By MICHAEL KAMBER
Photojournalist Joao Silva and I jumped in a car and searched the streets. We found U.S. soldiers towing a damaged Humvee. It had been struck by a roadside bomb. Days later we were nearly knocked off our feet by the Red Cross bombing, which killed scores. Bodies were scattered across an entire city block.
Joao, myself and Dexter Filkins were set upon by a crowd and nearly killed as we covered the attacks that morning.
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Knowing my love for Black & White imagery, Nack pointed me towards some astonishing in-house talent, right here on W10. Yesterday I enjoyed an hour with Kelly Castro who gave me a glimpse into his very unique workflow. I’m not going to tell you everything about how Kelly gets his shots to jump off the screen, but I will showcase a few very cool steps. If you’re like me, the shots will inspire you far more than my words can.
Check it out here.
In honor of this tenth anniversary, we went back to a few PDN’s 30 photographers and asked them to once again share some advice with the next generation of photographers. We asked each of them: What is one of the most important lessons you’ve learned? How have your career goals changed? And, of course: What have you been doing lately?
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Every quarter we publish a fashion magazine similar to the T Magazine from the New York Times. The shoot consists of several days of shooting, weeks of meetings, editing and production, and the nail-biting time of waiting for the special section to arrive from the printer. The spring edition of LUXE, as it is aptly named, was produced around a theme of travel. Our resident painter created the background “destination” images. I spent a week photographing the models in the studio and edited down the take to a negotiable few. Then we dropped the cutouts on the page and arranged them to create compelling compositions that read well and received excellent feedback from the readers.
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Veteran Journalists Confess To Directing Photos. March 19, 2008.
Li Zhencheng graduated in 1963 from the Department of Photography of the Changchun Academy of Cinematography and later became a photojournalist at Heilongjiang Daily News. In the 1980’s, he went to teach at the Department of Journalism at the China People’s Police University. As a professional photojournalist, he had taken and preserved a large number of Cultural Revolution-era photos with the unique characteristics of those times.
On March 7, Li posted a photograph titled: Yet Another High Quality Well on his personal blog. He stated in very clear terms that this photograph had been directed and modified 35 years ago. “From the viewpoint of composition and lighting, this photo is quite perfect. In reality, there are many places in which modifications and forgery occurred. Back in those days, I was all for reasonably organization and modification. I advocated direction and alteration without giving any hints.” Li challenged his blog visitors to detect the flaws.
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Archie Lieberman roamed the world as a photojournalist. But he found fodder for one of his most memorable books on a farm nestled in the rolling hills of Jo Daviess County, a few hours west of his Evanston home.
Mr. Lieberman, 81, died of a neurological disease similar to Parkinson’s on Thursday, March 13, at Dubuque Nursing and Rehab Center in Iowa, said his wife, Esther. After many years in Evanston, he moved to a small farm near Galena in the mid-1980s.
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Associated Press photographer Bilal Hussein, the subject of secret court proceedings in Iraq, still has not been told the charges against him, AP president and CEO Tom Curley said Tuesday.
Hussein has been held by the U.S. military for nearly two years as a security detainee, informally accused of working in collusion with insurgents. At his first hearing in the Iraqi court system on Dec. 9, a judge imposed a gag order on the participants. The AP and the U.S. military have maintained near-silence about the Hussein since then.
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I snapped a photo of this sticker in one of the restrooms at Ritual Coffee Roasters in San Francisco’s Mission District
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Hundreds of Iraqi journalists have been forced into exile since the war started five years ago, Reporters without Borders announced in a report released Wednesday.
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I read about the Photography Book Now salon and symposium last night, and thought it was too good to be true. I mean, a contest celebrating self-published photo books? With the promise of MONEY? What What!? But look, they say it is true:
“Join the modern photography book movement. Photographers can now produce books with complete creative control. We’re celebrating the most innovative and finest self-published photography books and the people behind them. Submit yours for a chance at $25,000 to finish – or start – that once in a lifetime project.”
Check it out here.
It was Philip’s consummate skill as a picture maker, carefully able to draw the viewer closer and closer to his subjects through his emotionally-charged compositions that lent such power to his work. Philip was always concerned with individuals – their personal and intimate suffering more than any particular class or ideological struggle. And the strength of his vision, that inspired so many of us, led Henri Cartier-Bresson to write of Philip: “not since Goya has anyone portrayed war like Philip Jones Griffiths.”
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British photojournalist Philip Jones Griffiths, known for his unflinching coverage of the Vietnam war, died on Tuesday aged 72, the Magnum photo agency said.
Born in Wales in 1936, Griffith Jones launched his career as a freelancer for Britain’s Observer newspaper in 1961, covering the Algerian war in 1962 before travelling across central Africa.
In a career that took him to more than 120 countries, Griffith Jones covered everything from Buddhism in Cambodia, drought in India, poverty in Texas or the legacy of the Gulf war in Kuwait.
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By MAX BECHERER
I am a photographer and have captured thousands of images of Iraq and the war there since that day. But when I stop reading about the war, I guess I get that faraway look I always saw, as I grew up, in the eyes of countless veterans and civilians who lived through war, including my mother. I don’t wonder what they see anymore. I see images. Not the images I took, as the shutter is closed the moment I capture a photograph. I see the images and feel the sensations I keep mentally when I am without the help of a lens. Sometimes they are still images and sometimes they are short movie clips of the people on all sides of the war who are no longer living.
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Looking through the new Aperture edition of Robert Adams perfect book The New West, I now realize that Adams, at the same time, was forming his critique of suburban sprawl within the communities and ideals of families like my own.
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WARS, the inaugural series will launch on the Magnum In Motion home page, March 19, five years after the war in Iraq began. It will be published on Slate as four episodes.
The point of departure was a quote extracted from Magnum photographer Philip Jones Griffiths from a 2006 interview conducted in London by Magnum In Motion.
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Last fall, Mamiya Digital Imaging and Phase One announced they were working together on a new medium format camera system.
Now, they’re releasing more information about the new model, which will be co-branded the Mamiya 645AFDIII and the Phase One 645 Camera and sold by each company under their respective brand name.
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It’s nothing, right? Just an old dusty fragment from the bottom of a closet. Hard to read much from it one way or another, and certainly not worth much time researching. Right?
Yet this photo is potentially very important. It is likely the earliest surviving image attributable to Carleton Watkins, dating from around 1856.
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