I was inspired by the students’ energy and their creativity. I laughed a lot with the girls (there was only one male student) I got to know over the day. I pointed out new ways of seeing–layering images, shooting reflections, ways to give images more depth. I was absolutely thrilled to see some students taking chances and making images that were beyond the safe photos.
Category: Portfolios & Galleries
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Petit Le Mans: UGA Photojournalism Workshop | Luceo Images
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Timeless Stories in 1970s New York: The Work of Paul McDonough – NYTimes.com
Timeless Stories in 1970s New York
Paul McDonough’s photographs immediately evoke the New York of the 1970s. But a second glance, and a third, reveal so much more.
via Lens Blog: http://lens.blogs.nytimes.com/2010/11/12/timeless-stories-in-1970s-new-york/
Forget the ‘fros and the saffron robes and the 60-cent taxi meter drop; the Horn & Hardart, the Doubleday and the showroom on Broadway with Chevelles for sale.
Paul McDonough’s “New York City, 1973-1978” summons all these memories instantly for anyone old enough to recall when city buses were green. But the pictures are really not about memory.
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Aevum » October Collection
In WDC, on assignment. Down-time. Check email. Friend request. Wander to Facebook. Oh, it’s someone from Baptist Town. Confirm. A post on her wall makes me stop. It says “RIP Butta”. Confused, but not yet alarmed, I go to another person’s page. A post on Nikki’s wall says the same. My blood runs cold. Find my phone, start dialing numbers. Sylvester Hoover, the man who owns the one business in Baptist Town, a convenience store and laundromat, is the first to answer. “Yeah, Butta’s dead” he tells me. “He was shot and killed yesterday.”
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A Dozen Promising Photographers: The World Press Photo Master Class – NYTimes.com
A Dozen Promising Photographers
No one told 12 of the world’s most promising photographers that photojournalism was dead, so they gathered to chart their futures.
via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/11/18/a-dozen-promising-photographers/
By editing one another’s work, we become connected. We are all vulnerable. I have to trust people with my images. They have to trust me.
We debate all week. Do we photograph to inform the public or to create art? How much of our bias should be expressed in the photos we take?
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Conscientious Extended | A Conversation with CPC 2010 Winner Oksana Yushko
I currently live in Moscow. It’s a huge metropolis. Living here you get used to people, speed, vanity, the subway… Do you know that the subway is a whole individual city of people inside Moscow? And when you come to any village in the north of Russia, like Kenozero, you meet the silence. There, you meet amazing people, you are surrounded by the beauty of nature, and you just shoot the first picture and that’s it. You see to it that you will come back there again and again. You listen to these people, their stories, their dreams and you need nothing else. For me, it just happened that way.
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Best of 2010: David Walter Banks | Luceo Images
My assignment work has taught me so much this year, but nothing more so than the fact that I love meeting and spending time with people whom I would have no reason to ever interact with were it not for this passion for shooting photographs. No matter what our differences may be, I have something to learn from all of them, and that universal human connection always has the chance to overcome any barrier of class, culture or ideology.
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Unhurt by Two Mines, but Not Untouched: Damon Winter's Close Call in Afghanistan – NYTimes.com
Unhurt by Two Mines, but Not Untouched
In the middle of photographing for the “Year at War” series, Damon Winter was confronted by choices that could have made the difference between life or death.
via Lens Blog: https://archive.nytimes.com/lens.blogs.nytimes.com/2010/12/27/unhurt-by-two-mines-but-not-untouched/
It was probably the toughest situation I’ve ever been in as a photographer.
When the first mine went off, it was surreal. I think I was just completely shocked. Petty Officer Kremer was maybe about 50 feet away from me.
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Art & Photography: Baudouin | Feature Shoot
He studied the work of his mentors, immersing himself in their universe and techniques, his bedroom walls lined with compositions by Henri Cartier-Bresson, Martin Parr’s color photography and witty images by Elliott Erwitt. Baudouin honed his style; on returning to Paris, he began specializing in color portraits. This work is from his series, ‘I am a parisian lady.’
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Art & Photography: Jim Kazanjian | Feature Shoot
Jim Kazanjian received his MFA from the Art Center College of Design in ‘92. His BFA was completed at the Kansas City Art Institute in ‘90. He has worked professionally as a commercial CGI artist for the past 18 years in television and game production. Various clients he has collaborated with include: Nike, Adidas, NBC, CBS, HBO, NASA, HP, Intel and others. He is currently the art director at The Logic Factory, a computer game developer.