Tuesday, June 30, 2009
Sunday, June 28, 2009
An Air Force F-22 Raptor executes a supersonic flyby photo by Sonar Technician 1st Class Ronald Dejarnett
from its intended use.
"090622-N-7780S-014 GULF OF ALASKA (June 22, 2009) An Air Force F-22
Raptor executes a supersonic flyby over the flight deck of the
aircraft carrier USS John C. Stennis (CVN 74). John C. Stennis is
participating in Northern Edge 2009, a joint exercise focusing on
detecting and tracking units at sea, in the air and on land. (U.S.
Navy photo by Sonar Technician (Surface) 1st Class Ronald
at Parsons school in New York. I needed models for the course – and
one day a 20-year-old called Madonna Ciccone showed up. She was just
another citizen, a girl trying to make ends meet. She was quiet,
taciturn. I'm not sure it was something she enjoyed. She did it for
the money, in this case $30. She was relaxed, composed, did as asked.
Some people are stiff, some are there to do a job, some give a little
more. She was in the middle: she did what she was told but nothing
"Shooting nudes is tricky. What are you trying to do? When is it a
nude; when is it erotica? There is nothing erotic about these
pictures. Erotica suggests sex; these pictures don't suggest sex. They
are studies of the body – it's sculpture with a camera. "
Saturday, June 27, 2009
On portraits: 'I realised a long time ago that outside of commercial work I would never photograph anyone that I didn't want to live with. I didn't think anyone had the right to photograph a stranger. But now I know that there are other ways that people photograph strangers with compassion, either as a reflection of themselves or where they go deep into a relationship in some way or help people.'
On truthfulness: 'At the Tate Gallery I asked an audience of 150 how many of them believed a photograph could be real. Only five put up their hands. That's not a world I thought I would grow into.'
On attitude: 'A real artist doesn't do themselves. I don't do Nan Goldin."
Friday, June 26, 2009
Danielle O'Steen for Express, "This much is true about William
Eggleston, often referred to as the father of color photography: He
works quickly, never stages a photograph and takes only one shot.
Eggleston learned early on that when something caught his eye, he
didn't need rolls of film to capture his mark. "[Starting out], I
would take many frames essentially of the same subject, see, and I
would have to decide which one was the best," Eggleston told Express
while in D.C. for his current retrospective "William Eggleston:
Democratic Camera, Photographs and Video, 1961-2008," at the Corcoran.
"I figured, why not just take one? I'm going to eventually choose, and
I could never make up my mind."
Thursday, June 25, 2009
"Blueeyes Magazine is an online documentary photography magazine
devoted to publishing new long-term project work. It is a labor of
love created by a dedicated group of people who believe in the power
of still photography. The magazine was created in 2003 in response to
declining editorial space for documentary images, following in the
footsteps of the now defunct Untitled Magazine to publish pictures
that support and celebrate passionate and personal photography."
Austria. 1948. © David Seymour/Magnum Photos.
"Try everything. Photojournalism, fashion, portraiture, nudes, whatever. You won't know what kind of photographer you are until you try it. During one summer vacation (in college) I worked for a born-again tabletop photographer. All day long we'd photograph socks and listen to Christian radio. That summer I learned I was neither a studio photographer nor a born-again Christian. Another year I worked for a small suburban newspaper chain and was surprised to learn that I enjoyed assignment photography. Fun is important. You should like the process and the subject. If you are bored or unhappy with your subject it will show up in the pictures. If in your heart of hearts you want to take pictures of kitties, take pictures of kitties."
Peter Ha for CrunchGear, "Megan Fox inadvertently snubbed the
affections of this boy and wants to make it up to him, but the origins
of this boy remain a mystery and have made it difficult for Fox to
contact him. So, Kodak is pitching in $5000 to anyone who can provide
info to help bring the two together. If you have any legit information
to help make this happen then shoot an e-mail to yellowroseboy at
gmail dot com."
Wednesday, June 24, 2009
By Jessica Ravitz for CNN,
"A 14-year-old girl stoops and screams above the body of a Kent State
University student killed in 1970 by an Ohio National Guardsman.
A police chief aims his gun at a Vietcong prisoner's head in 1968,
just before executing him on a Saigon, Vietnam, street.
And in 1989, an unarmed man in Beijing, China, stands defiantly in
front of a column of tanks as they rolled into Tiananmen Square.
These are iconic images, the kinds of shots that changed the way
people viewed history as it unfolded. They put human faces on
conflicts and became rallying cries for movements, inspiring those who
But while these photographs -- chronicling a single, silent moment --
were taken by seasoned photographers, two of whom won Pulitzer Prizes,
this time amateur cell phone video is grabbing worldwide attention. It
captures the death of a young woman named Neda Agha-Soltan,
galvanizing protesters in Iran and shaping perceptions of a land and
people few Westerners know."
Talk to the Newsroom: Michele McNally who oversees photography for The New York Times, is answering questions from readers.
Inventing Marcel Duchamp: The Dynamics of Portraiture - Smithsonian -
National Portrait Gallery
"Throughout a lengthy career, which spanned much of the twentieth
century, Marcel Duchamp recast accepted modes for assembling and
describing identity. In 1917, having recently arrived in the United
States, Duchamp found special significance in a mechanically produced
photo-postcard that depicted him simultaneously from five different
vantage points, thanks to a hinged mirror. The Five-Way Portrait of
Marcel Duchamp suggests the artist’s early recognition of the
multifarious nature of personal identity, something he would continue
to explore throughout his career. Fascinated with the way portraits
shape identity, Duchamp exploited the genre, often turning
conventional codes for portrayal on their head."
Six photographers who, by working on assignment for publications such
as the New Yorker, Esquire, and the New York Times Magazine, bring
their distinctive “take” on contemporary portraiture to a broad
Photographers: Katy Grannan,Jocelyn Lee,Ryan McGinley,Steve
Pyke,Martin Schoeller and Alec Soth
Monday, June 22, 2009
Sunday, June 21, 2009
Related Link: Montreal jazz festival honours the Charlie Parker of photography