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Wayne Yang, March 3, 2008 John Vink InterviewWayne Yang talks to John Vink from Magnum in a three part interview on his blog "Eight Diagrams". Read Part 1, Part 2 and Part 3 of the interview. 
PDN Online, February 29, 2008 Eugene Richards On "War is Personal"Documentary photojournalist Eugene Richards has a long career of producing powerful projects on social issues such as drug abuse, mental illness and aging. He is now working on a project on the impact of the Iraq war titled "War is Personal."
Photographie.com, January 29, 2008 Video Interview with Carl De KeyzerA filmed interview with photographer Carl De Keyzer who talks about his project TRINITY and the opening of his exhibition. (In english)
Newsweek, December 10, 2007 Is Photography Dead?How is that even remotely possible? The medium certainly looks alive, well and, if anything, overpopulated. There are hordes of photographers out there, working with back-to-basics pinhole cameras and pixeled images measured in gigabytes, with street photography taken by cell phones and massive photo "shoots" whose crews, complexity and ...
The Guardian, October 27, 2007 The myth and the reality'Tourist photographer' Martin Parr wants to show you what's really going on in the world's favourite holiday destinations.
The Guardian, October 27, 2007 Workshop Martine FranckMagnum photographer and co-founder of the Henri Cartier-Bresson Foundation, Martine Franck maintains the joy of photographing in black and white is that it allows you to concentrate on an image's most rewarding aspects - such as composition, shape, texture and expression. 'It should,' she says, 'be perceived as a release from the distraction of colour...'
The Guardian, October 27, 2007 Access all areasMagnum member Philip Jones Griffiths reveals the highs and lows of front-line photojournalism.
The Guardian, October 27, 2007 To Hollywood and backFrom Bowie to Pavarotti to De Niro, legendary portrait photographer Anton Corbijn recounts the lessons learned from his life's works.
The Guardian, October 27, 2007 Don't believe the hypePhotographer and cultural arbiter Rankin explains how his images seek to break down the barriers of fashion.
The Guardian, October 27, 2007 Trust is the key ...Celebrities can make tricky subjects, but no one knows more about getting them to relax at parties than Richard Young.
CPN, October 1, 2007 In Focus: MaryAnne Golon InterviewAs director of photography at one of the world's most famous news-led magazines, MaryAnne Golon can influence more than most how we see the world. She talks to John McDermott about working at Time magazine and dealing with such a responsibility in these extraordinary times.
The New Yorker / Anthony Lane, September 24, 2007 A Critic at Large: Candid CameraFifty miles north of Frankfurt lies the small German town of Solms. Turn off the main thoroughfare and you find yourself driving down tranquil suburban streets, with detached houses set back from the road, and, on a warm morning in late August, not a soul in sight. Nobody does bourgeois solidity like the Germans: you can imagine coming here for coffee and cakes with your aunt, but that would be the limit of excitement. By the time you reach Oskar-Barnack-Strasse, the town has almost petered out; just before the railway line, however, there is a clutch of industrial buildings, with a red dot on the sign outside. As far as fanfare is concerned, that’s about it. But here is the place to go, if you want to find the most beautiful mechanical objects in the world.
The Times, September 5, 2007 Taking the espresso trainCoffee was the first business of the photographer Sebastiao Salgado. He’s gone back to it for his latest show. Sitting in the basement of his agency in Paris, Sebastiao Salgado is recalling the camera that changed his destiny. The memory is more than three decades old, and yet still vivid. There is a glint in his bright blue eyes, his Picasso-like bald head is leaning across the table, his bushy white eyebrows are raised and he is repeating his favourite adjective – “enormous”. “My wife bought it when she was studying architecture in Paris,” he says in a French softened by his lilting Brazilian accent. “I had never taken a photo in my life but when I handled that camera and looked into it, I got enormous pleasure.”
Artinfo, July 17, 2007 Interview with Martine FranckMartine, though you’ve always made a wide range of photographs, I am very struck by how often you return to images of people who are either alone or who are different in some way. Do you see photography as a tool for describing difference? A tool for describing difference? Maybe I do express difference in my images. I’m sure I express loneliness. I hope I express happiness. But you know, I never think about these things when I photograph, because what I do is so instinctive. I happen to meet people and then I photograph them; I don’t have any strategy about it. It’s not done in any purposeful way.
