Cross-posted from The New Yorker. [by Chris Wiley] “The photographer Bruce Davidson, who is eighty-five years old, has lived with his wife, Emily, in a rambling apartment on the Upper West Side for the past five decades. It is appointed with broken-in chairs and couches, an impressive folk-art collection, and has an extra bedroom, to accommodate visits from their four grandchildren. A bathroom has been transformed into a darkroom, complete with a custom-made Leitz enlarger and…
Cross-posted from Erik Almas’ blog. How does a successful advertising photographer and new commercial director manage his career without an agent? Erik Almas lost his agent when they abruptly closed their doors; Almas decided to see how well he would do continuing on his own, and, so far it’s turned out fine. He worries, however, about the future, and some of that worry is based on the recent past. MY THREE YEARS WITHOUT AN AGENT…
Cross-posted from The New Food Economy. [by Jessica Fu] Explaining how valuable Lance Cheung’s images are to the publication New Food Economy, Jessica Fu writes “That’s why, time and time again, we’ve turned to Cheung’s works, which are part of the public domain. Our coverage of President Trump’s proposed Harvest Box program, a Colorado country-of-origin-labeling bill, the difficulty of farm transfers, the growing issue of school lunch debt are just a few instances where his…
Cross-posted from The British Journal of Photography. [by Marigold Warner] Thirty years after the Tiananmen Square massacre, Liu Heung Shing, a photojournalist who has captured the transformation of China, reflects on his coverage of the protests and his wider body of work. A Life in a Sea of Red
Cross-posted from The New Yorker Photo Booth. [by Andrea DenHoed] Taiwanese photographer Annie Wang has been documenting her pregnancy then dual portraits with her son for almost twenty years. Each year, behind the current portrait, lies a photo of all the other portraits, including some made in collaboration with her teenage son. “The portrait of Wang’s pregnancy is still visible, as a frame within a frame within a frame, receding into the background. In each…
Cross-posted from The New Yorker. [by Stephanie Taladrid] “In the course of her half-century-long career, Iturbide has made a case for seeing oneself in the other. (Her work was the subject of a recent retrospective and a corresponding book from the Museum of Fine Arts, Boston.)” “From the beginning, Iturbide used monochrome film and relied exclusively on natural light—a technique that lent a mesmerizing rawness to her scenes. “What I see in black and white…
Cross-posted from Magnum. [by Colin Pantall] “In the second instalment of Magnum’s series on photographers’ non-photographic sources of inspiration, Colin Pantall speaks with Cristina de Middel about the surprising role of musical theatre in inspiring her to make her work, which exists in a grey-zone between art and reportage – a Dadaist approach she sees as a hopeful alternative to the more conventional ‘discourse of sobriety’.” Music, Pleasure and Photography Cristina de Middel on the…
Cross-posted from NPPA. [by Maggie Steber and Matt Black] It’s not often you get to eavesdrop on a conversation between two Magnum photographers, but, now you can: “Internationally recognized photographers Maggie Steber and Matt Black have a conversation about his work, philosophy and process through an email exchange.” Matt Black’s ‘Geography of Poverty’
Cross-posted from LenScratch. [by Aline Smithson] “Photographer Emily Matyas has a legacy of humanist photography, seeing beyond our borders into other cultures and bringing back beauty and understanding. For the past 30 years, Emily has crossed into Mexico to photograph the grace of every day life. Her new book, Sol y Tierra: Views Beyond the U.S.-Mexico Border, 1988-2018, published by Daylight, includes a foreword by Kirsten Rian and contributions by Amparo Wong Molina, Sergio Anaya, and Linda…
Cross-posted from The Eye of Photography. [by Sara Tasini and Flor Garduño] Flor Garduño “is internationally renowned for her depictions of Latin American indigenous people and in particular her symbolic nudes and still-lifes. Garduño’s work has appeared in a number of international exhibitions and in the collections of such respected institutions as the Art Institute of Chicago, the Israel Museum of Jerusalem, Bibliothèque National de France in Paris, the Museum of Modern Art in New York, the Museum Ludwig in…