Welcome to the Best Photobooks of 2009. Continuing were we left off last year, we’ve expanded this long photo-eye tradition to include top 10 photobook lists from a group of prominent photographers, bookmakers, editors, publishers and critics. Above you’ll find a complete list of the contributors, each linking to that individual’s list. The range of books selected for 2009 is vast — spanning continents and genres, and together they form a powerful survey of contemporary photography. Since our very format denies the idea of an over-arching and objective top 10, below you’ll find a more modest “master list,” made up of the books that appear on at least three individual lists
As many picture editors and researchers know well, Mr. Glover’s dedication to the collection and accuracy of its contents set industry standards the world over
Since the beginning, I have loved everything about photography. I especially remember looking through my camera at everything. Though I didn’t make pictures a lot of the time, I just liked how things looked through a lens. I also liked composing images and visually played around frequently. That love of images is still present. Today though, I don’t photograph everything. I work on one project, usually involving one subject, over a long period of time.
Nikon EVIL camera is gaining momentum again. In the past few days I received some reliable information about the existence of this product/project. The official announcement should be this year (Photokina?). No further details or specs at that point. Coin
For some cultural perspective on contemporary Haitian culture, 100eyes has a strong presentation of work by Alice Smeets, William Coupon, Edwine Seymour, Rex Curry, Jan Sochor, David Zentz, Aurora Photos, Polaris Images, and Andy Levin. Well worth a look.
A show at the Grey Art Gallery reminds us what the arts communities in the East Village, SoHo and TriBeCa were like at the height of the AIDS epidemic.
What would the proverbial alien, beamed into the Grey Art Gallery for a viewing of “Downtown Pix: Mining the Fales Archives, 1961-1991,” discern about New York toward the end of the last millennium? Maybe this: That it was very gritty, very gay and very Caucasian.
Two days after the magnitude 7.0 earthquake struck beneath Port-au-Prince, Haiti, some of the massive damage is becoming more apparent. Rescue teams are arriving, aid groups are trying their best to battle huge logistical challenges, bodies are being iden
There is nothing worst for a photographer, like for an actor, to be typecast. For Dennis Stock, who passed away this week, that is what happened. Ultra famous for the iconic images he took of James Dean just before he became famous, he had to drag this notoriety like a canon ball tied to his foot throughout his whole career. To a point that few people know the rest of his work. Which is a shame.
Non-commercial community of large format photographers, includes a repository of primers, how-to articles, user’s reviews of equipment, and an active discussion forum!
Boston cops are using the Massachusetts electronic surveillance laws to arrest and prosecute citizens who use their cellular phones to record abusive arrests. Though they haven’t been success…
“One of the officers asked me whether my phone had audio recording capabilities,” Glik, 33, said recently of the incident, which took place in October 2007. Glik acknowledged that it did, and then, he said, “my phone was seized, and I was arrested.”
As she prepared to depart for Haiti on assignment for The Times, Maggie Steber wrote this reflection on the country’s recent history. Her portfolio shows moments of joy as well as desperation and grief. Aperture published her book, “Dancing on Fire: Photographs from Haiti” in 1992. She has won top awards from World Press Photo and Pictures of the Year International. Her work appears regularly in National Geographic.
Dennis Stock, whose photographs may have done almost as much to create James Dean’s public persona as the actor’s own performances, died Monday in Florida.
“Dennis Stock seems impeccably contemporary in his perceptions, whether they be of splendid nature or ‘peccable’ humanity,” the critic and essayist Ralph Pomeroy wrote in “Contemporary Photographers” (1982)
Over a spotty and faltering Internet connection, Tequila Minsky transmitted some of the first photographs of the earthquake in Haiti, pictures that instantly conveyed the awful human toll.
With every New Year, digital photographers, (which is pretty much all of us now), face decisions about how to make room for a new years worth of image files.
An example of the kind of thing we would talk about a lot was compostion. During our last talk, without any sense of bragging or ego, Dennis Stock said, “for whatever reason, I was given the ability to frame anything. I can make a great composition instinctively.” He was stating a fact. Just look at his pictures. He also deeply believed in the precepts of HCB in regard to it not being enough to capture the moment, you had to also frame that within a pleasing geometric composition. For Dennis, this is how you catch the eye of the viewer, and this is how you make your pictures memorable.
Tuesday afternoon, January 12th, the worst earthquake in 200 years – 7.0 in magnitude – struck less than ten miles from the Caribbean city of Port-au-Prince, Haiti. The initial quake was later followed by twelve aftershocks greater than magnitude 5.0. Str
Tuesday afternoon, January 12th, the worst earthquake in 200 years – 7.0 in magnitude – struck less than ten miles from the Caribbean city of Port-au-Prince, Haiti.
