The Pop artist spent his final years taking pictures and kept them a secret. Dozens are on view in a revelatory show at the Morgan Library & Museum.
Link: https://www.nytimes.com/2022/08/24/arts/design/ray-johnson-photography-morgan-library.html
The Pop artist spent his final years taking pictures and kept them a secret. Dozens are on view in a revelatory show at the Morgan Library & Museum.
I met Craig Stevens this year when I took his Intro to Inkjet Printing class at Savannah College of Art and Design (known as SCAD). From the first day, he shared countless stories from his career and life. Sharing anecdotes about the photographers he’s be
via LENSCRATCH: http://lenscratch.com/2022/08/photographers-on-photographers-jordan-mount-in-conversation-with-craig-stevens/
I would propose a healthier approach to it is to open your arms up like an embrace and say, this is what photography is, a big tent. It has room for the technical, aesthetic, or edgy fine art, and it also has room for the commercial and documentary.
“If I have many ingredients in my refrigerator, I can cook everything I want. But some ingredients may never be used. If I find only a carrot inside, I must cook it in the best way possible by chopping, grating, roasting, boiling, frying, drying, etc. Wit
via LENSCRATCH: http://lenscratch.com/2022/08/photographers-on-photographers-su-ji-lee-in-conversation-with-kensuke-koike/
How does one come across non-archival photographs? There are boxes and boxes of strangers’ faces ready to be picked up in antique stores, flea markets, or even weekly garage sales. Though they might have been forgotten by one, it never goes discarded through Koike. With additive motion and revealed subtraction to the found images, strangers tend to warp, mutate, or remobilized. When I first came across his works in my freshman year of college, I was in awe to witness his treatment of guiding the viewers into possible lifeforms of still strangers, introducing a new paradigm to image appropriation. Through Photographers on Photographers interview, I had the pleasure to take a peep behind his curtain, a tricky visible world.
Over this past year, I’ve had the pleasure of celebrating, corresponding and zooming with the 2021 Student Prize Winners. Last summer, I met Allie Tsubota in Providence and she walked me through her studio at RISD. Through these awards, I always feel lik
via LENSCRATCH: http://lenscratch.com/2022/07/one-year-later-the-2021lenscratch-student-prize-winners/
If I had to share any advice with current students about life after school, it would be to first allow yourself to feel everything that you need to feel. Honestly, post-grad depression is very real, and it can often leave people (myself included) feeling quite lost and confused during that period. I went through it all, but I came out on the other side, so here are some more tips that I learned along the way and that helped me get through this period:
Left to right: Mitch Dobrowner, Shiprock Storm ; Mark Klett, Moonset with Venus ; Edward Bateman, Antelope Island No.766 I would have…
Link: https://blog.photoeye.com/2022/07/creativity-and-turmoil-part-1.html
At the beginning of the pandemic, I watched a live Zoom of Sophie Calle talking to students. I believe she wanted them to be totally in the moment – since she requested that it not be recorded. She was asked: “What advice would you give to students in this moment of peril.” There was something very grounding in her reply – or at least in how I remember it. “Every moment is a moment of peril. We never know when tragedy will personally strike us.”
The exhibition at the Rencontres d’Arles retraces the most intense decade in the life of the American model and photographer Lee Miller, who became a war correspondent during World War II.
via Blind Magazine: https://www.blind-magazine.com/en/news/lee-miller-from-vogue-to-buchenwald-and-dachau/
Lee Miller possesses sculptural beauty, an unfathomable gaze, the aura of a sylph, and steely determination. A Poughkeepsie native, she lived multiple lives scarred by trauma. Her childhood was brutal: she was raped at the age of seven by a family friend. Her adolescence was fractured: she was made to pose nude before her father’s camera. Yet she was able to overcome the emotional turmoil. She was discovered by Condé Nast and was offered the cover of Vogue US; she worked and lived with Man Ray; was painted by Picasso and sculpted by Cocteau; and the list goes on.
If I feel physically as if the top of my head were taken off, I know that is poetry – Emily Dickinson As a photographer, editor, and publisher I have had the good fortune of seeing a lot of photography. I came to photography through an education in drawi
via LENSCRATCH: http://lenscratch.com/2022/06/the-future-of-the-photo-festival-in-the-covid-age/
Ms. Dickinson has expressed precisely what keeps me looking at pictures – I keep looking to find a repetition of that feeling as if ‘the top of my head were taken off’. You may have felt that too at some point in your practice or collecting — at least I hope you have. It is sometimes expressed as the difference between a photograph that is akin to illustration and a photograph that carries the impact of art.
For as long as the celebrated photojournalist has been doing his best work, he has been grappling with the threat of blindness.
via The New Yorker: https://www.newyorker.com/magazine/2022/05/23/paolo-pellegrins-photographic-quest-for-the-sublime
“To find silence, you need silence,” Pellegrin had observed, and as we drove in darkness no one spoke. An hour later, Anthony parked in the sand. Pellegrin handed me a flash and a tripod, and we set off on foot into the dunes. Here there was no sky; a thick fog obscured it. Individual particles cascaded in front of us, refracting light from the headlamps—tiny droplets, seen but not quite felt. Nearby was a brown hyena, sensed but not yet seen.
The actor stopped at an intersection, took out his Nikon, and made history.
via The New Yorker: https://www.newyorker.com/culture/culture-desk/the-dennis-hopper-photograph-that-caught-los-angeles
“Double Standard” is probably the best known of the eighteen thousand images that Hopper created with his Nikon from 1961 to around the time he began shooting “Easy Rider,” in early 1968, which happens to be when his and Hayward’s combustible marriage finally blew up
He chronicled the fashion shifts of stylish young Black New Yorkers in the 1980s and ’90s in photographs celebrated at the Bronx Museum of the Arts.
