In the darkness, everything that was once familiar becomes alien. Photographers who choose wandering over sleep grow to understand the strange, parallel world that emerges under the moonlight, and every frame they bring back with them has a story behind it.
In such a configuration people will find out immediately when you photograph them. If your intervention with the camera is objectionable for them, they will quickly fight back and virtually compress you.
On a tip from a friend, Mosse bought a military-grade camera meant for long-range battle surveillance that doesn’t see visible light. Instead, this camera sees heat and produces crisp black-and-white images that are exposed based on the relative warmth of everything in the frame. Mosse then used this camera, intended to track and target, as a way to document displacement and the daily fight for survival by the refugees living in camps across Europe for a new project called Heat Maps.
There’s a staggering fact on photographer Malin Fezehai’s website. “The number of people forced to flee their homes across the world has exceeded 50 million for the first time since the second World War.” For over ten years, Malin has been on a mission to
There’s a staggering fact on photographer Malin Fezehai’s website. “The number of people forced to flee their homes across the world has exceeded 50 million for the first time since the second World War.”
Earlier this year Zagaris released Total Excess through Reel Art Press, which brings a number of these images together. A show by the same name is currently on view at Milk Gallery in New York. Zagaris spoke with American Photo about his unlikely journey to photography and what it was like to cull through his massive archive.
Photography is the easiest thing to keep you motivated. The camera will basically do whatever you want it to do. There is a simplicity and excitement; it doesn’t have to be complicated. You can judge what’s a good picture, what’s a bad picture – don’t take anybody else’s opinion – it’s what you like.
Tim Tadder is an internationally acclaimed photographic artist. Most recognized for his highly inventive conceptual advertising photography Tadder has been ranked in the top 200 photographers worldwide by the prestigious Luezer Archive Magazine 8 years ru
Tim Tadder is an internationally acclaimed photographic artist. Most recognized for his highly inventive conceptual advertising photography Tadder has been ranked in the top 200 photographers worldwide by the prestigious Luezer Archive Magazine 8 years running. In 2015 Epson, the world leader in photographic printing technology recognized Tadder as one of the top influential photographers, producing a TV commercial and worldwide ad campaign featuring Tadder and his work.
AS: That’s a tough one, and I love processing Szarkowski quotes. He also talked about how photography, on a mental level, is just pointing. It’s just pointing your finger, and saying, “look at that.” And when you point to something you’re not showing the molecules, you’re not showing its history, its ‘everything.’ You’re showing this thing in this context, in this fraction of a second, in this light. Everything beneath the surface exists, but it’s imagined. And one has to come to terms with that.
My work springs more from feelings and intuition than ideas. I try to stay open and rely on my instincts. I put my antennae up and just see what is reeled in. There’s the saying most everyone is familiar with – “go with the flow.” I try not to get ahead of the flow but to follow it closely and see where it leads me. Usually I have some loose ideas but those I tend to revise in face of the photos that I’m actually making. I try not to over-determine the outcome at the onset. I try to be honest with myself about what is truly exciting and working for me.
Doug Mills is photographing the Rio Olympics for The New York Times. He joined The Times in 2002 after working for The Associated Press and has shot almost every Olympics since the 1992 Winter Games. Based in Washington, Doug covers the White House when not photographing athletes.
He spoke with James Estrin by telephone from Rio de Janeiro
I like seeing photos that show the guts of the photographer getting inside someone’s personal space. It’s a vulnerable moment some photos express. It creates a tension that may or may not have resolution. The picture also needs to be articulate using maybe strong composition, a flash, natural nice light or Photoshop skills. After that, it’s all in the curation. Got to chose that one shot out of a thousand instead of posting all 50 of your favs which are maybe the same shot repeated. That’s something I have trouble with
Warren Richardson, who won this year’s World Press Photo Award for his haunting image of Syrian refugees on the Serbian-Hungarian border, told us what refugees have taught him about survival.
Warren Richardson is on his own pilgrimage, walking from Budapest to the Arctic Circle for a new photo project about what it means to survive. I spoke to Richardson during his stop in Berlin about what it’s like to photograph the refugee crisis and what he’s learned from them about survival
Jessica Dimson, a photo editor on the Politics desk of The New York Times, talks about how to find unique images in the midst of intensely covered and highly stage-managed campaign events.
Over the last year, Jessica Dimson, a photo editor on the Politics desk of The New York Times, has helped lead a team of photographers in covering 50 primaries and caucuses, 21 debates and countless campaign events
The image is already being compared to some of the best in history. Freelance photographer Jonathan Bachman, armed with a Canon 1Dx and 16-35mm f/2.8L II USM, set out from New Orleans to cover protests in Baton Rouge over the shooting death of cafeteria w
The image is already being compared to some of the best in history. Freelance photographer Jonathan Bachman, armed with a Canon 1Dx and 16-35mm f/2.8L II USM, set out from New Orleans to cover protests in Baton Rouge over the shooting death of cafeteria worker Philando Castile.
Documenting dangerous gangsters is not for the light hearted. The MS-13 gang leaders private prison in El-Salvador is no exception. Not even the guards go inside the prison cell.
Photojournalist Mary F. Calvert is committed to using photography to affect meaningful social change and is known for producing work on gender based, human rights issues. Calvert believes that journalists have a duty to shine a light into the deepest recesses of the human experience and provide a mirror for society to examine itself.
Legendary music photographer Tommy Sheehan has been taking pictures of rock, pop, and rap’s great and good for more than 40 years. This month he has his first book out, Aim High: Paul Weller in Photographs 1978—2015. Here, he tells John Doran the stories behind ten of his iconic shots.
