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MediaMash Meet Up: Mulled Wine & Minced Pies

Punch and Pie? close enough. Come join us for another Mediamash Meet up with Mulled wine and Mince Pies.

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3Objectives: Desk space and Studio for Photographers

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Media Storm: A Darkness Visible

A Darkness Visible: Afghanistan by Seamus Murphy

A Darkness Visible: Afghanistan

Based on 14 trips to Afghanistan between 1994 and 2010, A Darkness Visible: Afghanistan is the work of photojournalist Seamus Murphy. His work chronicles a people caught time-and-again in political turmoil, struggling to find their way.

Watch it now

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Blog Watch

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Check out Firefly friend, Kate Nolan's, new artist residency blog from Bad Doberan, Mecklenburg




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Interview: Paul Jeffers

Paul Jeffers - Photographer - michaels Interview Sessions

Check out the interview with Firefly member Paul Jeffers with Michaels in Melbourne.

 

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FBC: New Documentary & Interactive Multimedia

ONF
09 November 2011
View this page online
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k”>The Van Doos in Afghanistan

Mark Remembrance Day with the FBC's brand-new doc The Van Doos in Afghanistan, which follows soldiers serving with the Royal 22e Régiment into the heart of the action. This week, a new clip from the film will be released online each day until Friday, Nov. 11, when the full film will exceptionally be available for free streaming for 24 hours.
Read more

Also check out their new interactive multimedia

Life goes on, even with a brother at war

What is it like for Canadian families coping in contemporary wartime? Toronto artist Kaitlin Jones delves into the issue with this interactive doc exploring her brother's possessions and shared text messages. (Read an interview with Jones here.)

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New York Times Lens Blog: Photographing Conflict for the First Time


Photographing Conflict for the First Time

By MICHAEL KAMBER

When scores of young and inexperienced photographers descended on Libya this year to cover the uprising against Col. Muammar el-Qaddafi’s government, many seasoned conflict photographers were shocked.

“There are an unbelievable number of young kids running around Libya with cameras,” Tim Hetherington, the conflict photographer, said upon his return to the United States from Benghazi in March. (Mr. Hetherington returned the next month to Misurata, where he and Chris Hondros of Getty Images were killed.)

We spoke about it for a few minutes and his words betrayed an equal mix of concern for their safety, unease about their ability to get the story right and irritation that they might end up in his frame.?? Other veteran photographers came back telling the same story — groups of unseasoned photographers, most without flak jackets, helmets or medical kits — running through Libyan streets as shells fell around them.

Though there are no hard numbers, the Libyan war appeared to draw a large number of unprepared and inexperienced photographers to the war zone. Anecdotal evidence suggests hundreds of photographers from around the world flocked to the cities of Ajdabiya, Benghazi and Misurata in the spring of 2011. Many of them were under 30 and under fire for the first time. ?Many paid their own way.

“A lot of young photographers showed up without assignments,” said Ben Lowy, a 32-year-old photographer, of his time in Libya this year. “I would say there were at least 20 young, fresh photographers there with me.”

Lowy, whose career was jump-started by his 2003 work in Iraq, said that the equation was quite simple: Libya offered the unfettered access that photojournalists crave.

DESCRIPTIONBenjamin Lowy/Reportage by Getty ImagesThe body of a Libyan rebel in the Jala Hospital morgue in Benghazi on March 19.

A generation ago there was fierce competition among photographers, newsweeklies and agencies. But the go-to list was smaller and limited to those who could keep their wits while taking pictures, process film in the field and work out the tricky logistics of shipping film from a war zone to stateside.

To me and some of the older crowd, there was a nagging suspicion that these packs of “green” photographers were not taking war seriously — that they were joyriding, with all the casual privilege the term implies. We’d spent years at this — months working the streets of Baghdad and hiking the mountains of Afghanistan. Year after year, I had lugged Pelican cases crammed with gear, spent countless hours trying to sneak bags of film past airport security and now these young photographers were showing up in T-shirts and shooting with iPhones!

The idea of a 20-year-old running around Libya with a cellphone and no flak jacket is, frankly, quite disturbing. It conveys a disrespect for the profession and for the civilians involved and it incorporates a certain callousness, at least in my opinion, toward the gods of war.

One disrespects the war gods at one’s own peril.

Ty Cacek has wanted to cover a war since he was 15. This year he got his chance in Libya. He’s now 20. Though he went to cover the humanitarian crisis, he got within two kilometers of the front.

