Have you heard of Sid Kaplan? If you’ve studied the works of great American photographers, you’ve likely at least seen some of Kaplan’s handiwork. Although he’s a master photographer in his own right, Kaplan had made a name for himself as one of the industry’s finest photo printers. Over the past four or five decades, Kaplan has made prints for some of the biggest names in photography.
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In the early 2000s, NYC-based photographer Christopher Dawson noticed that even though major events were going on around the world, major news organizations in the US often remained fixed on stories involving the rich and famous. Due to the fact that stories involving celebrities often result in more eyeballs and advertising dollars, things like Britney Spears’ custody hearing or Michael Jackson’s molestation trial would attract a disproportionate amount of attention.
Starting 2004, Dawson began to create a series of photos with the camera pointed at the newsmakers rather than the stories. The ongoing project is titled “Coverage.”
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For a recent Music Issue of ESPN Magazine, photographer Mattias Clamer created portraits of 14 famous athletes in the style of iconic album cover photos. Clamer paid a huge amount of attention to detail, which resulted in many of the photos looking nearly identical to the covers they were meant to recreate.
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Self-portraits snapped with an outstretched arm can be seen everywhere these days, from profile pictures on Facebook to filtered shots on Instagram. Among iconic historical photos? Not so much.
However, Cape Town, South Africa-based newspaper Cape Times has launched a brilliant new advertising campaign that imagines what those photos were look like if they had been captured with arm’s-length “selfies”.
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This iconic photograph by LIFE magazine photojournalist J. R. Eyerman turned 60 this past week. Shot at the Paramount Theater in Hollywood in 1952, the image shows the opening-night screening of the first ever full-length, color 3D movie, titled Bwana Devil.
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In 1984, photographer Steve McCurry shot a portrait titled “Afghan Girl” that would become the defining image of his career and one of the most famous National Geographic covers ever published. In 2002, McCurry was able to locate the subject, Sharbat Gula, and learn her story. National Geographic then published a fascinating piece telling the story of the photo, the search, and the subject:
The reunion between the woman with green eyes and the photographer was quiet. On the subject of married women, cultural tradition is strict. She must not look—and certainly must not smile—at a man who is not her husband. She did not smile at McCurry. Her expression, he said, was flat. She cannot understand how her picture has touched so many. She does not know the power of those eyes.
Some interesting facts: McCurry shot the photo on Kodachrome using a Nikon FM2 and Nikkor 105mm f/2.5. Gula’s identity was confirmed by comparing her iris to the Afghan Girl’s. Although she had never seen her famous portrait, Gula distinctly remembers sitting for the photo — it was one of the only times in her life that she had a photo taken of her.
A Life Revealed [National Geographic Magazine]
Image credits: Photographs by Steve McCurry/National Geographic
Best known for his iconic V-J Day in Times Square image, photojournalist Alfred Eisenstaedt snapped some of the most iconic photographs of the 20th century’s most famous faces. LIFE writes that the photographer had an interesting habit: jumping into the frame for self-portraits with his subjects.
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Watermarks are commonly used by photographers these days to protect their work from unauthorized use and distribution. However, they’re not very popular among photo viewers, since they do a lot to detract from the content of the photographs. Photographer Kip Praslowicz was thinking about this earlier this week, and writes,
[...] it seems like many amateur [photographers] spend more time putting elaborate watermarks on their images than they do making images worth stealing [...] I don’t really recall ever seeing the photographs of famous art photographers with a gaudy watermark.
He then decided to see what famous photographs would look like if the photographers behind them had slapped obnoxious watermarks onto them.
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Men at Lunch is an amazing new documentary film by Seán Ó Cualáin that explores the story of one of the most iconic photographs of the 20th century: Lunch atop a Skyscraper. the 1932 photo of eleven construction workers taking a lunch break while sitting on a girder suspended 850 feet above New York City.
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To celebrate its 100th year anniversary, Paramount Pictures gathered together 116 of Hollywood’s most famous stars for an epic group picture. Photographer Art Streiber used 57 strobes to light the scene, and spent just under 6 minutes snapping 63 frames using a Hasselblad H2 and 150mm lens.
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