Link: Conscientious Extended | An Extended Conversation with Francis Hodgson
All good photographers have struggled to find ways to hold the viewer longer on the picture. This is either by such effects as Hockney’s joiners, collage, embroidery on or making holes in the picture… anything, in fact, to break up that slick surface and keep the eye held there a fraction longer. Keep the eye there long enough, and it turns out that photography is not trivial at all
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2013/02/19/a-casual-conversation-with-saul-leiter/#1
Max Kozloff said to me one day, ‘You’re not really a photographer. You do photography, but you do it for your own purposes – your purposes are not the same as others’. I’m not quite sure what he meant, but I like that. I like the way he put it
Link: Underground Neo-Nazi Skinheads in Canada Photographed by Brett Gundlock | Feature Shoot
The access Gundlock acquired is fascinating, and the work unveils the complex existence of an extremist group living among, yet completely apart from the rest of society. We recently talked to him about the powerful experience
Link: Blisner, Ill.: a conversation with Daniel Shea | The Great Leap Sideways
Initially I thought I would make landscape photographs, as the landscape changed so dramatically in the process of being stripped for coal. But as I spent more time in West Virginia, I inevitably found myself in communities of people, and responding to that
By Bruce YoungIn 2011 Justin Maxon added the Cliff Edom “New America Award” to a fast growing list of accolades he started accumulating as a student at San Francisco State University. The photographs, made in Chester, Pennsylvania, a small city just south
via NPPA: https://nppa.org/node/32901
In 2011 Justin Maxon added the Cliff Edom “New America Award” to a fast growing list of accolades he started accumulating as a student at San Francisco State University. The photographs, made in Chester, Pennsylvania, a small city just south of Philadelphia along the Delaware River, were from an ongoing project exploring a community suffering from most all of what ails modern America.
Link: Interview: Pete Brook on the Road | dvafoto
In 2011 Pete Brook took his blog Prison Photography on the road. He used Kickstarter to successfully fund his trip, and produced a number of interviews with photographers, prisoners and activists, gave six lectures and visited three prisons. Last year the project grew in to the exhibition Cruel and Unusual at Nooderlicht in the Netherlands, with a newspaper-style exhibition catalogue and an upcoming Prison Photography on the Road (PPOTR) book.
Link: Worth a look: Kalpesh Lathigra’s Anglo-Afghan War | dvafoto
I first ran across Kalpesh Lathigra‘s series Anglo-Afghan War on tumblr, and was struck by the images. The work looks nothing like other coverage of the conflict I’ve seen. In the images, there aren’t explosions. There aren’t soldiers shooting. There aren’t locals kneeling or being interrogated. It’s a different view of the country and foreign militaries, and that got me intrigued. I asked Lathigra a little about the project, how it came about, and what the viewer learns from this approach to such a well-photographed subject.
Link: David Carol: Photographing the Absurdity of Life « The Leica Camera
Take your work seriously, but not yourself. I think a lot of photographers get caught up in nonsense. They worry about their work in all sorts of ways. Don’t waste time and energy worrying. Just go out and have fun, see the world around you and keep shooting. If you’re passionate, devoted and maybe have some talent in 10 or 20 years you might have a nice body of work. If you don’t, at least you had fun along the way!!
By Jim ColtonJim Colton: The LA Times’ photo staff is teeming with talent…Barbara Davidson, Carolyn Cole, Rick Loomis, etc. What is the breakdown of the photo department including photographers and photo editors?
via NPPA: https://nppa.org/node/30787
Alan Hagman: Our visual staff is comprised of 32 visual journalists, with three devoted full-time to video. The majority of our staff is also trained to shoot and edit video and audio. We have 16 photo editors for print and online, including senior management. Each photo editor is responsible for a specific section or department, Metro, National/Foreign, Business, Sports, Calendar/Entertainment and Features. We also have two people devoted primarily to multimedia production
Link: Alessandra Sanguinetti: Postcards from America, Magnum Miami « The Leica Camera
The idea of this group project was to create a fictional pre-election ‘news bureau’. So the whole approach was always with this in mind. What did Florida (Miami in my case) look like, what were people thinking, what did people look like
The grind and hustle of daily news photojournalism is no joke. Some people can be a bit sniffy about news photographers. Screw them. As much as possible I try to ignore the haters and the artificia…
via Prison Photography: http://prisonphotography.org/2013/02/05/eye-on-pdx-thomas-boyd/
The grind and hustle of daily news photojournalism is no joke. Some people can be a bit sniffy about news photographers. Screw them.
