Todd Hido is one of the most interesting artists using photography today. We asked if he would be willing to share some insights and advice for photographers who are interested in the photographic portrait. Here are the thoughts and images he shared with us.
As the deadline approaches for the LensCulture Portrait Awards (closing soon — February 15, 2023), we reached out to dozens of former winners and finalists from prior editions of the LensCulture Portrait Awards to ask them for their advice on how to make a great portrait.
Former LensCulture Award winners share their best creative advice as well as tips for advancing your career as a portrait-maker and photographer. The first in a two-part series.
Some of LensCulture’s most popular photo highlights from 2022 — a mix of new discoveries, photobook reviews, interviews, essays, solo exhibitions and visual stories
Some of LensCulture’s most popular photo highlights from 2022 — a mix of new discoveries, photobook reviews, interviews, essays, solo exhibitions and visual stories.
“Almost all photographers have incurred large expenses in the pursuit of tiny audiences, finding that the wonder they’d hoped to share is something few want to receive.” — Robert Adams It was over a decade ago, that I first wrote about the cost of being a
It was over a decade ago, that I first wrote about the cost of being a fine art photographer. I think it’s time to revisit this subject as the photography world is changing and yet, still staying very much the same. This will be sort of a meandering essay as I unpack all my thoughts. I would like to open this conversation up to others, so if you have a story to tell or thoughts to pass on, please email me (I’m not hard to find), and we will continue this discussion.
The husband-and-wife photography team spent decades rigorously documenting the postwar architectural landscape—and captivated the art world along the way.
In 1977, the critic Hilton Kramer wrote in the Times that the Bechers’ photographs “look like the sort of pictures one sees in a real estate office.” The unflappable Hilla was said to have responded, “That’s O.K. We like real-estate photographs.”
“Today, my motivations are very different from when I began. Photography and storytelling are much more than a tool for my own self-empowerment. In the beginning, I plunged right in to tell the stories of humanity and war, and I was asked to focus on the horrors of the world. After a decade, I realized a profound truth; I had been telling stories about people and the human condition, but the backdrop of every one of these stories was the natural world.
Addressing Napolitano, Johnson said: “I want to say thank you so much for being so supportive of my family over the year. My grandfather, my grandmother, you took incredible shots that still hang in our house. They still hang in our house today! Thank you, brother.”
In a world of color, what makes black and white photography stand out? We asked each of the experts who will be judging your entries to find out what they are looking for
In a world of color, what makes black and white photography stand out? We asked each of the experts who will be judging your entries to find out what they are looking for.
An exhibit, at the International Center of Photography, of the work of twelve photographers includes a daringly intimate depiction of life during the recent revolution in Lebanon, by Myriam Boulos.
An exhibit, at the International Center of Photography, of the work of twelve photographers includes a daringly intimate depiction of life during the recent revolution in Lebanon, by Myriam Boulos.
Hare’s photography is little known today, partly because of his own efforts. Disillusioned with the art world, he called himself an “anti-official art artist” for a time before bitterly denouncing his artistic work altogether in 1985.
The second Black woman ever hired as a New York Times staff photographer, Agins built her career at a time when photo editors gave very few assignments to women — much less to women of color.
The second Black woman ever hired as a New York Times staff photographer, Agins built her career at a time when photo editors gave very few assignments to women — much less to women of color.
This saga of the National Geographic Fine Art Galleries (hereafter referred to as the Galleries for the sake of simplicity) has been ongoing for years and started when PetaPixel contributor Ken Bower published an opinion where he expressed concern over the Galleries’ commission rate in July of 2018.
I first saw Victoria Sambunaris’ work at the Museum of Art at Brigham Young University during my last semester as a student. I was struck by the scale of the prints as well as how the strong geometry within the work carried her themes. I was further impre
Initially, I taught during the year and was only able to get on the road to work in the summers. This inhibited the work and eventually realized I needed more flexibility to remain on the road. I began to pick up editorial work to help fund the trips, credit cards, loans, whatever it would take. Later came grants and sales. I live a minimal existence and I have chosen not to live a more conventional life with a family and such. My responsibility is to myself and the work. While traveling, I’m camping, living modestly and in the moment. This type of existence in contrast to my energetic life in New York creates balance and keeps life diverse.
In 2014, I began photographing four women who were returning to New York City after spending anywhere from 17 to 35 years in prison. As a former journalist and criminal defense attorney, I thought a lot about the ethics of getting so close to the women I
In 2016, I discovered Thomas Holton’s “The Lams of Ludlow Street,” when it was featured in the New York Times Lensblog. At that point, Tom had already been documenting the Lam family for 13 years and his project had become personal. He had established very close relationships with the Lams, even visiting their relatives in China and Hong Kong
On a search to find more Black photographers and artists, I discovered The Black Shutter Podcast. From Jamel Shabazz to Dee Dwyer, I listened to each artist’s story as they were relatable and inspiring. As a developing artist, I felt that I struck true go
On a search to find more Black photographers and artists, I discovered The Black Shutter Podcast. From Jamel Shabazz to Dee Dwyer, I listened to each artist’s story as they were relatable and inspiring. As a developing artist, I felt that I struck true gold with my newfound resource. As I listened, I realized that the stories of the visiting artists were just as motivating as the host conducting the interviews. This is where I learned more about the work of Idris Talib Solomon.
CULVER CITY, CA — For the group of young Black photographers who founded The Black Image Center, a collective turned 501(c)(3) nonprofit in Los Angeles, COVID-19 allowed time to think deeply about a space where Black artists can come to stimulate their imaginations through photography, and one that can provide resources for their economic empowerment. Kalena Yiaueki, Maya Mansour, Zamar Velez, Haleigh Nickerson, Samone Kidane, and Michael Tyrone Delaney, who all have diverse backgrounds within the field of photography, came together digitally during the pandemic. The Black Image Center opened in Culver City’s arts district in early 2022.
In Aperture’s Seventy x Seventy Sale, Stephen Shore, Graciela Iturbide, Tyler Mitchell, and more offer prints from their history with Aperture—ranging from the classic to the contemporary.
In Aperture’s Seventy x Seventy Sale, Stephen Shore, Graciela Iturbide, Tyler Mitchell, and more offer prints from their history with Aperture—ranging from the classic to the contemporary.