The New York Times, July 9, 2007 John Szarkowski, Curator of Photography, Dies at 81John Szarkowski, a curator who almost single-handedly elevated photography’s status in the last half-century to that of a fine art, making his case in seminal writings and landmark exhibitions at the Museum of Modern Art in New York, died in on Saturday in Pittsfield, Mass. He was 81.
The Virginia Quarterly Review / Ashley Gilbertson, July 1, 2007 Last PhotographsI didn’t want to go back. When I began reporting from Iraq in 2002, I was still a wild and somewhat naïve twenty-four-year-old kid. Five years later, I was battle-weary. I had been there longer than the American military and had kept returning long after most members of the “coalition of the willing” had pulled out. Iraq had become my initiation, my rite of passage, but instead of granting me a new sense of myself and a new identity, Iraq had become my identity. Without Iraq, I was nothing. Just another photographer hanging around New York. In Iraq, I had a purpose, a mission; I felt important. I didn’t want to go back, but I needed to—and for the worst possible reason: I wasn’t ready for it to end. After twelve months away, I had a craving that only Iraq could satisfy.
Jen Bekman Blog, June 17, 2007 A Picture of The Space Between Us... In the meanwhile, Alec Soth is articulate and on video talking about portraits, and the segments below are really worth a viewing. I’m especially fond of the third, The Ground Glass, where Alec describes a portrait as “A picture of the space between us.” Good stuff.
CPN, May 1, 2007 In Focus: Barbara StaussMare, the German reportage magazine, has just celebrated its 60th edition. Mike Stanton talks to Barbara Stauss, its inspirational photo director, about how her life has influenced Mare's alternative view of the world.
The Japan Times, March 29, 2007 Magnum's 60 years of Tokyo...For an audience familiar with local shooters such as Daido Moriyama, Nobuyoshi Araki and Shomei Tomatsu, who have an innate knowledge of their home town, some of the recent works might feel cliched, concentrating on the easy subject matter that the West obsesses over: Harajuku's cosplayers, Akihabara's otaku (geek) culture, and Tokyo's sex clubs. This may make it seem that -- as well documented as Tokyo already is -- it is difficult for photographers to come without preconceptions; that what often guides them is not an openness to local character and its universality but their own expectations of the differences they will find.
National Press Photographers' Associaton, March 2, 2007 Magnum Photos Invites Newspapers To Participate In 60th AnniversaryAs part of celebrating its 60th anniversary, Magnum Photos is offering daily newspapers the opportunity to participate in “Magnum Front Page,” a chance for editors to pick a photograph from Magnum’s digital image bank of more than 350,000 images and publish it for free on the front page of their paper to illustrate a topic that’s covered in the same issue.
International Herald Tribune, February 28, 2007 Bruce Davidson's 'encounters with the invisible'Perhaps because he is a member of the Magnum agency and wears a sleeveless khaki jacket and a baseball cap, perhaps because he photographs mostly in black and white and avoids what might be called arty subjects (although he would do a book of female nudes if he didn't feel shy about recruiting models), Bruce Davidson is often called a documentary photographer.
National Press Photographers' Association, February 28, 2007 Ziyah Gafic, Christopher Anderson awarded Getty Images Editorial GrantsPhotojournalists Ziyah Gafic from Sarajevo, Bosnia, and Magnum photographer Christopher Anderson of New York have each been named recipients of a $20,000 Getty Images Grant for Editorial Photography, Getty announced last night in New York City.
National Press Photographers' Associaton, February 2, 2007 In Letter To Dead Soldier's Family, Times Apologizes Over ImagesThe New York Times said today that it will apologize to the family of a Texas soldier for publishing a photograph and video showing U.S. Army Staff Sgt. Hector Leija wounded and dying after being shot during combat operations in Baghdad.
Variety, January 26, 2007 Magnum in Berlinale spotlight - Photo agency's films, stills get new lifeMagnum, the iconic photo agency that Henri Cartier-Bresson once described as "a community of thought," had its most intimate connection with the movie industry in 1961 when Eve Arnold was given freedom of the set on John Huston's "The Misfits."