“There was lots of outgoing fire,” he said. “No one tells you how dramatic massive amounts of machine gun fire is. In photos you just see the puff from the barrel. But when you are there, it’s incredibly shocking and dramatic. I realized that, as someone who was very green, I could not handle the outgoing, much less the incoming. So I decided it was best to leave it to the guys who know what they are doing. I thought, ‘I should leave this to someone with insurance and a guarantee to publish the pics.’ As a freelancer, I just could not do it.”

Michael Christopher Brown was also among those who felt compelled to venture to Libya, where he came under fire for the first time in his life.

“I was living the past couple years in China, I saw Libya on TV and I wanted to go see it for myself,” he said. “I went because Libya was somewhere exciting and visually exotic.”

Mr. Brown, who had worked previously in Russia as a photojournalist, was wounded on two separate occasions in Libya. Once was in April, when Mr. Hondros, 41, and Mr. Hetherington, 40, were killed. The other time, however, he was riding in the back of a truck with Libyan rebels in the middle of a raging battle.

“I knew it was stupid but I wanted to have the experience and see what it felt like,” Mr. Brown said of his decision to go to Libya. “I didn’t feel invincible — I was just living moment to moment. I was thinking, ‘Can I survive this kind of thing?’”

I can count 10 or so colleagues lost to combat — and that was before the deaths of Tim and Chris. We’ve been around long enough to have seen bodies blown apart, burning corpses — to know that it’s not always going to be someone else.?? And for some of us, conflict photography is a calling weighted with a certain gravitas, something to which we’ve devoted a large part of our lives. Many have missed their own children growing up, lost marriages and relationships because of the grueling schedule and attendant emotional fallout.

But everyone — even a conflict photographer — has to start somewhere. I first covered combat in Haiti during my early 20s. Many of the finest photojournalists of my generation started in their mid-20s, too.

I was 23 working in the railroad darkroom in Grand Central in 1987 when I stopped over one day to visit my counterpart, Les Stone, who worked in the subway darkroom.?? I vividly remember Les saying: “Hey man, you want to go to Haiti with me? There’s an election coming up.”

I don’t recall my exact thought process, but certainly it would have been a chance to explore Haiti, to build my portfolio, to become a real photojournalist. And it would be more exciting than working in a darkroom.

I thought I was up on current events and had been following the news and knew all about the clueless Baby Doc, his free-spending wife, Michele, and the brutal Tonton Macoutes. But honestly, I had only the vaguest idea of where Haiti actually was — somewhere south, off the coast of Florida.

Is it any different for today’s generation?

Christopher Morris, one of the leading combat photographers of the past two decades, isn’t cynical about the motivations of the young.

“I don’t think

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most young photographers know the risk,” he said.? ?“But you can’t deny them their chance. Jim Nachtwey and Don McCullin had a first time. Patrick Chauvel had a first time. You don’t get experience until you are under fire. You don’t understand how to protect yourself until you stand behind a wall being shot at.”

As a photographer at Black Star in his mid-20s, Mr. Morris chafed at the bit, trying to get assignments in El Salvador and Beirut. His boss, Howard Chapnick, told him he wasn’t ready.

So Mr. Morris set out for the Philippines on his own.

“I covered the revolution and that kick-started my career,” he said. “I got work from Newsweek, then Time. I got a contract and I got on the wheel as a conflict photographer. The problem is, it’s hard to get off the wheel.”

Mr. Morris believes younger photographers will always flock to war zones. What is important, he said, is for older photographers to mentor them.

Ron Haviv was one such shooter. Though he has covered conflicts from Panama to Darfur to Iraq, he recalls that he was “green, as green as you can be,” when he started out. Today, he credits Mr. Morris’s tutelage as critical to his development.

“We label photographers by conflict,” Mr. Haviv said. “We had the Vietnam generation. Then the Central America and Lebanon generation, then my generation who started in the former Yugoslavia. Then there was nothing until the Iraq and Afghanistan generation. Now we have photographers from the Arab Spring.”

DESCRIPTIONRon Haviv/VIIArkan’s Tigers kill and kick Bosnian Muslim civilians during the first battle for Bosnia in 1992.

Besides, it’s only natural that as the veterans age, newcomers step in.

