Photographer Brian Ulrich has worked for a number of years on a project titled Copia, which explores not only the everyday activities of shopping, but the wider economic, cultural, social, and political implications of commercialism. Ulrich’s first monograph, Copia, was published in 2006 by Aperture.
The New York Times’ multimedia series One in 8 Million won an Emmy Award in the “new approaches to documentary” category on Monday night. The series is a collection of stories told with audio and photography that portray everyday New Yorkers.
James Estrin talked with three of the series’ producers : the staff photographer Todd Heisler, the senior multimedia producer Sarah Kramer, and the photo editor Meghan Looram.
John Stanmeyer found the simplicity of the Holga an ideal way to capture the complexity of Balinese spiritual life.
via Lens Blog: http://lens.blogs.nytimes.com/2010/09/16/high-balinese-ritual-low-holga-technology/
John Stanmeyer is one of the founding members of the photo cooperative VII and his work appears regularly in the National Geographic and Time. He has won the Robert Capa Gold Medal Award and honors from World Press Photo and Pictures of the Year International. James Estrin spoke with him about his new book, “Island of the Spirits,” while Mr. Stanmeyer was at home in the Berkshires making five-foot-long prints for an exhibit opening on Thursday at 6 p.m. at the VII Gallery, 28 Jay Street, Brooklyn.
Cody Duty was a 2010 summer photography intern with The Associated Press.
Link: The Visual Student » Internship Perspective: The Associated Press
Michael Itkoff: Hi Joerg, I’ve just returned from a government sponsored photo tour of a few cities in eastern China and thought it might be an interesting catalyst for discussion.
Link: Conscientious | Ping Pong with Michael Itkoff, Round 5
Erica McDonald wrote in a while back. I’ve been a fan of her work for a long time, having first met her through lightstalkers, and hoped she might have a project to share. The selection she sent back, from “The Dark Light of This Nothing” is a beautiful portrait of Brooklyn, both timeless and very much of this moment, a look into what rapidly changing socioeconomics means for the city and, by extension, the country.
Link: Erica McDonald’s “The Dark Light of This Nothing” | dvafoto
Andrea Star Reese was unknown to the photography world before “The Urban Cave”, but, with the work forming part of this year’s Visa Pour l’Image, the photographer is now enjoying a success she never found in her previous career as a filmmaker
Link: Visa Pour l’Image: The Urban Cave – British Journal of Photography
On the 25th of October of last year, Magnum photographer Martin Parr was a guest at the Profiles event at the Antwerp FotoMuseum. He gave a reading and participated afterwards in a roundtable on the ‘Photographic Magazine as Medium.’ FotoMuseum extra Magazine had the chance to talk to him earlier that day.
Link: A Photo Student › Interview: Martin Parr “Boundaries Merely Exist in People’s Minds”
John Cyr has been sending letters, putting his foot in doors and hounding famous photogs. All to secure some quiet time with an empty tray and pay homage to the age-old art of silver gelatin printing and its unsung, shallow-dish heroes. In the era of Phot
via WIRED: http://www.wired.com/rawfile/2010/08/for-photo-geek-eyes-only-famous-developer-trays/
John Cyr has been sending letters, putting his foot in doors and hounding famous photogs. All to secure some quiet time with an empty tray and pay homage to the age-old art of silver gelatin printing and its unsung, shallow-dish heroes.
Photojournalist Walter Astrada is back at Visa Pour l’Image with the next part of his Violence Against Women project. He tells BJP how he gained access to his subjects, who live under intense psychological pressure
I managed to snag a few moments (over email) with Jason Cone, executive producer of the Starved for Attention films and MSF’s Communications Director based out of New York, and Ron Haviv, one of VII’s founding members. I wanted to ask the two about how NGOs and photographers work together, how a campaign such as this is produced, and how NGOs and journalists work to get stories out to a wide audience within such a fractured media environment.
