via Conscientious Photography Magazine: http://cphmag.com/richmond-american-west/
Tim Richmond‘s American West – depicted in Last Best Hiding Place – can be placed anywhere onto the continuum that has the myth at one end and the artist’s unique vision at the other end
Read the latest stories about LightBox on Time
via Time: http://lightbox.time.com/2013/10/07/the-guide-october-2013-edition/#1
LightBox presents our monthly round-up of the best books, exhibitions and ways to experience photography beyond the web—from Zurich to Johannesburg, New York to Stockholm.
via Conscientious Photography Magazine: http://cphmag.com/popham-enduring-growth/
These photos are part of Enduring Growth, Popham’s portrait of the city, in which he has been living for ten years. In his brief statement about the work, the photographer speaks of the struggle between Nature and the man-made environment that I talked about in the very beginning.
The C.E.O. of Getty Images warns against critiquing others’ work in too much detail. “In fiddling over the small stuff,” he says, “you take away all the empowerment.”
This interview with Jonathan Klein , chief executive of Getty Images, a distributor and creator of photographs and other media, was conducted and condensed by Adam Bryant.
NGM editor Chris Johns grew up in Medford and graduated from Oregon State University and worked as a newspaper photographer in Cottage Grove. Photo editor Dennis Demick graduated from West Linn High School and Oregon State University. Photographers Randy
via oregonlive: http://www.oregonlive.com/multimedia/index.ssf/2013/09/oregon-photography-links-national-geographic.html
The Oregon influence on National Geographic Magazine
Take a bare strip of land on the Brooklyn waterfront, throw in some shipping containers, add lashings of photography and a generous pinch of the Brooklyn hipster vibe, and what do you get? The answ…
via the literate lens: http://theliteratelens.com/2013/09/24/trendspotting-at-photoville/
One of the most interesting ideas Ritchin floated (and which is in his new book, ‘Bending the Frame’) was that photography should move from being reactive to proactive. In other words, instead of photographing in the wake of crisis, photographers should anticipate crisis and visualize it in order to prevent it from happening. He called this ‘Photography of the Future.’
Diversity is important because old white guys aren’t representative of the people who are taking pictures today.
via PhotoShelter Blog: http://blog.photoshelter.com/2013/09/photographys-old-white-guy-problem/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
To illustrate the point, here are just a few of those companies and the photographers they’ve selected to represent their brands
via Conscientious Photography Magazine: http://cphmag.com/mswarts-and-beth/
Photography’s ultimate cruelty is that you cannot take a picture without involving an act of selfishness, however miniscule it might end up being. Portraiture, the depiction of another person, makes this overabundantly clear. You point your camera at another person, with or without their consent, and you want something: A picture
In its sophomore year, the Photoville festival is making its mark. Exhibited in shipping containers at Pier 5 in Brooklyn Bridge Park, its aim is to attract as many curious tourists and non-photo people as it is to congregate photography enthusiasts.
via WIRED: http://www.wired.com/rawfile/2013/09/10-photoville-talks-not-to-be-missed/?viewall=true
In it’s sophomore year, the Photoville festival is making its mark. Exhibited in shipping containers at Pier 5 in Brooklyn Bridge Park, its aim is to attract as many curious tourists and non-photo-people as it is to congregate photography enthusiasts
Photoville, the pop-up photo destination like no other, kicks off this week and there is no shortage of things to do and see—we’re talking 47 exhibitions and installations, 51 talks and workshops, and 7 nighttime events. Now in its second year and brought
via Feature Shoot: http://www.featureshoot.com/2013/09/top-15-things-to-do-and-see-at-photoville-2013/
Photoville, the pop-up photo destination like no other, kicks off this week and there is no shortage of things to do and see—we’re talking 47 exhibitions and installations, 51 talks and workshops, and 7 nighttime events. Now in its second year and brought to you by United Photo Industries, Photoville opens its gates this Thursday, September 19 and runs through Sunday, September 29. We decided to compile a list of our top 15 exhibitions, panels, and events at this year’s festival.
Guest Post by Erin Patrice O’Brien I was doing a shoot last week for Golf Digest with Christian Iooss, the magazine’s director of photography. We were photographing a celebrity who golfs with a bunch of set-ups. I have worked with Christian and his deputy
via A Photo Editor: http://www.aphotoeditor.com/2013/09/16/why-is-there-sexism-in-editorial-photography/
When I look through magazines or online, if I see a picture that I love, 9 times out of 10 it is the work of a female photographer.
Seven hot summer nights ago in 2006, two photographer friends, Kathleen Laria McLaughlin and Amanda Keller Konya and I drove an hour south to an abandoned Air Force base in Southern California. We arrived to a buzz of activity, bullhorns, and the anticipa
via LENSCRATCH: http://lenscratch.com/2013/09/legacy-project-great-picture/?utm_source=feedburner&utm_medium=feed&utm_campa
Seven hot summer nights ago in 2006, two photographer friends, Kathleen Laria McLaughlin and Amanda Keller Konya and I drove an hour south to an abandoned Air Force base in Southern California. We arrived to a buzz of activity, bullhorns, and the anticipation that we were about to help with the creation of the largest photograph ever made. We knew it was going to be a special night.
