Tag Archives: Amazon

Agencies and Photographers | October 2012

Agencies and Collectives

Congratulations to Reportage by Getty Images for their 5-year anniversary.. Their editors have put together a slideshow to mark the occasion, showcasing work by the agency’s represented and featured photographers. …Includes the below classic by one of my favourites, Shaul Schwarz…

Nairobi, Kenya. 2008. © Shaul Schwarz

Reportage by Getty Images: Five Years Old

E-version of the first issue of the agency’s recently launched Reportage magazine….I picked up a print version in Perpignan…Definitely worth checking out…

Photos © Jonathan Torgovnik

Reportage : Reportage by Getty Images magazine

They have a revamped Tumblr too…

Reportage by Getty Images new Tumblr site

VII: Newsletter November 2012 | Newsletter October 2012

VII Photo’s collaboration with Think Outside the Cell (BJP)

Magnum Photo newsletter

Still two months until the end of the year, but NOOR have already done a Year in Review….

NOOR: Year in Review

NOOR: Newsletter October 2012

NOOR celebrates fifth anniversary with Blurb book project (Blurb blog)

Photo seen on the newsletter © Abbie Trayler-Smith

Panos Pictures Newsletter

Prime Collective: Newsletter October 2012

Terra Project newsletter

This looks terrific. I need to get myself an iPad.

Reuters – The Wider Image App | Reuters’ The Wider Image app (editorsweblog.org) ‘New storytelling for photojournalism’ | Reuters releases Wider Image iPad app (BJP)

Carlyle Group completes Getty Images acquisition (BJP)

Addretouch, post-production


Dedicated website to Stephanie Sinclair’s and Jessica Dimmock’s Too Young To Wed project.

Photo © Stephanie Sinclair

Stephanie Sinclair and Jessica Dimmock : Too Young to Wed

James Nachtwey has a new book out today…

James Nachtwey: Pietas (Contrasto) [link to Amazon]

Group project on Afghanistan by impressive list of contributing photographers

Photo seen on the front page © Jonathan Saruk

Razistan | Land of Secrets

Group project on Scotland…

Document Scotland

Saw a friend mention on Facebook that Stephen Shore just launched his first ever website…If indeed true, certainly worth visiting, no?

Stephen Shore

Manu Brabo

Eric Bouvet

Brian Finke

Mike Berube

Lauren Decicca

Julian Germain

Bharat Sikka

Melissa Cacciola

Vittoria Mentasti

Tarrah Krajnak

Brian Driscoll

Thomas Locke Hobbs

Giulia Marchi

Tadej Znidarcic

Jesse Neider

Zac Baillie

Tim Mitchell

Photo © Misha Friedman

Misha Friedman on Verve

David Chancellor on Verve

Alejandro Kirchuk on Verve

Lexey Swall on Verve

Jeremy Sutton-Hibbert on Verve

Massimiliano Clausi on Verve

Mackenzie Reiss on Verve

Pauline Beugnies on Verve

Alvaro Deprit on Verve

Photo © Andew Burton

Andrew Burton on Verve

Allison Joyce on Verve

Andrew Kelly on Verve

Fara Phoebe Zetzsche on Verve

Nadia Sablin on Verve

Myriam Meloni on Verve

Titus Simoens on Verve

Benedicte Desrus on Verve

Maciej Dakowicz: Cardiff After Dark (book) [link to Amazon]

Toby Smith : showreel

Pete Marovich crowdfunding on Kickstarter for project Shadows of the Gullah

Some website updates…

Antonio Olmos new website | new blog

Cathal McNaughton new website

Kiana Hayeri new website

Conor O’Leary new website

Valentin Bianchi new website

James Arthur Allen new website

Marta Wanatko

Ari Cohen and Advanced Style

Several years ago, I heard from Ari Cohen that my work was being featured on his blog, Advanced Style.  He was showcasing the images of my mother as the blog features stylish women in their prime.  I have checked in with his blog ever since. I find this page especially encouraging!

You might call Ari the Sartorialist of the senior set, activity photographing women and men with distinction on the streets of New York. The blog has become a phenomenon, and is now a book, with and introduction by Maira Kalman and contributions by Dita vonTeese. It’s now available through Amazon.