The New York Times, January 19, 2007 Art Review: Innovator and Master, Side by SideIn 1932 the young Henri Cartier-Bresson, lately returned from Africa, saw a photograph of African children charging into waves on a beach. “I must say that it is that very photograph which was for me the spark that set fire to fireworks,” he recalled years later.
Reuters Blog, January 18, 2007 The use of PhotoshopThe Reuters guidelines for image correction: "Photoshop is a highly sophisticated image manipulation programme. We use only a tiny part of its potential capability to format our pictures, crop and size them and balance the tone and colour."
National Press Photographers Association, January 18, 2007 Reuters Concludes Lebanon Photos Investigation, Appoints Editor To Oversee Middle EastToday in London the editor in chief for Reuters reported in his blog a series of actions the news agency has taken in the aftermath of publishing two digitally altered photographs last August during the clash between Israel and Lebanon, including issuing a new code of conduct for the photographers and appointing a new senior editor to supervise photography operations in the Middle East.
The New York Times, December 17, 2006 On Sontag: Essayist as Metaphor and MuseHow to honor the memory of a multifarious figure like Susan Sontag? The Metropolitan Museum’s solution — a small, grave, beautiful photography show — is an apt one, though some people will grumble that Sontag had tributes enough in her time, and doesn’t need, or deserve, any more.
The Guardian, December 6, 2006 Obituary: Leonard FreedThe name of the American Leonard Freed, who has died aged 77, became synonymous with that of the "concerned photographer". In the wake of the second world war, photojournalism became increasingly involved with human rights and, in Freed's case, with civil rights in his homeland.
American Journalism Review, December 1, 2006 Behind BarsThe United States is reported to be holding about 13,000 people in military prisons in Iraq, but only one of them is a Pulitzer Prize winner.
The New York Times, November 18, 2006 Obituary: Peter Wensberg, 77, Promoter of Polaroid CameraPeter Wensberg, a driving force in raising the Polaroid company's profile in the 1970s by broadening its distribution of the ''instant camera'' into department and discount stores while promoting it in memorable commercials, died Nov. 8.
British Journal of Photography, November 15, 2006 US drops copyright movePlans to introduce a new bill that would weaken copyright protection for photographers in the US have been dropped. The Orphan Works Copyright proposal was submitted to the US House and Senate Judiciary Committees at the beginning of February, proposing that works for which the copyright owner cannot be located, including images that have been previously published without a copyright notice or credit, could be used without consent.
The Guardian, November 14, 2006 Portrait of the artist: Rankin, photographerWhat got you started? I saw W Eugene Smith's work at the Barbican art gallery a long time ago. I was completely inspired to be that kind of photographer.
British Journal of Photography, November 13, 2006 Getting personalWould you pay somebody to show them your work? To some the idea would seem ridiculous, but increasingly photographers are hiring gallery spaces, self-publishing or attending folio review weekends as an alternative to traditional promotional activity, such as placing an ad in a source book.
The Guardian, November 12, 2006 Shutter releaseFrom the desolate factory floor at Longbridge to women awaiting cosmetic surgery and boys in rehab ... Alice Fisher introduces the powerful winners of the 2006 Observer Hodge Photographic Award.
The Guardian, November 9, 2006 One pixel is plenty for picturesForget millions of pixels - two American researchers are working on a digital camera that has just one.
British Journal of Photography, November 6, 2006 Don't look backFew would argue that photojournalism has the same importance within British newspapers as when The Sunday Times launched its first Colour Section in 1962 - a ground-breaking mix of hard-hitting pictures, sharply-observed editorial and brilliant art direction.
The Digital Journalist, November 1, 2006 Commentary: After the Platypus, the DelugeRecently, I spent the day at the Dallas Morning News, where David Leeson is in the process of reconfiguring that paper's photojournalism. He has moved 12 photographers from the daily staff into his video journalism production department.
Guernica Magazine, November 1, 2006 WindowSince 1995, Reiner Leist has taken a photograph of lower Manhattan through the window of his loft on 37th Street and Eighth Avenue nearly every day he has been in New York. Primarily shot through a full-plate camera dating to the 1890s, the photographs in this project, Window, are a grainy and human counterpoint to the mountain-scale city views.
