Asian photographers who live and work in Asia, and especially in developing countries like Myanmar, don’t often get much attention in the West. This is now beginning to change, but only slowly. One such photographer breaking through is Burma’s most famous all around lensman, Kyaw Kyaw Winn.
Sebastião Salgado is a world famous photographer, who needs no introduction. He is certainly the most illustrious photographer in Brazil and, perhaps, one of the most known in the world. Besides authoring more than 30 photo books and winning numerous international awards (World Press Photo, Photography of the Year by the American Society of Magazine, Photojournalist of the Year, Visa Dór, Photography Book of the Year), Salgado was president of the Magnum agency in Europe for several years. However, to enumerate his prizes is not the goal here.
Hello, my name is Rick Keller. I am an amateur photographer who lives in San Diego, CA, one of many readers of Photography Life, and an occasional participant in its forums. Recently, after having participated in the Photography Life Photo Critique forum and Weekly Critique Section, Nasim Mansurov graciously and enthusiastically extended me an invitation to write a guest article for Photography Life to share more of my film work and discuss the tools and methodology that I use. I wholeheartedly accepted the invitation. As I pondered this task, it was immediately apparent that I could write such an article in a variety of ways, each of which might lead to a discussion of additional subtopics in both general photography and film photography. As I contemplated a specific topic to discuss, I felt that it would be more meaningful and productive to write an article that is both interesting and educational as opposed to a prosaic description of a few photographs and the choices of tools. As tempting as it is to delve straight into a detailed description of his/her work in photography, I concluded that I could not in good conscious write a pure show-and-tell article on my film exploits without first describing my general approach to photography – an approach that is grounded in classic teachings, shapes my contemplative process, guides why and how I choose my compositions, and ultimately determines the subsequent process of making the print. Then, and only then, would I feel comfortable writing a dedicated article on my film work. Thus, after much deliberation, this is how I decided to proceed with this invitation. In this essay, I will briefly discuss the history of a fundamental, yet still under-emphasized, concept in photography along with an integral (and underrated) tool that epitomizes this concept. Subsequently, in a follow-up article, I plan to share an essay that chronicles one of my of most cherished photographs and which I believe illustrates the emotional and creative process of visualization. And in a third follow-up article, I will share a select group of photographs that I have made on film and briefly describe the technical process involved and the ancillary services that I use for development, scanning, printing, as well as introduce other subtopics for a future discussion.
In this article, Patrick Downs is providing very useful portrait photography tips to our readers, sharing his experience and beautiful images that he has taken as a professional photographer. As a photojournalist for 25 years and shooting for much longer, I may have a different or expanded definition of what a portrait is, and what it takes to produce them. There are genres of portraiture, of course, such as: editorial, corporate, commercial/retail, documentary or candid, and illustrative portraits. With some you exercise almost no control (e.g., William Albert Allard), and with others almost total control (e.g., Annie Leibovitz). There is no right or wrong answer … the photographer chooses their style! There are many photographers whose portraits I love, and not all of them are pure portrait photographers. Allard is a documentary photographer, but his found portraits are wonderful. Annie L. imposes her will on her subjects, but the results are fascinating and something I’d love to be able to do. If I were to pick my top 3 pure portraitists, it might be Arnold Newman, Gregory Heisler, and Annie L, in no special order. I went back and read my Arnold Newman’s “One Mind’s Eye” the other day, and was struck by how many of his images don’t use “perfect” light by today’s standards, but so many are amazing. This one, of Igor Stravinsky, is still one of the most brilliant photo portraits ever taken, I think. It’s interesting to know that Greg Heisler was one of Newman’s last assistants.
We received a short video from one of our readers, Christopher Tobutt, who wanted us to share the photographic work of an ordinary nanny from Chicago. Vivian Maier turned out to be quite a secret street photographer, even before the term existed. Her work was discovered right before she passed away. Take a look at some of the great shots from her below.