I don’t remember where or how I came across Alia Malley’s 2009/10 Southland, but I do remember the photography stayed with me for a while. There was something about those landscapes that struck me. Recently, someone pointed me to Alia’s new series A Cavalier in Sight of a Village, for which she was (in fact at the time of this writing is) raising money on Kickstarter. So I got in touch with Alia and asked her whether she’d answer my questions about her work. (more)
I think creating a significant body of work that is real and personal is the key to finding an audience. These days an audience is not really so hard to find with all of the networking and social media. Finding a gallery however seems a bit more complicated
Over the course of his 18-year career, acclaimed Danish photojournalist Jan Grarup has covered many of recent history’s defining human rights and conflict issues with his camera. His work reflects his belief in photojournalism’s role as an instrument of witness and memory to incite change and the necessity of telling the stories of people who are rendered powerless to tell their own.
[slidepress gallery=’chrisanderson_capitolio’] Hover over the image for navigation and full screen controls Chris Anderson Capitolio play this essay The word ‘capitolioR…
This is an excerpt of a recent skype conversation with Chris Anderson, talking about how the iPad application of his most recent book, Capitolio, came to be. This conversation has been condensed and edited for clarity.
I must carry very, very good shoes. I use one American sandal called Keens. They are very good. With them, I can cross the river. It’s more important for a photographer to have very good shoes than to have a very good camera. Because you walk a lot. A lot, a lot, a lot!
When I’m working I like to find my way into an image and this means being unencumbered by the equipment, but more significantly it is about how I relate to a subject visually. When photographing with an SLR we tend to compose the image in the viewfinder, which is akin to looking through a tunnel and often we can become quite unaware of the space outside the frame. When I’m working with the Leica, I see images in my mind first, and the optical viewfinder for the Leica M allows me to effortlessly place the camera in the desired position while maintaining a strong visual awareness of what lies outside the frame.
It was a few years ago that I first encountered Stephen A. Scheer’s photographs in Sally Eauclaire’s books, first in New Color/New Work and later American Independents. I was struck immediately by Scheer’s wonderful feel for composition and color, and his ability to find photos in unusual places. His style was simultaneously streety and formal. Who was this guy? I wondered. How come I haven’t heard more about him?
its easy to see why Atlanta has garnered so much attention; not only is it a detailed view into the Georgia city’s hip hop scene, the work transcends audiences, being simultaneously fine art, documentary, fashion and a testament to pop culture.
A revealing insight into the creative approach of Benjamin Goss is that he takes “thousands of images a day without the help of a camera. Faces, situations and moments weave together in my subconscious, then eventually form themselves as negatives when I am out shooting.” This helps account for the deeply personal slant that informs his portraiture and off-kilter urban documentary work.
by Heidi Volpe John Korpics, Creative Director of Fortune Magazine is a Renaissance Man. For any designer, photographer, illustrator, typographer or editor working with John should be part of the 100 Things To Do before you Die list. You need to work with
John Korpics, Creative Director of Fortune Magazine is a Renaissance Man. For any designer, photographer, illustrator, typographer or editor working with John should be part of the 100 Things To Do before you Die list. You need to work with him at least one in your life and here’s why
“I believe in something strongly, and I’m going to stand up for it. And I knew and my father knew – he taught me, that I better not ever mistreat people, just because of color. That is really where I come from.”
When I’m working with a camera, I’m focused on what I’m doing and I’m aggressive. I’m gonna get out there. You are going to have to kill me to keep me from doing the pictures I want to do – because it was so important to me. Why? Maybe
because of my background, maybe because I love photography, and it was a dramatic event. Because I felt the way I did. I did not like seeing what I did, and I’m a fighter. If I had – and I have – fought before with my fist, but in this, I fight with my camera. That’s my tool. That was my weapon. I believe in something strongly, and I’m going to stand up for it. And I knew and my father knew – he taught me, that I better not ever mistreat people, just because of color. That is really where I come from.
Tim Rasmussen was part of first Eddie Adams Workshop in 1988 and has since been a long time supporter of the workshop as part of the volunteer Black Team and faculty. He is now The Denver Post Assistant Managing Editor of Photography.
This week, Ashley Gilbertson won a National Magazine Award for his photo essay “A Shrine Down the Hall.” The photographs published in this magazine were a selection from a larger project, which is ongoing.
We met to discuss the project, “Bedrooms of the Fallen,” on Wednesday in a coffee shop near where he lives in New York City. Gilbertson was accompanied by his wife, Joanna, and their small son, Hugo. Joanna explained that the germ of the project was an effort to keep Ashley out of Iraq, where he had worked on and off since 2002. Looking back, they both agree that this project has been much more difficult than straightforward war photography.
Wim Wenders started taking photographs aged seven and has pursued his love of stills ever since as well as directing films. Photography is a state of mind, he tells Steven Pill.
Thomas Hoepker is one of the most acclaimed Magnum photographers. His pictures of heavyweight champion Muhammad Ali, his shots from the USA in the 1960s, as well as newer photos like the one he took in New York on September 11, 2001, have become emblematic. Hoepker has been using Leica cameras ever since he started working as a photo journalist for renowned magazines.
On Tuesday, the Magnum photographer and filmmaker Elliott Erwitt, 82, will receive the Infinity Award for Lifetime Achievement from the International Center of Photography, which will exhibit his favorite pictures as “Personal Best,” beginning May 20. For the occasion, he agreed to let his son Misha Erwitt, a photographer himself, present him with a list of questions that family members have long wanted to ask.
This is the first post from Heidi Volpe who is joining APE as a regular contributor to provide news and interviews from the perspective of and of interest to Creative Directors and Art Directors. If you have news that she might be interested in email her
I hope that the iPad emerges as a platform for photojournalists who can no longer count on newspapers and magazines to subsidize their work. There has never been a better storytelling device, and by integrating other types of multimedia content the stories resonate even more.
what had been planned as a dissection of Hastings’s major articles evolved into a broader conversation about American exceptionalism, the process and duty of war reporting, the privatization of American war making, and the Pentagon’s intensifying effort to “tear down the wall”
between public affairs and propaganda
The past twenty years have been good ones for photographer Andy Anderson. After retiring from a career in the US Air Force he was made the first staff photographer at Men’s Journal. He’s been busy ever since, shooting constantly for top magazines and ad agencies, working around the globe like an over-caffeinated jet pilot.
