Ben Folds: These days I shoot three ways: color with my Sony digital camera, which I generally convert to black and white; black-and-white digital with my Monochrom and black-and-white film with my old Rolleiflex.
“What I love about Jim Dow’s pictures is that they’re not kidding.” Ian Frazier, American Studies (2011) On October 24th and 25th, the Griffin Museum of Photography will host the 2014 Focus Awards, an event that honors members of our community for their s
Harry Callahan taught us to find all that you care about and care about it very deeply, said Jim Dow. “That is a luxury these days but that is one of the most important things that we can do
Kenny Irby interviewed Michel Du Cille, Washington Post photographer, about his work in Liberia covering the Ebola virus, but before we get into his work, we will address the controversial decision by Syracuse University to tell him not to come to a previously scheduled journalism workshop.
Robert Frank said “Black and White is the color of photography” and I really like that statement. I think taking out the color gives a photo a timeless quality. I think color can ruin a perfectly well composed photo, and conversely color can sometimes raise a mediocre photo into a beautiful one. I just like uniformity and the starkness
This week on #LightBoxFF, we speak with Alex Ogle (@alex_ogle), a Hong Kong-based photographer with Agence France-Presse, who has been covering the city’s unprecedented protests. He speaks to TIME about the power of mobile photography in times of change.
I’d have to say I spent the majority of my time thinking like a journalist – that’s what I was trained to do. In fact, I rarely carried a long rifle because I felt it distracted me from my real job. I kept a pistol on my hip for “oh shit” moments. I was of the mind that if the situation got bad enough, I could probably find a rifle not in use. This was the case only a couple times for me. Even during the most intense gun battles, I forced myself to stay behind my camera and not get behind the gun.
I’d have to say I spent the majority of my time thinking like a journalist – that’s what I was trained to do. In fact, I rarely carried a long rifle because I felt it distracted me from my real job. I kept a pistol on my hip for “oh shit” moments. I was of the mind that if the situation got bad enough, I could probably find a rifle not in use. This was the case only a couple times for me. Even during the most intense gun battles, I forced myself to stay behind my camera and not get behind the gun.
Kōan is the collaboration of five young journalists (Alex Potter, Allison Joyce, Amanda Mustard, Cooper Neill, and Nicolas Tanner) exploring both new and traditional means of communication and creating unique narratives – through text, photography and the moving image – that present distinct ways of seeing and understanding the world.
Not off the top of my head but they would send emails with a selection of people’s work asking our thoughts and who we would support for ‘inclusion’. And it was mostly just a rehash of every silly pun picture I have seen before and not interesting to me. That’s why I said, whoever they invite that they should just replace me because I lost interest in that language of photography. That pissed off some people.
I see a lot out there and what I see is people who have talent and work hard…or think they work hard…but the priority they need to get to that special place is going to escape them. They don’t understand that the level of passion and drive that you have to have to be really successful in this business today is amplified. Everybody has a camera and it’s incredible who you’re competing with. So my advice is something Jay Maisel once told me, “You gotta eat, sleep, breathe and drink it. And if you don’t do that, find something else to do!”
With simple humility, Thomas Hoepker has always seen himself as nothing more than an assignment photographer, someone interested in nothing less than the truth, in the honesty of the moment
This week on #LightBoxFF, we speak to commercial and editorial photographer Jeff Riedel, (@jeff_riedel_polariods) whose meticulous approach to photography has not only landed his work on the pages of GQ, Vanity Fair, Rolling Stone and Vogue, but has also helped him accumulate a massive collection of Polaroids, which he has used for years to test and fine-tune variables during shoots and is now posting to his Instagram feed.
[slidepress gallery=’martinparr_conversation’]Hover over the image for navigation and full screen controls A Conversation With Martin Parrplay this essay David Alan Harvey: What I …
When I try a new technique, I always do it first on the beach. There are about six phases of my photography career, black and white, then wide angle with medium format, etc., etc., but I always try them out on the beach first because it’s like an experimental laboratory for me. You have all these people, you can do different things, so this is no exception. It is really like the last chapter of exploration. So inevitably, therefor, I begin at the beach first.
I am perpetually fascinated with Africa’s extraordinary diversity and challenges. I think it’s only sensible that if an outsider has any hope of understanding the continent’s complexity, he or she must devote years to the pursuit. I’ve been working on the continent since 2007 and remain humble regarding the complex dynamics at play within many of its countries. I view every assignment and project as opportunity to learn on a steep curve.
And to be honest, I love my photo editing team so much and would have killed to be able to shoot assignments like the ones we are dreaming up here at the Chronicle and then come back to get an amazing edit from Nicole Frugé, Russell Yip, Pete Kiehart or Dylan Entelis. This team is so thoughtful, supportive and truly committed to making sure that our staff has what they need to succeed.
Over the last four days, Adam Ferguson has photographed members of Iraq’s Yazidi minority religious group who had been surrounded on a mountaintop without water or food as a result of battlefield advances made by Sunni militants
