Here's an inspiring story about photographer Antonin Kratochvill.. Sometimes I wonder how and why we do what we do; to stay true to the pursuit of one's work and vision. I find stories like this to be a shot in the arm to stay the course. Don't give up, keep shooting.
http://www.antoninkratochvil.com/
Tuesday, September 1, 2009
Wednesday, August 19, 2009
PASSION out of the box.
A new Post "Photographer Louie Psihoyos and The Cove" was written on the August 17, 2009 at 10:06 am on "A Photo Editor".
inspiration from Aphotoeditor.com
Stella Kramer interviews photographer Louie Psihoyos
(spent 17 years traveling the world shooting for National Geographic)
about his career and his new movie The Cove [3].
Any advice for new photographers?
The only advice I would have for a young still photographer would be
to forget all advice and follow your passion with a passion. The
Universe has a strange way of supporting lunatics like us that refuse
to live inside the box. There is no box.
Links:
------
[1] http://www.stellakramer.com/blog/
[2] http://www.psihoyos.com/
[3] http://thecovemovie.com/
inspiration from Aphotoeditor.com
Stella Kramer interviews photographer Louie Psihoyos
(spent 17 years traveling the world shooting for National Geographic)
about his career and his new movie The Cove [3].
Any advice for new photographers?
The only advice I would have for a young still photographer would be
to forget all advice and follow your passion with a passion. The
Universe has a strange way of supporting lunatics like us that refuse
to live inside the box. There is no box.
Links:
------
[1] http://www.stellakramer.com/blog/
[2] http://www.psihoyos.com/
[3] http://thecovemovie.com/
Thursday, August 13, 2009
No Guarantees....but do it anyways....
There are no guarantees that if you work hard enough, or are talented
enough, that you will be successful, be able to support yourself, or
importantly, make a meaningful contribution to others. But in the
meantime, if you are an artist, the art just comes - weather you like
it or not- because you can't stop it.
On Two Way Lens: Jessica Todd Harper [1] via Elizabeth Avedon [2].
http://elizabethavedon.blogspot.com/
enough, that you will be successful, be able to support yourself, or
importantly, make a meaningful contribution to others. But in the
meantime, if you are an artist, the art just comes - weather you like
it or not- because you can't stop it.
On Two Way Lens: Jessica Todd Harper [1] via Elizabeth Avedon [2].
http://elizabethavedon.blogspot.com/
Wednesday, August 12, 2009
Just lookin'....notes on seeing
A beautiful set of notes inspired by one of my favorite photographers and human beings, Sam Abel from the blog of another fan. I appreciate the notes and sharing of doing blogs.
The Life of a photograph:
TUESDAY, MARCH 24
Photographer Sam Abell on The Life of a Photograph
Long-time National Geographic photographer (1970-2001), Sam Abell is a legend in the photography world. This fall, he was in Seattle teaching a photography workshop at the Art Wolf Studio. I sat in on the corresponding lecture...and kicked myself for not attending his workshop! His lecture was incredibly inspiring and despite the blackend room, I managed to capture some legible notes.
As I develop my own technique, Sam's words echo in my mind. (Compose....and wait.....) Hopefully something here will resonate with you.
Sam Abell, Photographer
Henry Art Gallery, Seattle
Sam Abell’s work is complex, thoughtful, inspiring. He is considered one of the most articulate voices in media, with a knack for great story telling.
The hallmark of Abell’s work is its micro composition. His images are composed to the smallest detail, with an emphasis on expression, detail, and setting.
The photographer life is a well covered subject, and Sam Abell aks, ”What about the life of a photo?”
Photography is about thought. “The Life of a Photograph” is where it begins—in the mind, feeling, heart & soul in the one who holds the camera in their hands.
A bit about Sam
His dad taught him how to see. His mother taught him what to see.
What would you have been if you weren’t a photographer? A teacher. In his workshops, he teaches is the art of internal framing & micro composition.
When he started taking pictures, Popular Photography had thumbnails in the back that talked about how the photographer got the shot. He studied those.
“For me, photography was freeing. Thirty years at National Geographic allowed photography to take me into life.”
Equipment
“I use as little equipment as possible and a humble camera.”
His “walk around” lens is a 28mm, and the majority of his work is shot with it.
Abell doesn’t use flash—“You don’t need it.” In fact, he no longer carries a flash on assignment. Abell shoots with “borrowed light” because, as he says, it “casts a spell.”