 Ari has created a Kickstarter Campaign for ADVANCED STYLE: the documentary.

Advanced Style is a documentary film about stylish older women living in New York City.  The film follows the daily lives and inspiring moments of New York’s most fashionable seniors. These portraits of women aging gracefully with tremendous spirit will challenge conventional ideas about beauty, growing old, and Western culture’s increasing obsession with youth.
For three years we have filmed many stylish, older women in New York City, but we need your help to turn this project into a full-length documentary film. Through our discussion of style, we’ve started a grander conversation about embracing age and living life to the fullest. Our *senior* starlets share their tips for choosing accessories, and perhaps more importantly, how they cope with their changing physical appearances and abilities, sex at an older age and, inevitably, death. No topic is off limits.

Success Stories: Candace Gaudiani

I first met Candace Gaudiani at the Fotofest reviews in Houston about six years ago.  She is a striking woman–elegant, self-possessed and smart.  Candace was sharing work from her series, Between Destinations, about her many train travels across the United States.  Since then, I have had the pleasure of seeing Candace at other photography events over the years, and traveled with her in China at the Lishui Photography Festival last fall, where she exhibited her wonderful train work.  I am thrilled to share that Candace now has a monograph of Between Destinations, published by Kehrer Verlag, which includes an extensive essay by Alison Nordström and an interview with Jane Reed and is available through photo-eye and Amazon.

Candace is currently on a book tour and will soon be pulling into Boston on May 30th for a book signing at the Panoptican Gallery, in conjunction with a group show, Planes Trains and Automobiles which runs through July 9th.

Opening in New York City on June 22nd at Photoville, Candace will be exhibiting photographs from 4 train trips.  Viewers will be able to experience her work in a more monumental scale as the exhibition is housed in a shipping container.  She will continue her lectures and book signing into 2013 and her schedule can be found here.

Candace was born in Boston and grew up in Wisconsin and Maine. She holds a B.A., cum laude, in English Literature, and an MBA from Harvard University. Gaudiani studied fine art and portraiture at University of California, Berkeley, and print-making with the print maker for the late Eugene Smith. She lives and works in the San Francisco Bay area.  She has exhibited widely in the U.S. and Europe and her work is held in numerous collections


What drew you to photography? 

As a child in small town Wisconsin, I drew pictures and storyboards
and spent time alone looking at the world through my bedroom windows. By the
time I was in second grade, my father got me a Yashica camera to match his
Rollei (he was a scientist and amateur photographer). Early on, I learned to be
an observer, to look and see, living in a neighborhood without other children,
and also enjoyed riding for hours on my bike through swampland and countryside.
Being behind the camera was a perfect vantage point for me to see the world.

How long have you been working on this project and how many train trips have
you taken?

 When I took up photography seriously again
seventeen years ago – to see what I could do with it before the lights
went out, I told other people’s stories as they told and showed them to
me. My first two series explored the secretive world of body builders and then
the intimate conversations of ordinary people. Seven years ago, I was drawn to
tell my own story directly. My familiar ground involved journey and travel, as
I had been through all forty eight states by the time I was twelve years old,
with my family mostly by car, but some by train. I had traveled extensively as
an adult, too. To see those familiar memories with new eyes, I started
retracing the routes I had been on much earlier, in an
America from the 1950’s. My
journey evolved, as I initially explored photographing from cars (running off
the road several times, negotiating the steering wheel and the camera) and from
planes. None of that produced what I hoped for. So, I boarded trains and, over
the course of those seven years, discovered new ways of seeing and produced
four distinct series. In that evolution, I reinterpreted pictures through train
windows in black and white and in color, in sizes ranging from intimate cards
to larger than life windows on the world. In each case, the nature of the
object impacts how the viewer sees and interacts to the story. In most cases, I
do not include place names or text, as I want the viewer to populate the
pictures with his or her own story and memories and to accompany me on a new
journey. And I realize that as I change my art, my art changes me.
I have
been on over 20
extensive or cross
country train trips and many car and plane trips.

While you are a passenger, are you continually engaged in what’s out the
window, or do you shoot selectively?

