Author Archives: Miguel Garcia-Guzman

Rona Chang

© Rona Chang

Moving Forward, Standing Still
The cumulative effect of people on their environment motivates me to record an extended portrait of society in a simple and quiet manner. Photographs bridge local and global experience, the gulfs between present and past, self and world. In Moving Forward, Standing Still, each photograph depicts an arrangement of figures in the landscape, interacting as if on a stage for a marked occasion. As a photographer, I””ve become the audience to which these dynamic moments are revealed. – Rona Chang

Photographer, Filmmaker Tim Hetherington Interview

Very tragic to learn that British Photographer Tim Hetherington was killed ….

Well, war is — it is a very slippery thing to try and get out any truisms about war,” Hetherington said. “I mean, Tim O”Brien, the writer, you know, said the same thing. You know, war is hell, but it”s more than that. And rather than kind of lay down any kind of definitiveness, I just wanted to — to show the texture of it. And that meant not just photographing just the combat, but, as you say, the guys, their time off, when war is often very boring. And it”s boredom punctuated by sheer terror. And I wanted to capture all of that.

see the video interview here.

In Making a Portrait

© Henri Cartier-Bresson. Portrait de Camus, 1947

If, in making a portrait, you hope to grasp the interior silence of a willing victim, it”s very difficult, but you must somehow position the camera between his shirt and his skin. Whereas with pencil drawing, it is up to the artist to have an interior silence.

Henri Cartier Bresson

“École nationale de la chanson” by Benoit Paillé

Great series by Benoit Paillé. Take a look also to Under Night, very nice indeed.

© Benoit Paillé.

© Benoit Paillé.

© Benoit Paillé.

[email protected]” by Porter Gifford

© Porter Gifford

[email protected], taking an individual portrait every day at noon for an entire year of people found around. The most interesting part, is that only TWO people of the 365 refused to have their portrait taken. It is often the case, the chance to photograph unknown people is not limited by the subject but by the photographer”s fear to ask permision. Most people feel flatered from the interest that someone cares to take their picture.

I photographed lots of family, friends and neighbors along the way, but mostly total strangers, who, funnily enough, rarely said “no” to my request to take their picture – only two people in the entire year. – Porter Gifford

See the 365 images here.


Favorite Shoots with Elisabeth Biondi

The New Yorker has a wonderful series of images by a number of photographers that discuss their relationship with Elisabeth Biondi, who has been the photo editor at The New Yorker since 1996, soon after the magazine started to use photography, until his recent departure.

“A photograph is an entity. You don’t crop it, you don’t butcher it, you don’t plaster text over it, you treat it with dignity.”

Photograph by Robert Polidori, from “Gorgeous George,” in the issue of March 26th, 2001.

The execution of this photograph permanently changed my working methodology. To be honest, the subject—a temporary lighting treatment on the George Washington Bridge—is something I would never have contemplated shooting on my own. Probably sensing this, Elisabeth got me involved in a conversation in which we both described our mental projections of what the resulting photograph should look like. By the end of our office session I had actually penciled in a crude drawing of the shot that I was to seek.-Robert Polidori (Read more).