The Scene
“Don’t look for subjects, look for the scene. What stops me is the scene.” Abell consuls, “Pay attention to your own internal aesthetic. Subjects don’t stop me, the scene does and that’s what differentiates me from my colleagues.”
In a steady and soothing voice he adds, “I think about the poetry of the scene—think about things in literary terms—light, color, heart and soul. Distil a scene or a moment. It can be charged with poetics.”
When capturing an image, “I’m thinking about what’s in the viewfinder and nothing else. You are in that little world and it’s deep…and complex.”
Thoughts on Post Production
With a hint of distain he says, “We’re in the golden age of post production.”
“Before post production, you couldn’t recompose the shot. It had to be fully finished. It couldn’t be rough and remixed. All the problems had to be solved in the viewfinder…and it gave photography intensity.”
Photography is and always will be a way to be in life. I got a 35mm as a graduation present. For me, photography meant “Andiamo!” – let’s go. It’s what gets me out the door.
When photography became computer-based, it became more about post production.
We’ve lost the spirit of being in life.
Leaving National Geographic
Abell spent 31 years as a photographer with National Geographic magazine. “I’ve always wanted my career to end with my call.” The moment came after a long, depressing year in Tokyo. Abell spent a year trying to get permission to meet with the Emperor of China. At last, he was granted a visit on the very last day. It was extremely frustrating.
When I finally got the meeting, the Emperor asked, “Are you satisfied?”
“I lied, ‘Yes, I am.’ "
When he returned from that shoot, he knew…it was time to end his career with National Geographic.
The Kremlin Shot
[This shot is one of Abell’s most famous photographs. In the lecture, he analyzed the shot and showed a number of frames taken before they settled on what has become an iconic photo.]
“This photo has long life.”
Noting several examples, he advises, “Keep taking photos—move around it. Change your position.”
This shot was taken on a day off. “But the truth in photographic life is, there are no days off.”
What gives life to a portrait?
For portraits, you have one camera. It means hanging out with people & occasionally taking pictures.
The rule of photos with people? Don’t take photos you wouldn’t take of yourself. Don’t prey on people. Build a rapport. Photography is an act of appreciation, not exploitation.
A successful portrait has three elements: setting, gesture & expression. They need equal weight and it’s almost impossible. You can’t pose a shot like that. The setting is important both in place…and light.
Look for: Gesture. Expression. Setting.
Do you need to see someone’s face to have a successful portrait? No. Hands are very expressive.
Portraits that have long lasting ability are within themselves and thoughtful--not obviously emotional.
Just looking….
A photo is like a short story where the page is about to be turned….
Photography is a solo journey. Involve your mind—verify a dedication to creating photography for the inner self. No art director. No picture editor. On your own. Your imagination. On assignment for as long as 14 months, you are alone with your thoughts.
Pay attention to what you’re looking at.
Just looking …intently. Notice the shadow. Notice that slender line that separates the horizon and the clothes line.
Just looking…at a shaft of light. Notice the painting situated both above and below the light.
Just looking…Notice the persistence of a strong horizontal line.
Getting the shot
Compose…and wait. Compose the place and wait for what occupies it. Be on a tripod, and be ready for the scene.
Look for integrity of line, space & depth. Everything is within its own space….exhibiting deep layers of time.
Bad weather makes great pictures. Compose & wait….
The photo with the longest life has emotional power. It stays in your memory…and leaves an impression. It has believability… suddenness…intimacy.
Travel Photos
There’s a long connection between photography and travel.
On a 15 week shoot in the Amazon, he didn’t take photos for the first couple days. He stayed with the aboriginals and built trust.
The result? His photos have texture and flow.
At one point, he begged the aboriginals to do a shoot in the morning or the early evening. But the hunt began at noon. The resulting photos? As the aboriginal hunters are coming home from the hunt with their kill, he used the long shadows as part of the shot.
In another example, land, sea, and sky have equal weight. What gives it life? The disappearance of the horizon.
Seeking the photo
The life of a photo begins with seeking the photo.
What stops him is often the horizontal line. He’s looking for layers, internal framing, and micro composition.
Compose & wait.
Always use a tripod. It makes a difference that adds to his composed style.
Depend on strength of the photo from the specialness of the light and the landscape that he sees.
Seek a characteristic horizontal line.
See the light, space, and graphics. Be attuned to the moment and craft in deep dimensional light.
The goal: A layered photo that is intense from top to bottom, front to back.