When I began, I photographed what
caught my eye, out the passenger window, up track and down track, rather
passively. On my recent rips, I work very hard, covering two stories of the
train, shooting out different windows from varying vantage points, packing a 25
pound backpack and working two cameras. I always work alone, as I want to focus
on what I am seeing out the exit door/dining car/observation car/passenger
seat/hallway windows. It is intense and exciting – what discoveries
lie around the bend? Before trips in recent years, I
preplan, with an eye to filling in what might be missing from my series to date
and to capturing new vistas. For instance, I look at the map of the rail route
and compare it to timetable and geography. At what time will I be at point X?
Will the sun be to my west or east? Will that glare prevent me from shooting
out an east window? What side of the train will the train’s shadow be on?
What will the weather be? –
if it is sunny, the
mood will be one way, if rainy, another. And so on.

What has been your favorite train trip?  
I think my favorite train trips are my very first one and
the most recent one! Each one has covered many states and presented its own
discoveries. I will say there is something special about waking up in the
middle of the night in the desert and seeing more stars than I ever could have
imagined and going back to sleep with the rocking of the train slipping quietly
through the night.

After completing this project, would you still consider train travel?

Always! I like the concept of being
free on the train, yet yielding up to where it is going. A train is always
between destinations, and so are we all in life.

Tell us how the book came about? 

six years into this project, I met at several photography portfolio reviews the
acquisition manager of Kehrer Verlag, a highly respected small art publishing
house in Germany.
As my work progressed and the four series developed, Kehrer expressed an
interest in publishing all of my train pictures, both black and white and color.
That happened in April, 2011. I thought I had one to two years to complete the
book, but the acquisitions manager emailed me three weeks later and asked
“How about publishing in January 2012? And, by the way, we need
specifications, a title, and cover art in three weeks for our catalogue”.
Of course, I said Of Course! Those three weeks were among my most intense
creative efforts. The whole experience with Kehrer was positive. I went to Germany
to be pre press and on press, with guide prints for every image in the book
– all of which were crucial to the outcome for the book. And it is
beautiful, even better than I hoped.

What can you share with emerging photographers about getting their work out
into the world?

Always make time to do work. Be clear and present and see clearly and well when you work. Build from what you are familiar with but see it with new eyes. Always follow what you are drawn to – you will have something of yourself in whatever photo you make, and it will be stronger. Every portrait or photograph is a self-portrait. Move beyond sharing with family and friends to put your work in front of industry experts through portfolio reviews and local colleagues. Mess around. Always do something that scares you. Just when you think you cannot continue a particular photo shoot, hang in there, because that is when the best photos are made. Talk with industry consultants when you feel you are ready for a next step but don’t know how to get there.

What event took your work to the next level?  
 I think there were different events at different stages
and different people. In my book, my Acknowledgments section honors many who
made a difference to me over time. But what in general took my work to the next
Seeing with new eyes, setting aside my accustomed ways
of looking at things, and getting advice from wise colleagues and friends.

What’s next?  

Well, it’s too
early to talk about it, but it might include circling back and supplementing my
earlier series on body builders, titled “Do I Measure Up?…” I remain passionate about storytelling and
photography and issues of impermanence, intimacy, place, and memory.

And finally, what would be your perfect day? 

After checking email, I would take a walk with my dog in
the California
hills, come back and quietly look at and edit new work. I would plan an
upcoming trip. Mostly alone, but a connection with friends,

All-new issue of Lens Culture online now — global photography & photobook reviews

As we enter our 9th year of Lens Culture, we’re releasing our largest issue to date. And more will be added in the coming days and weeks.

Discover great photography and new photobooks touching on an incredibly diverse variety of themes, styles and cultures. Included in this issue, so far:

• On the foggy fringes of explosive growth in China
• A photo diary of a manic road trip around Iceland
• Re-enactment of a real serial murder by teenage Americans
• Centuries of imperialism and war in Afghanistan
• Modern day street photography in Paris
• Steaming mountains of garbage recycled in Phnom Penh
• Dying traditions in Transylvania
• Academic research about Francesca Woodman in Rome
• Grappling with Obsessive Compulsive Disorder
• Extended family-based organized crime in London
• Overstepping the boundaries of appropriation
• A (photo) graphic novel with no linear narrative
• Celebration of supersaturated color and personal whimsy
• Duane Michals photographs Magritte
• Photographic philosophical musings on personal identity post 9/11
• An overview of contemporary Iranian photography
• A reprint of a classic book about sexual identity in 1950s’ Paris
• History of Kodak Girl advertising campaigns
• Up-close photographs of criminal interrogations in the Ukraine

We hope you enjoy this new issue. Be sure to tell all of your friends, too, okay?