The Digital Journalist, November 1, 2006 Commentary: How to Win or Lose an Election by Photo OpOver a period of more than 30 years I covered presidential campaigns and the White House. Regardless of how well planned and well-intentioned the people who undertake to lead the nation are, their success or failure is often determined by photo ops.
The New York Times, October 22, 2006 Art Review: Beauty and the Eye of the PhotographerEdward Weston (1886-1958) was a consummate technician with a marvelous eye for formal beauty -- whether it was the undulating sand dunes of northern California, the naked torso of a young woman or the smooth curves of a green pepper. He once remarked that he was ''old-fashioned enough to believe that beauty, whether in art or nature, exists as an end itself.'
British Journal of Photography, October 18, 2006 Brave new worldOne of the most prescient observations at this year's Visa pour l'Image was Dirck Halstead's prediction that 'in 10 years all (press) photographers will be shooting video'.
Washington Post, October 15, 2006 Photographing the Grief of the AmishThe horror of the Oct. 2 schoolhouse shooting that left five Amish girls dead and five more critically wounded brought into vivid conflict the journalistic value of bringing the news to readers and the human value of wanting privacy in grief.
Poynter Online, October 2, 2006 On the Multimedia Highway with the Reader Behind the WheelSo the idea of podcasting still makes your skin crawl. And let's not get started with blogging... But multimedia storytelling and journalism are forever intertwined. Acknowledging that fact -- and embracing it -- not only makes for good cocktail conversation. It's a necessary career move for any journalist.
National Press Photographers' Association, September 26, 2006 A Letter From Paris: John G. Morris Remembers PerpignanAlso as usual, the challenges posed to the media by the work shown at Perpignan go largely unanswered. What is the point of risking one’s life to cover a war? What good does it do to report on child labor and prostitution? Can photojournalism do more to help fight the battle against AIDS? Does the evidence provided by pictures help to indict war criminals? The answers to these and many equally provocative questions are debatable.
The Washington Post, September 26, 2006 When the Camera LiesThomas Hoepker's photo "Brooklyn, New York, September 11, 2001" has achieved a kind of notoriety. It shows five young New Yorkers on that vividly beautiful late summer day, seemingly sunning themselves on the Brooklyn waterfront as the collapsed World Trade Center smolders in the background.
British Journal of Photography, September 20, 2006 Swinging both waysAccording to Kodak, two thirds of professional photographers shoot both film and digital.
Poynter Online, September 16, 2006 Photojournalism in the age of scrutinyPhotojournalism's new age of scrutiny has been making news on various fronts in recent weeks. A leading organization of visual journalists, the Society for News Design, has adopted a new ethics code, just as two new controversies emerged that questioned the integrity of photographic images.
The New York Times, September 10, 2006 Picturing the Conflict: Perspective Versus "Balance"Few issues elicit complaints from readers like the coverage of the Middle East, and a surge in protests was triggered by The Times’s use of pictures to convey the story of the recent Hezbollah-Israel conflict. Most of the complaining readers argued that the pictures favored Hezbollah, the Lebanese guerrilla group, but some — especially early in the fighting — felt the paper sided with Israel.
The New York Times, August 25, 2006 Art Review: Walker Evans. Or Is It?...I dawdle over this familiar ground because the digitally produced prints of classic Walker Evans photographs, now at the UBS Art Gallery, are so seductive and luxurious — velvety, full of rich detail, poster-size in a few cases and generally cinematic — that they raise some basic issues about the nature of photography.
The New York Times, August 10, 2006 After Long Stress, Newsman in New Orleans UnravelsOn the morning after Hurricane Katrina, when members of The Times-Picayune’s staff found themselves marooned in its flooded building here, John McCusker refused to join most of his colleagues in relocating to a remote newsroom in Baton Rouge.
The Guardian, August 8, 2006 Should you back up your life?Nearly 90% of us now own digital cameras, but one in three of us don't back up our photos and three in ten never print any out. No big deal, you might think.
