Canon USA adds third CPS repair facility, extends CPS tech support 24/7
Category: Photography
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Steve McCurry: Go with the flow | The Guardian
US photographer Steve McCurry: Go with the flow
US photographer Steve McCurry talks to Nosheen Iqbal about the art of blending in, Buddhism and why he’s shooting De Niro
via the Guardian: http://www.guardian.co.uk/artanddesign/2010/jun/28/steve-mccurry-photography
For the man behind one of the most widely recognised photographs in history, Steve McCurry has kept a low profile. Afghan Girl, taken in 1984, made the cover of National Geographic magazine the following year, and led to McCurry’s signing to the Magnum picture agency. It is a simple portrait distinguished by intense colour, the girl’s green eyes burning with dignity and despair. It is also, in McCurry’s view, far from his best shot.
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The Top 11 Things Photographers Wish They Learned in Photo School – A Picture's Worth | PhotoShelter
We’ve all learned a lesson “the hard way.” We all wish we paid more attention in school. We all think that life would have been easier if someone just taught us that one really important lesson.
I decided to ask a few of photographers what they wished they learned earlier in their career. I asked them to think of an experience that happened in their life that would have been better if they had learned something earlier.
Link: The Top 11 Things Photographers Wish They Learned in Photo School – A Picture’s Worth | PhotoShelter
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Conscientious Extended | On Statements
First of all, why even write an artist/project statement? Well, you write a statement because that’s part of the game. That’s a pretty lousy answer, and there is more to statements than just that. But you need to realize that a) you should have a statement because you are expected to have one and b) you should spend a little bit of time on it, because a bad artist statement will make you and your work look bad.
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Leon Levinstein’s Photographs of New Yorkers – NYTimes.com
Streetwise New Yorkers Caught in Their Unguarded Moments
Leon Levinstein’s black-and-white pictures of New York from 1950 to 1980 look at the grittier side of the city.
Link: http://www.nytimes.com/2010/06/25/arts/design/25hipsters.html?partner=rss&emc=rss
There is a paradox in Levinstein’s approach that is shared by legions of greater and lesser street photographers: he was hunting for the poetry of real life, but what he shot was generally the sort of thing that street photographers generally shoot. Not the types of people or situations that you barely notice because they are so ordinary, but people who seem strange, marginal or ridiculous. The Beat generation’s coolly noirish, anti-bourgeois spirit animates his work.
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sunday afternoon by margeaux walter | burn magazine
margeaux walter – sunday afternoon
Sunday Afternoon by Margeaux Walter Inspired by Georges-Pierre Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte”. Related links Margeaux Walter
via burn magazine: http://www.burnmagazine.org/photographs/2010/06/sunday-afternoon-by-margeaux-walter/
Thirty years ago, a murder occurred about every five days on average in the 46th Precinct in the west-central Bronx (Fordham, University Heights, Morris Heights and Mount Hope). There were more detectives than on any other squad in the borough, but the precinct felt enough under siege to be nicknamed “Alamo.” Angel Franco, a freelance photographer who had grown up and lived not far away, made it a mission to accompany officers and detectives from the Four-Six every day he could, from 1979 to 1984.
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APhotoADay Blog » America reCycled
Instead of relying solely on the decisions of editors and publishers to tell the stories they discover while cycling across the country, Tim and Noah Hussin are seeking funding from the general public.
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Winter Landscape by Chip Forelli – LensWork
This is one of those incredibly simple compositions that can speak so loudly in the world of photography because this is the kind of thing that photography excels at — showing us things in incredible detail without really showing us very much at all
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THEORY: "Malick Sidibé: Photographs" (2000)
The result, as Magnin’s book copiously documents, was a cultural episode during which African pop culture defied its hidden or secondhand status (always a Western cliche, but sometimes a legitimate label) and busted out all over the place. But not in terms of the now commonplace imagery, of “native” Africans in traditional dress bobbing and keening for the benefit of CNN. Instead, what Sidibe documented was an after-hours declaration of confident self-styling, influenced by Western modes, but made fresh by free adaptation.
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Guest Blog: Everything You Know About Concert Photography is Wrong – The Photoletariat
If you are a music photographer, I hope this post will agitate you a bit: Everything you know about concert photography is wrong.