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Elaine O’Neil and Julia Hess: Mother Daughter, Posing as Ourselves

Documenting our lives is a complex task. We bring our own perspectives to family dynamics and often times the participants are presented in ways that are not completely authentic. This is not the case with photographer Elaine O’Neil, who made the brave committment to photograph herself and her daughter Julia, every day for five years, using a 4×5 camera and the living room window. The project: Mother Daughter: Posing as Ourselves is now a monograph and an exhibition, currently on view at the Griffin Museum’s Stoneham Atelier Gallery running through May 20th. This project has been featured at the Smithsonian American Art Museum, at Haverford College in Haverford, PA, at the University of the Arts in Philadelphia, and at the School of Visual Arts and Sciences Gallery at the Rochester Institute of Technology, Rochester, NY.

September 9, 1993

The production of her book has an interesting history: ” I submitted our book proposal about the time [Cary] Press Director, David Pankow, was developing a research project centering on the challenges surrounding the accurate reproduction of fine art, silver halide black and white photographs. What I perhaps didn’t state clearly enough is that this project concerned the challenges of making digital replicas, or facsimiles of photographs. During testing and printing, the digital reproduction of every image in the book was measured against the highest quality silver print that I could make. When a print from the book and a silver print, matted to hide the substrate, are set side by side – no one has been able to tell which is which.

This processes is unique to this book. It was determined that it is impracticable, if not impossible to use it as a consumer printing process. The book can be ordered from Amazon or from the publisher, Cary Graphic Arts Press.”

Elaine has exhibited widely and her work can be found in many public and private collections. She also is a noted educator who has lectured and taught in Brazil, England, Israel, Australia, and throughout the United States. She currently teachers graduate fine art at the Rochester Institute of Technology in New York.

September 18, 1993

Mother/Daughter: Posing as Ourselves: In preparation for the phase of life my ten year old daughter, Julia was about to enter, I began to read about the experience of adolescent girls in our culture. In the work of Carol Gilligan and other researchers at Wellesley College’s Stone Center, I found the clearest description of the compelling, unmentioned issues of adolescence—loss of voice, loss of identity and loss of connection.

September 22, 1993

My counter to culture’s effect on Julia’s self-esteem was to create a project which would allow Julia to present herself as truthfully as she wished, while fostering our sense of connection. I suggested, and Julia agreed that for one year we would meet for a few minutes every day in front of the honoring presence of the camera to make a portrait of ourselves. One end of the living room was converted into our studio, with the windows overlooking the backyard garden serving as our the backdrop. The windows were chosen for their graphic pattern, and a middle sash which would serve as a gauge of Julia’s growth. More important was the reference to a specific landscape allowing nature to serve as a metaphor for the impending change in our relationship and in my definition of mother.

January 21, 1994

Ultimately we met in front of that window for five years, until Julia decided that her 16th birthday was the day upon which the project would end. We rarely discussed how we would pose, choosing to remain independent by relating to the camera. The result is 1,800 photographs in which as Susan Stoops, then curator at the Rose Museum at Brandeis stated, “Julia participated fully, demanding her space and the maintenance of autonomy in order to present herself as she wished.” What is also revealed is my need to reassert my autonomy and to reclaim an identity outside of the persona of mother.

March 5, 1994

INTERVIEW with Elaine (Mother)

What were the best and worst parts of creating this project?

I really can’t think of a worst part. I was shocked the day I processed the picture we took on April 13, 1996. When I peeled the Polaroid negative and print apart I saw a picture of my relationship with my mother rather than the one (I thought) I had with my daughter. We rarely discussed anything before we took a picture and I couldn’t remember then, and don’t remember now, what was going on that day or how we got into the pose. But we all think we are so different from our mothers and it is always a shock when one is reminded of how much we are like them.

