Q&A: Tim Mantoani, San Diego – Feature Shoot:
When Tim Mantoani’s not shooting on assignment, he’s documenting venerable lens men who have collectively captured decades of culture and celebrity with their own cameras. Legendary rock photographers Jim Marshall and Ethan Russell have sat for 20 x 24-inch Polaroid portraits, as have Walter Iooss, Timothy Greenfield-Sanders, Pete Turner, Mary Ellen Mark, Elliott Erwitt and Roberto Salas. He sees the story in each face, and in each place, and lives to gives them voice through his work.
Q&A: Boone Speed, Portland – Feature Shoot:
Boone Speed is a professional photographer based in Portland, Oregon. Highly regarded for his painterly photographic aesthetic and minimalist sensibilities, Speed has been singled out by establishments like Patagonia, Nike, National Geographic Adventure and Nixon to help tell their stories. Boone’s photographs have been the subject of editorial and commercial campaigns, ranging from adventure travel essays and action sports exclusives, to intimate portraiture and fine art. Boone is also a principle architect in the evolution of the sport of rock climbing.
AMERICANSUBURB X: INTERVIEW – “Interview with Bruce Gilden”:
Bruce Gilden: I guess I’d be classified as a street photographer beuse I work in the street. In fact, if you saw me on the street, you would see a very active, energetic person who probably, while taking a picture, would be jumping at somebody in a certain athletic mode, in a certain dance. All photographers do this, I guess. There could be a film made on the dance of photography, and I think I, in my special way, made a contribution to that.
Q&A: Tim and Eric on Child Abuse, Diarrhea, and Yerba-Mate Tea: Eric Spitznagel | Vanity Fair:
Tim and Eric Awesome Show, Great Job! is one of those rare TV shows that can alienate some viewers with nothing more than the opening credits. Even for long-time viewers and hardcore fans, it’s kinda confusing. It begins with stars Tim Heidecker and Eric Wareheim, dressed in matching red jumpsuits, dancing on their own tongues. Then there are flashing images of a fax machine, a hot dog and two kittens tongue-kissing. Tim and Eric’s respective heads explode, sending their viscera and dozens of tiny kitty heads spiraling towards the screen. If you don’t enjoy those 20 seconds of rapid-fire absurdity—which, for the record, tells you absolutely nothing about the show itself—then you need to keep on tappin’ that remote, brother, ’cause you ain’t gonna like what comes next.
The F Blog: meeting Alex Majoli (part 2):
I’m asking them: “hey, why you’re sitting?” Why you don’t use it? They keep philosophying on photography instead. “C’mon guys! Move the ass now! Make some pictures!” And they sit, they criticise other photographers! I mean” “who are you man?!” And it’s common within young photographers, I can’t understand that!
whats the jackanory ? – wired to the new rules:
Delighted to have another first here today on WTJ? An interview with a Creative Director. That glorious honor falls to the incredibly talented Mr Scott Dadich of Wired magazine. Scott has been at Wired since 2006, joining ship after an award winning six year stint at Texas Monthly. Yes awards this man has quite a few. He also designed Dan Winters new book ‘Periodical Photographs‘ and the 2009 American Photography Annual. Scott is on the board of the Society of Publication Designers and regularly posts lots of cool shizz on their blog.
A Talk with Tait. – A Photography Blog.:
Blast from the past! I ran into Tait Simpson in my inbox the other day, and was very excited to hear his career updates. I’d previously chatted with Mr. Simpson last year on Earth Day about some work he made in the desert for TOTO High Efficiency toilets. Tait’s an up-and-comer; he’s just made some big moves, both with his photography and with his person. Here- you can hear him tell it. Q&A below…
Damion Berger – BOMBLog:
Damion Berger’s work is interesting to me precisely because has so little in common with the majority of his contemporaries. When I first saw it, we just had to talk. So talk we did, about everything: his early mentors, the photographic rat race, form and content, and the ubiquitous debate of large versus small format. He was born in Britain and presently divides his time between Monaco and New York. This summer, he’ll begin a new series about the public ritual of fireworks. His work is currently on display at the Bonni Benrubi Gallery in New York through September 5, and both of his major projects, RSVP and In the Deep End, will be published by Mets & Schlit in the spring and fall of 2010.