The way Mr. Morris sees it, many of the young photographers in Libya were smart, particularly the ones who were with Mr. Hetherington and Mr. Hondros when they died.

“My advice is for new photographers is to find more experienced guys when they arrive someplace,” Mr. Morris said. “That group that went to Misurata did the right thing. They hooked with up with Chris and Tim.”

One of those photographers in Misurata was Nicole Tung.?? “I was 24-years-old, I was totally clueless,” she said in a recent interview. “I did not know anything about Libya, aside from Qaddafi. I’d never been to a revolution.”

Arriving late and missing most of the Egyptian revolution, Ms. Tung took a bus to the Libyan border and ran into Peter Bouckaert of Human Rights Watch.?? “He said to me, ‘You’re very young, what are you doing here?’? I said, ‘I’m here to see the revolution.’”

He suggested she shoot for his group, and gave her a ride from the border into Libya. She spent the following months working for HRW and the International Organization for Migration and made contacts with writers and news organizations. She began selling her photos around the world.?? She also began to work closely with older photographers, and with Mr. Hondros from whom, she said, she learned a great deal.

“The first time I was under fire was with Franco Pagetti,” she said. “It was March 2. We went forward to Brega and we were being shelled. There was almost no cover at all. We were near the beach with these tiny dunes. I had no combat training and Franco was pulling me around, telling me to stay down in the sand. He guided me through it.

“I’d never seen dead bodies until Libya,” Ms. Tung said. “I just followed Franco’s instructions and stayed calm. Shells were landing 20 to 30 meters away. Civilians were firing weapons. People were going haywire with weapons.”

The flood of photographers into Libya is also a measure of how technology has changed photography over the past 20 years. Before, only a small circle of people could be relied upon to cover combat using film. Today, digital cameras have made it easier to get the picture and send it home.

“Before, we had serious logistical problems: we couldn’t transmit our photos, we had to develop our film in the field,” Mr. Morris said. “So we were a smaller group. Today, you can put two iPhones in your pocket and do a phenomenal project. The technology has just opened it up.”

Mr. Brown did, in fact, use an iPhone. He dropped his full-size camera and broke it, then decided to use his camera phone for the next seven weeks. Still, Mr. Brown said he was able to sell photos to Fortune magazine and National Geographic.

Whitney Johnson, a photo editor at The New Yorker, said that as the news media has changed, the goals of young photographers have, too — goals that make a self-financed trip into a war zone seem more reasonable.

“They seem much more intent on pursuing their own projects — their own vision — as opposed to trying to work for a newspaper or magazine,” she said of the young photographers who went to Libya. “All those traditional opportunities are diminishing in front of their eyes. It’s a much different landscape today.”

What has not changed are the dangers. Many new conflict photographers in Libya were unequipped to deal with the physical dangers around them — going into the field without helmets, vests or medical kits. That lack of preparedness among young photographers in Libya shocked Sebastian Junger, a close friend and colleague of Mr. Hetherington. In response, he started a journalist medical training program, Reporters Instructed in Saving Colleagues.

“By and large, the photographers are very brave and realistic about the risk,” Mr. Junger said. “But they are fatalists in terms of ‘I might get hit, I might not get hit.’ They hope for the best. But they don’t take care of their medical needs.? Tim bled out and no one around him was trained to react. There are procedures that they need to know. Many are very simple. We can teach them to deal with a lot of injuries long enough to get them to a hospital.”

Though the methods and details change, the danger is ever-present, Mr. Morris said.

“In Iraq, it was car bombs, Sarajevo was random artillery shells,” he said. “They are all different situations, but when you are photographing man trying to kill another man, you are at risk.”

Many of the young photographers have shown since Libya that they are, in fact, serious. They have proven that they were not simply war tourists.

In the end, there has to be a first time for every photographer.

“You have to do it,” Mr. Morris said. “No workshop, no classroom is going to do it. If you survive your first war, you get some experience, if you survive a second one, you get more experienced in warfare and how to act. The young photographers with Tim and Chris were inexperienced. Now, they are very experienced.”

Original Post: http://lens.blogs.nytimes.com/2011/10/25/young-in-libya/

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Time Lightbox: Inside the Mind of a Master Photo Editor

Tuesday, October 4, 2011 | By Kira Pollack |

Kathey Ryan

Courtesy of Aperture Books
A spread showing original layouts as published in the forthcoming book The New York Times Magazine Photographs, a retrospective of the last three decades, edited by Kathy Ryan and published by Aperture.

