Q&A: Liz Wolfe, Toronto – Feature Shoot:
Born in the Canadian prairies, Liz Wolfe studied photography at Ryerson University’s School of Image Arts in Toronto. Since starting out in 2004, Liz has become known for creating colorful, fantastical worlds out of everyday objects. In 2009, she exhibited her work at the Architecture + Design Museum (Los Angeles), the Gladstone Hotel (Toronto) and Project Basho Gallery (Philadelphia). She has also exhibited at the Center for Photography at Woodstock, Pikto Gallery, and other locations in Canada, USA, Portugal and Australia. Liz currently lives in Toronto.
NPAC – News Photographers Association of Canada:
I really like watching television. I’m going to be honest here. Multimedia bores me and I think it bores most readers; at least that’s what I figure by the low numbers of hits. I myself can’t make it past the one-minute mark on most projects, and this makes me wonder for how long the average watcher, who doesn’t do this for a living, stays tuned in.
PHOTOGRAPHERS SPEAK – Lloyd Godman: Enlightened Visions:
The adjective protean hardly seems adequate to describe the force of nature that is Lloyd Godman—photographer, organic gardener, environmental activist, educator, writer and visionary. The native New Zealander has for the past several decades produced numerous bodies of work that celebrate the power and mystery of nature while questioning our collective complacency towards the planet we inhabit. Born in Dunedin, New Zealand, and now living in Melbourne, Australia, Godman applies probing intelligence and generosity of spirit to unique multiple-image panoramas, multi-media installations, and performative works that challenge and engage viewers with direct and transformative grace.
AMERICANSUBURB X: INTERVIEW: “Interview with Brett Weston (1991)”:
The son of Edward Weston and Flora Chandler, Brett Weston has produced a consistent and prolific body of astonishing images since 1925. He has utilized his energy and natural gifts for almost seven decades. A full sixty-eight years of uninterrupted endeavor, a prodigious span of sustained attention, persistence of vision, and unflagging creative drive.
The “child genius” of American photography turned eighty on December 16, 1991. On that date he began destroying nearly seventy years worth of negatives. This interview was conducted about two weeks before, on December 3.
Interview with James Estrin of the NY Times | 100 Eyes:
James Estrin is a New York Times photographer and one of the editors of a new on-line feature called Lens, a blog dedictated to photography. 100eyes was recently spotlighted on Lens and I thought it would be interesting to learn more about the new site and get some added insight into photography at the New York Times.
Feature Shoot:
Angus Rowe MacPherson was born and raised in the tundra of the Canadian high arctic. He built a darkroom at eleven — commandeering one of the household bathrooms — so that he could print pictures of the world around him. He has been making pictures ever since. He moved to Toronto in 2004, where he snagged a job with a top commercial photographer. Since then, he has been shooting for advertising and entertainment clients, while also focusing on his own work. Recent projects include a study of independent wrestlers, a staged underground table tennis showdown, portraits of drag queens, and stylized explorations of banal daily life, where you’ll find at least one fake ham.
FOTO8:
In a rare interview Andreas Gursky talks to Guy Lane about an exhibition of his work in which many of his wall-sized prints are for the first time scaled down to modest proportions.
Damion Berger:
I had no idea about underwater photography to begin with but I found a used Nikonos in a shop nearby, bought a pair of swimming trunks to match the colour of the camera and started to spend day after day in different public pools, swimming around with the camera held tightly between my legs to avoid suspicion. It was such an escape both visually and psychologically from what I had been doing and it also felt so far removed from the work I was familiar with of the genre.
voiceofsandiego.org:
Today, we launch a new feature in Credentialed that we call “Perspective.” We’ll be regularly bringing you Q&A’s with talented local photographers in our community and featuring some of their work here. We kick off the feature with questions for Matt Mallams, a self-proclaimed “graphic documentary” photographer, who is consistently making waves in the national photo community.
JONATHAN TAGGART – News Photographers Association of Canada:
I was awarded a scholarship to a Magnum Workshop in Toronto in May of 2008, and while I was there I was fortunate enough to work with the Canadian photographer Larry Towell. I’ve always admired his work, but what I found most insightful was hearing him speak about his experiences in the field and about his working methodology. The best piece of advice he gave his students was we should expect to spend half our time shooting and the other half editing, because it is through the editing process that depth of narrative is created.
Although I might revise that to say, “expect to spend a third of your time gaining access, a third shooting, and a third editing.”
PHOTOGRAPHERS SPEAK:
Chicago native Edward Sturr, whose 1960s images of the city are charged with an expressionist power comprised of angular compositions, bold contrasts and beguiling thematic irony. After moving to Kansas in 1974, Sturr taught photography for more than two decades at Kansas State University. While his personal work transitioned from gritty urban images to elegant, hand-colored landscapes, he retains a close emotional attachment to the black-and-white imagery that initially defined him.
A Photo Editor says:
One of the top questions photographers ask me is “how do I get an agent” but since I’ve never been a photographer I really have no clue how you get an agent. Recently a photographer in LA with some nice work emailed me after getting zero response from the agents he’d been contacting and I started to wonder what it takes, if you’ve got good work, to land an agent, so I called up Deborah Schwartz (dsreps.com), an LA agent I used to work with and asked her a few questions.
Kevin Dart says:
One of the best things about the internship was how closely I got to work with Harley Jessup, whose work had already had a big influence on me. The most valuable lesson I learned from him was how to get work done even on days where you don’t “feel it.” He made us fill up giant bulletin boards with artwork and I got used to pinning up drawings I wasn’t totally comfortable with just to fill the space. The funny thing is that once the artwork is pinned up you feel less bad about it, and it’s easier to visualize what else needs to be done and what holes should be filled. Right when I got back from Pixar, I bought a big bulletin board for my studio and I still pin up as much work as I can to keep myself moving forward all the time.
PHOTOGRAPHERS SPEAK says:
Düsseldorf-based photographer Andreas Gefeller deftly manipulates viewers’ perceptions of visual “truth” in discrete yet complementary series that reflect a multiplicity of themes and concerns—nuclear disasters, mankind’s environmental hegemony, and global transformations of public and personal space, to name but a few. In so doing, he reveals intellectual and spiritual truths about ourselves and or relationship with the environments we adopt and adapt. His latest series, titled “Supervisions,” pushes this aesthetic to a surprisingly disorienting degree.
RESOLVE — the liveBooks photo blog says:
The Foundry Photojournalism Workshop began in 2008 when Eric Beecroft, a teacher and photographer, discovered a blank spot in the array of workshops being offered to photojournalists — one that emerging and international shooters could afford. He and his team organized the first Foundry in Mexico City and got an impressive array of instructors to sign on, including Paula Bronstein, Stanley Green, Ron Haviv, and Stephanie Sinclair. We talked with Eric about this year’s workshop, in Manali, India, from July 26 to August 1, why it is important to include local photographers (South Asian shooters get a 50% discount) and how students can get the most out of the workshop — or any workshop, for that matter.
BLDGBLOG says:
These extraordinary images—published here for the first time—show the imperial palaces of Saddam Hussein converted into temporary housing for the U.S military. Vast, self-indulgent halls of columned marble and extravagant chandeliers, surrounded by pools, walls, moats, and, beyond that, empty desert, suddenly look more like college dormitories. Weight sets, flags, partition walls, sofas, basketball hoops, and even posters of bikini’d women have been imported to fill Saddam’s spatial residuum. The effect is oddly decorative, as if someone has simply moved in for a long weekend, unpacking an assortment of mundane possessions.
Via Conscientious