AMERICANSUBURB X: INTERVIEW: “Extending the Frame: An Interview with Susan Meiselas (2006)”:
Susan Meiselas has represented difficult issues with innovative approaches throughout her thirty-year career as a documentary media artist. Her awards include the Robert Capa Gold Medal (1979), the MacArthur Fellowship (1992), and the Hasselblad Prize (1994). A self-described “human rights” photographer and filmmaker, Meiselas works with the images, voices, and histories of everyday people in global situations of conflict. Whenever possible she has stayed in the affected communities after her photojournalist colleagues are pulled away to another story. This long-term approach allows her work to reflect the complexity of issues in a way rarely permitted by the news media.
Vice Magazine – STEPHEN SHORE:
If Stephen Shore were known just for the iconic photos he shot as a teenager at Warhol’s original Silver Factory, he’d probably still get a place in the history of photography. But galvanized by a road trip from Manhattan to Amarillo, Texas, in 1972, Shore went on to pioneer the use of color in fine-art photography. Over the intervening years, his photos have also documented America and Americans in a way that presaged the straight-on deadpan vibe of much current image-making—this includes streetscapes and architecture shot to reveal them as abandoned film sets, and cryptic vérité portraits of people he meets.
Q&A: Hugh Kretschmer, Los Angeles:
Hugh Kretschmer is a photographer based in Los Angeles and specializing in photo-illustration, advertising and editorial photography and design. Of his work, he says: ‘The idea is the most important ingredient. I’ve always appreciated concept because it adds another layer to the photograph and invites participation from the viewer. When I see something that is done well, where the artist really nails it, I find myself just staring. I can’t think of anything else that would be more of a compliment than that’. Kretschmer’s clients include Mastercard, Evian and the New York Times magazine.
AMERICANSUBURB X: INTERVIEW: “Cambodia Genocide Photographer: Memories From Tuol Sleng Prison (1976-1979)”:
After Nhem En arrived in Phnom Penh, he was sent to study political science and military tactics at a technical school. En was again promoted to an elite youth unit and sent to China for training in late 1976, at the age of 15. After the group arrived in Peking, they were divided, some sent to train in military and naval affairs, others in industry or agriculture. Nhem En was selected to study photography. When he arrived back in Phnom Penh, En was assigned to Unit 870 at the Ministry of National Defense under Pol Pot. At the age of 16 he was sent to photograph the incoming prisoners at S-21 Prison.
Even though En had learned only the basics of photography, he was given a studio and several assistants at S-21. Nhem received his daily orders directly from Khmer Rouge interior minister Son Sen and prison commandant Brother Duch: “Every time I met with them they both told me to be very careful when taking photographs, not to ruin or lose them, and to keep them in order. I was also told to keep the darkroom clean and proper…. They told us that we were clean-minded, and we were the representatives of the Angkar.” Nhem said that he was told by Son Sen that the purpose of the photographs was “for conducting investigations on issues about the CIA spies, KGB, Vietnamese.”
Guy Tillim | Verbal Hmmm.:
Mention legendary South African photographers in a conversation and in most cases, one name will often pop up and that’s Guy Tillim. Guy is one of South Africa’s top photographers, having started as a war photographer in the 80’s, during the Apartheid era and since then appealing to the art scene with his imagery. Guy has won countless awards for his work, most recently the Oskar Barnack award for his series, Jo’burg, in 2005
Q+A with Gregg Delman — MATTHEW FURMAN PHOTOGRAPHY:
Up next with a Q+A is NYC based photographer Gregg Delman. He’s shot almost every musician you can think of and also has a killer portfolio of street portraits. If you’ve ever tried to approach a stranger on the street(especially NYC) then you know how hard it can be to not only get them to trust you, but more importantly get a cool shot. Somehow Gregg manages both.
Two Way Lens: Oliver Weber:
I can’t remember anymore when my big passion with photography started. I do remember with great pleasure that in my childhood I absolutely wanted to become a detective! From the outset there was this urge to grasp the things that surrounded me and to look into them with my always curious eyes.
Building a “Monumental” Photo Business: How Randy Santos Succeeds Selling Stock Photos – A Picture’s Worth:
Randy Santos specializes in Washington DC stock photography. Randy does not license his images through stock agencies and makes a very healthy living selling directly to clients. His images appear in coffee table books, calendars, hotels and restaurants, and corporate environments worldwide. We caught up with Randy to learn about how he succeeds in a highly competitive niche, and his approach to managing and marketing his photography business. We found Randy’s advice and experiences pretty inspiring.