Click here to find out more!

Assigning a shoot is in many ways, the most important aspect of what photo editors do. Pairing the right photographer with the story is what yields the surprise and delight when the pictures come in.

Kathy Ryan, the Director of Photography at The New York Times Magazine, is famous for cross-assigning—hiring a war photographer to shoot celebrities, or commissioning a large-format landscape photographer to capture news close up. In 2008, Ryan asked photojournalist Paolo Pellegrin to create the Times Magazine’s annual Great Performances portfolio, which offered an intimate look at celebrities who are often highly controlled by publicists. When the U.S. invaded Iraq in 2003, Kathy’s news instincts led her to look into a larger, more global view of refugee camps. She sent Simon Norfolk, a large format, landscape photographer, to record displaced people in three different countries with his 8×10 camera. Any number of photojournalists could have executed that assignment, but Simon’s unique eye found incredible detail in each of those scenes, and distinguished the work from other news pictures.

There’s always a risk in cross-assigning that way, and Kathy’s success in getting provocative but thoughtful pictures is a testament to her remarkable vision. But she’s still a journalist at heart, and aims to portray the world in a surprising way for the viewer. Which is why her more straight-forward, documentary-style commissions are equally as remarkable. Lynsey Addario’s timeless picture of soldiers carrying out their dead comrade after an ambush in Afghanistan in 2008, James Nachtwey’s image of a screaming Romanian child in a dilapidated crib from 1990, Sebastian Salgado’s photograph of Kuwaiti workers installing a new w

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ellhead in 1991—these all stand as some of the greatest photojournalistic work in magazine history.

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Kathy Ryan with the photographer Nadav Kander on the set of Obama's People.

Kathy’s editing style is impeccable. Her nuanced eye leads her to always find the heartbeat in each frame, pulling out incredible compositions and revealing dramatic tension in the image. One of her great strengths—and what I learned most from her during my 11 years at The Magazine—is how thoroughly she edits. I recall her once going through 50-some odd rolls of photojournalist Gilles Peress’ contact sheets. There are 36 frames per roll, which would mean 1,800 frames. I’ve always been impressed by her ability to handle that kind of volume and cut right to the chase by editing to the 10 or 15 best frames, which would eventually get boiled down into an even tighter edit for the magazine.

This book is a window into all aspects of Kathy’s vision. Almost every photograph has a backstory from the photographer, and often from other editors and Kathy herself, where she so thoughtfully articulates the story behind each picture. At the end of the book are all the tearsheets, so you can see the original context in which the pictures ran.

A lot of editors on Kathy’s level have a vision that evolves to a certain point and then stays there. Kathy continues to evolve. She’s gone through different phases of what inspires her, and she constantly grows as an editor.  On September 26, The New York Times Magazine was awarded a News and Documentary Emmy for her incredible production with Sølve Sundsbø, “Fourteen Actors Acting”— a first for the Magazine and a fitting tribute to her ever expanding repertoire.

The New York Times Magazine Photographs, edited by Kathy Ryan is published by Aperture. It features more than four hundred images, organized into five sections: Portraits, Documentary, Photo-Illustration, Style and Projects published in The Magazine over the last three decades.

Read more: http://lightbox.time.com/2011/10/04/inside-the-mind-of-a-master-photo-editor/#ixzz1cN3GcdVD

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35 Magnum Photographers Give Their Advice to Aspiring Photographers

35 Magnum Photographers Give Their Advice to Aspiring Photographers

by ERIC KIM on SEPTEMBER 26, 2011


(Above image copyrighted by Alex Majoli)

Bill Reeves, a passionate photographer who is fortunate enough to have Magnum photographers Eli Reed and Paolo Pellegrin as his mentors, told me about a blog post that Magnum had a while back regarding advice to young photographers. It was put together by Alec Soth, who has done a series of fascinating projects such as his most popular, “Sleeping by the Missisippi” which was done on a 8×10 view camera. An interesting excerpt that Bill put together about Alec is below:

Alec writes up lists of things to shoot. Some normal objects, like suitcases, and others more weird, like unusually tall people. He would tape this list to his steering wheel, and be reminded to shoot those things when he saw them. When he found someone to shoot, he would talk to them, and from that conversation find the next thing to go looking for. An example is he did a portrait of a guy who built model airplanes, and then a portrait of a hooker. The link? She had airplanes painted on her nails. He then went to photograph Charles Lindberg’s childhood home, which led him to photograph Johnny Cash’s boyhood home and so on and so forth.

