Part I of this post considered how money affects both the production and distribution of contemporary photography. Part II went on to look at why we have ended up in this predicament, arguing in part that our ability as photographers to create more income than other types of artists also prepares us to be consumers of the new photography secondary services sector. This third and final post will explore both countertrends and evolutions already addressing the problem, includes some ideas for creating a healthier financial environment, and also makes practical suggestions for navigating the current waters aimed particularly at students and younger photographers.
When I first started looking at portrait photography for this week, I came across the work of Nir Arieli. I approached him to be featured, but one question from him set me back, “Where did you come across my work?
The Galerie RTR is presenting a solo exhibition of the Czech photographer Pavel Baňka, with the series Infinity / Beyond Infinity, featuring twenty black-and-white photographs taken in the American Pacific Northwest between 1997 and 1999, along...
William Mortensen (1897 - 1965) was one of the most well known and respected photographers in America in the thirties. He worked primarily in Southern California as a Hollywood and studio portraitist and later taught his methods and ideas to younger generations. (See Larry Lytle's online biography of Mortensen.) Mortensen's obscurity today is mainly due to his championing of Pictorialism, a force within photography that promoted retouching, hand-worked negatives, chemical washes, and an artistic, painterly approach that soon faded with the advance of modernism.
I have been involved in a master class for photographic artists for some time now, but have decided to terminate my involvement. I must admit I find the conversations very interesting, and I really love the focused dialog between artists that really doesn’t happen in every day life. You need to seek out people working in the same medium, but that alone is not enough. They need to be mentally in the same state, and regular weekend retreats enable that. [.....]
But the academic art world, and especially the specialized world of fine art photography coming out of the art schools, tends to be extremely fixated on its own belly button.
Brakhax2. It is a formation of two people, father + son, 4 eyes and 2 brains, that choose to express ourselves at every level. From the right side of reality. The strength and expression of our relationship starts there.
The New York Times spent months and had an entire team working on the creation of Snow Fall, and it shows. But what if I told you that you could recreate the same interactive experience in just about an hour?
Nadia Maria is a photographer from Sao Paulo, Brazil, she started taking pictures when she was 7/8 years old, photographing her dolls, films have always been her favorite game. Since then she studied,and explored photography.
Broomberg & Chanarin: It began with a lucky accident. We stumbled across a remarkable object - Brecht’s personal bible. It caught our attention because it has a photograph of a racing car glued to the cover.
In 1955, Marc Riboud left for what was to become a three-year trip east, vers l’orient, traveling to Turkey, Iran, Afghanistan, Pakistan, India, China, Japan… Thirty years old, Henri Cartier-Bresson became a mentor during that time. “I often found letters from Henri waiting for me at General Delivery in Kabul, in Jaipur, in Madras, in Ahmedabad, or in some Indonesian city whose name I forget.”
Since his teen years, Hoshi has been obsessed by the nightlife of the urban entertainment districts of Tokyo; the vulgar neon signs, the dark trash-filled alleys, and the backdrop of human drama taking place both inside and outside the clubs and bars. Haruto Hoshi was born 1970 in Kanagawa and educated at Contemporary Photography Research Institute.
Zoos are born with intent informative to know and understand animal breeds otherwise unattainable. I wonder today what sense the life of an animal that is born, grows and dies in a cage by the boundaries.
Yet another prize winning photographer has been accused of visual deception. Subsequently, Paul Hansen’s World Press Photo of the Year passed the forensic review that was set up hurriedly–by WPP–to address the scandal, but it has become clear that...
“Identical twins endure a particular struggle with identity. Their search for self is dominated by their twin status – an intense bond defined by conflict, companionship, love, competition, sharing, separation and, of course, a shared physical appearence. It means each twin has two identities – as an individual, and as a twin.