Category: Interviews

  • APhotoADay » Interview: KEVIN GERMAN

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    Link: APhotoADay Blog » Blog Archive » Interview: KEVIN GERMAN:

    I grew up in newspapers. I learned my photography in newspapers. But with those lessons came rules and boundaries. I had placed myself in this proverbial box dictated by the hierarchy of gatekeepers who think they know what the readership wants to consume. The very same are now watching their newspapers fall apart because change was not on the menu.

    But you couldn’t tell me this. It was obvious, especially now when I look at my work. So structured. I hate it. I have to fight against the structure still. The cleanliness of the frame is like an infestation of termites. You don’t always notice it until it is ruined.

  • alex webb & rebecca norris webb – violet isle | burn magazine

    alex webb & rebecca norris webb – violet isle

    [slidepress gallery=’awrnw-cuba’] Hover over the image for navigation and full screen controls Alex Webb & Rebecca Norris Webb Violet Isle play this essay   Q&A with DAH &n…

    via burn magazine: http://www.burnmagazine.org/essays/2009/10/alex-webb-rebecca-norris-webb-violet-isle/

    (1) Both of you have heretofore been solo artists. What sacrifices did you make and/or what benefits are there to a collaboration?

    AW: From my perspective, the sacrifices were not great. Early on working in Cuba, I envisioned doing my own book, but I also wanted to do something different  –– something unlike any of my past books, as well as something different from any of the many past photographic books on Cuba. When Rebecca and I hit upon the notion of combining our work, this resolved these concerns of mine. I also found it very exciting to weave our two distinct bodies of work together to create a different kind of portrait of the island. In fact, I am more excited about this book than any other book of mine since Hot Light/Half-Made Worlds, my first book, which came out in 1986.

    RNW:  I was initially concerned that my fascination with Cuba was taking valuable time away from a project that I had always thought would be my second book, My Dakota, a project that had started out as an exploration of my relationship with the West––and specifically my home state of South Dakota––and ended up also becoming an elegy for my brother, Dave.  Now, I realize that bringing out the Cuba book before My Dakota was the right decision.  I needed more time and distance from my brother’s death to absorb and distill and let go of My Dakota.

  • A Photo Editor – How Art Producers Find The Right Photographer For The Project

    How Art Producers Find The Right Photographer For The Project – A Photo Editor

    I’ve always thought this Canadian Club print campaign was genius, partially because of the vibe but mostly because I couldn’t figure out if the images were 40 years old or shot recently. When I discovered that Liz Miller-Gershfeld, VP and Senior Art Produ

    via A Photo Editor: http://www.aphotoeditor.com/2009/10/16/how-art-producers-find-the-right-photographer-for-the-project/

    When I discovered that Liz Miller-Gershfeld, VP and Senior Art Producer at Energy BBDO (the agency that made those ads) reads APE I asked her to tell me how the photography for that campaign went down. Here’s what Liz told me about the campaign (Robert Whitman shot it btw) and the important steps that go into finding the right photographer for any project

  • Q&A: Rafal Milach, Warsaw – Feature Shoot

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    Link: Q&A: Rafal Milach, Warsaw – Feature Shoot:

    Rafal Milach was born in Gliwice, Poland. Ater graduating from the Academy of Fine Arts in Katowice, and the Institute for Creative Photography in Opava, in the Czech Republic, Milach moved to Warsaw where he started to work as a freelance photographer for Newsweek Poland, Polityka and Przekroj magazine. Aside from his editorial assignments, Milach has been working on personal projects such as The Grey, Disappearing Circus, Ukraine by the Black Sea, and Young Russia.

  • A Photo Editor – Sam Jones Interview Part 2

    Sam Jones Interview Part 2 – A Photo Editor

    APE: I talked to you about a year ago right after Canon announced the new 5d markII that shoots video. I called because I wanted to talk with someone who was actually a filmmaker and a photographer to get their opinion on the new product. We got into this

    via A Photo Editor: http://www.aphotoeditor.com/2009/10/09/sam-jones-interview-part-2/

    All of the good ones do. The 6×7 negative, there’s not chip that’s that size and film has it’s own look and color palette. We’re never going to lose that. The retoucher I’m working with now, who has done some of the biggest fashion and advertising work for the last decade, would much rather work from a film negative than a digital file in terms of skin tone and color. In fact, he even still sees photographers who prefer shooting only on 8×10 polaroid and scanning those images. There are cases where he is making a composite with the skin from polaroid and the product from a digital file. So, when money is no object, digital is just another tool.