A week ago editorial photographer and artist Daniel Shea published a post on his Tumblr, titled “On Sexism in Editorial Photography,” hoping it would “initiate a broader conversation.” Shea began the post with the disclaimer that he is “a white, cis male
via PDNPulse: http://pdnpulse.pdnonline.com/2013/09/are-women-photographers-being-discriminated-against-in-the-editorial-market.html
A week ago editorial photographer and artist Daniel Shea published a post on his Tumblr, titled “On Sexism in Editorial Photography,” hoping it would “initiate a broader conversation.” Shea began the post with the disclaimer that he is “a white, cis male photographer” who didn’t claim to speak for anyone but himself, before pointing out that, to him, “It would seem that the biggest magazines with the most hiring power hire mostly male photographers.”
A perennial complaint of photographers working in small and medium-sized markets is that big ad clients in their local markets ignore them in favor of photographers in New York and Los Angeles. Photographers from around the country reminded us of the indi
via PDNPulse: http://pdnpulse.pdnonline.com/2013/09/tired-of-getting-passed-over-for-ad-shoots-that-go-to-ny-and-la-youre-not-alone.html
it’s nothing personal, and it’s a prejudice that is unlikely to disappear. But Gietler and others listed numerous advantages of their markets to compensate for the inattention of those national clients. Details can be found in our stories about those markets, which are now posted online
We emailed Art Buyers and Art Producers around the world asking them to submit names of established photographers who were keeping it fresh and up-and-comers who they are keeping their eye on. If you are an Art Buyer/Producer or an Art Director at an agen
via A Photo Editor: http://www.aphotoeditor.com/2013/08/29/art-producers-speak-jeremy-and-claire-weiss-of-day-19/
I think people always saw us as bigger than we were really because we shot some pretty popular albums for friend’s bands but that paid pennies.
Earlier this year Jennifer Schwartz, a gallerist and the founder of the non-profit arts organization Crusade for Art, traveled to cities around the country in an effort to create demand for the work of emerging photographers by encouraging people she met
Earlier this year Jennifer Schwartz, a gallerist and the founder of the non-profit arts organization Crusade for Art, traveled to cities around the country in an effort to create demand for the work of emerging photographers by encouraging people she met on the street to consider collecting art. Working with five photographers in each of the cities she visited, Schwartz organized street-side exhibitions, asking the photographers to talk with passersby about their work, and to give away signed, non-editioned prints to those who wanted them. The project drew both criticism and skepticism, but it also, Schwartz says, created positive dialogue between artists and would-be collectors. PDN invited Schwartz to explain the motivation behind the trip and recap her experiences
Before we dive into this guest post, we want to say how thrilled we are to see Corey Rich launch his new Beam site! We’re loving the way his action-packed images display full-bleed on the homepage, not sparing any details from his extreme shooting adventu
via PhotoShelter Blog: http://blog.photoshelter.com/2013/08/confessions-of-a-pro-photographer-corey-richs-top-4-photo-bombs/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
We did a webinar with Corey last year and went behind-the-scenes of one of his tamer multimedia projects. It’s obvious that Corey and his production team have mastered the art of capturing both stills and motion on location. But as we learned from this guest post, not every project has gone so smoothly.
The first rule of being a pro photographer or pro filmmaker is not to talk about how much you screw up. But as Corey says, ”The truth is, on any given shoot we botch, blunder, and bomb. And it’s our little dark secret.”
Photographers recall photo editors’ influence on their careers in Part 2 of a two-part series on that symbiotic relationship.
via Lens Blog: http://lens.blogs.nytimes.com/2013/08/21/editing-pictures-influencing-photographers/?_r=0
Yesterday and today on Lens, photographers pay tribute to the photo editors who most influenced their careers. As Yunghi Kim and Kenneth Jarecke wrote in yesterday’s introduction, these editors are “the people who pushed, pulled and occasionally strong-armed them into producing exceptional work. The people who believed in them when nobody else did — who recognized the photographer’s strength and took the time to develop it.”
Link: Photo Editors Who Made a Difference – NYTimes.com
Today and tomorrow on Lens, photographers recall and pay tribute to the photo editors who most influenced their careers. The people who pushed, pulled and occasionally strong-armed them into producing exceptional work. The people who believed in them when nobody else did — who recognized the photographer’s strength and took the time to develop it.
Read the latest stories about LightBox on Time
For decades, the act of setting fire to photographic negatives — frequently an entire archive’s worth of negatives — has been one of the signature ways that artists have signaled an incandescent end to one part of their careers. The aesthetic and intellectual sparks behind this irretrievable gesture, meanwhile, are as varied as the sensibilities and the work produced by artists through the years.