Second, I was a bit worried when at 15 Julia said she would only pose one more year. By then I couldn’t imagine how life would be when one was not making a picture every day, and wondered how it would alter our relationship. As it turned out, 16 was the perfect age to stop because it is really the age when Julia became engaged with her world beyond the family.

The best part is that it fulfilled one of the original intentions for doing the project. It created a point in every day during which, no matter what else was going on, we did something together which was unique to our relationship.

March 28, 1994

Did this working relationship create a deeper personal relationship between you both?

I don’t know if it created a deeper relationship, but it maintained the relationship we had developed in Julia’s first 12 years while we both were changing.

A second reason I proposed to the project to Julia was my reading about the changes imposed upon girls between the ages of 10 and 13. It is during that stage that they learn to distrust themselves and to deny who they truly are.

In my research I learned that for girls it is a continued relationship with their mother which is crucial to becoming self-actuated women. I was working 60 hours a week, she had her life, and we could have been proverbial ships passing in the night if we didn’t make time to reinforce our relationship.

August 14th, 1994

Have there been any insights that you have realized after the work was created?

The first is understanding that both of us were committed to being as honest as we could in front of the camera. At one point while editing for the book, I got about half way through the images we had chosen and I stopped cold wondering how we ever did this. Until that moment I did not know how powerful a body of work Posing As Ourselves is or how much we had both been willing to reveal. At times I am still amazed by it.

The second is perhaps a reaffirmation of the truth that relationships are sustained by the little things, the daily rituals, the moments forgotten as soon as they happen. When I look at the work now, I understand Julia and I in a completely different way that I would have if I had only pictures of the cultural rituals of Birthdays, Christmas, Halloween and Easter. I don’t think I can explain it any more clearly – all I can say is that it is that I am so happy that we did it and how we did it.

There have been two surprises:

Everyone who sees the work wants to discuss their family – the woman at the copy shop, that man installing the air conditioning, my students, peers, my Representative to Congress.

The work is not gendered. Men and women want to talk about their relationships with their children, or their parents, or their siblings.

October 31, 1994

INTERVIEW with Julia (Daughter)

What were the best and worst parts of creating this project?

In terms of the actual work that was required to complete this project, I have to give all of the credit to my mom and dad. While the project was happening I feel like I was allowed to flit in and out of the picture whenever we decided to take it on a given day. Which was maybe a good thing in that it somewhat reinforces the idea that we were able to come to the picture free to express whatever emotion we were feeling at that moment. But once that moment was done it was my mom that took on the task of organizing and storing the photos, developing, my dad did a lot of the printing. In putting the book together it was again my parents that did so much of the legwork, although I was definitely part of the collaboration when it came to which pictures my mom and I wanted to include.

So I can’t really think of a worst part. There were days that I remember I did not feel like having my picture taken, and I think that comes through in my body language or expression. But as corny as it may be, without those bad days included the truth to the work, the “relateability” to the project would be lost.

The best part of the project I think is having those pictures to go back and look at. Although I can still remember the context for so many of them, what I was doing, why I posed that way, how I was feeling, and thus still have a memory associated with the project, there is still something about having a tangible object to look at that I like, and that adds something. Maybe it is as I discuss in the Epilogue of the book, that my memories of that time spent with my mother are those of an 11 to 16 year old, and as a result are totally concerned with myself. Having the documentation of the memories allows me to see not only myself but my mom as well, what she was doing, how she was feeling.

April, 13, 1995

Did this working relationship create a deeper personal relationship between you both?

Yes, although I know I did not realize it at the time. And even now I don’t know that I could articulate how it brought us closer or give examples. But speaking from the mindset of a teenage girl, it helped that I had a really great group of friends in high school that were really supportive of the project. They all thought it was very cool that I had parents who were photographers, and many of them have had their pictures taken with that camera. So I think that made it easy for me to readily accept the project as a part of my life, and a good part of my life at that.

Having worked on the book with my mom, and having participated together in the speaking engagements, openings and shows that the book has afforded us, we have been able to start a new phase of our relationship to one another as two adult collaborators. Although I have been an adult for a while now, my relationship to my mom is and has been one of a mother and her adult child. It has been a real opportunity to be in a situation where my mom and I see each other in a different way, and as a result are able to view and interpret the work in a different light.

October 15, 1995

Have there been any insights that you have realized after the work was created?