As much as possible I try to ignore the haters and the artificial boundaries they construct in the photoworld
by Jonathan Blaustein Jennifer Shaw is a fine art photographer based in New Orleans. Her project Hurricane Story was published in 2011 by Chin Music Press. She is represented by Guthrie Contemporary in New Orleans, and by Jennifer Schwartz Gallery in Atla
via A Photo Editor: http://www.aphotoeditor.com/2013/01/30/jennifer-shaw-interview/
Jennifer Shaw is a fine art photographer based in New Orleans. Her project Hurricane Story was published in 2011 by Chin Music Press. She is represented by Guthrie Contemporary in New Orleans, and by Jennifer Schwartz Gallery in Atlanta. Ms. Shaw also teaches photography, and is the director of the photoNOLA festival.
Link: Conscientious Extended | A Conversation with CPC 2012 Winner Hye-Ryoung Min
No matter what type of photography, I can tell if the photographer shared any thoughts or emotion when she/he clicked the shutter. On the other hand, if the photographer just photographed because the landscape was beautiful or somewhat different than others, then the images won’t move anybody deeply or be long remembered.
Years before the Pentagon’s official lifting of the ban on women in combat, Lynsey Addario saw the rapidly evolving role of female soldiers in Afghanistan.
via Lens Blog: http://lens.blogs.nytimes.com/2013/01/28/women-shooting-on-the-front-lines-2/
“Lynsey Addario, a photographer for The New York Times, has extensively covered the war in Afghanistan, often focusing on female soldiers. She spoke with James Estrin about the Pentagon’s recent lifting of the ban on women in combat”
Link: Sebastian Beck: Zen And The Art Of Photojournalism « The Leica Camera
On his own time he is a passionate and talented photographer who, until recently, has been very private about his photographic work, and still modestly describes himself as an enthusiast in the process of honing his skills. “For me taking pictures is a form of contemplation,” he observes. “I like to stroll trough foreign cities and landscapes spending my day observing people and nature. Pushing the release button of the camera is just like making a bookmark.”
Link: Bruce Gilden: Postcards from America, Magnum Miami « The Leica Camera
The Postcards from America project brings Magnum photographers together to work collaboratively documenting issues and people across the United States. Most recently, the project focused on the United States’ presidential election with a temporary ‘bureau’ set up in Miami, FL. The purpose was to look at the election through the perspective of people who would not or could not take part in the voting process. Magnum photographer Bruce Gilden provided us with his own insight into his work on the Postcards project.
Guillaume Pinon spent over a year negotiating access and photographing inside a prison in Málaga, Spain. He shot exclusively in a single wing called Module 9, in which the majority of prisoners wer…
via Prison Photography: http://prisonphotography.org/2013/01/16/modulo-9-guillaume-pinon-in-malaga-spain/
I want the viewer, after looking at the photographs, to go home keeping in mind the feelings of being restricted in harsh conditions. I want the viewer to sense what it means being a remand prisoner, with his fears and anxiety, inside of Module 9.
Bruce Haley is a self-taught photographer based in Big Sur, California. His images have appeared in numerous books, magazines, and exhibi…
Link: http://blakeandrews.blogspot.com/2013/01/bruce-haley-what-was-he-thinking.html
Bruce Haley is a self-taught photographer based in Big Sur, California. His images have appeared in numerous books, magazines, and exhibitions. In 1991 he was awarded the Robert Capa Gold Medal for photography. The following images (selected by me) cover a range of years and locations.
by Jim ColtonTuesday night, October 30th, 1984. The phone rings around midnight. Myra Kreiman, one of my colleagues in the photo department at Newsweek, was watching ABC’s Nightline which claimed at the very end of the segment, that Indira Gandhi may have
via NPPA: https://nppa.org/node/27277
To find out how she manages all of TIME’s photographic coverage for the print version as well as their web site, I asked Kira Pollack about the many hats that a director of photography needs to wear.
He is a member of Magnum Photos and is currently the New York Magazine’s first ever photographer-in-residence.
via FK: http://fkmagazine.lv/2013/01/10/interview-with-christopher-anderson/
Sometimes I get overwhelmed by the flood of imagery and not just bad imagery because there are, of course, lot of bad images. How can my images find an audience through all that noise? The only answer I can find, maybe it is about authenticity. If there is something that someone connects with, that’s because there is not just good and bad photography but because there is some authentic quality to it. It’s a picture that is distinctly mine and maybe that has some value above being classified as good or bad.