  • APB Interview!! With Troy House. | A Photography Blog

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    Link: APB Interview!! With Troy House. | A Photography Blog:

    i’m very excited to have Troy House on board today to delight us all with his photography insights. This man has shot the Snuggle bear, my friends. And he’s going to to tell us about it. Without further ado…

  • A Photo Editor – Sam Jones Interview Part 1

    Sam Jones Interview Part 1 – A Photo Editor

    I consider Sam Jones to be one of the top photographers in the country at shooting men. And there are plenty of people who shoot men as people or fashionable or sexy but very few who shoot them “manly,” which is something I love about Sam’s photography. S

    via A Photo Editor: http://www.aphotoeditor.com/2009/10/08/sam-jones-interview-part-1/

    I consider Sam Jones to be one of the top photographers in the country at shooting men. And there are plenty of people who shoot men as people or fashionable or sexy but very few who shoot them “manly,” which is something I love about Sam’s photography. So, that’s a very thin category that I put him in and of course he does a lot of things very well but I’ve worked with him a lot on covers and feature stories because he was at the top of that list.

  • A Conversation with CPC 2009 Winner David Wright – Conscientious


    Link: A Conversation with CPC 2009 Winner David Wright – Conscientious:

    Of course, I had been familiar with David’s work for a while – given Pause, To Begin. But with Alebtong, Uganda he clearly seemed to be upping the ante of his work quite a bit. There is no text on David’s website, so I did not know the background story of Alebtong, Uganda, but I became immediately intrigued – and this, for me, is one of the criteria for good photography: When you want to know more, when the work draws you in and makes you ask questions.

  • Photography in jails: video interview with Klavdij Sluban

    Photography in jails: video interview with Klavdij Sluban

    LensCulture – Contemporary Photography

    Discover and share the best in contemporary photography

    via LensCulture: http://www.lensculture.com/webloglc/mt_files/archives/2009/10/conversations-1.html

    For more than 15 years now, in between other photography projects, French photographer Klavdij Sluban has worked in juvenile prisons around the world. He conducts photography workshops with the teenagers who are imprisoned in these places, and he photographs “behind the walls” of each prison himself.

  • Two Way Lens: David Hilliard

    Two Way Lens: David Hilliard

    David Hilliard

    MW What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field? DH My father…

    Link: http://2waylens.blogspot.com/2009/09/david-hilliard.html

    I think an artist knows when the work is ready. When it’s as good as it can be at THAT moment…and perhaps when it needs an audience.

  • A Conversation with Christopher Anderson – Conscientious


    Link: A Conversation with Christopher Anderson – Conscientious:

    After publishing my review of Christopher Anderson’s Capitolio, I ended up exchanging emails with him about the work and its purpose and reception. Things got so interesting that I thought this would be a great opportunity to take things public and to have a conversation with him on this blog.

  • Q&A: Sebrina Fassbender, New York – Feature Shoot

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    Link: Q&A: Sebrina Fassbender, New York – Feature Shoot:

    Sebrina Fassbender was born in Harvard, Illinois, and the U.W. Madison Art program for painting and drawing. While there she was introduced to Diane Arbus’s Photography in an Art History class, a moment that inspired her to pick up a camera. After obtaining a photography degree in Minneapolis, Fassbender eventually moved to New York in 2004 and started work on her photo series of Women on the Streets, which lasted five years.

  • Q&A: David Alan Harvey on Launching a Photo-j Magazine


    Link: Q&A: David Alan Harvey on Launching a Photo-j Magazine – PDN:

    A National Geographic contributor and Magnum member, David Alan Harvey launched the online magazine Burn last year to support the work of up-and-coming photojournalists. Burn recently awarded its first $10,000 Emerging Photographer Grant, and Harvey is trying to raise more money so he can start paying photographers to shoot assignments.

