A native New Yorker, Misha Erwitt grew up around photography and some of the best photographers in the world and was incurably bitten by the photography bug. After a career that includes an 11-year stint as a staffer for the New York Daily News and a three-year association with Magnum shooting internationally, this brilliant L.A. based photographer now has a show at the Leica Gallery that he hopes to use as a springboard into the world of art photography. He modestly says he’s not an artist, but his engaging work proves otherwise. Here, in his own down-to-earth, unvarnished words, is his fascinating narrative.
Category: Interviews
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Misha Erwitt: Street Smart « The Leica Camera
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Tim Hetherington speaks to Jon Levy
via digitalcameraworld: https://www.digitalcameraworld.com
Reporter, documentarian, artist, film maker or visual communicator? Tim Hetherington seems comfortable in all of these guises…
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A Photo Editor – Nina Berman Interview
Nina Berman Interview
Jonathan Blaustein interviews Nina Berman for us: JB: I was in New York in June, and I had a meeting at the Whitney with a curator and I had about 15 minutes to kill, so they let me go upstairs to …
via A Photo Editor: https://aphotoeditor.com/2011/03/07/nina-berman-interview/
Has it made the world my oyster, in the sense that I have no financial difficulties, or I can do any project I want, or I have all of these amazing offers just dropping in my lap every day? No. It has not done that for me. Has it opened some doors? I think. I think, also, that the effect of the Biennial will be something maybe felt for quite a while, for me. It has given me a bit more confidence in the choices I’ve made and what I do. And so for all of those reasons, it was a beautiful experience.
My work is still very difficult to look at. It’s very political work. If you look at what’s in museums these days, in the art world these days, it is not of such a direct political nature. At least, I haven’t found it.
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Square Magazine
It’s no secret that I am drawn to the square format. I shoot with a Hassleblad, a twin lens Rolleiflex, a Holga and Diana. I recently purchased a Mamiya 7ii but haven’t fully welcomed it into the fold. So when I see square images, especially stunning ones, it makes me very happy. The other day, Christophe Dillinger shot me an e-mail to let me know about Square Magazine, and well, that made me even happier. And, or course, I wanted to know more.
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Conversations about Photobooks: Lesley Martin
Aperture has long been a – maybe the – beacon of American photobook publishing. It’s pretty much impossible to talk about photobooks without at some stage running into a book that was done by Aperture. Lesley Martin, Publisher of the Aperture Book Program, has worked on a huge number of those books, often pushing the envelope in unexpected directions. A few weeks ago, I sat down with Lesley to talk about Aperture and about the history and future of photobooks
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From a Bubble, 'Sneaking Little Moments'
From a Bubble, ‘Sneaking Little Moments’
Moises Saman has been in a press pool in Libya covering those loyal to Col. Muammar el-Qaddafi for more than a month.
via Lens Blog: http://lens.blogs.nytimes.com/2011/04/05/from-a-bubble-sneaking-little-moments/
Moises Saman’s work and words have been featured on Lens 17 times since he was assaulted by tthe police in Tunisia in January. Mr. Saman, who is represented by Magnum Photos, is on assignment for The Times in Libya, where he is in a press pool covering the forces loyal to Col. Muammar el-Qaddafi.
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Elisabeth Biondi In Conversation with Adriana Teresa, FotoVisura
Categorizing photography is controversial. For example, the category of ‘photojournalism’, in my opinion, is an exceedingly narrow definition. It traditionally demanded that photography be defined as close to events as they unfolded avoiding interpretation. When I started working with GEO in the 70’s, it meant something extremely narrow and factual, and today we might, perhaps, call it ’hard news’. It was then solely defined in terms of factual parameters. Magnum photographers were the exception to the rule. They each saw the world with their own eyes.
I believe that now, a more interpretative, personal photography is seen in documentary photography. For example, we have chosen 5 images by Richard Mosse, still lives of the borders in the American side of Mexico. They are, without doubt, documentary photographs. Alongside Richard we show Shaul Schwarz’s work. He worked extensively on ‘Narcos’ in Mexico. Shaul’s work is hardcore journalistic, yet he has a unified vision in his documentary photography. At the New York Photo Festival, these two photographers will be exhibited side by side in one room to show how they are close in terms of subject yet radically different in terms of their visual interpretation.
Documentary Photography nowadays is more inclusive than exclusive, and it can go from portraiture to fine art to landscape and still life. There definitely is room for interpretation. Some people see it with a much narrower perspective. In my opinion, a photographer is documenting events in a broad sense. It can go from merely showing what is there to interpreting it in a highly personalized way.
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The Magnum Foundation Emergency Fund: Supporting Photographers Beyond the Media Map
LightBox | Time
Read the latest stories about LightBox on Time
via Time: https://time.com/section/lightbox/
As the EF announced the latest round of photographers it would be supporting, LightBox spoke to Magnum Foundation President and photographer Susan Meiselas who heads up the EF, about its mission, and the challenges facing documentary photography today.
