Grouchy, antagonistic, and brilliant, according to those who knew him, Marvin Israel was a relatively unknown man of great cultural power, not least in the…
As art director for Harper’s Bazaar in the sixties, Israel published the work of Richard Avedon and Walker Evans alongside that of less established photographers such as Bill Brandt and Lee Friedlander. “The whole point of Bazaar, with Marvin, was that you never just ran a beautiful portfolio of extraordinarily beautiful women retouched,” the art director Ruth Ansel says. “You ran also a Diane Arbus portfolio of strange people who tattooed their body and lived on the Bowery, to have a counterbalance.”
The International Street Photography Awards are now accepting submissions from street photographers around the world. Twenty esteemed judges are looking for photographs that display a unique style in this genre that crosses over into portraiture, documentary and fine art photography.
Jonathan Blaustein talks with Jörg Colberg of the blog Conscientious about using art to change the world. Jonathan Blaustein: I wrote a long article recently about my trip to Reno, and you pulled from it a particular question and posted it on Conscientiou
All right. I think the first thing is, a lot of the talking that’s going on online is about artists using their skill sets for social media and promotion. That’s the first thing. There is very little talk (or maybe I’m just missing all that talk) about what you’re talking about. You know, how artists can use a variety of skill sets to expand the reach of their work. Expanding the reach of their work doesn’t seem to get beyond making sure that more people see it to potentially buy a book or buy a print. I could be mistaken, but that’s something that I’ve been rather critical of, more and more. Social media is really just about blanket promotion, because, in theory, it could be about exactly what you’re talking about. Reaching more people, and talking about the work, and what’s behind the work, and how what is behind the work has connections to all these other things that go on in non-artists’ lives.
Several recent incidents suggest a disturbing new trend: public safety officials targeting photographers, including professionals. “Cops don’t want to be identified,” says Lucy Dalglish, executive director of the Reporters Committee for Freedom of the Press. “They don’t want their pictures taken.”
There are plenty of destinations to find quality work these days but I find there are very few that have a distinct point of view, and finding quality writing about photography is still a challenge. Far too many new blogs and magazines simply want to replicate what’s been done already (me too!) or have misguided editorial missions
The photographer André Cypriano went searching for the same answers some years ago, spending 30 days and nights in the slum, capturing its essence in black and white. Mr. Cypriano wound up there as a guest of Rocinha’s notorious drug lord at the time, Luciano Barbosa dos Santos, who went by the affable nickname Lulu. He had met some of Lulu’s associates while photographing some of the inmates at Ilha Grande prison, Brazil’s equivalent of Alcatraz, and they suggested Rocinha as the setting for a future project.
Looking at portfolios from Critical Mass 2011…Christopher Chadbourne is a visual storyteller. His series, State Fair, is a series of narratives that add up to a kalidescope of color, captured moments, and off kilter relationships, creating a photographi
Christopher Cadbourne is a visual storyteller. His series, State Fair, is a series of narratives that add up to a kalidescope of color, captured moments, and off kilter relationships, creating a photographic novella of sorts. He is a “storyteller intrigued and motivated by the relationships between subjects and between subject and context within the “accidental community” of strangers who momentarily and randomly occupy a common physical space.”
It’s beyond cliché to say, “You can never go home again.” For the last 10 years, photographer Brian Shumway has been doing his best to turn this time-honored adage on its head, returning to his native Utah, a place known as “Happy Valley” to create a visual and emotional exploration of his own childhood and adolescence by photographing his siblings and their children.
You may remember photographer Jason Lee Parry from the $28,000,000 lawsuit brought against him in August by parents of a young model he photographed (APE story here). The parents flipped out when a sexually suggestive image that Parry took of their 16 yea
You may remember photographer Jason Lee Parry from the $28,000,000 lawsuit brought against him in August by parents of a young model he photographed (APE story here). The parents flipped out when a sexually suggestive image that Parry took of their 16 year old daughter on a motorcycle (she was 15 at the time) appeared on clothing in Urban Outfitters
A man arrested while photographing the police raid to shut down the Occupy L.A. encampment last Wednesday was finally released on $10,000 bail late Friday, according to press reports. Tyson Heder was charged with assault and battery on a police office and
A man arrested while photographing the police raid to shut down the Occupy L.A. encampment last Wednesday was finally released on $10,000 bail late Friday, according to press reports. Tyson Heder was charged with assault and battery on a police office and resisting arrest.
Moises Saman had been photographing the run-up to the Egyptian elections when the recent riots broke out. He spoke to Lens about the challenges of digging deeper into the story.
Moises Saman has been covering the Arab Spring for The New York Times since its beginning in Tunisia. In July, he moved to Egypt — where, for the last four weeks, he has been photographing the run-up to the Egyptian elections. Mr. Saman, a nominee for membership in the Magnum Photos cooperative, spoke with James Estrin and David Furst
For Arno Rafael Minkkinen, nudity is akin to spirituality. “I don’t want to be seen as a nudist,” he says. “But there is something about how close you get to the act of creation by walking around by yourself in some stretch of forest in Finland, with nothing on, looking for a photograph, climbing rocks and moving around like a monkey. Bared assed and just digging your toes into the soft earth, you really feel like you’ve been created.”
This is the first of a three part series on how you can plan, design, build and maintain a successful photojournalism portfolio website. Part 1 focuses on planning your website
Robert Seale Photography is an Advertising, Corporate, Commercial, Sports Portrait, Editorial, Oil and Gas, Industrial, and Annual Report Photography studio located in Houston Texas that works for Advertising, Corporate, Commercial, Editorial, Industrial,
I’m a real military aviation history buff, so it was an incredible honor when I was recently assigned to take portraits of the Doolittle Raiders for Smithsonian Air and Space Magazine
In addition to the Leica Cinema Lenses, cinematographers can soon also use Leica M lenses on a RED camera – Pier 59 with the assistance of Leica Camera have been testing the RED DSMC Leica-M mount in New York this week. Read more on red.com and reduser.ne
In addition to the Leica Cinema Lenses, cinematographers can soon also use Leica M lenses on a RED camera – Pier 59 with the assistance of Leica Camera have been testing the RED DSMC Leica-M mount in New York this week.
Shooting with a Fuji X100 ISO 2000, ƒ/2 at 1/60th. This is portrait bokeh with a 23mm ƒ/2 lens. By Robert Plotkin When the Fuji X100 was announced at Photokina 2010, the trade show held in Germany, it was as…
Fuji makes the H system lenses for Hasselblad, which are used by the most demanding commercial photographers in the world. The X100 is not as sharp as a Leica Summicron wide open, but stop it down to ƒ/2.8 and it crystalizes. One must remember that the lens has the field of view of a 35mm lens but the depth of field of a 23mm lens. Shot open and close, the background is pleasantly de-emphasized but not bokehlicious.
Samuel Aranda worked anonymously for weeks in Yemen, where he was the only Western photographer shooting for a number of weeks. Last week, his name began to appear with his images published in The New York Times.
It has been hard much of this year for Western photojournalists to enter Yemen to cover the political turmoil of the Arab Spring. It took Samuel Aranda more than a month to find a safe way into the country, giving him plenty of time to ponder what it would be like working in the deeply divided nation, where hundreds have died in protests.