The life of a photo
Each photo has a life—thoughts and time evolve. He found images he didn’t even remember taking that he loves now.
Photos ask questions.
The main thing Sam looks for is layering and depth. Find a background, find a setting. Look for layers, deep composition, and micro composition.
Whether a photo is memorizeable or not, depends on whether it has a long life.
Comments
When looking at books by other photographer, he says, “I always look at the photo on the cover page.” Why? “The cover shot is almost without exception chosen by marketing.” The key: what’s the Table of Contents photo? [This photo choice gives more insight to the photographer’s own perspective (vs. marketing)]
Another interesting point Abell notes: In his own books, no photos are bled. None are cropped. And no photos go across the gutter.
The Book: Life of a Photograph
Abell’s latest book, The Life of a Photograph, covers his process….things that worked and why. It’s designed to be transparent: “The process [of getting the shot] is more important.” He draws a parallel, “Fixing the car is more fun than driving it.”
“Books have a great life. If anything has a greater life than a photo—it’s a book.” He adds, reflectively, “This book is my fullest expression.”
***
Further reading
Excellent write up on Sam's Master Photography Class.
The Life of a photograph:
TUESDAY, MARCH 24
Photographer Sam Abell on The Life of a Photograph
Long-time National Geographic photographer (1970-2001), Sam Abell is a legend in the photography world. This fall, he was in Seattle teaching a photography workshop at the Art Wolf Studio. I sat in on the corresponding lecture...and kicked myself for not attending his workshop! His lecture was incredibly inspiring and despite the blackend room, I managed to capture some legible notes.
As I develop my own technique, Sam's words echo in my mind. (Compose....and wait.....) Hopefully something here will resonate with you.
Sam Abell, Photographer
Henry Art Gallery, Seattle
Sam Abell’s work is complex, thoughtful, inspiring. He is considered one of the most articulate voices in media, with a knack for great story telling.
The hallmark of Abell’s work is its micro composition. His images are composed to the smallest detail, with an emphasis on expression, detail, and setting.
The photographer life is a well covered subject, and Sam Abell aks, ”What about the life of a photo?”
Photography is about thought. “The Life of a Photograph” is where it begins—in the mind, feeling, heart & soul in the one who holds the camera in their hands.
A bit about Sam
His dad taught him how to see. His mother taught him what to see.
What would you have been if you weren’t a photographer? A teacher. In his workshops, he teaches is the art of internal framing & micro composition.
When he started taking pictures, Popular Photography had thumbnails in the back that talked about how the photographer got the shot. He studied those.
“For me, photography was freeing. Thirty years at National Geographic allowed photography to take me into life.”
Equipment
“I use as little equipment as possible and a humble camera.”
His “walk around” lens is a 28mm, and the majority of his work is shot with it.
Abell doesn’t use flash—“You don’t need it.” In fact, he no longer carries a flash on assignment. Abell shoots with “borrowed light” because, as he says, it “casts a spell.”
The Scene
“Don’t look for subjects, look for the scene. What stops me is the scene.” Abell consuls, “Pay attention to your own internal aesthetic. Subjects don’t stop me, the scene does and that’s what differentiates me from my colleagues.”
In a steady and soothing voice he adds, “I think about the poetry of the scene—think about things in literary terms—light, color, heart and soul. Distil a scene or a moment. It can be charged with poetics.”
When capturing an image, “I’m thinking about what’s in the viewfinder and nothing else. You are in that little world and it’s deep…and complex.”
Thoughts on Post Production
With a hint of distain he says, “We’re in the golden age of post production.”
“Before post production, you couldn’t recompose the shot. It had to be fully finished. It couldn’t be rough and remixed. All the problems had to be solved in the viewfinder…and it gave photography intensity.”
Photography is and always will be a way to be in life. I got a 35mm as a graduation present. For me, photography meant “Andiamo!” – let’s go. It’s what gets me out the door.
When photography became computer-based, it became more about post production.
We’ve lost the spirit of being in life.
Leaving National Geographic
Abell spent 31 years as a photographer with National Geographic magazine. “I’ve always wanted my career to end with my call.” The moment came after a long, depressing year in Tokyo. Abell spent a year trying to get permission to meet with the Emperor of China. At last, he was granted a visit on the very last day. It was extremely frustrating.
When I finally got the meeting, the Emperor asked, “Are you satisfied?”
