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Showcase: Deadly Streets - Lens Blog - NYTimes.com
CARACAS, Venezuela — Murders in this hardened city have grown so widespread that looking at the homicide statistics alone can seem banal.
In one 60-hour span in July, for instance, the Bello Monte morgue overflowed with the corpses of 49 murder victims. Homicides nationwide surged almost 31 percent in the first quarter to 4,659, according to the Interior Ministry. No wonder Caraqueños grimly joke about studies of violence that rank their city as deadlier than Baghdad.
“Capitolio,” the new book on Venezuela by Magnum photographer Christopher Anderson, offers a stunning view into Caracas’s descent from its perch as one of Latin America’s most economically advanced, if unequal, cities into a place gripped by low-intensity chaos and fear.
AMERICANSUBURB X: INTERVIEW: "Manufactured Landscapes: An Interview with Ed Burtynsky (2006)"
"Manufactured Landscapes": An Interview with Ed Burtynsky
John K. Grande : What made you decide to start your photo lab, Toronto Image Works?
Ed Burtynsky : When I graduated from Ryerson Polytechnic, there was no access to professional darkrooms in Toronto. After four years of working at home in the basement, I realized how inefficient my production was, and how impossible it became to realize the quality and scale of prints I envisioned. That was the original inspiration for Toronto Image Works. I decided not only to create something that would support my own creative printmaking, but also to open a facility for other artists in the city to use.
J.K.G. : One often hears of an artist dealing with the sacred earth as a subject, and though that is fine, this brand of art can be diminished by its avoidance of world problems caused by production, pollution, toxic earth, global warming. Artists cannot whitewash what is something very real with purist aesthetics, no matter how beautiful, or ritual, or superficially sacred they may be. Your photos touch on that strange duality, for they attract us with beauty.
AMERICANSUBURB X: INTERVIEW: "Interview with Bruce Davidson (2006)"
Interview with Bruce Davidson, The Kojo Nnamdi Show (WAMU/Chicago), November 2006
Q: You’re on the streets of Chicago, wandering into Pentecostal churches, how did that initial roaming around, years ago, play out later in life?
BD: I think that I was a born loner. My mother was a single parent, working in a torpedo factory in the Midwest, and I didn’t like school. I felt very isolated. And so I could do both my reading and my writing at the same time, with a camera.
Q: And that is what became the trajectory for the rest of your life. I want to go to 1961, because even as I look at the book “Time of Change”, I think it was before you ever rode with the Freedom Riders that you got a job to shoot fashion models. And you got caught-up in that - it was quite glamorous. But at the time, your heart wasn’t really in it, was it.
BD: In 1959, I photographed a Brooklyn gang for a year. And when that was published, Alex Lieberman at Vogue asked me if I’d like to do fashion. He’d been told by Cartier-Bresson that I could do fashion because I could do gangs - it doesn’t make a difference. So I began to do fashion to support other things I wanted to do. But my heart wasn’t in it. The models were too tall and too sophisticated for me, and I’m a sloppy dresser.
Nieman Reports | Long-Form Multimedia Journalism: Quality Is the Key Ingredient
Long-Form Multimedia Journalism: Quality Is the Key Ingredient
As a producer of social documentary projects—viewed on digital platforms—Brian Storm talks about the excitement of doing journalism in this way, at this time.
A conversation with Brian Storm
MediaStorm describes its mission as ushering in the next generation of multimedia storytelling by publishing social documentary projects incorporating photojournalism, interactivity, animation, audio and video for distribution across multiple media.
Brian Storm is the president of MediaStorm, a production studio located in Brooklyn, New York, which publishes multimedia social documentary projects at www.mediastorm.org and produces them for other news organizations. In an interview I did with Brian on December 30, 2008, he spoke about how he envisions the future of long-form, multimedia journalism from the perspective of its creation, distribution and economic viability. An edited version of our conversation follows.
