Mark Abramson, Natalie Keyssar and Mark Kauzlarich share their insights
via Time: http://time.com/4212369/campaign-photographer-first-time/
Mark Abramson, Natalie Keyssar and Mark Kauzlarich share their insights
On the Board of Directors, we talk a lot about the value of a membership, and I want people to know that their hard-earned money is being put to good use. Other than that, I’m excited with the direction our technology committee is going, helping to revive the clips contest, and bringing the magazine into the digital realm by making it more shareable and realizing the potential to use more video and photography online in our stories. I plan on continuing to encourage that.
Olivier Laban-Mattei on journalism ethics and taking steps back
Olivier Laban-Mattei on journalism ethics and taking steps back
aPhotoEditor: You make lovely, almost decadent still lives. Many, but not all, involve food, and are inspired by Old Master paintings. Has a passion for food played a role in your life and career? Paulette Tavormina: I grew up in a Sicilian family and, wi
via A Photo Editor: http://aphotoeditor.com/2016/01/13/interview-with-santa-fe-photographic-workshop-instructor-paulette-tavormina/
Here is a look at Dakar 2016 in progress, as teams race to Rosario, Argentina, on January 16.
In 21 years as a photo editor at National Geographic, Elizabeth Krist has worked on more than 108 stories and edited at least four million photographs. She has been an inspiring mentor to me. Elizabeth is calm, encouraging, and unfailingly kind but also incredibly direct and honest. She is a true champion of photographers, both veteran and emerging. And this year she’s leaving.
Thoughts of a sensitive portraitist
ased in London, Laura Pannack is a photographer focuses on social documentary and portraiture, seeking to explore the complex relationship between subject and photographer. In 2010 she received first prize in the Portrait Singles category of the World Press Photo awards and has been extensively exhibited and published both in the UK and internationally.
Tavepong Pratoomwong is a photographer based in Bangkok. • Tree man – One day I was in Japan looking for a ca…
Link: http://blakeandrews.blogspot.com/2016/01/tavepong-pratoomwong-what-was-he.html
After taking photos for a while, I saw a little hole in a tree. What if the face of a man poked out through that hole? So I tried positioning the angle to achieve that idea. He did not realize that I was taking his photo (because I was behind the tree) and looked at the advertisements on the big LED monitor on the opposite side. That’s why he turned his face up. I took many photos vertically and horizontally. Finally, I got the best shot when I almost stopped doing it. Treeman is one of my favorite photos and the one that changed my life
I will say this; I do think there’s a teeny bit of a shortage of good ideas to be honest with you. Robert Gilka, then the Chief of Photography for National Geographic once said, “We’re up to our armpits in great photographers, but up to our ankles in good ideas.”
So the only advice I would give is, “You’re talented, you’re smart, you’re dreamers, you’ve taken this on…so go poke around in some darker corners that haven’t had some light on them yet.”
“There’s a keen difference between working with National Geographic and being an independent photographer”, says Nathan Benn, renowned photographer, former director of Magnum Photos. After nearly 20 years as a National Geographic photographer, reporting on many regions around the world including Netherlands, Dead Sea, South Korea, the Mississippi River and Jewish Diaspora, among others, Benn is now exhibiting his work of Kodachrome Memory American Pictures at the Leica Gallery in Los Angeles. We had the opportunity to talk to him about this exhibition and experience.
I think it comes down to how we differentiate ourselves from the “clutter” and how we differentiate our content. Because we ARE journalists…that we use due diligence…check our information and our sources when we are producing it…and when we are consuming it we have to be wary. There are so many different feeds available now…that we can tailor that. If you’re doing research on a certain story…you can “harness” all of this information and use it to our advantage. There is always going to be clutter…but the most exciting thing is that we are now living in a generation that is so much more visually intelligent than it ever was…so it’s up to us…as we are consuming so much more imagery these days. I want to see that as an opportunity on how we can harness these audiences…and harness our own work and to get our voices across to the right people.