The Observer, July 16, 2006 Life through thick and thinOne of the defining aspects of our time is that there are too many images. In an age of visual overload it is hard to find a photograph that stops you in your tracks. After three days at the 37th Rencontres d'Arles festival, which opened last week and continues until September, this is kind of thought can sap the soul. Then, half-dazed, you wander into another room, and the world stops
British Journal of Photography, July 15, 2006 The Looking Glass WomanIlse Bing was not the most celebrated of the women photographers who defined photography in its first golden age in Paris in the 1930s but her work in that milieu was as significant as any other and more significant than most...
American Photo, July 1, 2006 Interview with Francois Hebel, Director of ArlesWhen François Hébel took over as director of the Rencontres d'Arles photography festival in 2001, the franchise was near financial ruin and on the verge of collapse.
The Digital Journalist, July 1, 2006 One really great idea and one really stupid ideaWhen people are faced with a natural disaster and an evacuation they grab the kids, the dog, some clothes and little else before they bundle everything into the car or truck and hit the road. When they return to the scene of their damaged or destroyed house they soon realize that just about everything inside that has been ruined is replaceable. Everything except the family photos.
British Journal of Photography, June 28, 2006 Mexican stand-off'The phenomenon of globalisation is not recent, as protestors tend to assume, but began 40,000 years ago, when the first humans left the African plains to populate the world,' writes Mexican author and critic Rogelio Villarreal in his introduction to Martin Parr's latest book, Mexico.
The New York Times, June 23, 2006 Photography's Evolution at Philadelphia MuseumHardly anyone today doubts that photographs can be works of art, but that has not always been so. It took tireless campaigning by certain passionate advocates to convince the world that photography could be more than an entertaining novelty or a useful recording tool.
Mother Jones, June 14, 2006 War Porn and IraqCommentary: Photographing war was the province of photojournalists. Now the soldiers themselves are photographers.
The New York Times, June 9, 2006 Art Review: 'Unknown Weegee,' on Photographer Who Made the Night Noir"...It's a zoo out there. Two deli stickups at 12 on the dot; one of the perps getting plugged. I got the picture. Roulette joint bust on East 68th. Society types. You shoulda seen the penguins run. Three a.m.: Brooklyn. Car crash. Kids. Bad."
The New York Times, June 4, 2006 Art Review: Photographs So Electrifying, You Can Feel ThemIt's difficult to imagine, a century after the fact, the sense of excitement and new opportunity that electricity brought to modern life. But the Dada artist Man Ray, born in Philadelphia then based in Paris and later Hollywood, captured part of that moment in prints and portfolios of photographs...
The New York Times, June 2, 2006 Art in Review: New York Street PhotographyGarry Winogrand, Diane Arbus, Joel Meyerowitz -- more or less pioneers of the street genre -- and lesser-known practitioners, Thomas Struth, William Gedney and Roy Colmer(...) were active in the prime time for street photography, the 1960's and 70's. They fit one definition of street photographer: like photojournalists they are documentarians who work in public places, but they are as concerned with conveying their own visions as they are in depicting their subjects.
British Journal of Photography, May 31, 2006 Stock returnsLove it or hate it, stock imagery is an important source of income to photographers - yet many still haven't grasped the money-making essentials.
The New York Times, May 21, 2006 Anderson Cooper: Strangers When We Meet"Nothing stays with me for very long. Over the last 15 years of traveling, I've had talismans and touchstones and all manner of lucky charms: a smooth stone from Somalia; a Buddhist pendant from Bangkok. Inevitably, I end up losing them. It used to upset me, but now I rather like it that way. It's as if the items were never really mine. I'm just holding them until they're needed somewhere else. This photograph, however, has never left me."
, May 16, 2006 Poynter OnlineThe latest edition of the Digital Journalist, a monthly web magazine for visual journalists, features over 400 photographs produced by photojournalists during the war in Iraq. While the photographs themselves are powerful, it's the photographers' written accounts that capture the depth of their experiences and provide additional dimension to what they captured through the lens.
The Digital Journalist, May 1, 2006 WTF Mate? Magazine? Newspaper?I remember submitting a portfolio to a now-really-well-known-newspaper-AME for a job oh…20 or so years ago. His (or her) comment was, "You're a very good magazine photographer but we're looking for a newspaper photographer." My reply, realizing that there was no-chance-in-hell-of-my-getting-the-job was, "Newspaper photographer? I suppose I could re-print them all in black and white if it'd make you happy…." Needless to say the job was not eventually mine.