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INTERVIEW: Bruce Davidson Interviewed for ASX – “What you call a ….., I call my home.” (2011)
If you look through my total number of my photographic work, you’ll see that a lot of it is intimate. I call it “outside to the inside”. I don’t photograph stories, my photographs take on a mood, and have a cumulative effect, but there isn’t a beginning a middle and an end. It’s not a “story” story, it’s more a mood piece.
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Q&A: Kevin WY Lee, Singapore
via Thomas Hawk Digital Connection |: https://thomashawk.com/2011/05/on-flickrs-change-in-data-retention-policy-and-twitters-new-photosharing-service.html
I think this is great for a couple of reasons. First the leading player in the Twitter photo space twitpic is a total ripoff for photographers. When you use it you are giving them the right to sell your photos through some fine print in the TOS. Many people don’t read TOS agreements and twitpic doesn’t really advertise or clearly disclose that they can screw you over and steal your rights.
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Eddie Adams Workshop Q&A: Melissa Lyttle
via Thomas Hawk Digital Connection |: https://thomashawk.com/2011/05/on-flickrs-change-in-data-retention-policy-and-twitters-new-photosharing-service.html
I think this is great for a couple of reasons. First the leading player in the Twitter photo space twitpic is a total ripoff for photographers. When you use it you are giving them the right to sell your photos through some fine print in the TOS. Many people don’t read TOS agreements and twitpic doesn’t really advertise or clearly disclose that they can screw you over and steal your rights.
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INTERVIEW: "Interview with Raymond Depardon" (2001)
via Thomas Hawk Digital Connection |: https://thomashawk.com/2011/05/on-flickrs-change-in-data-retention-policy-and-twitters-new-photosharing-service.html
I think this is great for a couple of reasons. First the leading player in the Twitter photo space twitpic is a total ripoff for photographers. When you use it you are giving them the right to sell your photos through some fine print in the TOS. Many people don’t read TOS agreements and twitpic doesn’t really advertise or clearly disclose that they can screw you over and steal your rights.
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Nick Onken Interview
Nick Onken Interview
Rob: I need to get into the history of Nick Onken, tell me how it all started. Where are you from? How old are you and when did you get into photography? Nick: I’m 32 and from Seattle. I star…
via A Photo Editor: https://aphotoeditor.com/2011/06/07/nick-onken-interview/
In my opinion it’s that realism that you can create, real moments and authenticity. It comes from your taste in wardrobe, people, props, clothes, locations. Everything is about your taste, and how you see. Then that all goes into that picture and into that set. You’re creating an action, and a theme, and a story. And then you’re shooting it. And then you’re snapping that camera at the right moment, or a series of moments and then you’re coming back and editing, I think editing is a big part of it as well. I would say the key to my style of photography is me feeling that moment.
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Success Stories: Harvey Stein
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How a Pulitzer Prize-winning photographer captured emotional, physical wounds from gang violence
The most authentic photographs tell untold stories, and they capture intimacy, depth and compassion. These are just a few of the words that come to mind when I think of Barbara Davidson‘s “Caught in the Crossfire” project, which led to the Los Angeles Times photographer to win this year’s Pulitzer Prize in feature photography.
I talked with Davidson via email about her reporting process, why she chose the photos she did, and what advice she has for other journalists covering gang violence. You can read our Q&A, which has been edited for clarity, below.
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Kathy Ryan, thirty years of New York Times
Kathy, can you describe in detail the content of your exhibition ?
It is a view on the best photographs published in the New York Times Magazine for the last 30 years. The 11 different installations show magnificent images that attempt to reveal to the spectator the process of the publication of a photo in a magazine, and the surroundings of the decor of the metier of the photographer -
Interview With Gallerist Sidney Monroe
Interview With Gallerist Sidney Monroe
Contributor Jonathan Blaustein interviews Sidney Monroe owner of the Monroe Gallery in Santa Fe, NM. JB: How did you get involved in the business? SM: It was accidental, almost. After college, I wo…
via A Photo Editor: https://aphotoeditor.com/2011/07/15/interview-with-gallerist-sidney-monroe/
Jonathan Blaustein interviews Sidney Monroe owner of the Monroe Gallery in Santa Fe, NM.
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Severin Koller: Revealing the Truth in Unforgettable Images
I don’t think I’m looking for certain things. It is more the other way around, that something grabs my attention. There are times when my senses are totally focused on what’s going on around me, like someone just put me on a drug that intensifies everything. When I’m in that mode, many photos happen instinctively. Looking at my scans, in most cases I remember why I took a photo, even if I had no time to think about it when I shot it. I guess that instinct is simply an honest way of photographing strangers. I try not to judge people by taking their photo or compromising anyone’s privacy. I’m simply interested in life on the street.