The American Society of Media Photographers invites you to the Strictly Business 3 Conferences, the newest generation of this highly acclaimed series. FULL CONFERENCE DETAILS SB3 offers you a selection of topics to enhance your professionalism and build y
A BLUE woman and her red daughter smile with the hungry mouths of zombie maniacs. The hand of a Bigfoot grazes the breast of a topless unicorn mermaid. Faces decorate the pregnant belly of a pantsless man-boy.
It’s the wondrous, if not always wonderful, world of art so bad it’s good — or at least great fun to look at.
I mention the following probably just because I have Leicas on the brain after the past couple of days, but it strikes me that the S90 and S95 might be the up to the minute analog of the original Leica—the so-called “Barnack camera.” It’s capable but stealthy, as tiny as it can reasonably be, supremely portable and able to be carried virtually anywhere
A Detroit area ad agency has put out a call for photographers to shoot car beauty shots on spec. Latcha + Associates of Farmington Hills, Michigan has distributed an electronic brochure called “Shoot a Sample” that tells photographers they can “assist in
the fine print informs photographers that “by participating in this exploratory project, you are agreeing to do so without reimbursement from Latcha or Lincoln.”
(Continued from Part I) Voja Mitrovic, Montparnasse, Paris, 1982 By Peter Turnley I recently sat down and interviewed Voja Mitrovic for several hours about his experiences as a printer. Several important concepts emerged from this interview. He indicated
I recently sat down and interviewed Voja Mitrovic for several hours about his experiences as a printer. Several important concepts emerged from this interview. He indicated to me that the three most important things involved in being a great printer are patience, developing a good dialogue and communication with the photographer he is printing for, and knowing how to read a negative.
The Untold Story of One of the Greatest Printers in Photography Voja Mitrovic at the Coupole, Montparnasse, Paris, 1993. Photo by Peter Turnley. By Peter Turnley This is the untold story of one of the greatest printers of black-and-white photographs…
This is the untold story of one of the greatest printers of black-and-white photographs in the history of photography—Voja Mitrovic. It is time that this man, who has literally been in the dark since arriving in Paris from Yugoslavia in 1964, be acknowledged for his important part in the history of photography and his collaborations with many of the great photographers of the 20th and 21st centuries.
The USA is often misdescribed as a classless society but Owens, the insider, clearly and categorically states that the subject of his interest was the middle class. The estate in the Livermore Valley was the USA in microcosm. It’s inhabitants had indeed never had it so good and were keen to enjoy, and to some extent show off their new found wealth; but Owens’ depiction of his contemporaries is far from fawning. On occasion it exhibits an almost surgical precision in its dissection of the minutiae of the late sixties American soul.
Several agencies that supply celebrity photographs taken by paparazzi to People magazine have banded together to demand additional compensation for the use of photographs in People’s forthcoming iPad app, according to Hollywood Reporter.
And now, in the latest complication, court records reveal that Mr. Streets, who set the value for the negatives and is handling the related sales, is a convicted felon with a criminal record for theft and fraud in Louisiana and Kentucky. Though he says on his Web site, davidstreetsbeverlyhills.com, that he has 25 years of fine-art appraisal experience, two of Mr. Streets’s former employers say his true talent is in the embellishment of his credentials.
Black and white had been the only format for the lions of American photography, but in the 1970s a younger generation was ready to embrace something new.
“Black and white are the colors of photography,” Robert Frank declared. “Color photography is vulgar,” Walker Evans once wrote in an essay. And Ansel Adams weighed in on a William Eggleston photograph this way: “If you can’t make it good, make it red.”
One of the best magazine articles I’ve ever read was in Esquire and it was about how to fry an egg. I never cease to think about that humorous and descriptive article when I pull out a small cast iron pan to make breakfast. And that article reminds me how I feel about John Baldessari. His work has resonated with me since I discovered it in art school, and it’s his ability to make simple and humorous ideas into something more significant and resonate, that serves him so well.
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
Henri Cartier-Bresson… Garry Winogrand… Helen Levitt… Robert Frank… André Kértész… William Klein… Jacques Henri Lartigue… Marc Riboud… Raymond Depardon… Elliot Erwitt… Joel Meyerowitz…
I started this list as I thought of who all the great street photographers might be. But I stopped early, realizing that in photojournalism (or any of its other pseudonyms) we all photograph life in the street.
Yesterday I came across a slightly mysterious website — a collection of Polaroids, one per day, from March 31, 1979 through October 25, 1997. There’s no author listed, no contact info, and no other indication as to where these came from. So, naturally, I started looking through the photos. I was stunned by what I found.
On Monday we took a look at computational rephotography, a technique for making a new photo exactly match the point-of-view of an old photo. Today we take a look at a gallery of photos showing rephotography in action. The pictures have been put together b
The pictures have been put together by Russian whizz Sergey Larenkov and posted on his Livejournal (yes, Livejournal is still around). Larenkov’s trick is to place old wartime pictures into modern settings, feathering the images to make them sit in the middle of modern life. Thus we see troops moving through a modern Vienna street, past stores and cars an tanks on the streets of Prague.
Although Assange has since spoken in a way that could suggest WikiLeaks was a journalistic collaborator in the effort, the traditional journalists don’t agree with that description.
At a press conference on Monday, Assange said that, along with The Guardian, “we had Der Spiegel and New York Times and us in a collaborative basement, if you like, working on this material.” The WikiLeaks website speaks of the three outlets as its “media partners.”
Sean O’Hagan: An insightful critic as well as a visionary curator, Szarkowski filled New York’s Museum of Modern Art with the colour photography of William Eggleston, and championed the transgressive work of Diane Arbus and Lee Friedlander
An insightful critic as well as a visionary curator, Szarkowski filled New York’s Museum of Modern Art with the colour photography of William Eggleston, and championed the transgressive work of Diane Arbus and Lee Friedlander. Everyone who cares about photography is in his debt
On Photography as the Art of Anxiety – Introduction to The Lucid Eye
By Alain Bergala
In the year 2000, a man collected the photos he had taken in the course of the last 46 years. This man is internationally known today as one of the greatest docume
Nothing in Van der Keuken’s photographic work ever tries to absorb his permanent anxiety, to freeze his ceaseless meditation on the themes which preoccupy him, to offer any hope of one day attaining the serenity of even a temporary stability. The collection of these photos, taken by the same man between the ages of 15 and 60, finally separated from the stills from his films, provides for the first time striking evidence in book form of this permanent ontological anxiety, the spiral track of which is reflected in his successive photographic projects.
Martin Nachtwey has been responsible for some of the most iconic and memorable images in the world. His deeply saturated, ringflash lit images of war, death and destruction have made him more famous than Krispy Kreme doughnuts.
