“Roger Ballen caused a storm with his portraits of marginalised and mentally unstable South Africans. Is he merely reflecting a broken society – or exploiting his subjects? Sean O’Hagan meets the controversial photographer”
Via Mario Pires
Sander de Wilde's insight:
I am a big fan of ballen's work, and now he does video too.
We are talking to a range of photographers, photo editors, professors of photography, book designers and others about the physical process of editing images. Selecting, sequencing and laying out photographs - be it for a magazine, book, online site or gallery presentation - seems something of a mysterious process for many photographers and a process that seems perhaps hard to give words to.
From a day at the zoo to post-war rubble, Vishniacs astonishing archive shows life for Jewish people before and after the monstrosities of the second world war See more at the Jewish Museum in Paris until 25 January 2015 Continue reading...
Exactly what I feel all the time. It's already damned difficult to find all these grants, and competitions, find the time to enter, and now you also have to find the money to enter. Even known sites like lensculture etc. Only photographers with time and money can make an entry and win. Is that fair? I don't know a lot of photographers with any of these!-)
“As a former Art Producer, I have always been drawn to personal projects because they are the sole vision of the photographer and not an extension of an art director, photo editor, or graphic designer.”
Via Mario Pires
Positioning yourself in the marketplace so that you are associated with something particular is what branding is, according to Joel Grimes, as he discusses in this latest edition of his Behind The Lens series. Just like we say Kleenex when we mean any facial tissue, or Coke for any cola. In terms of photography, he essentially links branding in field with having a certain look.The biggest compliment for Joel is when someone can see an image and associate it with him even before knowing for certain whose work it was. With as many photographers as there are, this can seem like an insurmountable task, but Joel insists it’s not exactly rocket science. Rather, it’s the combination of focus, time, and repetition. That’s not to say repeating the same thing over and over again will garner you success, but that in order to be associated with something, a look, it usually takes having done it numerous times, and over a lengthy period of time – about 2 – 3 years in his estimation. His humility allows him to say often that he isn’t a creative genius, and that he’s not a brilliant man, but that his love for the creative process and strong work ethic are keys to his success. The passion is what gets him going, and the work ethic allows for it to be executed. Once you are associated with a look, and have that brand association, Grimes stresses that you must understand that there is a shelf life to all branded looks, and you may be lucky enough to get in at the right time with your look, or perhaps the worst time when that look is ‘out’. Either way, you have to make sure the brand is yours, and your vision, so the process of evolution is really personal rebranding, and only if it’s yours will you have the staying power to see it through.......
To celebrate James Nachtwey's 30 years as a contract photographer for TIME, we have organized an exhibit of 54 layouts that have appeared in the magazine featuring his work from Chechnya to Somalia and from Afghanistan to Burma.
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