Arguably the best found photo site on the web recently reemerged on Tumblr, so we talked to the site’s founder about maintaining its allure for half a decade.
Looking at the same types of images by the same types of people on social media can desensitize you; honestly, it gets boring, like you’re trapped in a photographic purgatory where no matter how many times you refresh your feed, nothing is satisfying, no matter how many likes or comments. INTERNET K-HOLE, a blog of found and collected snapshots from the 80’s and 90s by semi-anonymous author Bronwyn, is the veritable opposite of that, a refreshing alternative when it comes to glimpses of different kinds of living
From photographer to artistic director, the Photolux Festival founder Enrico Stefanelli gives us insight into educating our eyes and learning to make the most of the world around us
Enrico Stefanelli is the artistic director of the Photolux Festival, held every two years in Lucca, Italy. Here, he offers his thoughts on visual storytelling, on the magic of street photography and the many languages embedded in the photographic form.
Once again, it’s that time of year for photographers, agency reps, editors and groupies to descend on the French city of Perpignan to celebrate the world’s oldest international photojournalism…
Drawing from his experiences across the Tokyo (and international) photography scene, Ihiro Hayami offers his thoughts on the power of the medium to describe the world around us
Ihiro Hayami, the organizer of the Tokyo International Photography Festival, has spent his life involved with all levels of photography. Here, he offers his thoughts on the medium’s ability to transcend cultural boundaries across the world.
Chris Johns worked as a field photographer for over 20 years before a ten-year turn as editor in chief of National Geographic magazine. Before that he worked in a number of roles as a photographer and picture editor for various newspapers. I grabbed a quick lunch with Johns and asked him about his passion for photography.
Branden Harvey became a professional photographer at the age of 16. He has since become an extremely popular photographer on social media, boasting over
Branden Harvey became a professional photographer at the age of 16. He has since become an extremely popular photographer on social media, boasting over 104,000 followers on Instagram and one of the largest followings of a photographer on Snapchat (with 50,000+ views per image shared). We spoke to Harvey about his unique career path and perspective.
We used to call this type of work “women’s Issues.” I prefer to think of them as our issues. You cannot marginalize half the world’s population without it being a problem for all of us. The only difference between “us” and “them” is that they were born there and we were born here. I became a photojournalist so I could tell the stories of those with no voice and to provide a mirror for society to examine itself. Everyone should know what is going on in his or her world and it is my job to make them care.
Today, I am sharing an interview that photographer and blogger, Ken Weingart conducted with photographer Jill Greenberg. Ken has been producing interviews for his Art and Photography blog, and he has kindly offered to share a few with the Lenscratch audi
A freelancer’s life in Afghanistan is fraught with danger, but for photojournalist Andrew Quilty the steady flow of assignments to important global stories makes it career worth the risk
As a former Art Producer, I have always been drawn to personal projects. A personal project is the sole vision of the photographer and not an extension of an art director/photo editor or graphic designer. This column features the personal projects of phot
The road to editorial supremacy is paved with many dangerous potholes and if Shutterstock wants to succeed in that space, it has to be ready to change the rules. The same way it has done with commercial stock. However, this time, the competition is ready and up in arms. Surprise strategy will not work. Firepower, and a lot of it, will be necessary.
Toledano considers himself to be a conceptual artist. His work varies in medium, from photography to sculpture to painting. His themes are primarily socio-political, although lately, he states on his website, “I’ve strayed into the deeply personal.”
For nearly 50 years, David Burnett has been traveling and documenting the world – much of it on film. While most of the photojournalism world has shifted to using digital photography exclusively, Burnett stubbornly continues to carry around a Speed Graphi
For nearly 50 years, David Burnett has been traveling and documenting the world – much of it on film. While most of the photojournalism world has shifted to using digital photography exclusively, Burnett stubbornly continues to carry around a Speed Graphic camera and dozens of sheet film holders – making him instantly recognizable on the sidelines of events such as the Olympics.
I go back a lot to see how I was shaped by that place and to try get over the anger and I had at being repressed. I also came to see being repressed as an artistic gift – an axe to grind. I am mostly interested in the landscape nowadays. These folks claim to adore it and yet need to control and consume it. I am interested in how those compromises get worked out. But this happens everywhere. In Utah I know where and how to look for it in.
To some extent, though it depends on whose feed (or whose Polaroids) you’re talking about. Instagram has that personal/informal aspect, but there’s much more there than just snapshots and daily ephemera. Maybe the “instant” experience of making a Polaroid has evolved into the “instant” experience of sharing images?
I’ve never been interested in photojournalism that attempts to tell a story through several pictures. I’ve always sought out pictures that tell a story in themselves, letting each viewer see a story that suits them. For me, a good photograph is one that tells a different story to each person who sees it
Everybody is always clamoring about how great they are, and the truth is that I can barely keep it together most of the time. And I’m proud of those mistakes. You can’t learn from mistakes if you don’t make any. And I should really be smart by now, because I’ve made quite a bit.
This interview is just one of many from our free, downloadable Guide: Breaking Into Editorial Photography. For more tips, download your copy today, here. Leslie Baldwin has been the photography editor for Texas Monthly, a 13-time National Magazine Award-w
Leslie Baldwin has been the photography editor for Texas Monthly, a 13-time National Magazine Award-winning regional magazine, for 11 years. She got her start in the photography world in New York City, where she worked as studio manager for photographer and illustrator Matt Mahurin and then as cover coordinator for Time magazine creative director Arthur Hochstein. Here’s an inside look at how a magazine photo editor works and what she’s looking for.