I found the advice that these Magnum photographers is golden–and have shared it here to spread the love and knowledge. Keep reading to see their inspirational images and advice. You can alsodownload the free PDF here.

Abbas

PhotobucketCopyright: Abbas

What advice would you give young photographers?
Get a good pair of walking shoes and…fall in love

» Abbas’ Magnum Portfolio

Alec Soth

PhotobucketCopyright: Alec Soth

What advice would you give young photographers?
Try everything. Photojournalism, fashion, portraiture, nudes, whatever. You won’t know what kind of photographer you are until you try it. During one summer vacation (in college) I worked for a born-again tabletop photographer. All day long we’d photograph socks and listen to Christian radio. That summer I learned I was neither a studio photographer nor a born-again Christian. Another year I worked for a small suburban newspaper chain and was surprised to learn that I enjoyed assignment photography. Fun is important. You should like the process and the subject. If you are bored or unhappy with your subject it will show up in the pictures. If in your heart of hearts you want to take pictures of kitties, take pictures of kitties.

» Alec Soth’s Magnum Portfolio

Alex Majoli

Copyright: Alex Majoli

What advice would you give young photographers?
I would advise to read a lot of literature and look as little as possible other photographers. Work everyday even without assignments or money, work, work, work with discipline for yourself and not for editors or awards. And also collaborate with people not necessary photographers but people you admire. The key word to learn is participation!

» Alex Majoli’s Magnum Portfolio

Alex Webb

Copyright: Alex Webb

What advice would you give young photographers?
Photograph because you love doing it, because you absolutely have to do it, because the chief reward is going to be the process of doing it. Other rewards — recognition, financial remuneration — come to so few and are so fleeting. And even if you are somewhat successful, there will almost inevitably be stretches of time when you will be ignored, have little income, or — often — both. Certainly there are many other easier ways to make a living in this society. Take photography on as a passion, not a career.

» Alex Webb’s Magnum Portfolio

Alessandra Sanguinetti

PhotobucketCopyright: Alessandra Sanguinetti

What advice would you give young photographers?
I could use some good advice myself…but first thing that springs to mind is Bob Dylan’s': “keep a good head and always carry a light bulb.”

» Alessandra Sanguinetti’s Magnum Portfolio

Bruce Gilden

PhotobucketCopyright: Bruce Gilden

What advice would you give young photographers?
My advice: “Photograph who you are!”

» Bruce Gilden’s Magnum Portfolio

Carl De Keyzer

PhotobucketCopyright: Carl De Keyzer

What advice would you give young photographers?
Give it all you got for at least 5 years and then decide if you got what it takes. Too many great talents give up at the very beginning; the great black hole looming after the comfortable academy or university years is the number one killer of future talent.

» Carl De Keyzer’s Magnum Portfolio

Christopher Anderson

PhotobucketCopyright: Christopher Anderson

What advice would you give young photographers?
Forget about the profession of being a photographer. First be a photographer and maybe the profession will come after. Don’t be in a rush to make pay your rent with your camera. Jimi Hendrix didn’t decide on the career of professional musician before he learned to play guitar. No, he loved music and and created something beautiful and that THEN became a profession. Larry Towell, for instance, was not a “professional” photographer until he was already a “famous” photographer. Make the pictures you feel compelled to make and perhaps that will lead to a career. But if you try to make the career first, you will just make shitty pictures that you don’t care about.

» Christopher Anderson’s Magnum Portfolio

Chris Steele-Perkins

PhotobucketCopyright: Chris Steele-Perkins

What advice would you give young photographers?
1) Never think photography is easy. It’s like poetry in that it’s easy enough to make a few rhymes, but that’s not a good poem.
2) Study photography, see what people have achieved, but learn from it, don’t try photographically to be one of those people
3) Photograph things you really care about, things that really interest you, not things you feel you ought to do.
4) Photograph them in the way you feel is right, not they way you think you ought to
5) Be open to criticism, it can be really helpful, but stick to you core values
6) Study and theory is useful but you learn most by doing. Take photographs, lots of them, be depressed by them, take more, hone your skills and get out there in the world and interact.