Link: Guest Blog: Everything You Know About Concert Photography is Wrong – The Photoletariat
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A Photo Editor – Making The Break: Kevin Arnold
Making The Break: Kevin Arnold – A Photo Editor
Here’s another entry from my series on photographers talking about how they made the break to go pro. I thought you might enjoy hearing about Kevin Arnold because his transition was from writer to photographer so he’s got an interesting perspective on the
via A Photo Editor: http://www.aphotoeditor.com/2010/06/08/making-the-break-kevin-arnold/
That was two and a half years ago, and both of these things have been invaluable in getting my career to where it is today. I’d say that the most valuable “big idea” that helped me along the way was the idea that one needed a vision as a photographer. When I started to work with consultants, I had a lot of good images in my portfolio, but there was no clear vision that differentiated my work from the next outdoor shooter
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Clients to Photogs: We Want More
Photographers’ clients—and the advertising agency art buyers who represent them in their negotiations with photographers—are often unsure of how they will use the images they commission or for how long. That means an increasing number of clients ask photographers for unlimited use of images, rather than negotiating print use, web use, out of home and other uses separately. Many clients are also trying to license still images for longer time periods. At times, they are seeking in-perpetuity usage agreements and even, in a few cases, copyright transfers.
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THEORY: "Listening to Avedon" (1995)
One of the earliest quotes on the audio tour maps out the difficulties Avedon will struggle with for the entire tape. After revealing that “I still use the first camera I ever had, a Rolliflex,” Avedon goes on to say that new technology doesn’t interest him: what does is “the person in front of me and the moment we share.” Although he has since used other cameras (notably an 8×10 view camera), going on record for using the same camera he started with is code for “I’m still the same Avedon, I’ve never changed. I have integrity as a person and a photographer.”
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A Visit with Thinkso and The New York Times Magazine / Wonderful Machine
Also of note: most of them being designers, they were very aware of the designs of our photographers’ leave-behinds. They gave nice feedback in instances where they thought the photographs were better than the design. Which is a warning to photographers: bad or dated presentations (books, prints, leave behinds) reflects poorly on the images. So if you don’t fancy yourself a designer, seek professional design help on your next rebrand!
Link: A Visit with Thinkso and The New York Times Magazine / Wonderful Machine Photography Blog
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Exposed at Tate Modern
Art review: Exposed at Tate Modern | Adrian Searle
Lynchings and suicides, night-time glimpses of couples having sex … Adrian Searle on a photography exhibition that tests our ability – and desire – to look
via the Guardian: http://www.guardian.co.uk/artanddesign/2010/may/27/exposed-photography-tate-modern
Lynchings and suicides, night-time glimpses of couples having sex … Adrian Searle on a photography exhibition that tests our ability – and desire – to look
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Autochrome’s Enduring Allure – Lens
Autochrome’s Enduring Allure
Autochromes afford a remarkably colorful glimpse into what is usually considered a monochromatic era. Stephen Crowley offers an appreciation.
via Lens Blog: http://lens.blogs.nytimes.com/2010/05/27/archive-17/
Looking through a loupe at the grain that makes up the gossamer colors of an autochrome is like looking at a pointillist painting, a miniature Georges Seurat.
Autochrome is a process developed in 1903 by the Lumière brothers in which glass plates were coated with a layer of potato starch mixed with color dyes that filtered light before it reached the emulsion. It yielded a grainy, positive image of muted pastels on a glass plate: a stained-glass window of the recent past.
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A Photo Editor – Real World Estimates: Day Rate vs. Space Explained
Real World Estimates: Day Rate vs. Space Explained – A Photo Editor
APE: When I worked at Outside Magazine we had a flat day rate for assignments but then had to create all these other rates to accommodate certain photographers or certain situations where the use was more extensive. It turned into a huge mess where we did
via A Photo Editor: http://www.aphotoeditor.com/2010/05/25/real-world-estimates-day-rate-vs-space-explained/
Robert Hood says: Welcome to our improved PhotoBlog.
PhotoBlog has always been about conversations sparked by photojournalism. Picture display has been the primary focus, and the new design makes it better.