Link: MSF and VII’s Ron Haviv discuss “Starved for Attention” | dvafoto
MW What inspired you to start taking photographs and what is the primary inspiration for you to keep working in this field? PD I took my f…
Link: http://2waylens.blogspot.com/2010/08/palmer-davis.html
You also need to surround yourself with a community of fellow artists and colleagues that will support you and inspire you as you navigate your way. So many of my breaks in the fine art world have been the result of someone putting in a good word for me at the right time.
Drew Friedman is not just one of America’s most well-known and widely respected illustrators, but his work is arguably the most identifiable. Having worked for counterculture bibles over the years like National Lampoon, RAW, Screw, SPY and Mad, Friedman h
via WFMU’s Beware of the Blog: http://blog.wfmu.org/freeform/2010/08/an-interview-with-drew-friedman.html
Drew Friedman is not just one of America’s most well-known and widely respected illustrators, but his work is arguably the most identifiable. Having worked for counterculture bibles over the years like National Lampoon, RAW, Screw, SPY and Mad, Friedman has, in the past fifteen years, garnered mainstream respectability with onslaughts of work for Entertainment Weekly, Mother Jones, Newsweek, The New York Times, Rolling Stone, The New Republic, The Weekly Standard, Time and countless others. Friedman has also published several entertaining books, including his two critically acclaimed collections of portraits titled Old Jewish Comedians. I spoke with Drew Friedman recently in anticipation of his new collection, an overview of those last fifteen years of mainstream respectability: Too Soon? Famous/Infamous Faces 1995-2010 from Fantagraphics Books.
Here is part two of the interview with Mugur Vărzariu who embodies the definition of a compassionate photographer: “I only press the shutter release when I can help my subjects.”
Andrea Star Reese has been photographing homeless people living in Harlem. She talks about her project, “The Urban Cave.”
via Lens Blog: http://lens.blogs.nytimes.com/2010/07/20/showcase-190/
For three years, Andrea Star Reese, a former filmmaker, has been photographing homeless people living in West Harlem. Her first project, “The Urban Cave,” will be exhibited at Visa pour l’Image, the international festival of photojournalism held in Perpignan, France, beginning Aug. 28. James Estrin met with Ms. Reese, 58, in New York, where she lives. Their conversation has been edited and condensed for space.
Stanley Green began his career as a painter and segued to photography in the course of taking photos to catalog his work. After studying the craft, the NY native held various jobs, including at Newsday and as a Paris fashion photographer, before turning his attention to devastation in Rwanda, Somalia, Iraq and other locales. Acclaimed for his book Open Wound on the conflict in Chechnya, Greene documents U.S. Gulf Coast residents’ struggle to rebuild their lives after Katrina in the exhibition “Those Who Fell Through the Cracks.”
Link: Tavis Smiley . Shows . Stanley Greene . July 5, 2010 | PBS
I think most people will agree that if photojournalism is to survive the media revolution the innovations will need to come from the photographers and agencies, because the magazines that used to support them have run out of gas. The only hope really is e
via A Photo Editor: http://www.aphotoeditor.com/2010/07/14/vii-magazine-photojournalism-transitions-from-supplier-to-publisher/
I think in some very important ways VII The Magazine is a reaction to what has happened to our industry over the last few years. Photographers have always been seen as “suppliers” (the traditional role of editorial photographers, one or two rungs up the ladder from stationers and utilities but suppliers nonetheless) to the print world. A big question now seems to be who is left to supply and why should we remain dependent on the whims of a dinosaur industry. The question VII asked is why not become publishers and control their own destiny? Obviously the answer to that is VII The Magazine. This is a huge shift in the role of the photographers and the agency that opens up a whole new world with all the possibilities of originating and distributing.
I mainly shoot on 6×6 medium format with my Rolleiflex. I like this camera, which does not cover my face when photographing. Also as film is expensive and photographs limited, I generally spend more time in composing and thinking about what I see and working out what is worth photographing.
Link: contact blog: Mona Simon