YouTube - RethinkDispatches's Channel
interview with seamus murphy
dispatches - the quarterly current affairs journal offering in-depth analysis, on-the-ground reporting, and long form photography essays focused on one critical global topic per issue, edited by Gary Knight of VII photo agency and Mort Rosenblum.
Magnum Blog / Studio Visit at Alec Soth's - the photo blog of Magnum Photos
Mr. Jackanory (Andrew Hetherington) recently visited Alec Soth's studio in Saint Paul, Minnesota to film the fourth episode of his "inside the photographers_studio" series. Originally posted on Whats the Jackanory.
Kevin Kelly « Learning Matters!
October 28, 2008
Kevin Kelly Q&A
Filed under: Uncategorized — wadatripp @ 9:56 am
Tags: Kevin Kelly, masie, Q&A
On Collaboration Tools of the Future:
Tools we have right now are minimal. Not good in sense that they dont structure the information we are generating. Info needs structure to be readable and parseable. We’ll see tools come along where the structure of the information is parsed and shared.
Example: Parsing out arguments. If you use the word “Pacifica” for my hometown, the machine should know that…because we know that. Tools today are not aware of semantic structure of an argument. Hello Semantic Web ; ) Awareness of structure and interactions of conversations. Meaning of what we are doing is better captured and parsed.
Q&A: Paul Graham
Thus far, 2009 has been the year of Paul Graham. The British-born photographer’s study of American life, a shimmer of possibility, is on display at New York’s Museum of Modern Art through May 18; he is on the shortlist for the £30,000 Deutsche Börse Prize; and a mid-career survey of his work, which opened in January at Folkwang Museum in Essen, Germany, and will travel to Hamburg and London. SteidlMACK has also released a new single-volume edition of shimmer (originally a 12-volume set), and another book, simply titled Paul Graham, to match the survey.
Graham, who currently lives in New York, recently corresponded via email with PDN about the influence of American photography on his photographs, his creative process, and why the “documentary” label misses the mark in describing his work.
interview with Nadav Kander, photographer of Obama's People - lens culture photography weblog
For two hectic weeks between the US presidential election and the inauguration, one photographer was invited to make portraits of every member of Obama's new incoming administration. The result is a series of 52 unlikely semi-formal portraits that reveal a refreshingly diverse, young, energetic group of the people who will be key to helping forward Obama's agenda.
This series of portraits originally appeared in The New York Times Magazine, in print and online. Now, for the first time anywhere, an exhibition of life-size prints of these images will go on display (not in America) but in Birmingham, UK.
UK-based photographer Nadav Kander talks with Jim Casper of Lens Culture about how this daunting project came into being, and provides some very interesting personal observations about his brief encounters with the new power-brokers of America. See some of the images, and listen to the interview, here in Lens Culture.
WPPh --> ENTER (World Press Photo)
For a second answer to the question of how photographers will market their work over the next five to ten years we turned to leading UK-based landscape, documentary and fine art photographer Simon Norfolk.
Said Simon: "In the few weeks between being asked to write this piece and me actually sitting down to do it, the international financial system has dissolved and the key banks nationalized.
All the money I had squirreled away to pay my future taxes and something for Mr and Mrs Norfolk’s old age has disappeared in a bizarre Icelandic banking collapse. So my prognosis about the economy over the next 5-10 years is not very optimistic, I’m afraid.
I gave up trying to make a living from editorial a few years ago, instead selling my work as limited edition fine art prints through galleries in London, New York and Los Angeles.
I still work for magazines - most of what goes on the gallery wall starts out as a magazine commission - but I see magazine fees as start-up capital.
YouTube - Revisiting "Some Afrikaners" with David Goldblatt
The iconic South African photographer, in conversation with Max du Preez, discusses the literary influences on his work, including Athol Fugard and Herman Charles Bosman.