To be a photographer in this age, you have to really WANT to do it. Don’t do it just because you can’t think of anything else to do. Go to workshops, and perhaps more important, use your library and even the web to find work which inspires you. One of the things which I find so disconcerting is that very few young photographers today can tell you who the photojournalists of note were in the 50’s, 60’s, and 70’s. I fear there is a certain kind of self-validation which shooting/seeing immediately engenders
Jonathan Blaustein: Will you admit on the record that Arsenal Football Club is superior to Manchester United? Dewi Lewis: Never. Never. JB: Never? DL: Never. Why would I admit to something that isn’t true? JB: (laughing.) Of course. But what if I secretly
via A Photo Editor: http://aphotoeditor.com/2015/10/06/dewi-lewis-interview-part-1/
if you’re a photographer, and you publish a book, it will be deposited in that library, and then, in 200 or 300 years time, your great, great, great grandchildren can go along and ask to see a copy of that book. If you think of that longevity of the book, surely it’s worth photographers spending time getting it right.
I think sometimes things are raced through much too quickly. And very young photographers expect a book within a year or two of graduating.
Stirring, hard-earned wisdom from a photographer committed to his craft and to a deeply engaged life on the road
via LensCulture: https://www.lensculture.com/articles/blink-network-not-for-the-faint-of-heart-views-from-a-freelancer
Recently, Blink’s Sahiba Chawdhary interviewed Muller about his inspirations, current projects and what it is like to be a freelancer based in Africa.
As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer. This column, “The Art of the Personal Project” will fe
via A Photo Editor: http://aphotoeditor.com/2015/09/17/the-art-of-the-personal-project-jim-golden/
The beauty of the personal project, at least for me, it’s 75% of what I get hired to do now. Years ago several people told me shoot what you find interesting, it’s the only way, etc, I finally listened, and it slowly built up and I found my voice. After all the years of hearing that word, I totally get it now!
Photography in the Age of Disaster Tourism
It’s very hard, especially for young people, to live off the arts anymore. We are destroying art, we are destroying music, we are destroying culture, if creators cannot make a living off their art. Or we’re handing culture over exclusively to the children of the affluent. Subsequently, we are running the risk that art and music will not become socially relevant anymore.
During our interview with photojournalist Maggie Steber, she observed that the photography business is now so challenging that you have to be a “never-say-die person” to succeed. But it was no easier for Steber when she was starting out than it is for any
via PDNPulse: http://pdnpulse.pdnonline.com/2015/09/how-maggie-steber-turned-a-brutal-portfolio-review-into-career-success.html
During our interview with photojournalist Maggie Steber, she observed that the photography business is now so challenging that you have to be a “never-say-die person” to succeed. But it was no easier for Steber when she was starting out than it is for any fledgling photographer. She explains in this excerpt from the interview how she learned to persevere through failure, and prepare for her big break.
Peterson certainly has developed a style. His images have an intensity to them that can’t be achieved with mid-range or long lenses. And it’s a style that has suited him well over the years with clients that wanted someone who would bring “something different” to the table. I once assigned him to a college football game knowing full well, that I wasn’t going to see a single action picture when it came time to edit. And the results did not disappoint.
A few months back, ELEPHANT GUN commissioned Clifton Barker to conduct a series of unconventional interviews with notable photographers. Due to our indecision, the project went nowhere. After…
via Medium: https://medium.com/vantage/monkey-business-with-street-photographer-tavepong-pratoomwong-bf55cfcf7b7e
A series of unconventional questions tackled by your favorite Thai street shooter
Missing out on this year’s edition of Visa Pour l’Image? At least you can enjoy 52 great images from the program and an interview with the legendary festival director who started it all
via LensCulture: https://www.lensculture.com/articles/blink-network-perpignan-27-interview-with-visa-director-jean-francois-leroy
This year, we decided that Visa would not to exhibit World Press Photo. We are a photojournalism festival and we take pride in exhibiting images that have been produced honestly. This is not to say I don’t respect Lars or World Press Photo. In fact, this is why I am having this talk with him, so that we can discuss the future of photojournalism and the honesty that these images should depict.
Tina Barney is one of the most acclaimed fine art photographers in the U.S. She became well known photographing her real family in Rhode Island, and
via PetaPixel: http://petapixel.com/2015/09/01/an-interview-with-photographer-tina-barney/
No, believe me, I am not a fly in the wall. I started directing very slowly, and the photos are taken in combination of directing. Directing the “come over here”, “walk over there”, and what happens while you are doing that — while they are talking with each other. So there is this fine line — you see that in film today too, especially the movie Boyhood. There’s a fine line of add lib, impromptu, and directing, all in one.