“I lied, ‘Yes, I am.’ "
When he returned from that shoot, he knew…it was time to end his career with National Geographic.
The Kremlin Shot
[This shot is one of Abell’s most famous photographs. In the lecture, he analyzed the shot and showed a number of frames taken before they settled on what has become an iconic photo.]
“This photo has long life.”
Noting several examples, he advises, “Keep taking photos—move around it. Change your position.”
This shot was taken on a day off. “But the truth in photographic life is, there are no days off.”
What gives life to a portrait?
For portraits, you have one camera. It means hanging out with people & occasionally taking pictures.
The rule of photos with people? Don’t take photos you wouldn’t take of yourself. Don’t prey on people. Build a rapport. Photography is an act of appreciation, not exploitation.
A successful portrait has three elements: setting, gesture & expression. They need equal weight and it’s almost impossible. You can’t pose a shot like that. The setting is important both in place…and light.
Look for: Gesture. Expression. Setting.
Do you need to see someone’s face to have a successful portrait? No. Hands are very expressive.
Portraits that have long lasting ability are within themselves and thoughtful--not obviously emotional.
Just looking….
A photo is like a short story where the page is about to be turned….
Photography is a solo journey. Involve your mind—verify a dedication to creating photography for the inner self. No art director. No picture editor. On your own. Your imagination. On assignment for as long as 14 months, you are alone with your thoughts.
Pay attention to what you’re looking at.
Just looking …intently. Notice the shadow. Notice that slender line that separates the horizon and the clothes line.
Just looking…at a shaft of light. Notice the painting situated both above and below the light.
Just looking…Notice the persistence of a strong horizontal line.
Getting the shot
Compose…and wait. Compose the place and wait for what occupies it. Be on a tripod, and be ready for the scene.
Look for integrity of line, space & depth. Everything is within its own space….exhibiting deep layers of time.
Bad weather makes great pictures. Compose & wait….
The photo with the longest life has emotional power. It stays in your memory…and leaves an impression. It has believability… suddenness…intimacy.
Travel Photos
There’s a long connection between photography and travel.
On a 15 week shoot in the Amazon, he didn’t take photos for the first couple days. He stayed with the aboriginals and built trust.
The result? His photos have texture and flow.
At one point, he begged the aboriginals to do a shoot in the morning or the early evening. But the hunt began at noon. The resulting photos? As the aboriginal hunters are coming home from the hunt with their kill, he used the long shadows as part of the shot.
In another example, land, sea, and sky have equal weight. What gives it life? The disappearance of the horizon.
Seeking the photo
The life of a photo begins with seeking the photo.
What stops him is often the horizontal line. He’s looking for layers, internal framing, and micro composition.
Compose & wait.
Always use a tripod. It makes a difference that adds to his composed style.
Depend on strength of the photo from the specialness of the light and the landscape that he sees.
Seek a characteristic horizontal line.
See the light, space, and graphics. Be attuned to the moment and craft in deep dimensional light.
The goal: A layered photo that is intense from top to bottom, front to back.
The life of a photo
Each photo has a life—thoughts and time evolve. He found images he didn’t even remember taking that he loves now.
Photos ask questions.
The main thing Sam looks for is layering and depth. Find a background, find a setting. Look for layers, deep composition, and micro composition.
Whether a photo is memorizeable or not, depends on whether it has a long life.
Comments
When looking at books by other photographer, he says, “I always look at the photo on the cover page.” Why? “The cover shot is almost without exception chosen by marketing.” The key: what’s the Table of Contents photo? [This photo choice gives more insight to the photographer’s own perspective (vs. marketing)]
Another interesting point Abell notes: In his own books, no photos are bled. None are cropped. And no photos go across the gutter.
The Book: Life of a Photograph
Abell’s latest book, The Life of a Photograph, covers his process….things that worked and why. It’s designed to be transparent: “The process [of getting the shot] is more important.” He draws a parallel, “Fixing the car is more fun than driving it.”
“Books have a great life. If anything has a greater life than a photo—it’s a book.” He adds, reflectively, “This book is my fullest expression.”
***
Further reading
Excellent write up on Sam's Master Photography Class.
Wednesday, July 22, 2009
Friday, July 10, 2009
And the Beat goes on.
