Category: Photography

No one person or one group owns photography. Photography is created and consumed by millions, if not billions of people everyday. By professionals, amateurs and everyone in between. Photos can be serious or silly. They can empower or be used as a weapon. Photographers are beaten, vilified, taken advantage of – and yet we continue to pick up the camera to make pictures. We can’t help ourselves. The stories and people behind each photo bring an even greater depth to the visual medium. For all these reasons, I love photography. This year, like those in the past (2012, 2013, 2014), I’ve come up with a few reason to love photography. What are yours?

Henner does not travel to the locations to photograph his subjects personally, as conventional documentary practice would dictate, because his subject is arguably neither primarily the women nor the places themselves but the relatively more abstract scaffolding through with they are discussed, located, seen and encountered

WorldView-3 is one of the most advanced privately owned Earth-observing satellites in use. It’s owned and operated by DigitalGlobe, a corporation that supplies imagery to the U.S. National Geospatial-Intelligence Agency and Google Maps. If you’ve seen an orbital view of the planet that showed streets and buildings, it’s likely you were looking at an image captured by WorldView-3 or another DigitalGlobe satellite.

For the 4th year in a row, we are back at Photoville for our Luminance Professional Development Day and are pretty excited about what we’ve got lined up.  This time around we’ve put together six panels, all happening Friday, September 23rd in Brooklyn Bridge Plaza (right under the bridge). We’ll cap the day off with our Peer Review Happy Hour where you can share your work, grab a beer, and get to know some fellow photographers.

The Photographic Arts Council · Los Angeles shared a terrific exhibition at the Rose Gallery in Santa Monica, Collectors’ Favorites, featuring photographs from collector’s own walls, with accompanying essays on what compelled them to purchase those images. This insightful exhibition has had a tremendous response from the community giving the audience a glimpse into not only what we collect, but what draws us to the work in the first place.

This panel on Alternative Photography addresses the increased interest in analog photography in the current digital age. Many photographers, especially artists, find their vision is not well served by current digital photographic practices. Alternative, analog film based and original processes offer a diverse palette for artists who feel digital doesn’t work well with their vision and working methods. Moderated by Geoffrey Berliner with Jolene Lupo, Molly Rapp, and Daniel Estabrook.

That doesn’t stop the critics, however, in this case C-NET, from using the photo to attack society and the selfie as an act of disconnection.

This year, we saw iconic photos, more selfies than you could shake a stick at, and video portraits. We questioned the portrayal of felons, watched giants fall, and tried to make sense of live violence. But as in years past, all the photos and the stories behind them represented the gamut of human emotion and experience.

Applications are now open for the Fifth Annual New York Portfolio Review, sponsored by The New York Times Lens blog and the City University of New York’s Graduate School of Journalism. We are again gathering 150 photographers and 75 of the most influential editors, curators, gallerists and book publishers for two days of private photo critiques on April 29 and 30.

Join us at the studio in St. Ann’s Warehouse in Brooklyn all day Friday, September 15th for discussions with industry professionals and photographers. We’ll cover topics like mistakes photographers make, getting more money from your work, developing a signature brand, women in photography, how to bring a commercial campaign to life, plus a special conversation with celebrated photographer and professor Deborah Willis.

A woman photojournalist tells PDN that her worst (but not only) encounter with sexual harassment happened when she was with a group of photographers and a photo editor at a bar. The photo editor asked her for advice on who he should send to shoot a story in a region she had covered. “Me,” she said. “No, I’d worry about you too much,” he said. She asked him, “Why don’t you ever hire me for an assignment?” He offered her a quid pro quo on the spot. She recalls, “The exact words were, ‘If you hook up with me I’ll give you an assignment.’” She told him if he didn’t give her an assignment, she’d tell everyone what he said, which she has been doing ever since.