  • Q&A: JeongMee Yoon, Seoul

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    Link: Q&A: JeongMee Yoon, Seoul:

    JeongMee Yoon is a photographer living and working in Seoul, South Korea. In 2006, she received her MFA from the School of Visual Arts in New York. This work is from her series, The Pink & Blue Project, which has been widely exhibited.

  • A Conversation with Vanessa Winship – Conscientious


    Link: A Conversation with Vanessa Winship – Conscientious:

    Vanessa Winship’s work came to my attention when a friend of mine showed me the copy of Sweet Nothings, a most exquisite little book of portraiture of school children in Eastern Anatolia (Turkey). A little later, Vanessa sent me a copy of the book, and we started talking about her work, so I ended up asking her for an interview.

  • Student Chat with Gilles Peress (1998)

    AMERICANSUBURB X: INTERVIEW: Student Chat with Gilles Peress (1998)”:

    On March 18, 1998, Gilles Peress participated in a chat with students of Gretchen Garlinghouse’s advanced photography class at College Preparatory School in Oakland. Preston Tucker, Technology Integrator at College Prep, was College Prep’s liaison with the Connecting Students to the World project. Students prepared for the chat by studying Farewell to Bosnia by Gilles Peress (Scalo Publishers, N.Y., 1994). They also studied an online curriculum comprising Peress’s interview in the Conversations with History series and two web sites by Peress, one produced by New York University and the other by The New York Times.

  • QA: Brian Shumway, New York

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    Q&A: Brian Shumway, New York – Feature Shoot:

    Brian Shumway is a New York City based photographer whose work blurs the line between portraiture, documentary and fine art photography. He has worked for Reader’s Digest, Smart Money, Newsweek, Time, XXL, TV Guide and the New York Times, among others, and has appeared in American Photography, Communication Arts, Shots Magazine and the Photo Review. Brian was one of Magenta Foundation’s top 25 ‘Emerging Photographers’ in the USA in 2006 and 2008. La Chureca, his story on the city dump in Managua, Nicaragua, was a finalist for the (Santa Fe) Center’s 2008 Project Competition. He is represented by Redux Pictures. This selection of pictures is from Happy Valley, which is a personal look at Utah Valley, misunderstood suburban home of the Mormons and ironically known as Happy Valley, through the daily life of his family.

  • Photographer Antonin Kratochvil

    Photographer Antonin Kratochvil | Outside Online:

    The world is full of bold photographers who earn their keep by traveling to rough regions. Kratochvil towers above them all, in large part because his extraordinary background gives him a preternatural cool—not to mention credibility—that can’t be taught. “In what we do, the most important faculties are instinct and intuition,” says photojournalist Chris Anderson, who calls Kratochvil his mentor. “Antonin is the embodiment of instinct. His persona is that of an ogre, but he is frighteningly intelligent, the most astute observer of human behavior I know.”

    via the travel photographer

  • John Tusa Interviews Don McCullin

    AMERICANSUBURB X: INTERVIEW: “John Tusa Interviews Don McCullin”:

    It can’t be easy bearing the title of the world’s greatest war photographer, but that’s only one of the burdens that Don McCullin carries around with him. But after 20 years of confronting the world with unforgettable images of war, from Congo to Biafra, to Beirut , to Cambodia , and of course to Vietnam , and many, many more, he doesn’t have much alternative. It all used to be addictive too. By his own admission, McCullin used to be ‘a one-war-a-year man’, but then it grew to two, and then to three, until it had it stop; not, you understand because wars stopped, or killing stopped, or inhumanity stopped, but because there came a natural limit to ‘looking at what others can’t bear to see.’

  • Q&A: Horst Friedrichs, London

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    Q&A: Horst Friedrichs, London:

    Horst Friedrichs was born in Frankfurt in 1966 and studied at the Munich Academy of Photography. He has worked as freelance photo-journalist for numerous publications, including The New York Times, The Independent, Stern and Geo. His documentary photography has taken him around the world and four of his ongoing projects have been made into books. Most recently, Prestel published 20th-Century Mods, a project that follows the contemporary British Mod scene. He has exhibited his photography globally and in 2008 he received a prestigious Gold Lead award for documentary photography. He lives in London with his wife and daughter.