» Chris Steele-Perkins’ Magnum Portfolio

Constantine Manos

PhotobucketCopyright: Constantine Manos

What advice would you give young photographers?
Try not to take pictures, which simply show what something looks like. By the way you put the elements of an image together in a frame show us something we have never seen before and will never see again. And remember that catching a moment makes the image even more unique in the stream of time. Also, try to do workshops with photographers whose work you admire, but first ask around to make sure they are good teachers as well as good photographers. Taking good pictures is easy. Making very good pictures is difficult. Making great pictures is almost impossible.

» Constantine Manos’ Magnum Portfolio

David Alan Harvey

Copyright: David Alan Harvey

What advice would you give young photographers?
You must have something to “say”. You must be brutally honest with yourself about this. Think about history , politics, science, literature, music, film, and anthropology. What affects does one discipline have over another? What makes “man” tick? Today , with everyone being able to easily make technically perfect photographs with a cell phone, you need to be an “author”. It is all about authorship, authorship and authorship. Many young photographers come to me and tell me their motivation for being a photographer is to “travel the world” or to “make a name” for themselves. Wrong answers in my opinion. Those are collateral incidentals or perhaps even the disadvantages of being a photographer. Without having tangible ideas , thoughts, feelings, and something almost “literary” to contribute to “the discussion”, today’s photographer will become lost in the sea of mediocrity. Photography is now clearly a language. As with any language, knowing how to spell and write a gramatically correct “sentence” is , of course, necessary. But, more importantly, today’s emerging photographers now must be “visual wordsmiths” with either a clear didactic or an esoteric imperitive. Be a poet, not a technical “writer”. Perhaps more simply put, find a heartfelt personal project. Give yourself the “assignment” you might dream someone would give you. Please remember, you and only you will control your destiny. Believe it, know it, say it.

» David Alan Harvey’s Magnum Portfolio

Donovan Wylie

PhotobucketCopyright: Donovan Wylie

What advice would you give young photographers?
Never stop enjoying it. Try and not “look” for pictures but keep yourself always open and allow yourself to be stimulated by whatever hits you. Work towards a goal…book, exhibition… but more importantly work towards finding your own voice, your subject and your application. Accept that your work is more about you than what you represent, try to bridge that balance, without resorting to photographing your feet! In other words try and translate personal experience into a collective one, it is very possible and I think the key quest of any art form…(study the book “Waffenruhe” by Michael Schmidt) – study all the great photographers and love doing it, start at the beginning, look at early American, and German, then French, then take a close look at artists using photography in the sixties, Rusha etc. Don’t get bogged down in theory, but respect it, read Robert Adams on Photography, in fact embrace Robert Adams generally and you will learn a lot. Read literature, especially early Russian, French and modern American, (and Irish, Joyce), the journey literature has taken as an art form in terms of description and representation is very similar to photography. Don’t rely on style for the sake of it, if you have your own subject, you can adopt other peoples styles if it helps, and visa versa, if you photograph something every one has, then adopt an style, execution, that can only be yours, eventually you will achieve both, your own voice will come through, but it can take time. Study the book ‘How You Look at It’…Important essays there will help you. Always try and be honest with yourself… for example, is the idea of being a photographer more exciting to you than photography itself, if this is true think about becoming an actor…………………..if you genuinely love photography don’t give it up. Understand and enjoy the fact that photography is a unique medium. Respect and work within photography’s limitations, you will go much further.

» Donovan Wylie’s Magnum Portfolio

David Hurn

Copyright: David Hurn

What advice would you give young photographers?
Don’t become a photographer unless its what you ‘have’ to do. It can’t be the easy option. If you become a photographer you will do a lot of walking so buy good shoes.

» David Hurn’s Magnum Portfolio

Dennis Stock

PhotobucketCopyright: Dennis Stock

What advice would you give young photographers?
Young photographers should learn their craft well and don’t expect to make a constant living at taking pictures. But they should FOLLOW THEIR BLISS. Find time to pursue themes that indicate their concerns, big and small. Above all when shooting, MAKE AN ARTICULATE IMAGE.

» Dennis Stock’s Magnum Portfolio

Eli Reed

PhotobucketCopyright: Eli Reed

What advice would you give young photographers?
Stop talking theory when a camera is in their your and do not over-think the image. Lose the ego and let the photograph find you. Observe the life moving like a river around you and realize that the images you make may become part of the collective history of the time that you are living in.

