This is only the second phone I ever had. When my first one stopped working my wife took me to a Verizon store and I asked the clerk if he had a camera with a phone inside. When he said no, I said okay then give me a phone without a camera in it. He couldn’t understand why I wouldn’t want it for the same price and I had to explain I like to keep my appliances separate. I’m happy to meet someone that shares my point of view.
Karen Mullarkey is one of the most influential and respected picture editors of all time. In my opinion she’s a national treasure. Dozens, if not hundreds of photographers owe much of their success to her
It was never easy, and even the oldest of the still-living old-timers will tell you that there never was this so-called “Golden Age” when it was all unicorns and money… and certainly there may be more venues now, online, and it may be easier to self-publish your own book and shove it into the very-limited photo-world pipeline, but who’s looking at this stuff? I guess I should say, who’s buying this stuff? Just the sheer volume is astounding….
In the field, we have to decide; win, lose or draw. We can’t wait for the meeting next week. And we will be second-guessed and our efforts criticized as lacking or inadequate. That’s all okay…because we were there; at that moment of exposure. Present. Engaged. Breathing the air, with an eye in the lens, hoping and waiting for a defining, conclusive bunch of elements to occur that fires the head, heart and finger…simultaneously!
For Trading to Extinction, Bangkok-based photographer Patrick Brown spent nearly a quarter of his life documenting the dark truths behind the illegal wildlife trade, from the poachers of Nepal and Cambodia to vendors along the Burmese border. Alternately
For Trading to Extinction, Bangkok-based photographer Patrick Brown spent nearly a quarter of his life documenting the dark truths behind the illegal wildlife trade, from the poachers of Nepal and Cambodia to vendors along the Burmese border. Alternately shadowing anti-poaching teams and pretending the role of an interested buyer, Brown has collected over ten years’ worth of imagery that unveils the breadth of this multibillion dollar industry, pulling clandestine moments of cruelty and exploitation from the shadows and into light. Bearing witness to Brown’s austere black and white visions, we are overtaken by the enormity and pervasiveness of the industry, and ultimately, called to action.
My own shyness was the obstacle in some ways, but people did tease me about my role. I wasn’t seen as an outsider any more than any photographer would have been. When I had an assignment I would introduce myself in that manner, let people know what I was trying to do. I also told people I wanted to make a book, and the reason for the portraits was to make the book.
A: To me, the quality of your work is totally dependent on how connected you are to what you photograph. That doesn’t mean you have to be from a place to photograph it, of course, it’s just that you need to feel deeply about what you are doing. In my case the Central Valley, these small towns, and the issues they are facing are things I feel strongly about.
Last week, Tim and I talked over email about the process of making this documentary. It’s a fascinating piece, presented with no narration and mixing interviews, documentary footage, and graphic-novel-esque depictions of events that happened in the past. Here’s what Tim had to say:
We sat down during the masterclass to speak with all six of the masters about their professional backgrounds, photography and their experience of the masterclass.
In addition, we recorded interviews with all of the young photographers participating in the Joop Swart Masterclass. Who are they? How did they become interested in photography? And what is their photo story about?
This exceptional interview was the final one given by the late Lewis Baltz. It was conducted by his friend, Jeff Rian. Baltz, a secretive and reserved person, speaks unreservedly here of his life and work. Thank you, Jeff, and thank you, Diane Dufour, who suggested us last summer during the Baltz exhibition at Le BAL in Paris.
Farewell, Lewis, you were an incredible man.
You know, I’ve never ONCE heard a Japanese photographer ever comment on form or structure of a single picture- – instead it’s an overview of all of them at once in a set.
“I get on the road and follow the photography … wherever I end up is where I’m supposed to be. I love living like that.”—Danny Wilcox Frazier Wanderlust and a keen sense of wanting to make a difference: practical prerequisites for anyone dedicating their
Promo Photographer: Gabriela Herman Text and reporting: Kelly Williams Brown Design: Tyson Evans Cosmopolitan Art Director: Mariana Tuma ( freelance ) Photo Director: Alix Campbell Photo Editor: Allie Kircher Heidi: Did Cosmopolitan commission this proj
One of the most important lessons from the this project was the power of collaboration and reporting. In this case I feel like having the quotes and the captions and being able to read Kelly’s full text really enhances the viewing experience of the images and adds another layer of understanding
Glenna Gordon has been photographing objects—school uniforms, or a pair of medical gloves—and somehow getting them to express their latent energies and their uncanny ability to divulge more than one would expect. Teju Cole reached her in Abuja by e-mail to talk about these recent projects.
Visiting the legendary photographer who rejected the “decisive moment,” at his home studio on the occasion of a major career retrospective in Pittsburgh
For one person — after the surprise revelation that his own biological father was an African American and dealing with years of resentment and unanswered questions — insight, understanding and awareness came to him via a personal photographic project. Enter Zun Lee and “Father Figure.”
A resident of Paris for 60 years, Klein’s photographs of 1950s New York caught the city’s energy and grit and made his name. He talks about returning to Brooklyn, working for Vogue – and being praised by Picasso
A resident of Paris for 60 years, Klein’s photographs of 1950s New York caught the city’s energy and grit and made his name. He talks about returning to Brooklyn, working for Vogue – and being praised by Picasso
People always ask, “What does NYC SALT stand for?” I wanted a name that spoke to who we wanted to be in the community and what we wanted to do in the lives of the students we serve. Salt flavors and preserves. Every good photo story starts with a photographer being moved to tell a story of unrepresented people, or to give a voice to an issue that needs attention