It's late night in downtown Flagtown. Punk rock and jazz. Back home on the mountain top with some new inspiration through out the day; Annie comes home and shares her world view. strong, beautiful, painful and illuminating. It is a brief connection in Running's studio-worlds collide and connect. Yes the world has gone crazy but still there are people like Annie and her friend who capture the light.
http://indestructiblebeat.blogspot.com/
morning begun with a fotogeek session over skype with Dkish. We share pictures from NYC, Chihuahua, Flagtown, New Zealand.
We travel across the distances of our respective journeys; Down these mean streets looking for signs and looking at pictures over our laptops. Have a lookSEE.
http://willsteacy.blogspot.com/
http://youwantmetosaywhoiam.tumblr.com/
billhatcher.typepad.com/
http://www.1000wordsmag.com/
Monday, June 29, 2009
Tuesday, June 2, 2009
Bill Strickland: changing the world one slideshow at a time
"People remember pictures long after they've forgotten words," Bill Strickland
I learned about Bill through a friend I've been corresponding with for almost three years and we've never met. She was on a river trip with an old friend and he connected us-isn't it funny how certain people come into your life and point you towards other ideas and directions. I was so Inspired by this talk and it made me grateful for my art teachers and those who work to help better the world. Photography can change the world.
TED.com Bill Stickland changing the world one slideshow at a time.
Gary Williams: An Editorial perspective
I met Gary in San Juan, Puerto Rico over twenty years ago. He left the island and moved to the desert with his family and works as a editorial photographer. We still photo geek out on cameras, and what it means to be a photographer/photo journalist in these changing times.
Here's a piece Gary shared with me in response to aphotoeditor.com about the life of a newspaper.
Saving the newspaper industry in the USA is going to be very hard at this point in time. I was very lucky to work as a photographer at the last of the great new newspapers, El Nuevo Dia, in San Juan Puerto Rico.
Founded in 1970, END was the brain child of Cuban editor, Carlos Castaneda and the Ferre family, the richest family on the island. Castaneda, who had just left Time Inc’s, deceased “Life en Espanol" to remake the Ferre family owned newspaper El Dia. After only five years of Castaneda’s makeover, the newly redesigned END became the media powerhouse in the Caribbean.
END has been the number one media outlet in Puerto Rico and now earns a large part of the advertising dollar on the island. This is all because Carlos Castaneda came up with a whole new idea in newspapers. He called his, a "Daily News Magazine" that was built in the tabloid format.
Having come from Life en Espanol, he redesigned the paper in 1970 to be very heavy on big photos, with text used to illustrate the photos or graphic. Not the other way around, as it is in most metro dailies.
This was a revolution in thinking back then, an ider that made END into a billion dollar company in less than 30 years. He made sure we covered the important stories of the day with photos. As a designer, editor (Director) and lots of hard work ."El Maestro" made his dream come true, the " El Nuevo Dia a great "Daily News Magazine", that is very relevant to its readers, and a must read for all Pueto Ricans.
He was also the original designer of the El Nuevo Herald in Miami in the 70's, saving the Miami Herald from an early death as their population turn more an more Cuban in Miami.
He then moved up down South America redesigning some of the major newspapers of that continent, turning most of them into important successful media outlets using his "Daily News Magazine" format.
The only problem in the USA is that all the newspapers here are run by word editors. Most of them have no idea how to make today’s newspapers relevant to their local readership. Design of the right content is everything in today’s dwindling market. Back then in 1971 Carlos told our Editorial and Photo Staff (I was a founding member of the photo staff, lucky me) of his plans to make END the number one media outlet in Puerto Rico. Even though there were 5local well entrenched newspapers at the time, he said our real focus was to compete with TV news shows. We were all taken back by this approach. This was a new way of thinking.
So, he designed a newspaper that could take on the moving pictures of TV, using his photo staff to make it happen. In the early days, the small photo staff of only four staffers, had tons of photos published daily. Each section like Deporte (sports) Por Dentro (inside, women, food, fashion), had its own full page cover photo, with two or more more pages of photos from the major story of the day. We also had a center spread of photos each day to fill up.
He used one large photo on the front page to sell it on street corners to cars in traffic, much like the NY Daily News and and the NY Post.
Some years later, we were paid a visit by folks from Gannet, who picked up a few ideas from END, like big photos, and graphics. Soon after they launched the new national newspaper USA today.
I am sad to report that "El Maestro" has passed away, so he cannot help out his beloved newspapers industry, as it enters a long period of decline.
If you want to save the American newspaper industry from going under in the next few years. Think, photos, graphics and design. Use them big and bold. Every page should have at least two photos and or graphics, the more the better. Use the text to illustrate the photos.
