The previously rumored Leica M9 to M9-P upgrade program is now official. Two options will be available: “Sapphire Glass” upgrade package for $1,295 and “Top Cover and Sapphire Glass” upgrade package for $1,995. Both packages come with a one-year warranty
A majority of the photographers I know absolutely hate to negotiate with clients, and often find themselves suffering through an unfair arrangement as a result of their poor negotiations skills. Negotiating your way to a win-win scenario can be a common experience if you’re prepared.
What’s the point? The photography business can be a rat race. There are tens of thousands of photographers out there doing exactly what you and I do. Everyone has one unique thing – a vision. That vision can be driven by ego, competition, passion, fear, curiosity, artistry, adversity, and talent. What drives yours? It should be you.
Sometimes feeding the beast is easiest when that beast is you.
I remember looking at a picture of a farm when I was
a boy. It was an old photo I’d found in a box in my
grandparent’s attic. It was cold and dusty and I knew
I really wasn’t supposed to be there. And yet, in my
hand was another world. I fell into it and, ever so
briefly, I was warm and there were birds in the thick
summer air. The grass was lush beneath my feet. This
was another universe that had been sliced paper thin
there in my palm.
The reason why we want to expose every shot that we take with the data as far to the right of the histogram as possible is because that’s where the data is!
Jerome Liebling’s photo classes often seemed to be about everything but photography, James Estrin recalls. And that, it turns out, was exactly the point.
Jerome Liebling, a photographer, filmmaker and teacher, died Wednesday at 87. Obituaries appear on the Web sites of The New York Times, The Daily Hampshire Gazette and Hampshire College, where his students included James Estrin, now a staff photographer at The Times and a co-editor of Lens.
“I went to David Scull, the national picture editor, and said: ‘Joao’s there and has his equipment. Why don’t we assign him?’ It turns out that Joao was already shooting it.”
Today, another reporter was murdered in Mexico: Yolanda Ordaz, a crime reporter who was investigating the murder of her boss at Notiver, the daily newspaper where she worked. Her body “was fo…
In our latest photo essay created in partnership with Magnum Photos, we follow Dominic Nahr into the 20km zone surrounding the nuclear power plant at Fukushima, Japan. Nahr documents the damage that resulted from the plant’s breakdown.
[Part 1 is here] Rob: The book “After Barbed Wire” came out and your phone started ringing with a few assignments, then you had a gallery show in New York and more assignments, so did your career take off like a rocket after that? Kurt: It was a great tim
Well there’s the other thing. I’ve never thought of photography as a competition. They hired me because they wanted me, not because I’m the best photographer, but I’m a photographer that they wanted. And they could just as easily picked someone else, but they made individual choices where I’m not interchangeable with someone else. That’s why I don’t think of it as a competition.
Rob: I want to start at the beginning. When and where did you start making pictures? Kurt: I got out of the army in the early ’70s and I knew one thing, that whatever it was that I was going to do with my life, I wanted to love it and believe in it. That
You know that great classic quote, “F8 and be there”? You do have to be there. Being there is half and you can do that half. And I figure sweat is part of the equation. If you can be really cool and persistent, that’s great, but I was more like sweaty and persistent. I figured that I could maybe outmuscle it.
by Jonathan Blaustein Ariel Shanberg is the Executive Director of the Center for Photography at Woodstock. He curated the exhibition “Camp: Visiting Day,” that is on view at CPW through August 28, 2011. Jonathan Blaustein: You’ve got a background in art.
That access, and having art available to the general public was something that was really important to me. It wasn’t something that only people with certain degrees do, or people who have extra time. Everybody should see an exhibition at least once a week. It’s an opportunity to exercise your mind and see the world through other people’s eyes.
Words like “status” and “success” make me itchy since they tend to define my work in a way that has an absolute or an ending, rather than an ongoing flow
Friedlander is a photographer, never forget. Although a major photographic artist, he is not an ‘artist utilising photography.’ He uses the camera, that unthinking machine, to transcribe his visual perceptions of the world.
The second essay I ever wrote upon the subject of photography was about the work of Lee Friedlander, on the occasion of an exhibition of his pictures at the Photographers’ Gallery, London, in 1976.2 Now, some fifteen years later, a much larger retrospective, Like a One-Eyed Cat, arrives at the Victoria and Albert Museum, having the benefit of much fine work completed in the interim, and accompanied by the most extensive monograph on the photographer to date.3 And published almost concurrently is the eagerly awaited volume of his remarkable and controversial studies of the female nude.4
