Over the past three or four months I’ve been getting more and more confident about the future of mirrorless. At a recent internal conference I made the point that 100 years have now passed since the first rangefinder and sixty years since the first DSLR. So what is the next revolution? The evolution from DSLR to mirrorless is our main message at Photokina.
Adam Panczuk (1978) lives in Warsaw. In his work he travels to wherever he finds an interesting subject. He studied photography at the Multimedia Communication Department of Academy of Fine Arts in Poznan.
With his projects Panczuk seems to be asking questions, both directly and metaphorically, about identity, consciousness and attitude towards the lives of the people he meets along his way. Adam is a member of Sputnik Photos. Read more…
I think it’s fair to say that people are thinking differently about their lives. They’re understanding that with all the opportunities available to us, we should put our limited time and energy to good use. We should strive! We should live with urgency!
Ken Rosenthal received his MFA in photography from the School of the Art Institute of Chicago in 1993. His artwork is represented by Klompching Gallery, New York; Etherton Gallery, Tucson; Gerald Peters Gallery, Santa Fe; Dolby Chadwick Gallery, San Francisco. Rosenthal’s photographs are in many public and private collections internationally including The George Eastman House, Rochester, NY; Museum of Fine Arts, Houston; Art Institute of Chicago; National Portrait Gallery, London; Smithsonian National Portrait Gallery, Washington DC; Museum of Fine Arts, Boston; and the Wittliff Collections’ Southwest and Mexican Photography Collection, San Marcos, Texas, which recently established a major collection of his work.
Since 2002 his work has been featured in more than 150 solo and group exhibitions internationally. The first publication of Rosenthal’s work, Ken Rosenthal Photographs 2001-2009, was released in 2011, and was included on photo-eye’s Best Books of 2011 list. Read more…
The Relationship of Photography, Poetry and Narrative —Hyperallergic
If I were to place a picture I made in 1998 next to a picture I made this year it would feel like two different and opposing artists. The younger me seems impossibly ideological. I used the camera then to fix a utopian fantasy onto the world, I forced the world to look the way I wanted to see it, and through photography proved that it existed. But even then, unlike most practitioners of staged narrative photographs, my production values where low so my constructions inevitably unraveled as I photographed them, allowing for a slip between being allegorical and the actual event before the camera (i.e, bringing schoolgirls into the woods to be photographed).
The thing that changed in the work was this slow letting go. It seems cliche to say I became more interested in the world than my projections onto the world, the truth is something more crushing and brutal maybe about losing illusions.
Nils Jorgensen: What Was He Thinking? —Blake Andrews
Editor’s Note: Part two of Rfotofolio’s interview with San Francisco photographer Fred Lyon Read more…
I Take Photographs To Make Discoveries For Myself —Try Hard Magazine
I am interested in ideas. I am not interested in doing the same thing over and over again. The reason I take photographs is to make discoveries for myself. Always trying to piece together the puzzle, that’s where I get my rush. Once I find the answer I am looking for that’s usually it for a project, the excitement and energy is gone. I move onto something else, or away from that subject matter until I can view it with fresh eyes again.