» Eli Reed’s Magnum Portfolio
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2>Elliott Erwitt

PhotobucketCopyright: Elliott Erwitt

What advice would you give young photographers?
Learn the craft (which is not very hard). Carefully study past work of photographers and classic painters. Look and learn from movies. See where you can fit in as a “commercial” photographer. Commercial: meaning working for others and delivering a product on command. But most of all keep your personal photography as your separate hobby. If you are very good and diligent it just may pay off.

» Elliott Erwitt’s Magnum Portfolio

Lise Sarfati

PhotobucketCopyright: Lise Sarfati

What advice would you give young photographers?
Read a lot and create your own universe. Learn how to construct and create a series. Do not be impressed by other works. Try to innovate or simply to be yourself.

» Lise Sarfati’s Magnum Portfolio

Martine Franck

PhotobucketCopyright: Martine Franck

What advice would you give young photographers?
My advice to photographers is to get out there in the field and take photographs but also if they are students to finish their course, learn as many languages as possible, go to movies, read books visit museums, broaden your mind.

» Martine Frank’s Magnum Portfolio

Harry Gruyaert

PhotobucketCopyright: Harry Gruyaert

What advice would you give young photographers?
Be yourself, Don’t copy anybody.

» Harry Gruyaert’s Magnum Portfolio

Hiroji Kubota

PhotobucketCopyright: Hiroji Kubota

What advice would you give young photographers?
Study the works of the greatest photographers like Henri Cartier-Bresson and Andre Kertesz. Try to travel to many parts of the world and understand what a diverse world we live in.

» Hiroji Kubota’s Magnum Portfolio

John Vink

PhotobucketCopyright: John Vink

What advice would you give young photographers?
Don’t stop questioning yourself (it’ll make you less arrogant). Push. Push, scratch, dig… Push further… And stop when you don’t enjoy it anymore… But most of all respect those you photograph…

» John Vink’s Magnum Portfolio

Jonas Bendiksen

PhotobucketCopyright: Jonas Bendiksen

What advice would you give young photographers?

Throw yourself off a cliff. Figuratively speaking, I mean. Photography is a language. Think about what you want to use it to talk about. What are you interested in? What questions do you want to ask? Then, go for it, and throw yourself into talking about that topic, using photography. Make a body of work about that.

» Jonas Bendiksen’s Magnum Portfolio

Larry Towell

PhotobucketCopyright: Larry Towell

What advice would you give young photographers?
Be yourself and look outside of yourself.

» Larry Towell’s Magnum Portfolio

Mark Power

PhotobucketCopyright: Mark Power

What advice would you give young photographers?
Although there are far more people trying to ‘be photographers’ than there were in those heady days of 1980, there are also far more opportunities. Gone are the days, thankfully, when a commercial assignment, or even a picture in a newspaper, can damage the chance of gallery representation.

Yet what is clear is that a number of ‘good pictures’ are no longer enough; today it has to be about ideas, and about the intent of the work. If you have something to say, and even better you have an innovative way of saying it then opportunities are out there.

I sense that photography is concerning itself with real issues again. For some time much of photography seemed to be about itself, and while this was fine, and interesting in some cases, it’s not what photography is really good at. Understand this by familiarising yourself with the rich and wonderful history of our medium. Be proud of it, what it has, and what it can, achieve. Don’t try and reinvent the wheel. Be inspired. Try and copy, if you like (because no one can).

Find a subject you care about. Something that moves you. Something which stirs your rawest emotions. And then have patience.

» Mark Power’s Magnum Portfolio

Martin Parr

PhotobucketCopyright: Martin Parr

What advice would you give young photographers?

Find something you are passionate about, and shoot your way through this obsession with elegance and you will have potential great project.

» Martin Parr’s Magnum Portfolio

Mikhael Subotzky

PhotobucketCopyright: Mikhael Subotzky

What advice would you give young photographers?
Stick to one project for a long time. And keep working on it through many stages of learning, even if it might feel finished. Its the only way to break through what I think are some vital lessons that need to be learnt about story-telling and how to combine images.

» Mikhael Subotzky’s Magnum Portfolio

Olivia Arthur

PhotobucketCopyright: Olivia Arthur

What advice would you give young photographers?
My main piece of advice for young photographers who have just come out of college is to get away from the ‘hubs’ of photography like London and New York. There are so many photographers touting their portfolios round in places like this that people end up fighting to do jobs that are not what they really want, just to make ends meet. It’s the kind of environment that doesn’t fuel anyone’s creativity (well mostly anyway…). My advice: go out and do the things they really want to before getting tied in…if they don’t take the risk at the beginning they’ll find it much harder to come back and take it later on.

