Montana-based photographer Kurt Markus has spent the last half-century photographing for magazines like Vanity Fair, GQ, and Outside. Though he’s shot fashion, sports, and celebrities, he’s probably best known for his iconic black-and-white photos of Cowb
The digital age was really kicking in, and I didn’t feel like I had anything to offer a beginning photographer because everyone wanted to know about histograms and pixels and I had no language, no experience for that. So I said, let’s not do this again. But I got talked into it again last year. What I found was that no one in the workshop really cared if it was digital or not, and figured “OK, I can do this. I’ve got something to say and it’s worth saying.” I’m believer in workshops. It’s a very energizing and valuable experience that you can’t really get any other way. You go home and sift through the wreckage of the week and pick and choose. And it’s good to know there are others out there trying to be the best photographers they can be.
Mr. Noroozi had long wanted to document executions in Iran, because for him they illustrate what he calls “the inflation of human life.” When restrictions on documenting executions were lifted by Iranian authorities last year, the photographer set out to cover several hangings in different cities in the Islamic Republic, which after China passes the most death sentences in the world
With help from high-priced advisers, President Bashar al-Assad and his wife tried to portray themselves as progressive, and even glamorous, in the Western news media.
A few years later, positive articles began to appear. Paris Match called Mrs. Assad an “element of light in a country full of shadow zones” and the “eastern Diana.” French Elle counted her among the best-dressed women in world politics, and in 2009, The Huffington Post published an article and fashion slide show titled “Asma al-Assad: Syria’s First Lady and All-Natural Beauty.”
“She responded beautifully, because she speaks well and is beautiful,” said the Italian writer Gaia Servadio, who worked for Mrs. Assad in Damascus. She added that Mrs. Assad hoped the coverage would deflect some of the negative attention her country had received.
None of the articles about Mrs. Assad struck a nerve quite like the 3,200-word March 2011 profile in Vogue titled “A Rose in the Desert.” In it, the writer, Joan Juliet Buck, called Mrs. Assad “the freshest and most magnetic of first ladies.”
In a phone interview, Ms. Buck said that shortly after the profile was published, she began “steadily speaking out against the Assad regime,” including in an interview with Piers Morgan on CNN and elsewhere. In April, on National Public Radio, Ms. Buck said she regretted the headline that Vogue put on the article. But she said Mrs. Assad was “extremely thin and very well-dressed, and therefore qualified to be in Vogue.”
Magnum photographer Alex Webb’s conversation with author and photography critic Geoff Dyer at the Look 3 photo festival provided a sweeping retrospective of Webb’s career, from his earliest black and white work through his development as a revered master
Magnum photographer Aelx Webb’s conversation with author and photography critic Geoff Dyer at the Look 3 photo festival provided a sweeping retrospective of Webb’s career, from his earliest black and white work through his development as a revered master of color photography on projects from Haiti to the US/Mexico Border, Florida, Cuba, and beyond.
Donna Ferrato brought a quick wit and joie de vivre to an onstage interview with NPR personality Alex Chadwick at the LOOK3 photo festival in Charlottesville on Friday afternoon. A unifying theme of their wide-ranging discussion was Ferrato’s belief in th
Donna Ferrato brought a quick wit and joie de vivre to an onstage interview with NPR personality Alex Chadwick at the LOOK3 photo festival in Charlottesville on Friday afternoon. A unifying theme of their wide-ranging discussion was Ferrato’s belief in the life-affirming power of emotional intimacy and mutual respect that has informed her work and career.
Throughout the talk, a slideshow of Greene’s work appeared on the large screen. When a harrowing photo Greene took in Fallujah appeared, however, Leroy stopped the slideshow to ask Greene about the image.
Congressional Republicans on Thursday abruptly halted what was surely the most innovative internet petition drive in history, after too much of the internet discovered it. The National Republican Congressional Committee (NRCC) had invited voters to visit
The GOP promoted the campaign heavily online with the hashtag #IWantRepeal, leading Thursday to the inevitable barrage of jokers entering made-up names for the sheer joy of seeing them spit off the printer before a live web audience.
