With thirty years of war photography under her belt, photojournalist Yunghi Kim is turning to more personal work
via Digital Photo Pro: http://www.digitalphotopro.com/profiles/yunghi-kim-master-of-standing-ground.html
With thirty years of war photography under her belt, photojournalist Yunghi Kim is turning to more personal work
Josef Koudelka has traveled the globe, photographing on his own terms. But as he puts the world in his viewfinder, the world shapes him in return.
via Lens Blog: http://lens.blogs.nytimes.com/2013/11/19/josef-koudelka-formed-by-the-world/?_r=0
I don’t like picture stories. In fact I think picture stories destroyed all photography. You needed to have a close-up and you needed to do other things and for me I am interested in one picture that tells many different stories to different people. That is to me a sign of the good picture.
Ranger With Tusks of Killed Elephant , Amboseli, 2011 Nick Brandt has long been dedicated to photographing the vanishing wildlife of Ea…
Link: http://blog.photoeye.com/2013/11/interview-nick-brandt.html
Directing is a frustrating business. Vast, precious tracts of your life, when in theory you are at your most creative and energetic, are consumed with projects that ultimately never see the light of day. You’re dependent on the money people to be able to create. And even if you’re fortunate enough to finally get that money, the compromises involved can take you a long way from your original vision. For so many in the film industry, you’re living for tomorrow, not in the present, unable to simply do what you are desperate to do: create.
Photography, however, allows you to just go out and create how you want, what you want, when you want. You’re answerable to no one. You’re in control of your creative life. Joy.
Magazine publishing is a dark art. But the world of niche publishing—people who create magazines for necrophiliacs or donkey hobbyists, or for those of us who like to ride really small trains—features its own requirements.
via The Morning News: http://www.themorningnews.org/article/brief-interviews-with-very-small-publishers
Magazine publishing is a dark art. But the world of niche publishing—people who create magazines for necrophiliacs or donkey hobbyists, or for those of us who like to ride really small trains—features its own requirements.
Link: Andy Summers: Surrealism of Everyday Life, Part 1 « The Leica Camera
Andy Summers has been a photographer since the early 1980s when he was the guitarist with The Police. He has published three books of photography: “Throb” with William Morrow & Company in 1983, “I’ll Be Watching You” with Taschen in 2007 and “Desirer Walks the Streets” with Nazraeili Press in 2009. He also collaborated with Ralph Gibson on “Light Strings.” The film “Can’t Stand Losing You,” based on his best selling biography “One Train Later,” will be released by Cinema Libre in May of 2014.
Good art is rarely made by dolts who are disorganized, numb, or unthinking. The mad genius is a popular myth in art circles, but more often than not the best artists are the ones who work the hardest for the longest time, pushing themselves and their craf
Good art is rarely made by dolts who are disorganized, numb, or unthinking. The mad genius is a popular myth in art circles, but more often than not the best artists are the ones who work the hardest for the longest time, pushing themselves and their craft with diligence and dedication. No one ever talks about the “instantaneously successful” or “lucky” violinist — and to think this can be true about photographers is a delusion. – Brooks Jensen
Link: On Being a Woman Photographer With Maggie Steber and Lynn Johnson | PROOF
Both photographers have experienced the sexist and patronizing manner of colleagues and bosses. Yet they have used those experiences to their advantage.
I sat down separately with Johnson and Steber to talk about being women in a traditionally male field and some of the advantages their gender has given them.
By Jim ColtonGrowing up as a teenager is the 1960’s with both parents in the journalism field, (Dad, the Director of Photography for the Associated Press and Mom the Art Director for People Magazine) there were always magazines and newspapers in the house
via NPPA: https://nppa.org/page/photo-journal-dennis-dimick-environmental-portrait
I don’t know where he finds the time to do all this, so I was flattered when he agreed to allow me to steal some of that precious time to share his thoughts on everything from his early influences to environmental issues to how National Geographic has tackled the digital landscape once littered with boxes of Kodachrome.
Jonathan Blaustein: Thanks so much for agreeing to chat. I was hoping you might be able to give our audience the inside scoop on how an exhibition takes shape, from idea to execution. MOPA just had the big opening for its second triennial, on which you we
via A Photo Editor: http://www.aphotoeditor.com/2013/10/30/interview-with-mopa-curator-chantel-paul/
About ten to twelve years ago, there was this whole question around digital, and how it was going to change the medium. Now, some papers and chemicals are no longer being made. Today, these photographers are able to be creative by doing the wrong things with photography to create new work that people haven’t done before.
National Geographic magazine will present “The Power of Photography: National Geographic 125 Years” at the Annenberg Space for Photography in Los Angeles from October 26, 2013, through April 27, 2014. National Geographic’s director of photography, Sarah L
via Photography: http://proof.nationalgeographic.com/2013/10/25/too-much-is-not-enough/
So we’re driving along, and I’m thinking about how to edit this. I don’t exactly know how the idea came into my head, but I started thinking like, well, what if you didn’t do prints. What if you did screens, as opposed to prints? Then the sky is the limit, right? It’s like moving from a printed magazine to a digital magazine. It’s the same transformation so many places are undergoing. Then it was like this huge weight lifted, because I thought, “Oh, wow! We could just go crazy.”
