Travel represents one of the most popular content submission areas for the PhotoShelter Collection, and as such, we are becoming increasingly more selective about the types of images that we accept. The following guidelines are prescriptive for travel photography, although some concepts will extend into the general realm of stock photography.
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Digital photography destroys memory, he believes, with its ability to erase. Art school is another problem, teaching students to be blind. Editors are worse—they poke the artist’s eyes out. Photography: one minute it’s not art at all. Then perhaps it is. And then again it is not. That’s Robert Frank.
“There are too many images,” he said. “Too many cameras now. We’re all being watched. It gets sillier and sillier. As if all action is meaningful. Nothing is really all that special. It’s just life. If all moments are recorded, then nothing is beautiful and maybe photography isn’t an art anymore. Maybe it never was.”
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IN the heavy, noiseless air of desert country, an Aboriginal community is out hunting when the sound of a camera shutter cuts the air like a bullet from a gun. Heads turn, questions are asked and the — usually white — photographer is suddenly centre stage in an inquisition.
The curtain of suspicion can hang heavily in such cases between image-taker and subject, prompting a turned away head or a shielding hand. It can provoke unease on the part of a person viewing the image that it has been captured opportunistically, even sneakily.
The absence of such telltale defences and doubts is what strikes one immediately about Conversations with the Mob, photojournalist Megan Lewis’s 240-page collection of photographs and conversations with the Martu people of northwest Western Australia. The 100 large-format pictures have not emerged from a fly-in, fly-out form of photography but from a mutually trusting relationship that took time to build
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Laurel points us to the excellent work of Texas-based photographer Mike Osborne. His Press Pictures series (made at Austin American-Statesman, San Antonio Express News, and LA Times
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Then, the business starts to struggle and stock sales start to crumble and suddenly divorce. And, wham, the money is all gone and the business is really drying up and suddenly you’re a 49 year old former wunderkind thinking “what in the hell am I going to do?” If you’re Chip Simons you hit the effing reset button, sell all your gear, pack your shit in the car and drive from New Mexico to east 13th street in NYC and start pounding the streets again.
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Katsumi Watanabe is the definitive photographer of Tokyo street life, known for his four decades of relentless focus on the hustle and bustle of Tokyo’s Shinjuku district. With a background as a photojournalist, Watanabe became a familiar face along the seedy side streets of Kabukicho and in effect gained insider status and behind-the-scenes access to many of the neighborhood’s forlorn storefronts and clubs. The Watari Museum’s current posthumous exhibit of a portion of Watanabe’s archives (easily over thousands of photos) serves as an authoritative, if unofficial history of the extremities of Tokyo’s social and cultural life.
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Haje Jan Kamps experiments with microstock, and discovers that while he sold three times more photos, he earned 40 times less money from the micro stock sales than from a full-on agency – with the exact same photos on sale…
The lesson? If you’re a decent photographer, stay the hell away from micro-stock: The bigger agencies treat you better, pay you more, and actually make an effort to sell your photos on a bigger scale.
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. For The Love of Light: A Tribute To The Art of Polaroid gathers the work of twenty-five photographers from ten countries, on five continents in one breathtaking volume of photos produced with the their precious Polaroids. The book will be available in July, and hopefully will be such a roaring success that it will lead a world wide Polaroid revival and force the parent company to reconsider its stance on phasing out their film.
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When I approach subject matter and consider how to photograph it, one my main considerations is whether forms in the shot should line up or not. By “line up” I mean foreground and background combine to create shapes distinct from the photo’s subject matter
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German photographer Hans-Christian Schink has won the first REAL Photography Award, which ING Real Estate presents biannually to an international photographer shooting nature, development or architecture. Schink received the €50,000 (about $77,100) prize at a ceremony in Rotterdam, Netherlands, on March 20.
Schink was awarded the prize for his black-and-white print of water and mountains, which he produced using a technique known as true solarization. The image is part of a series of 12 photographs depicting Earth’s movement.
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i seem to get the most energy going when i pair things down to what may seem like “nothing”…..which is, of course, in a Zen way, “everything”….i felt just like this back in 1989 when i “caught on fire” for what was to become the work in Divided Soul ….this period of work led to being nominated into Magnum by 1993….so, i know THE FEELING.. “the feeling” makes me get out of bed in the morning with the juices flowing KNOWING i am on to something….now is such a time….
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Sze Tsung Leong’s project Horizons is meditation on the vast and varied landscapes found in disparate parts of the world. His panoramic images, although often geographically dissimilar, are linked through a continuous horizon line that when viewed as a whole creates visual and thematic relationships between differing images.
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German photographer Frank Breuer, a disciple of the Becher’s and propagator of the Düsseldorf aesthetic, captures the sterility of industrial and commercial architecture. Stylistically, his images do not stray far from those of his mentors, choosing to appease rather than challenge the well established German aesthetic
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Every quarter we publish a fashion magazine similar to the T Magazine from the New York Times. The shoot consists of several days of shooting, weeks of meetings, editing and production, and the nail-biting time of waiting for the special section to arrive from the printer. The spring edition of LUXE, as it is aptly named, was produced around a theme of travel. Our resident painter created the background “destination” images. I spent a week photographing the models in the studio and edited down the take to a negotiable few. Then we dropped the cutouts on the page and arranged them to create compelling compositions that read well and received excellent feedback from the readers.
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I read about the Photography Book Now salon and symposium last night, and thought it was too good to be true. I mean, a contest celebrating self-published photo books? With the promise of MONEY? What What!? But look, they say it is true:
“Join the modern photography book movement. Photographers can now produce books with complete creative control. We’re celebrating the most innovative and finest self-published photography books and the people behind them. Submit yours for a chance at $25,000 to finish – or start – that once in a lifetime project.”
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It’s nothing, right? Just an old dusty fragment from the bottom of a closet. Hard to read much from it one way or another, and certainly not worth much time researching. Right?
Yet this photo is potentially very important. It is likely the earliest surviving image attributable to Carleton Watkins, dating from around 1856.
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For all those who have been missing some typologies on this blog, there’s Matthias Petrus Schaller’s work.
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