Thomas conducted this interview over Skype before he boarded a plane for New York City and before this interactive street photography project officially launched. The “Thomas does NYC” project is currently underway and is on Day 3, putting participants in the seat of creative director for his street photography. Every day for six consecutive days, fans of the project page on Facebook can submit ideas and vote for what Thomas Bönig should capture in New York City. The winning idea will receive a thank you gift
Irina Ruppert’s intimate knowledge of Kazakhstan and Eastern Europe comes from an experience of emigration and a complex family history. She moved at the age of 7 with her parents and three siblings from Kazakhstan to Germany in 1976, leaving four other siblings behind, carrying intense and vivid memories of her hometown and everyday life in the villages. After the collapse of the USSR in 1993, Ruppert started traveling back home, where she encountered a place full of political change but the same spirit and feelings she remembered from her childhood.
Here it is Here’s a photo of the upcoming Canon EF 40mm f/2.8 Pancake lens. It looks like it has a 52mm filter thread, so this thing really is tiny! Pricing
World press photographer and enthusiast of the curiously mundane Christopher Herwig struck gold when he came across the bus stops in parts of the world previously designated as part of the Soviet Union. That term conjures images of terrifying car park-like blocks and grey, intimidating statues of fists – constructions that don’t really bear any resemblance to these very odd little bus stops.
At some point, every enthusiast photographer is going to want an upgrade. It’s a natural consequence of human society; more and newer is better. Since money doesn’t necessarily correlat…
Advance warning: this article is as much about individual soul searching as it is about gear lust. Many of you will probably disagree with what I have to say, or find the truths a little uncomfortable; you of course don’t have to listen to me, but you might well find doing so unburdens you and allows you to develop even more as a photographer. Why am I saying this? Because I went through the process myself, and have to make a conscious effort to stop myself from falling into the gear trap. (It’s actually a lot worse when you’re a pro because you can justify buying anything as ‘work related’ and a tax-deductible expense.)
Interview with Susan David Alan Harvey: Young photographers are looking towards us to help them find the way. We are struggling with that, but you’ve evolved from a photo journalist at a ver…
You need people who believe that it is still important to see what is going on in the world at whatever level that means. You know, I never thought about it in terms of ‘news’. What we used to do very well was anticipate. I mean, that’s really important to think about. We had to anticipate, because it took weeks or months for publications to prepare to go to print. In fact, even that’s part of the reason I personally never worked for National Geographic. For me, the difficulty of Geographic was that the anticipation cycle was so long. So if I was working on a timely subject, I wanted to see the publication in relation to the production in a closer cycle. And Geographic was so extended; it might be six months or a year after you did the work that you would see it in print. So it didn’t seem optimal or advantageous for the kind of work I was doing at that time. It was a more reflective space lets say.
Now, that’s a very valuable space; to have the opportunity to be more reflective and not have to be as immediate which is what this new medium has created and now demands in some ways. This intensity that we have to produce and deliver and disseminate instantaneously — so that there is no time for reflection. The MF’s Magnum Emergency Fund is trying to create a margin in which photographers can still have a degree of independence to reflect and create work
Simply put, National Geographic has the kind of photography that makes your jaw drop. This award-winning magazine is revered for its striking images from all corners…
In this live video interview, Elizabeth gives us a behind-the-scenes look at how the team at National Geographic magazine selects photos from thousands of submissions and how they intimately work with photographers to bring a story from inception to completion.
The Underground is a great leveller – all types of people are there in the cars and on the platforms going to and fro, as am I. In this intensely public space, one retreats into a different kind of ‘public privacy.
UK wedding photographer Lisa Devlin has shot weddings, engagements, and couples for over a decade. Her work has been featured on almost every well-known blog in England, as well as the U.S. Her quirky, unique brand usually brings her quirky, unique client
