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An Interview with Joel Meyerowitz – Creating A Sense of Place
“There is a dawning awareness that you feel good in this place. Something here makes you attentive, brings you to an awakened state. But you can’t know that beforehand.”
Interview by Constance Sullivan, from Creating A Sense of Place, Smithsonian Institution Press, 1990
CS: Why do you choose to phvia AMERICAN SUBURB X: https://americansuburbx.com/2010/03/interview-interview-with-joel.html
I went because I was undergoing some changes in my life in terms of questions I was asking about photography, and there were certain things I had to give up, and I had to be ruthless about it. In order to do that I had to work away from New York City for a while. I knew that the time and work that a view camera required did not allow me to work in a big city in the same way that I had worked with a 35mm camera. So I had to abandon that notion completely and take myself to a place where life was simple, where life moved more slowly, where there was a chance to use this tool and to see differently. I had no idea what it was going to look like. I even kidded myself thinking I would go to Provincetown and work on the street, because it was busy, but smaller, I thought it was manageable. I hardly made any pictures on the street. Everything else seemed to call to me. And I believe these things are related in part to the instrument we choose to work with. An 8 x 10 camera isn’t for horse races. You do what it tells you to do.
tagged Joel Meyerowitzin Photography -
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“I try to be a photographer. I cannot talk. I am not interested in talking. If I have anything to say, it may be found in my images. I am not interested in talking about things, explaining about the whys and the hows. I do not mind showing my images, but not so much my contact sheets. I mainly work from small test prints. I often look at them, sometimes for a long time. I pin them to the wall, I compare them to make up my mind, be sure of my choices. I let others tell me what they mean. [To Robert Delpire] My photographs, you know them. You have published them, you have exhibited them, then you can tell whether they mean something or not.”
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Photographing Fabienne: Part Five – Interview with Edward Linsmier
PART FIVE IN A SERIES OF POSTS DISCUSSING PHOTOGRAPHERS’ ACTIONS AND RESPONSES TO THE KILLING OF FABIENNE CHERISMA IN PORT-AU-PRINCE, HAITI ON THE 19TH JANUARY 2010. Edward Linsmier was in Ha…
via Prison Photography: https://prisonphotography.org/2010/03/14/photographing-fabienne-part-five-interview-with-edward-linsmier/
As far as I know of the situation, all the photographers were very respectful of the situation. As I mentioned before, I did not experience any sort of backlash from the people we were photographing at all. As chaotic as the situation was, I felt that they were very open to us and even glad we were there.
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As for “new documentary,” I find some of these approaches of interest, particularly the focus on a more distanced “aftermath,” rather than “decisive” moments of engagement. I still feel the dividing line is when photographers re-enact, which is closer to the tradition of docudrama than reportage. Sometimes it is very effective but defining the difference is still important to me.
tagged Susan Meiselasin Interviews -
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Who was your mentor? Many responded with stories of experienced photographers who had generously shared their knowledge and thoughts about photography, creativity, how to run a business or simply how to make a life as a freelance photographer. We learned that in taking the time to teach a fellow photographer, they not only helped an up and comer, they also learned something themselves.
in Photography -
Benson contacted O’Grady, who lives in New York, to question her unauthorized use of his image. According to Benson, she told him she is “a conceptual artist.”
“What it is,” says Benson, “is conceptual plagiarism.”
tagged Harry Bensonin Copyright -
tagged chris johns
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On a 2006 trip, Ryan Pyle decided to focus his camera on the disappearing culture of China’s remote western Xinjiang province. He says, “The culture is vanishing before my eyes. Each time I return something is missing—a market, an old shop full of blacksmiths, a local mosque. This cultural fabric will be lost forever.” Previously named Chinese Turkestan, the Xinjiang province is bordered by the Gobi desert and some of the highest mountain ranges in the world, making this location incredibly remote.
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The winner of the World Press Photo Award 2010 was Pietro Masturzo’s photograph of a group of women shouting from a Tehran rooftop in protest at the Iranian presidential results. To be sure, this is not what the photo shows (how could shouting be shown anyway?), this is what we are told that it shows.
tagged Pietro Masturzoin Contests -
Recently, I’ve been thinking about war photography, and the moral arguments that commonly support it. I’ve been seeing people use those arguments to advocate for certain practices in photography in general, and I think there are problems with that.
tagged Eliza Gregory -
in Art & Design
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“The Bathers” Photographs by Tatiana Plotnikova
Balbuki is a very ordinary village in Pskov Region, one of many small regions in western part of Russia. The local farmers who have lived and worked this land are being gradually being replaced with summer residents from nearest towns, and a lot of customary traditons are disappearing as well. This style of steam bath called Banya is one of the traditions that are being lost to gentrification. R
tagged Tatiana Plotnikova -
Under the terms of the debt takeover, Colony Capital will help Leibovitz market her photographs, the Financial Times reported.
tagged Annie Leibovitzin Photography -
The Onion | America’s Finest News Source.
The Onion brings you all of the latest news, stories, photos, videos and more from America’s finest news source.
Under the terms of the debt takeover, Colony Capital will help Leibovitz market her photographs, the Financial Times reported.
