For one, I physically get close to my subjects. I tend to shoot more wide-angle photos. I really try to develop a rapport with the people I’m around when I’m shooting. It lends itself to being able to capture the more intimate moments that would seem like the photographer is invisible.
Check it out here. Via APAD.
Reza Deghati is considered among the world’s great photojournalists.
He has traveled the globe for nearly 30 years, bearing witness to wars, unrest, great leaders and the courage of ordinary people trapped by history. He has won countless awards, working for publications such as National Geographic, Newsweek and Time.
Alec Soth unveiled The Last Days of W., his first foray into self-publishing, at Paris Photo this fall. A collection of images he’s created over the last eight years, the 48-page artist’s book was printed on newsprint and priced at $17 in what he says was a nod to the current economic crisis. Soth also made a limited edition, which includes a signed placemat made from a photograph he took of the President’s empty chair and desk in the Oval Office.
Josh Ritchie is a freelance photographer based in South Florida. After graduating from the Art Institute of Pittsburgh, several successful internships and being a staff photographer in Virginia, Pennsylvania and Illinois, Josh decided to take the leap into the freelance world. One fateful day after several long conversations with a close friend Josh decided he wanted a change and moved to Fort Lauderdale where he began a new phase of his career.
Our first effort an interview with Benjamin Lowy on his epic foray in to the fashion world for New York Magazine’s Look, their bi-annual fashion spectacular.
“I think there’s a certain arrogance that goes with wanting to do something like this.”
That’s Chris Buck telling me what it takes to become a photographer; it’s one of many astute insights he had when I talked to him on the phone several weeks ago.
Less than two years after joining The New York Times staff, and having never covered a presidential campaign before, Damon Winter won instant praise from fellow photographers for his photos of Barack Obama’s historic run for president.
Gregory Garry has seen a few magazines come and go. He was photo director for Budget Living (folded 2005), Weekend (folded 2006) and Radar (folded 2008). At Radar, Garry oversaw the wacky celebrity photo-illustration covers that earned the magazine a reputation for satire and snark. Garry had the good luck to leave Budget Living and Weekend before they closed, but he was working at Radar when the axe fell just before Halloween. Garry recently took time out from his job search to chat with PDN about photography, Radar and the future of magazines.
We asked WSJ director of photography Jack Van Antwerp, “The Big Picture” editor Alan Taylor, and “Captured” editor Meghan Lynden to describe their editing processes.
When I heard about Trunk Archive (website here) last February and saw the list of photographers who’s work they represented I thought how great this will be for photo editors and art buyers to source and use high end imagery. I had the opportunity to talk with Matt Moneypenny the President and CEO of Trunk last week and here’s what we talked about.
I was floored when I picked up the November issue of GQ and saw in it a 32 page photo essay (online here) shot by one photographer. That’s major. There are very few photographers getting 32 pages in magazines all to themselves these days (anytime actually) and a photo essay of this magnitude is a major deal. The photographer was Jeff Riedel. I’ve worked with Jeff in the past and always admired his photography and work ethic but hadn’t talked to him in awhile so I gave him a call to discuss the piece.
Joshua Wolfe and five colleagues who also concentrate on the environment have created a new agency to handle their work called GHG Photos. Obviously not the greatest time to start a new photo agency, I have a sense that they said, why not now when the mood moves us? I recently conducted an e-mail interview with Joshua Wolfe about the agency, its hopes and dreams.
In the late Summer of 2008 I interviewed Henry Wilhelm, the world’s preeminent authority on print permanence and the founder of Wilhelm Imaging Research. This interview was conducted on behalf of Epson, to be used as part of their 2008/2009 Epson Print Academy. The clip used by Epson was edited down to 14 minutes for use in The Print Academy.
For our next dvafoto interview, we’re talking to Matt Slaby and David Walter Banks, both of the new collective Luceo Images. I got to know the two and their work through the excellent APhotoADay email list, and consider them among my favorite young photographers. Matt Slaby’s got one of the most contemplative approaches I’ve seen among young photojournalists, and his writing is not to be missed. David Walter Banks has some of the strongest (and sometimes strangest) use of color going. The two paired up to cover both the Republican and Democratic National Conventions for the 2008 US presidential election, and I took an adversarial approach when I asked them about their process, the value of photographing such choreographed events, and their general journalistic philosophy. My questions and their answers follow:
On the eve of the election, a number of Magnum photographers have been venturing into American to capture what they can of this historic moment in time. The project is called InSight America. But rather than publish this work as a book a year after the fact, Magnum is posting the work online and on the fly.
I caught up with Alex Webb after his recent journey to Ohio
Abell built a three-decade career as a field photographer for National Geographic based on the lessons he learned from his father and a way of making photographs that he evolved along the way. Abell spoke with PDN from his home in Charlottesville, Virginia, about his work for National Geographic, the way he shoots photographs, and how he brought the two together to create his new book.
He may have played Kipland Ronald Dynamite (Kip) in Napoleon Dynamite, but Californian photographer Aaron Ruell is much more comfortable behind the camera. We interviewed him recently
Here’s a little Q&A Jeff Whitley (JW) with Vincent Laforet (VL) about his short montage Reverie, shot in a few days with a pre-release Canon EOS 5D MKII.
Whoever the president may be, he says, the “presidential persona and his message are created, manipulated and disseminated by local and national news media, the White House administration and staff . . . aides, interns and the president’s constituency.”
It’s those people Chris Usher photographed for “Behind the Velvet Rope,” his exhibit that’s currently running at the Southeast Museum of Photography. Usher will lecture at the museum at 5 p.m. Saturday.
Via an e-mail interview last week, Usher spoke on media manipulation and the difficulty of being “invisible” as he pursues his work.