Past and Present Collide in Magical Exploration of Paris

Past and Present Collide in Magical Exploration of Paris

Experience Haitian Carnival Through The Lens Of Patrice Douge

Experience Haitian Carnival Through The Lens Of Patrice Douge

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The New York Times A State of Mind

The New York Times A State of Mind

Garry Winogrand: Five lessons from a master of photography

Garry Winogrand: Five lessons from a master of photography 

“Few photographers have lived and breathed their art with the singular devotion of Garry Winogrand. In a career spanning four decades, the Brooklyn native stalked the New York pavement with a Leica camera and a wide-angle lens, capturing New Yorkers at intimate quarters. His pictures capture fragments of ordinary life in an America poised between confidence and crisis: laughter in the sun of a summer street, the tang of menace from a bandaged figure in a convertible, moments of unexpected surrealism on an afternoon in the city zoo.”

ST1998.0589.10_01_b01, 4/6/09, 2:57 PM, 8C, 7500x10000 (0+0), 125%, Custom, 1/60 s, R111.4, G85.3, B96.3

El Morocco, New York, 1955 (Fraenkel Gallery, San Francisco)

ST1998.0589.11_01_b01, 4/6/09, 3:39 PM, 8C, 7214x9979 (270+0), 125%, Custom, 1/60 s, R111.3, G85.4, B96.2

 

Creating the new symbols of protest imagery

Creating the new symbols of protest imagery 

How modern protests are harnessing the power of photography

How modern protests are harnessing the power of photography | British Journal of Photography

“In 2015, protests are no longer local, but global. Support can swell, from all corners of the earth and almost instantaneously. They’re mutual, interlinking, borrowing from and supporting each other. Never before has peaceful protest understood, appropriated and harnessed the power of photography.”

Stevon Statom walks in a protest march on West Florissant Avenue on Tuesday, Aug. 19, 2014 in Ferguson.  Statom moved into an apartment at Canfield Green one week before Michael Brown was killed.  "I'm trying to make a change in this world," he said. Photo by Robert Cohen, rcohen@post-dispatch.com

Stevon Statom walks in a protest march on West Florissant Avenue on Tuesday, Aug. 19, 2014 in Ferguson. Statom moved into an apartment at Canfield Green one week before Michael Brown was killed. “I’m trying to make a change in this world,” he said.
Photo by Robert Cohen, rcohen@post-dispatch.com

Notes From The Field

Notes From The Field is a new Q&A series in which students can post questions to an expert related to the craft, language and art of photography.

Our current expert is New York City based photographer David Neff.

Below are the top ten questions from students and photographer David Neff’s candid answers.

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  1. How long have you been making images?

I’ll have to break this down into phases, first real camera acquired was at 16, so that would be 32 years. First photo class at 18, first big time job at 30. I’m now 48.

  1. How would you describe the type, or style, of photography you produce?

I shoot environmental portrait which tends to be fun happy pictures with bold colors of people. In reality, most of my work is now corporate, people look happy but the fun whacky part has become less of my paid work and remaining is happy people who usually make a whole lot of money. I still have leanings toward silly, bold and conceptual, just less time to do it personally lately.

  1. How important is understanding composition to your image making process?

Composition was more important when I was learning or working with marker comps or layouts. It has become internalized over the years and now I spend more time looking for a booger gone astray and rely on a part of my brain to do composition without having to take up bandwidth reserved for conversation, balance or temperature regulation.

  1. Can you describe three top compositional techniques a new photographer must know at the start of his/her career.

Don’t let lines intersect heads, never leave a head in the center of the frame after you focus (I still don’t use autofocus) Once you know what you are doing, make lines intersect heads and put people in the center.

  1. Are their specific industries that interest you?

I love science and technology. I’m pretty gadget happy and would be as happy taking my strobes apart as lighting with them.

  1. Do you use social media or other technologies to market your images?

Sure, I have a blog, twitter, Facebook, Ello, Pinterest and Instagram. I should use them, maybe this will prompt me to do it.

  1. How do you find new potential business prospects?

I have one of those phone numbers that people accidentally call on occasion when they mean to call someone else. If someone calls asking for Richard Avedon, I just say hello, how can I help you. Aside from that, I used to drop off portfolios, send out promos, blog, e-blast  and call people. Stuff that I might start doing again in the fall.

  1. What steps do you take to cultivate ongoing professional relationships?

I smile at people, do good work and occasionally send out an email saying hello.

  1. What inspires you to create?

Lately, the most inspiring thing I photograph is my son, nothing makes you see things differently than trying to understand a child.

  1. Do you work on personal projects? If yes, how much time do you work on it  before you feel it is complete? If no, why?

I have several projects on the bench, lately I have been dabbling in electronics. Sure, it’s nice to eat, live, sleep and $h*t your work but eventually if you don’t dabble somewhere else, there is a good chance you’ll get bored. This fall though I have two new projects I’m hoping to start shooting though I’m thinking I’ll be doing some writing first so I have some backbone for the two series and they don’t just end up another pile of pictures loosely related. When is it complete? Likely never, but then some concepts expire as well unless you keep them beefy over generational changes. It’s better to have chapters than a sequel.

Max von Gumppenberg and Patrick Bienert’s Harlem Street Fashion

Max von Gumppenberg and Patrick Bienert’s Harlem Street Fashion | British Journal of Photography