But It might be too late for word people to save to newspaper industry. Most of them don't have a clue what sells a paper in today's market. Maybe a new approach is needed. Maybe a Photo Editor is the way to go! Let photos save your paper. Think "Daily News Magazine"! PS This will work on the Internet edition to.
--
Gary Williams Photography
Tucson, Arizona, 85719 USA
520-977-3659 Cell
520-464-5998
www.sportsshooter.com/motordrive
Some other links:
aphotoeditor.com saving newspapers
TED.com Jacek Utko designs to save newspapers
Here's a piece Gary shared with me in response to aphotoeditor.com about the life of a newspaper.
Saving the newspaper industry in the USA is going to be very hard at this point in time. I was very lucky to work as a photographer at the last of the great new newspapers, El Nuevo Dia, in San Juan Puerto Rico.
Founded in 1970, END was the brain child of Cuban editor, Carlos Castaneda and the Ferre family, the richest family on the island. Castaneda, who had just left Time Inc’s, deceased “Life en Espanol" to remake the Ferre family owned newspaper El Dia. After only five years of Castaneda’s makeover, the newly redesigned END became the media powerhouse in the Caribbean.
END has been the number one media outlet in Puerto Rico and now earns a large part of the advertising dollar on the island. This is all because Carlos Castaneda came up with a whole new idea in newspapers. He called his, a "Daily News Magazine" that was built in the tabloid format.
Having come from Life en Espanol, he redesigned the paper in 1970 to be very heavy on big photos, with text used to illustrate the photos or graphic. Not the other way around, as it is in most metro dailies.
This was a revolution in thinking back then, an ider that made END into a billion dollar company in less than 30 years. He made sure we covered the important stories of the day with photos. As a designer, editor (Director) and lots of hard work ."El Maestro" made his dream come true, the " El Nuevo Dia a great "Daily News Magazine", that is very relevant to its readers, and a must read for all Pueto Ricans.
He was also the original designer of the El Nuevo Herald in Miami in the 70's, saving the Miami Herald from an early death as their population turn more an more Cuban in Miami.
He then moved up down South America redesigning some of the major newspapers of that continent, turning most of them into important successful media outlets using his "Daily News Magazine" format.
The only problem in the USA is that all the newspapers here are run by word editors. Most of them have no idea how to make today’s newspapers relevant to their local readership. Design of the right content is everything in today’s dwindling market. Back then in 1971 Carlos told our Editorial and Photo Staff (I was a founding member of the photo staff, lucky me) of his plans to make END the number one media outlet in Puerto Rico. Even though there were 5local well entrenched newspapers at the time, he said our real focus was to compete with TV news shows. We were all taken back by this approach. This was a new way of thinking.
So, he designed a newspaper that could take on the moving pictures of TV, using his photo staff to make it happen. In the early days, the small photo staff of only four staffers, had tons of photos published daily. Each section like Deporte (sports) Por Dentro (inside, women, food, fashion), had its own full page cover photo, with two or more more pages of photos from the major story of the day. We also had a center spread of photos each day to fill up.
He used one large photo on the front page to sell it on street corners to cars in traffic, much like the NY Daily News and and the NY Post.
Some years later, we were paid a visit by folks from Gannet, who picked up a few ideas from END, like big photos, and graphics. Soon after they launched the new national newspaper USA today.
I am sad to report that "El Maestro" has passed away, so he cannot help out his beloved newspapers industry, as it enters a long period of decline.
If you want to save the American newspaper industry from going under in the next few years. Think, photos, graphics and design. Use them big and bold. Every page should have at least two photos and or graphics, the more the better. Use the text to illustrate the photos.
But It might be too late for word people to save to newspaper industry. Most of them don't have a clue what sells a paper in today's market. Maybe a new approach is needed. Maybe a Photo Editor is the way to go! Let photos save your paper. Think "Daily News Magazine"! PS This will work on the Internet edition to.
--
Gary Williams Photography
Tucson, Arizona, 85719 USA
520-977-3659 Cell
520-464-5998
www.sportsshooter.com/motordrive
Some other links:
aphotoeditor.com saving newspapers
TED.com Jacek Utko designs to save newspapers
Friday, May 22, 2009
FSA images ,GRANT OPS & MARKETING ONLINE:
Library of Congress debuts iconic Great Depression photos as seen on flickr.com
http://lcweb2.loc.gov/pp/fsaabt.html
http://www.loc.gov/blog/?p=515
I learn something new about the business of photography with every post from aphotoeditor.com
Sign up and stay informed, get inspired and learn new things about our industry.