I think the two insights that I have had echo some of the statements that I have mentioned in the other two questions. First, one of the big realizations that I have as I look back at the work is that my relationship to the work has changed with my changes in age. While the project was going on, my first thought and concern when looking at the work was with myself. My eye was immediately drawn there, as I think any teenager’s would be with their own image. As I said in my artist’s statement, which I wrote about six months before the project ended (and I cringe as I go over the words of my 15 year old self) “I could say that this project is a meaningful part of the my life, but it isn’t. Maybe when I’m 30 it will mean more to me than it does now.” As a 15 year old I know that I thought 30 was an eternity away. Now, this year I’ll be turning 30 and my reactions to the images are very different. I think I am able to see the images as a whole – seeing not only myself, but my mom, the window, what is outside of the window. And I think my relationship with the work will keep changing as I get older and hopefully start to have children of my own.

Second, is that not only is my relationship to the work changing with time, but my relationship to my mom has changed as we have been working together on this project as collaborators and co-authors. I think that was an unforeseen consequence of the project on my and my mom’s part, but it has turned out to be an opportunity that I don’t think we would have ever gotten otherwise.

October 31, 1995

April 13, 1996

June 6, 1996

October 31, 1996

June 6, 1997

June 6, 1998

August 6, 1998

Thank you to Elaine and Julia for their sharing their personal insights.

Rodrigo Rodrich

I’ve had the good fortune of hanging out a couple of times with the photographer/correspondent in Iquitos for El Comercio, a major newspaper based in Lima. His name is Rodrigo Rodrich and he maintains a great blog with up-to-date work of his stories and freelance jobs here in the Amazon.

Rodrigo Rodrich – Los Maijunas

New — Lens Culture Curated Online Photobook Shop

We love photobooks, and whenever we can, we browse and buy at our local bookshops. We also shop online for those titles that are hard to find. Now there is a simple way for you to help support Lens Culture while shopping for those hard-to-find photobooks.


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You can find more than 100 photobook reviews on Lens Culture, and we’ve just created an easy way for you to browse and shop right here for a lot of the books we like. We’ll be adding new reviews and new titles as often as we can. Cheers!

Support the Arts at the Aperture Curated Kickstarter Page

Radiant Labs raised 135% of their original goal in 30 days.

When Kickstarter launched in 2008, it more or less revolutionized the way people went about funding their creative or artistic endeavors. It also popularized a new investment sector long-embraced by non-profits that some experts say has the potential to boost our sluggish economy. By making it incredibly accessible for anyone with an idea to reach out to the world for funding or self-publishing (instead of looking for the ‘right’ institution or donor for a grant). Kickstarter also helped unleash a flood of potential investments and start-ups–some worthier than others.

This is why we at Aperture have started our own Curated Kickstarter page, where we showcase the most promising and exciting projects we find to bring creative people and like-minded investors together. As one Kickstarter user told David Pogue of the Times, “Kickstarter is to Amazon as Craigslist is to eBay,” Michael Critz wrote in an email, “It’s a community.”

So far, four of the projects we’ve selected have been successfully funded.

Emily Schiffer’s “See Potential” will install mural-sized documentary photographs in the South Side of Chicago amid urban decay to bring to light the lack of affordable, healthy foods in the neighborhood and “use public art as a platform to transform urban blight into community engagement.”

Radiant Labs in New York earned nearly $3000 over their projected to goal to get their Long Island City photo lab “up and running and keep analog color and black & white darkroom practices accessible to the community.”

Booklyn, a decade-old organization that provides resources for and unites artists looking to create unique and limited edition books and works on paper, raised over $14,000 to turn their “digital database into a functional, friendly, searchable website.”

Photographer Cara Phillips raised $17,000 to publish her first monograph, Singular Beauty, “a photographic exploration of the world of cosmetic surgery.”

Two other projects await the same:

There’s just over a day left to support Anton Orlov’s Photo Palace Bus, a one-time yellow school bus turned mobile studio and darkroom traveling cross-country in support of analog photography.

And the makers of Hot Spots, a new documentary on Magnum photographer Martin Parr, his creative process and biting humor, following him as he travels through the South for a rare museum commission, are looking to reach their $23,000 goal by February 29.