.aphotoeditor.com/2011/04/13/dan-winters-interview-part-1/
Rob: And you loved that, you loved being in the action and shooting that style and all that?
Dan: Yep, I loved it. I loved shooting that way, and I still love that form. That was actually a really weird time for photojournalism, too. I always used to criticize the trend that existed then, so much stuff in the ’80s was shot with 300-millimeter lenses. I never shot that way. I didn’t like it. And they would do that insane, burning, I used to call it the “hand of God burning, ” where they’d burn everything down in the print except for like the face, try so hard to show you what to look at I’d go, “What’d you do, put a quarter on that guy’s face while you were making the exposure?”
The Huffington Post is the target of a multi-million dollar lawsuit filed Tuesday on behalf of thousands of uncompensated bloggers.
via Media Decoder Blog: http://mediadecoder.blogs.nytimes.com/2011/04/12/huffington-post-is-target-of-suit-on-behalf-of-bloggers/?partner=rss&emc=rss
“The Huffington bloggers have essentially been turned into modern-day slaves on Arianna Huffington’s plantation,” Mr. Tasini said in a conference call with reporters. He vowed to picket Ms. Huffington’s house and turn her into an outcast in the liberal circles where she made her blog so prominent.
Read the latest stories about LightBox on Time
To create these pictures, photographer Gregg Segal collaborated with Civil War re-enactors to construct scenes at historic battle sites that have been compromised by modern development.
reGeneration2 presents us the new generation of artists, offering us a remarkable outline featuring the works of 80 international photographers chosen in the context of the competition organized by the Musée de l’Elysée à Lausanne. This thorough and rigorous selection presents over 200 images, with never before seen works that address different subjects, such as urban space, globalization, identity and memory through often hybrid techniques that allow more than ever to blur the limits between reality and fiction.
Link: The Photographers of reGeneration2 | La Lettre de la Photographie
Sohei Nishino, 1982, Japan, has made 100 thousands of images, yet only has 12 photographs in his portfolio. The way he works only permits hi…
Link: http://500photographers.blogspot.com/2011/04/photographer-262-sohei-nishino.html
Sohei Nishino, 1982, Japan, has made 100 thousands of images, yet only has 12 photographs in his portfolio. The way he works only permits him to finish three images in one year. He walks in a city for a month or longer, photographing all the buildings from every possible angle. In the following months he hand prints a selection of several thousand images to piece them all together with scissors and glue to make one single map of that city.
“What would you do if I told you these were some of the greatest pictures I’d ever seen?” he said. I thought, “Oh great, he likes my pictures!”
“I’d drop dead,” I responded. “Then I’m about to save your life!” Lanker bellowed, grinning like a Cheshire cat.
Goran Tomasevic of Reuters arrived in Libya on Feb. 23, having covered the upheaval in Egypt. (“Even the Middle Ground Is Perilous in Cairo,” Feb. 4.) These images, presented in chronological order, convey some sense of what a tumultuous month it has been. Kerri MacDonald interviewed Mr. Tomasevic by e-mail last week.
Link: Thirty Days on the Ground in Libya: Goran Tomasevic’s Extraordinary Month, in Pictures – NYTimes.com
“Negatives filed in drawers clamor for attention and light,” Sylvia Plachy wrote. “I seem to hear them. As in the streets of New York I look for what once was and still is and if it speaks to me.”
With those words on March 9, 2005, Ms. Plachy inaugurated the Lens series in the Metro Section
Link: Parting Glance: Metro’s Lens Series — A Six-Year Retrospective – NYTimes.com
Elisabeth Biondi has been the visuals editor at The New Yorker for fifteen years almost to the day. It is with both heavy hearts and high hopes that we say…
via The New Yorker: http://www.newyorker.com/online/blogs/photobooth/2011/03/elisabeth-biondi.html
Elisabeth Biondi has been the visuals editor at The New Yorker for fifteen years almost to the day. It is with both heavy hearts and high hopes that we say auf Wiedersehen as she leaves the magazine and begins pursuing new curatorial endeavors. We asked several photographers with whom she worked closely to share a picture from their most memorable New Yorker shoot with Elisabeth. Here are their selections and recollections.
Shiho Fukada wanted to get a behind-the-scenes look at China’s legislature. Instead, she put the spotlight on its theatricality.
via Lens Blog: http://lens.blogs.nytimes.com/2011/03/14/tension-and-theater-at-chinas-congress/
In their use of high-gloss spotlighting and impenetrable shadow, Ms. Fukuda’s photographs of the National People’s Congress and the Chinese People’s Political Consultative Conference in Beijing convey both the theatrical and the mysterious facets of the events.
[slidepress gallery=’michaelchristopherbrown_lybia’] Hover over the image for navigation and full screen controls ESSAY CONTAINS EXPLICIT CONTENT Michael Christopher Brown Libya play th…
Since arriving ten days ago, I have tried to understand the situation here in Libya. People swap facts, predictions and rumors, the news feeds me information, but the complexity of the conflict makes it impossible to fully comprehend. Once a picture is taken or a word is written it is already old news. There seems to be no way to catch up, as the database of history is filed before it is processed. And as a result I have become more confused. But I can attest to one reality, shown in these photographs. They form a loose record of my experience during the war in Libya.