Then & Now - Eight South African Photographers
Then & Now - Eight South African Photographers
Then and Now
160 Images
View photos from the exhibit
An exhibition of 160 photographs mounted in 5 venues at Duke University. South African photographer Paul Weinberg conceived and curated Then & Now which is comprised of black and white and color photographs from 8 South African documentary photographers. Twenty photographs were selected from each photographer, 10 made under apartheid and 10 photographs made after the historic democratic elections of 1994.
University of the Witwatersrand, Johannesburg, David Goldblatt
n asbestos fibre the diameter of a human hair is actually a cluster of two million individual fibres which could fit onto the head of a pin. If inhaled, minute fibrils can work their way deep into the lungs, where they cause asbestosis, lung cancer or mesothelioma, an otherwise unknown cancer of the lining of the lung or the abdominal cavity’. All of the three principal types of asbestos, white, brown and blue are carcinogenic, blue being the most deadly. Mesothelioma is invariably fatal and associated with the inhalation of asbestos fibre, usually blue asbestos. Even the most trivial exposure might result in mesothelioma, which can be latent in the body for forty or more years. Once the cancer becomes active, death follows inexorably within about twelve months.
After witnessing the excruciatingly painful death of a friend who contracted mesothelioma I did some exploring of the aftermath of the mining of blue asbestos in Australia and South Africa. These are some of the photographs that resulted. In this introduction I briefly review a few of the factors at work in that aftermath.
Then and Now - David Goldblatt
David Goldblatt was born in Randfontein in 1930. After a spell in his family’s clothing business, he became a full-time photographer in 1963. In addition to pursuing his own work, he has photographed for magazines, corporations, advertising agencies, and other institutions in South Africa and abroad. His work has been exhibited in South Africa, Europe, Britain, the United States, and Australia. In 1989, Goldblatt founded the Market Photography Workshop in Johannesburg, which has provided young South Africans with an entry into photography. He has won numerous award including the Hasselblad International Foundation Award in Photography in 2006.
YouTube - David Goldblatt Interview
Source Photographic Review presents:
An audio interview with South African photographer David Goldblatt.
Interview is accompanied by a slide show of the photographer's work.
Original interview conducted by Mark Durden.
AMERICANSUBURB X: THEORY - "Interview with Robert Frank: American visions - Photographer and Filmmaker "
Over the past 20 years, photographer and filmmaker Robert Frank has been something of a recluse, a sort of art-world J.D. Salinger, avoiding the public and generally declining requests for interviews. Dividing his time between his old loft on Bleecker Street in Manhattan and a former fisherman's shack on the coast of Nova Scotia, Frank has deliberately eschewed the trappings of celebrity in recent years despite growing acclaim for his work as a photographer--or perhaps because of it. In 1989 he became so fed up with the commercialization of the photography market that he nailed a stack of his rare vintage photographs to a board, tied it up with baling wire, and called that his art work. Such acts of defiance have only added to the legend of Frank's irascibility and desire to be left alone.
AMERICANSUBURB X: THEORY - "Interview with Walker Evans"
THEORY - "Interview with Walker Evans"
Interview with Walker Evans
Conducted by Paul Cummings
In Connecticut
October 13, 1971
In New York City
December 23, 1971
The following oral history transcript is the result of a tape-recorded interview with Walker Evans conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution. The interview took place at the home of Walker Evans in Connecticut on October 13, 1971 and in his apartment in New York City on December 23, 1971.
AMERICANSUBURB X: THEORY: "Modern sublime: The World of Josef Koudelka"
By Bruno Chalifour
"I would like to see everything, to look at everything." (1) These are Josef Koudelka's words quoted by Robert Delpire, his friend, editor and curator. "My photographs, you know them. You have published them, you have exhibited them, then you can tell whether they mean something or not." (2) The fact is Robert Delpire is far from being a novice in the world of photography. Unbeknownst to many, he was the first publisher of Robert Frank's The Americans in 1958, a year before Grove Press in the U.S., and the first director of the Centre National de la Photographie in Paris.
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