I was an 18 year-old kid from the sticks who had discovered photography a couple of years before. It seemed like a chance at a little adventure. But those few days in upstate New York were when I started to realize that photography could be something else, something more. Eddie Adams, and the people he brought to the workshop, valued substance and convictions. They spoke of commitment. They believed photographs had great power. I brought that good advice with me right back to the sticks.
The New York Times has assembled a “Convention Storybook,” an online archive of the conventions. It is a look inside the two parties as they sought to articulate their platforms and positions as clearly as possible, without interference.
The “Convention Storybook” presents photographs by Stephen Crowley, Josh Haner, Todd Heisler, Doug Mills, Damon Winter, Mike Appleton, Travis Dove, Edward Linsmier, Luke Sharrett, Robert Stolarik, Max Whitaker and Jim Wilson. Michael Barbaro provided audio and it was produced by Nick Corasaniti, Jacqueline Myint and Cornelius Schmid
This body of work – spanning 11 years and 14 countries – explores the intimate relationship between humanity and its most vital natural resource. Blackmore’s photographs poignantly illustrate the unfolding drama of the global water crisis and how it is affecting those caught up in it; a billion people without access to clean water, another four billion without an adequate supply. Against this dire backdrop, the work also celebrates our primal and spiritual bond with nature’s essential resource.
I arrived at the location with a canvas army backpack filled with ice and a case of Coronas. To my relief, my new compatriots quickly confirmed that I had acted appropriately in the arena of refreshments, then Dan took one look at my vintage World War 2 backpack and told me the exact Allied campaign in which it had been utilized, as well as the year the Swiss switched over from canvas to leather shoulder straps. A crush began to blossom in the springtime of my heart. He said, “C’mon. You guys are gonna love this place.”
Li Zhensheng’s photographs of the Chinese Cultural Revolution are perhaps the most complete and nuanced pictorial account of the decade of turmoil ignited by Mao Zedong.
Stephanie Sinclair’s first encounter with child marriage occurred in 2003 while doing a story on self-immolation in Afghanistan. All the victims she met had been married very young, some only 9 years old, and to much older men. Meigon in Herat told how her drug addict father sold her into marriage when she was 11, and detailed the rape by her husband. That was when Stephanie decided to devote herself to the subject, covering Afghanistan, Nepal, Ethiopia, India and Yemen. She was determined that her images would have an effect on people’s understanding of the issue, highlighting the urgent need to work within these communities for change.
Joseph Michael Lopez’s photography is fundamentally about his New York. He presents street scenes, people and everyday objects without any semblance of objectivity.
The people captured in “Living Periferia” live with it every day of their lives. The violence, the drugs, the weapons, the lost bullets which take dozens of lives every year… The fights, the battles with the police. Some barely escape. Others fall in the street law and to save them from oblivion their friends and family draw enormous pictures of them on the walls of the shantytown. It’s a posthumous tribute to their courage, their way to remember them as local heroes.
Instagram has enjoyed unprecedented success, with more than 80m users that now include some of the world’s most renowned photojournalists. Olivier Laurent speaks with them about Instagram’s potential and how it is shaping the photographic industry
There has been quite a bit of discussion about the Instagram photos of shooting victims at the Empire State Building yesterday, with as much debate on the actual photo threads as off. Much of the discussion involves propriety, with suggestions in media the images were too immediate, too numb, too insensitive.
Grayson: On the opposite side of the spectrum from being subject-proof, do you have photo shoots that fail from time to time?
Gregory: I think they all suck. The picture I was hoping for is never the picture I get, but yeah, I think they fail all the time. Fortunately my clients don’t think they do, so I can continue to have a career. But I just look at them and think, ugh.
There just didn’t seem to be enough hours in the day that I could manage so that the work load of both shooting and file management was done with confidence and competence. In addition, I was exhibiting signs of retrograde camera envy. Besides the digital cameras at hand, I wanted to shoot with my 1940s Speed Graphic, a beautiful old beast of a press camera, with a 1943 aerial recon camera lens on it. I have shot with this camera for a decade, and find that when I look into its amazing viewfinder, I see things I just miss with my digi cams. The old lens, long and fast, sees the world in a very different way than the Canons, and in many ways IS a perfect foil for the smaller more agile counterparts. First, it uses Film. There is no practical affordable digital back for a 4×5” camera at least not yet, and frankly I kind of hope no one develops one anytime soon. There is, in the use of film, film holders, and a semi ancient camera, something very satisfying, very “I have to get this in ONE shot,” something very, shall we say, Romantic.
