I met Glenn Ruga when I first moved to Boston in 2010. He helmed Boston’s Photographic Resource Center for 4 years, bringing great exhibitions, workshops, and speaker series to the city. He’s also the founder of Social Documentary Network and recently launched ZEKE, a photo-focused print magazine published twice a year. It’s beautifully printed and filled with double-trucks. I got my hands on a copy of ZEKE at the Boston launch party and asked Glenn if he’d be interested in talking about SDN and ZEKE.
Shortly after arriving in Libya to cover the insurrection which would eventually topple Muammar Gaddafi, Brown dropped his camera. He made do as best he could and reported with his iPhone. Soon thereafter, assignments began to arrive requesting, specifically, that he use his phone for the story.
Jonathan Blaustein: Given the thickness of your Chicago accent, and the plethora of sports photos on your website, I have to ask… what do you think about Derrick Rose’s game-winning shot the other night? Sandro Miller: The shot was absolutely, off-the-cha
At first, people said, “Ah, you did it all on the computer.” No it wasn’t done on the computer. That’s the ignorance of so many of the younger photographers. They think everything’s done on the computer.
So how does one survive in an industry that is constantly changing? What resources can we utilize to our advantage? One way is to diversify. Look for other potential avenues of income that exist outside the predictable and diminishing world of magazine and newspaper publishing; and of course, you have to continually reinvent yourself to accommodate those needs. Few people have done this as well as Bill Frakes.
Jonathan Blaustein: I just called you on the phone. We’re not Skyping. And I noticed that your phone number was 444-BOOK. Paul Schiek: Yeah. JB: Who did you have to bribe, as a book publisher, to get BOOK as your phone number? How much money did they make
There’s a whole process to looking at books. You know this as a reviewer. You look at them in a certain way, in a certain environment. Are you standing up, or are you sitting down? Are you drinking a beer, or are you not?
I take all these things into consideration. Who is my audience? How are they going to experience this? I love, love, love thinking about all those things.
An exclusive, in-depth interview with Mads Nissen, who discusses his prize-winning photo, the series that it came from as well as his inspiring philosophy of image-making
Mads Nissen, the winner of the 2015 World Press Photo of the Year, is an inspiring individual. His award-winning shot came from a larger series about homophobia in Russia. Here, we present to you a selection from the series as well as an in-depth interview conducted by managing editor Alexander Strecker during the World Press Photo Award Days in Amsterdam.
It is the same intuition. You have to know in which framework you have to tell your story for the magazine, but you must not work for the magazine. You work for yourself, and the story.
Baltimore-based photojournalist J.M. Giordano loves his city, and when the recent protests over the death of 25-year-old Freddie Gray escalated into full-blown riots, he rushed straight into the front lines. As peaceful protestors stood alongside those th
I’m from B-more. It’s home. People need to know that they can depend on my coverage. I’m not a parachute journalist here. I roll in with my expensive equipment and f*cking neck scarves like it’s f*cking Falluja. I know the people here and they know me.
An enlightening, wide-ranging interview with NGM editor Kathy Moran—touching upon humanity’s visual storytelling DNA, the transformative power of images and the fundamental universality of photography
Today’s interview subject is Kathy Moran. After spending over 30 years with National Geographic, Moran has a long perspective on the power of photography and the impact it has had in the world of conservation.
Jonathan Blaustein: You’re from Ireland. Is that right? Andrew Hetherington: Correct. Yes. JB: How far does a good accent take you? AH: Good question. It certainly helped get my foot in the door and I have certainly laid it on thick at times to break the
Obviously, once the camera comes out, people can become very self-aware and I have found that some of the best moments come when I am physically packing the camera in the bag, and I look around and say, “Hold on! That’s perfect!” So I bring the camera back out.
As we can see, Smolan has been busy blazing new paths and pushing the digital envelope. This week, zPhotoJournal has a conversation with the multi-faceted and multi-talented Rick Smolan as we discuss his own journey that has lead him to “INSIDE TRACKS.”
This month Roger Ballen releases an expanded edition of his critically acclaimed book, Outland published by Phaidon Press which features 45 previously unpublished photographs. Along with this new incarnation of the book, Ballen has collaborated with director Ben Crossman for the second time to create an accompanying video for Outland, which re-introduces some of Ballen’s protagonists 15 years after the fact.
Jonathan Blaustein: We could talk forever, as there are so many things I want to ask. But I want to hit some of the cogent points of your experience, and then work our way to NOMA. You alluded to the fact that you did four years at Yale, and it was semina
We always need to consider that somebody is doing the selecting. These things are not just thrown up on the wall, in any kind of objective way. And I think we can learn a lot about ourselves, and about each other, if we critically examine the choices and selections of pictures and photographs.
This video is part of our Exposure series, in which National Geographic photographers share the stories behind their images. Listen to photographer Wayne Lawrence talk about his assignment photographing the people of Detroit. *** If your portraits are not
This video is part of our Exposure series, in which National Geographic photographers share the stories behind their images. Listen to photographer Wayne Lawrence talk about his assignment photographing the people of Detroit.
Ramona Rosales What it is about your style of working that has you with a steady client base? My overall approach and why my regular clients hire me for specific subjects is that I shoot very fast (good for people who have zero time), I try to maximize
Sometimes I’ve had to put my creative motives aside to get job done, but always put my best efforts to fulfill both the job and my own desires on making a great image
This video is part of our Exposure series, in which National Geographic photographers share the stories behind their images. Listen to photographer Eugene Richards talk about his assignment: looking for Lincoln’s legacy in our modern times. *** You may fi
This video is part of our “Exposure” series—where National Geographic photographers share the stories behind their images. Listen to photographer Eugene Richards talk about his assignment: Looking for Lincoln’s legacy in our modern times.
In his living room in Paris, William Klein flips through the new edition of his book, Tokyo, which just arrived from Japan. Klein, always particular, is pleased with the quality of the thick, glossy paper which enhances the contrasts of his 1961 photographs. Tokyo is a major work by Klein, part historical document and part personal diary. Over the course of three months, he captured the madness and strangeness of the city at the dawn of the turbulent 1960s. He returned from the trip with over 1,000 photographs. William Klein revisited that journey.
Salgado the photographer was rejuvenated. He began work on Genesis, an eight-year magnum opus documenting the incredible beauty of the planet, rather than its tragedies. Along the way, he asked film directors Wim Wenders and Juliano Ribeiro Salgado, his son, to accompany him on some of his Genesis trips. From these journeys, “Salt of the Earth” was born. The film joins Juliano’s Genesis footage with interviews Wenders conducted with Salgado in a dark room, through a two-way mirror, as the photographer analyzes his own work.
A lot has been said about Mr. Erwitt’s keen eye for the incongruous or absurd and his wry humor. His favorite interview question happened in Moscow when someone asked him — seriously — “Were you there when you took that picture?” His reply: probably.