British Journal of Photography, April 19, 2006 Hard boiled, soft centreForget La Dolce Vita; the original paparazzo might have been an invention in Fellini's seminal 1960s film, but the real thing was to be found patrolling the streets of New York two decades earlier. His name was Arthur Fellig, better known as Weegee.
The Digital Journalist, April 1, 2006 Beyond Words: Photographers of WarThe biggest myth about photojournalists is that we're all cowboys." That's a paraphrase of what a French photographer told me when I interviewed him for a CBC television documentary, "Beyond Words: Photographers of War." He later sent me some photos of himself on assignments, and one of them showed him grinning, red bandana, sunglasses and both arms raised with an automatic rifle hoisted over his head. The statement and the photo didn't seem to mesh.
The Digital Journalist, March 1, 2006 Letters from Central America: It Ain't Dance Fever But...It's tough for editors sometimes because you don't want to say "I'd like this portrait to be in a sort of Rolling-Stone-Vanity-Fair style" because your photographer might leave his or her own creativity at home when they go out on the assignment and do a portrait in exactly that style. Sure, it might look good but it'd be a little soul-destroying for the shooter and an unhappy photographer is, well, an unhappy photographer.
The New York Times, January 13, 2006 Photographer With a Knack for Finding the Moment"Taking pictures means holding your breath with all your faculties concentrated on capturing a fleeting reality," declares the pioneering photojournalist Henri Cartier-Bresson near the end of Heinz Butler's austere documentary portrait, "Henri Cartier-Bresson: The Impassioned Eye."
The Guardian, October 10, 2005 Reviewing ArbusWe've seen them all hundreds of times. So why would anyone spend £8 to see Diane Arbus's photographs again?
The Guardian, October 30, 2004 Vacuum of the visibleYou know that photograph of the student standing in front of the tank in Tiananmen Square, but do you know who took it? For most people - me included, until I looked it up a few minutes ago - this famous photograph is anonymous, identified by what it shows, not by who took it.
The Guardian, October 8, 2004 Che Guevara PostcardsMartin Parr has really started something. His little packages (Boring Postcards, Couples and Families, etc) have encouraged fine art publishers to knock out gimmicky little numbers by the truckload, just right for that impulsive buy in the local fancy bookshop.
American Journalism Review, October 1, 2004 Images of WarThis year the American news media have displayed pictures of burned bodies in Fallujah, flag-draped coffins coming home from Iraq and the abuse of Iraqi prisoners at Abu Ghraib. But were they too squeamish when it came to showing the carnage of war during the invasion last year?
The Observer, July 25, 2004 Out of the ordinaryHe's a softly spoken gentleman from the Deep South, with a taste for bourbon and antique guns and a reputation as a 'hellraiser'. He's also the photographer whose extraordinary ability to find beauty in the banal has transformed the way we look at the world. Sean O'Hagan travels to America to meet William Eggleston
The Guardian, January 31, 2004 The big pictureLuc Delahaye made his name as a photojournalist and war photographer. He is still immersed in the fray, but now the aim of his vast panoramas is capturing history - making art. What is the distinction, Peter Lennon asks him.
The Guardian, December 19, 2003 Review: MagnumMichael Ignatieff neatly sums it up in his introduction: "Its best work was always both art and documentation, poetry and prose." Founded in 1947, the Magnum agency has provided house-room for a stream of some of the greatest photojournalists of our time, and this book - originally published in 1999 to mark Magnum's 50th anniversary and now reissued in soft covers - provides ample proof.
Mother Jones, October 23, 2003 Please, No Pictures!Since the end of the Vietnam War, presidents have worried that their military actions would lose support once the public glimpsed the remains of U.S. soldiers arriving at air bases in flag-draped caskets. To this problem, the Bush administration has found a simple solution: It has ended the public dissemination of such images by banning news coverage and photography of dead soldiers' homecomings on all military bases.
Poynter Online, April 14, 2003 Did Powerful Image Present an Unbalanced View?Last week a photo of an Iraqi man sobbing over his six dead children, his wife, two brothers, and his parents -- killed in an American air bombing -- dominated The Oregonian's front page. It was the same day the newsroom |