Earlier this summer, I caught up with David Maisel, a few weeks after reviewing his new book “Black Maps.” He recently began working with Yancey Richardson Gallery in New York, and has a solo show up at Haines Gallery in San Francisco through October 26th
via A Photo Editor: http://www.aphotoeditor.com/2013/10/23/david-maisel-interview/
Earlier this summer, I caught up with David Maisel, a few weeks after reviewing his new book “Black Maps.” He recently began working with Yancey Richardson Gallery in New York, and has a solo show up at Haines Gallery in San Francisco through October 26th.
Conversations is an ongoing series where photographers, editors, and curators talk about concepts in photography as well as recent projects. Today, we bring together two of the forces behind the new exhibition “Women of Vision: National Geographic Photogr
via Photography: http://proof.nationalgeographic.com/2013/10/10/conversation-with-elizabeth-krist-and-kathryn-keane/
Today, we bring together two of the forces behind the new exhibition “Women of Vision: National Geographic Photographers on Assignment“—Kathryn Keane, National Geographic’s vice president of exhibitions, who conceived the idea, and National Geographic magazine senior photo editor Elizabeth Krist, who curated it—to discuss the dedication of the women behind the lens.
By Jim ColtonA young man walks into the brasserie at 55 Quai de Bourbon on Isle Saint-Louis in Paris, in the mid 1970s. He is confident. Fresh from Fort Wayne, Indiana, he’s been practicing his French and is now prepared to ply his newly learned linguisti
via NPPA: https://nppa.org/page/photo-journal-peter-turnley-part-1
So with his newest book coming out, French Kiss – A Love Letter to Paris, I thought this would be a perfect time to get an inside look at this soft spoken but hard driving — American in Paris.
Conversation with JR David Alan Harvey: The reason I am interested in you is because you’re a pop star, yet you do good things for people. You have brought art to the streets for everyone to…
via burn magazine: http://www.burnmagazine.org/essays/2013/10/jr-conversation/
I don’t think I’m a street artist anymore or photographer. I think I use those tools everyday. I love the artist title because you can do anything. I don’t have a direct goal or direct mission, except that if I fail tomorrow I want to fail inside my field. I don’t want to sell out basically. So I put those codes in since the beginning and I always did every one of my projects inside those codes that I fixed to myself, and I just wish that in the future, if I stop or if I fail that will be the best thing for me to have stayed true.
Jonathan Blaustein: Photography is a crazy thing to do with one’s time. And a crazy thing to devote one’s life to. It’s obvious that you’ve given almost everything a lot of thought. What do you think it is about this particular method of expression, as op
via A Photo Editor: http://www.aphotoeditor.com/2013/09/24/john-gossage-interview-part-2/
You could start a small fire at photo-eye with books I hate, and use that light to look at mine. But I won’t name which photographers’ work I hate.
via Conscientious Photography Magazine: http://cphmag.com/conv-thomas-weski/
What all of these artists have in common is that I often don’t understand their work right away, that I maybe even initially reject it or file it away too quickly in some drawer. But they all pull me back and ask me to re-engage and to look more closely. The fact that these bodies of work initially refuse to be engaged in a simple and easy way makes them all the more precious for me, something I often find hard to put into words.
Jonathan Blaustein: What’s the story with the beard? How long have you had that not-quite-quasi-ZZ-Top-looking thing? Zack Arias: I have not seen my chin in sixteen years. I had a goatee after high school, and then in ’95, I went on a trip around the US,
via A Photo Editor: http://www.aphotoeditor.com/2013/09/11/zack-arias-interview/
I just hit 40, and I start to worry, am I going to be as relevant? Every art buyer I meet is fresh out of school, and twenty-something, and here comes the gray-haired old guy. But the reason that I really appreciate where I am in life now, though I know I still have a long way to go, is that I bring experience to things that don’t have anything to do with lenses, cameras and lights.
I can walk in a CEO’s office, or a hip-hop studio that’s filled with weed smoke, and I can do my job. Experience is invaluable.
Read the latest stories about LightBox on Time
Like the soldiers he was photographing, Art Greenspon was in his 20s when he traveled to Vietnam to document the war. After five months in-country, Greenspon went on a two-day patrol with soldiers in the A Shau valley, just inside the Laotian border. There, after an ambush and subsequent firefight, Greenspon made a photograph that David Douglas Duncan, the famous TIME-LIFE war photographer, lauded as the “best picture yet of the Vietnam War.”
He’s been everywhere from the dirt-poor towns of Virginia to the dirt-poor favelas of Rio de Janeiro, along the way amassing an amazing portfolio of startling images. We talked to him about where he comes from.
via Vice: http://www.vice.com/read/david-alan-harvey-vice-loves-magnum
Life is all about how you look at something. It’s all attitude and philosophy more than actual reality, because everyone’s reality is kind of the same, but everybody has problems or advantages. So I always worked with my fellow students and told them how to think about it. That was my main thing—I’ve just done that all along.