» Olivia Arthur’s Magnum Portfolio

Paolo Pellegrin

PhotobucketCopyright: Paolo Pellegrin

What advice would you give young photographers?

I believe photography – like many other things one does in life – is the exact expression of who one is at a given moment: every time you compose and release the shutter you give voice to your thoughts and opinions of the world around you. So other than the obvious patience (photography is a complex medium, a voice which requires time to develop) and perseverance and the necessary humility when dealing with others, I would recommend working to become a more developed and informed individual, a more knowledgeable and engaged citizen. This will translate into a deeper more complex understanding of the world around you, and ultimately into a richer and more meaningful photography.

» Paolo Pellegrin’s Magnum Portfolio

Patrick Zachmann

PhotobucketCopyright: Patrick Zachmann

What advice would you give young photographers?
You have to fight for beeing a photographer! More seriously, my advice for young poeple is to go to exhibitions, to see books and try to do a personal project which they feel they have a unique approach of it because they are close the subject and need to express and understand urgently things about it.
Photography has something to do for me, like with Diane Arbus, with oneself through the others and with unconsciousness (sorry for my English: I mean “l’inconscient”) a psychoanalytic approach. I will answer to a third question because it’s linked with above: why did you become a photographer? I became a photographer because I don’t have memory. It took me quite a long time to understand that trough my personal researches (“Inquest of identity or a Jew in search of his memory”, “Chile. The roads of the memory”, “My father’s memory,” etc…), I was looking for the “missing” pictures. Making my book “Inquest of identity”, I found out that my aunt-my father’s sister who was a Nazi camp survivor- had at her home a picture of my grand-parents deported and killed in Auschwitz that my father never showed to us. Thanks photography, I met my father’s parents that I never knew. That’s what I like with photography. It helps me to understand myself and the past through the present.

» Patrick Zachmann’s Magnum Portfolio

Peter Marlow

PhotobucketCopyright: Peter Marlow

What advice would you give young photographers?
Be yourself, get up early, and don’t try too hard, as whatever is trying to come out will come eventually without any effort, learn to trust your instincts and don’t think about what others will think or about the process too much. Work hard but enjoy it.

» Peter Marlow’s Magnum Portfolio

Steve McCurry

PhotobucketCopyright: Steve McCurry

What advice would you give young photographers?
If you want to be a photographer, you have to photograph. If you look at the photographers’ work you admire, you will find that they have found a particular place or subject, and then have dug deep into it, and carved out something that is special. That takes a lot of dedication, passion, and work.

» Steve McCurry’s Magnum Portfolio

Stuart Franklin

PhotobucketCopyright: Stuart Franklin

What advice would you give young photographers?
Follow your heart and never give up.

» Stuart Franklin’s Magnum Portfolio

Susan Meiselas

PhotobucketCopyright: Susan Meiselas

What advice would you give young photographers?

Dig in and follow your instincts and trust your curiosity

» Susan Meiselas’s Magnum Portfolio

Thomas Dworzak

PhotobucketCopyright: Thomas Dworzak

What advice would you give young photographers?
Try live something intense, at home, abroad… it does not matter. It has to be passionate. And once you know the basics forget about photography.

» Thomas Dworzaks’s Magnum Portfolio

Thomas Hoepker

PhotobucketCopyright: Thomas Hoepker

What advice would you give young photographers?
Avoid all photo schools and courses. Most will give you lofty ideas and twist your mind in one direction. Find your own way to photography, nobody will ask you later if you have a diploma. Visit as many museums as you possibly can. The images you see (painted, drawn, etched or photographed) will stay with you for the rest of your life. They will help you to discover good pictures in real life. Suppress any silly ambitions of becoming a great artist. Being a good photographer is difficult enough.

» Thomas Hoepker’s Magnum Portfolio

Trent Parke

PhotobucketCopyright: Trent Parke


What advice would you give young photographers?
To photograph what is closest to you and the things that you enjoy and have an interest in. Make the whole process as fun and least difficult as possible.

Regarding this document, You can download the PDF here.

Credit: Magnum Photos Blog

via Bill Reeves

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