Here's some news!!!!
http://www.editorialphoto.com/epedu/
International Museum of Women Call for submissions
www.visitcenter.org GRANT info
Tuesday, May 19, 2009
DIY PHOTOBOOK/ PORTFOLIO
What I learned on www.aphotoeditor.com today about DIY book publishing:
BLURB
WHCC
POWERHOUSE BOOKS
IPHOTO
BLURB
WHCC
POWERHOUSE BOOKS
IPHOTO
to blog or not to blog
"I'm not so much an advocate for blogging as I am for simply doing
things online where I strongly believe a great portion of the business
of photography will end up. I think blogs are a great way to
strengthen the community, to debate new ideas, to stomp out old bad
ideas and to find a new path for photography but it's more important
that people working with photography are putting work online and
trying new things out to help us all figure out what's next. I did
manage to say in my speech that I believe in the future of photography
and that I would like to convince those that have the power to make
decisions over the use of photography that there is no greater medium
for communication online and once they finally realize this there will
be a big bright future awaiting all of us."
APHOTOEDITOR.COM
things online where I strongly believe a great portion of the business
of photography will end up. I think blogs are a great way to
strengthen the community, to debate new ideas, to stomp out old bad
ideas and to find a new path for photography but it's more important
that people working with photography are putting work online and
trying new things out to help us all figure out what's next. I did
manage to say in my speech that I believe in the future of photography
and that I would like to convince those that have the power to make
decisions over the use of photography that there is no greater medium
for communication online and once they finally realize this there will
be a big bright future awaiting all of us."
APHOTOEDITOR.COM
Monday, May 18, 2009
Let the world change you and you can change the world.
Che! the most reproduced photo in the world. I watched "THE MOTORCYCLE DIARIES"the other night and again was moved by this beautiful film; I was trying to explain who CHE Guevara was/ is to my friend. What could I say except he was a revolutionary know for wearing a beret with a star on his head. His image emblazoned on everything from murals, baseball hat, t-shirts and stickers. I was interested to learn more about Che Guevara who was beloved and made into an icon because of this photograph. I am amazed that many people don't know much about him including myself. The photographer never really made any money on his image but both the creator and the muse live on beyond the timespan of their lives. Here's a good story about the image itself.
WestLicht Gallery Reconsiders Che Guevara in Photography Exhibit in Vienna
Music about Che Guevara with translations;
http://www.marxists.org/subject/art/music/index.htm#che-guevara
Wednesday, April 29, 2009
The Mystery of Everett Ruess
A great mystery and a tragic end to a great adventurer whose book a Vangabond for Beauty paints a inspired life out under the western skies. Two photographers I admire, Dorthea Lange and our own Dawn Kish's photos accompany the article in National Geographic ADVENTURE in the May issue.
NationalGeographicADVENTURE: The Mystery of Everett Ruess
“It’s a very weird thing being a photographer.”Danny Lyon
“You put a camera in my hand, I want to get close to people,” he
said. “Not just physically close, emotionally close, all of it.
It’s part of the process." - NYTimes.com [1].
Let me begin with this post of a post. Danny Lyon's photograph of the prison inmate has been one of the most influential images for me since I first looked at CONVERSATIONS WITH THE DEAD before I had even thought I'd pick up a camera. It is an image that has propelled me to look further and beyond fear and things I didn't know about life-like prison,racism,hate,and the ability to change the world even a little bit with pictures. I was happy to run across this post from APHOTOEDITOR.COM the other day that it inspired to begin the photogeek blog for the Flagstaff Photography Center since I am spending more time in Mexico than in Flagtown these days. I hope it will help inspire others to follow their own line of vision, and help foster image making and community.
I met Danny Lyon once. He was gracious and kind. I always feel silly to say tell photographers I admire how much I have loved their work at some gallery opening when I wish I could just photogeek out over a light table-over coffee or be stuck in a long road trip with them. I couldn't believe by doing an image search I found this particular image-it's influence and what it makes me feel still resonates in my own work and interest in people; the border, and my love for the Lady of Guadalupe who knows no borders.
NYTimes: Danny LYON article
A PHOTO EDITOR:Danny Lyon
Iconographies: In Pictures we trust
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