Sargent enjoyed hiking in the mountains and parks of the Pacific Northwest. But with his digital Nikon, he could show other people what delights him, what catches his eye, and what he thinks is beautiful. The result is a torrent of marvelous, quirky, vivid, poignant images that offer a view of a world that “neurotypicals” rarely get to see — the non-verbal autistic mind from the inside, looking out.
Link: Hidden Light: The Visual Language of an Autistic Photographer | NeuroTribes
Today, I decided to concentrate on the chairs that people put out by the curb.
In an hour of driving around the streets in Chicago’s Pilsen neighborhood, I photographed well over 50 different types of chairs.
Obviously, the newspaper and magazine world is in flux. Photographers are ducking for cover and holding onto staff positions when they can and others frantically preparing exit plans when they finally pull the eject lever. Some have that lever pulled for them and are left floating through the air with a “What now?” look on their face.
“I’ll just shoot some weddings.” Sounds easy enough, right?
A reader sent me the following question: I work with a local magazine to get into the best concerts in exchange for them using my images on their blog for free. My goal was to build my portfolio and market the pictures to the artists publicists in hopes o
via A Photo Editor: http://www.aphotoeditor.com/2011/02/03/making-money-after-shooting-concerts-for-free/
In 2007, when the journalists Sebastian Junger and Tim Hetherington set out to make a documentary following a military unit in Afghanistan, they had no awards aspirations.
“Don’t get hurt, don’t get killed doing this — that was our first order of business,” Mr. Junger said
National Post photographer, Brett Gundlock was one of the 304 protestors arrested during the G20 protests in Toronto, last June. Since last Summer, and dissatisfied generally with the representatio…
via Prison Photography: http://prisonphotography.wordpress.com/2011/01/31/brett-gundlock-prisoners-project/
Gundlock has tracked down many of those also taken into custody. He has asked each of them to provide a (very) short statement on the experience of being picked process through protest policing and city jail.
“Photographers love life, light, and joy, and all that touches the senses! Maybe nowhere else in the world can this be found more than in Rio-and particularly at carnival time. The Rio workshop will be much more than simply an experience in photography – it will offer the students an exposure to a way of living full of energy, sensuality, outdoor activity, and humanity in one of the world’s most beautiful and exciting cities during the amazing time of the Rio Carnival…”
Fiona Rogers is the cultural and education coordinator for Magnum Photos, but it’s under her own name that she launched, in January, Fire Cracker, an online platform to showcase and promote the work of European women photographers.
Link: Supporting European women photographers – British Journal of Photography
I can’t get an easy handle on Elmo Tide (link via John Gomez) and that’s probably the way he wants it. He’s part street shooter, part Luc…
Link: http://blakeandrews.blogspot.com/2011/01/who-is-elmo-tide.html
The dilemma is that Elmo Tide is anonymous. He’s posted twice on Flickr and left it at that. No contact info, no forwarding address, no name. Just 81 photos and a goofball pseudonym. Not much info but enough to go viral.
To get a different perspective for this, the final installment in the 4-part series about “The Price of Prints,” I went to the experts — some of the most trusted printers in the business today.
Link: The Price of Prints: Part 4: Advice From Expert Printers – A Picture’s Worth | PhotoShelter
Each year, UNICEF Germany grants the “UNICEF Photo of the Year Award” to photo series that best depict the personality and living conditions of children across the globe. Among the 2010 Honorable M…
via Prison Photography: http://prisonphotography.wordpress.com/2011/01/24/fernando-moreles-merciless-justice/
It’s often difficult to engage an audience with “new” images of prisons, but Moreles succeeded with the image of the collapsed official at his desk (above). The disorganisation of paperwork in this image works as metaphor for a broken institution – much as Hogarth’s littered furniture and bodies are metaphors for broken society.
Think of colour photography and your thoughts will soon turn to Steve McCurry, who shot many of his most iconic images on Kodachrome. So it seemed appropriate that, when Kodak produced the last ever roll of the film, it gave it to him. Rob Hastings interviews the Magnum photographer
Link: The last roll of Kodachrome – British Journal of Photography
John Eder sent me this entertaining report from Photo LA 2011. I went with my buddy the location scout – he got into that after a career as an assistant. We were gonna play a drinking game where we would have a shot if we saw pictures with: empty swimming
via A Photo Editor: http://www.aphotoeditor.com/2011/01/17/observations-from-photo-la-2011/
I went with my buddy the location scout – he got into that after a career as an assistant. We were gonna play a drinking game where we would have a shot if we saw pictures with:
empty swimming pools
Russian hookers
Indian hookers
any kind of hookers
brothels
Indian brothels
deserted strip malls
Photographer Cindy Sherman talks to Simon Hattenstone about family, break-ups, $1m pictures… and why she can’t keep herself out of her art
via the Guardian: http://www.guardian.co.uk/artanddesign/2011/jan/15/cindy-sherman-interview
She is the star of her own photographs but claims they aren’t autobiographical. Cindy Sherman talks to Simon Hattenstone about family, break-ups, $1m pictures… and why she can’t keep herself out of her art
How can photographers sell more prints? For Part 3 in my 4-part series called “The Price of Prints,” I asked a panel of photographers who have proven to be successful at selling prints. From their responses I was able to make a list of their top suggestions.
There’s a lot of good work at the recently published 30Under30 Women Photographers online exhibition. The site showcases the diverse work of 30 young female photographers.
Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease have agreed to take anonymous questions from photographers and not only give their expert advice but put it out to a wide range of photographers, reps and art buyers
via A Photo Editor: http://www.aphotoeditor.com/2011/01/06/ask-anything-making-it-outside-of-nyc-and-la/
There’s a lot of good work at the recently published 30Under30 Women Photographers online exhibition. The site showcases the diverse work of 30 young female photographers.
A local councilman shot to death on New Year’s Eve in the Philippines accidentally photographed his killer pointing a gun at him just before pulling the trigger. In the photo above, victim Re…
what to make of William Eggleston: Democratic Camera—Photographs and Video, 1961–2008, on view through January 16 at LACMA? What to make of my visceral response to it?
Link: Liz Kuball › Blog: William Eggleston: Democratic Camera at LACMA
Richard Nicholson’s photographs of London’s last commercial darkrooms are an elegy to the end of a photographic era, says Sean O’Hagan
via the Guardian: http://www.guardian.co.uk/artanddesign/2010/dec/26/analog-photography-gunmakers-review
Richard Nicholson spent three years photographing commercial photographic darkrooms in London. When he began his project in 2006, there were more than 200 thriving darkrooms dotted around the city; when he completed it in 2009, there were 12.
This guest post is written by Elizabeth Fleming. Last month I had the pleasure of joining friend and fellow photographer Jonathan Blaustein on a tour of the Chelsea gallery scene as he conducted research for an APE article, which can be read in its entire
via A Photo Editor: http://www.aphotoeditor.com/2010/12/29/jock-sturges/
So with all that in mind I’ll throw out the following question: is it fair to expect any artist to recontextualize his or her work if the original frames of reference have changed due to technological advances and/or societal shifts? Is it fair to take into account an artist’s persona in general and, if there is a model involved, the specificities of the artist/subject relationship?