Link: https://www.nytimes.com/2022/04/06/arts/design/bronx-museum-jamel-shabazz-photography.html
When Jamel Shabazz was a teenager in Brooklyn, a gang member opened his eyes to the power of photography. Shabazz was introduced by a junior high school friend to one of the Jolly Stompers. During Shabazz’s visit to his apartment, the Stomper, who was only 18 or 19 himself, took out thick photo albums with pictures of his confederates. “They had a style I had never seen before,” Shabazz said. “They wore suits, and their pants had creases. You would never know they were in a gang.”
The former chief White House photographer made plans to publish a book of Trump photos. The former president had other plans.
Link: https://www.nytimes.com/2022/03/31/us/politics/trump-photographer-shealah-craighead.html
But like so much else involving Mr. Trump, the plan by his chief photographer, Shealah Craighead, did not follow this bipartisan norm.
After fleeing his native country for Turkey, Serbest Salih created a mobile darkroom and went on the road teaching kids to make pictures.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-syrian-photographers-gift-to-refugee-children
The Syrian photographer Serbest Salih had just finished university, in 2014, when the Islamic State laid siege to his home town of Kobani. He fled to the Turkish province of Mardin, just over the border, where tens of thousands of Syrian refugees have settled during the past decade’s civil war. A multiethnic conflict zone at the edge of Mesopotamia, Mardin is home to a community center called the Sirkhane Social Circus School. Under the tutelage of volunteer instructors there, children affected by war learn to juggle, spin plates, and walk on stilts.
Former LensCulture Award winners share their best creative advice as well as tips for advancing your career as a portrait-maker and photographer
via LensCulture: https://www.lensculture.com/articles/lensculture-editors-great-portrait-advice-from-award-winning-photographers-part-i
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.
Former LensCulture Award winners share their best creative advice as well as tips for advancing your career as a portrait-maker and photographer
via LensCulture: https://www.lensculture.com/articles/lensculture-editors-great-portrait-advice-from-award-winning-photographers-part-2
Former LensCulture Award winners share their best creative advice as well as tips for advancing your career as a portrait-maker and photographer. The second in a two-part series.
From Judith Joy Ross’s timeless portraits to the “photobook phenomenon,” here are this year’s highlights in photography and ideas.
via Aperture: https://aperture.org/editorial/apertures-best-photography-features-of-2021/
This year, we celebrated photography in New York and New Delhi, revisited Judith Joy Ross’s timeless portraits, considered the “photobook phenomenon,” and asked how images can tell new stories about Latinx identity.
Is it possible to retain an artistic vision—and ethical integrity—while making images for news media and fashion brands? Four photographers speak about responsibility, community, and the push for structural change.
via Aperture: https://aperture.org/editorial/how-photographers-navigate-the-challenges-of-working-on-assignment/
Is it possible to retain an artistic vision—and ethical integrity—while making images for news media and fashion brands? Four photographers speak about responsibility, community, and the push for structural change.
Deana Lawson’s regal, loving, unburdened photographs imagine a world in which Black people are free from the distortions of history.
Link: https://www.nytimes.com/2021/05/05/magazine/deana-lawson.html
Deana Lawson’s regal, loving, unburdened photographs imagine a world in which Black people are free from the distortions of history.
A growing number of databases are championing the talents of Black, Indigenous and People of Color (BIPOC) photographers looking to get their foot in the door. Diversify Photo, Black Women Photographers, Indigenous Photograph, The Authority Collective and
via PhotoShelter Blog: https://blog.photoshelter.com/2021/11/paying-it-forward-the-bipoc-mentorship-program-addressing-systematic-barriers-faced-by-emerging-photographers/
A growing number of databases are championing the talents of Black, Indigenous and People of Color (BIPOC) photographers looking to get their foot in the door. Diversify Photo, Black Women Photographers, Indigenous Photograph, The Authority Collective and many other grassroots organizations have made and continue to make great strides in diversifying the lens through which we see the world. For many up and coming BIPOC photographers, though, access to internships and career-defining jobs remain onerous. Enter the BIPOC Photo Mentorship Program.
via Magnum Photos: https://www.magnumphotos.com/newsroom/2021-magnum-photos-annual-general-meeting-new-nominees/
“It feels amazing, humbling, exciting and huge to think that I have been nominated by Magnum photographers, who have been among my favorite photographers since I started taking pictures. It also feels right to contribute with my point of view, as a documentarist and as an Arab woman,” says Boulos of her nomination. “I hope that the future holds, for me, many encounters, collaborations and new ways of documenting, questioning and resisting the world we live in.”
Even though there are tons of us out there, being a photographer can, at times, be quite lonely. In an industry where so many of us are in direct competition, it’s hard to step back and remember that we’re all in this together. We’re all working to share
via PhotoShelter Blog: https://blog.photoshelter.com/2021/09/5-benefits-of-photography-mentorship/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+PhotoshelterBlog+%28PhotoShelter+Blog%29
In an industry where so many of us are in direct competition, it’s hard to step back and remember that we’re all in this together. We’re all working to share important stories and offer glimpses of powerful emotion without saying a word. We all struggle, but it’s important to remember that together we can all improve and propel the industry forward. At PhotoShelter, we believe everyone can benefit from a mentor or mentee. Don’t just take our word for it though. Below, hear about how two photographers, Miriam Alarcón Avila and Daniella Zalcman, connected and learn more about how mentorship can help you.