Once Instagram disappears, and it will, what’s next? I’m already getting bored of it. I think it has served its purpose. We need to find another outlet, especially since in a couple of years we’ll all be on a level playing field in terms of the number of followers, so we’ll have to look at something else.
Garrett Grove is the type of photographer it’s easy to be jealous of. Looking through his work you’ll notice an effortlessness to the beauty he captures. This element of his photography is deceiving and likely to cause hours of frustration in your personal photography as you try in vain to achieve the same impressive results he nails on a regular basis.
This dual nature, of ease and awe, is what’s so appealing about his work. We recently got to talk to Garrett to try and figure out how he makes it look so easy, and why it really isn’t.
“Deep inside, at a dark hallway, we stopped in front of a heavy metal door. The engineer indicated I had only a brief moment to shoot. It took him a long minute to open the jammed door. The adrenaline surge was extraordinary. The room was absolutely dark, lit only by our headlamps. Wires were obstructing my view. At the far end of the room I could make out a clock. I was only able to fire off a few frames and wanted to wait for my flash to recharge. But he already pulled me out. I checked my pictures. Out of focus! I begged him to allow me in one more time. He gave me a few more seconds to frame the clock showing 1:23:58 AM — the time when on 26 April, 1986 in the building that housed Energy Block # 4, time stood forever still.”
— Gerd Ludwig on photographing inside reactor #4, where an explosion caused a catastrophic nuclear meltdown. Ludwig describes this as one of the most challenging situations he has ever photographed.
“Capturing Space, Color, and Light in Sao Paulo: Street Photography by Gustavo Minas” —Eric Kim Street Photography
Technical aspects and compositions can be taught in 2 lessons. Here are two tips I would give:
1. There’s a quote from Otto Stupakoff that could do: “When entering a forest, choose the darkest path! That hardest one with no signs! If you’re gifted, you’ll find a pearl instead of a dragon.” I like this quote a lot, because I think that a gift is something you can build up.
2. Another important thing is faith. It might sound a bit mystic, but if you walk around thinking that nothing will happen, that’s what you’ll get.
Brandon Thibodeaux (b.1981) is a photographer based in Dallas, Texas who creates portraits in the documentary tradition. In addition to his assignment work and creative commissions, he explores life in the American south. He is a member of the photography collective MJR, based in New York City. Read more…
“Interview: Sara Lewkowicz on ‘A Portrait of Domestic Violence’” —American Photo Magazine
Grad student and Getty Reportage photographer, Sarah Lewkowicz, won first prize in the 2014 World Press Photo Awards Contemporary Issues category with her series “A Portrait of Domestic Violence.” She shared with us some background on the project.
Krystle Wright has documented her expeditions a little differently from some of her fellow adventure photographers. Using her breadth of knowledge of photojournalism from her Agence France-Presse and Sunday Telegraph newspaper days, Krystle’s images weave together, depicting the full experience of what it’s like to be exploring different lands, from Pakistan to Antarctica.
Here, we talk with Krystle about how she edits down her images for an essay, what kind of gear she takes with her on a journey, and how keeping close tabs on World Press Photo, POYi, NPPA winners helped shape her critical eye. Read more…
If you want my respect, show me an amazing racing photo. Show me that you can make art with a bunch of people telling you where you can and can’t go. Show me that you broke your back under the Florida sun, lugging 30 lbs of camera equipment while you walked the course all day long. Try it when you know that there are 120 people with exactly the same credentials and access who are just dying to take your job.
Because I’ve tried it, and it crushed me.
Monica Denevan’s work has been exhibited internationally — including solo shows at Scott Nichols Gallery (San Francisco) and Tao Gallery (Hong Kong) — has been published in LensWork, and was on the cover of Black+White Photography (UK), among others.
She is represented by Scott Nichols Gallery (San Francisco), Duncan Miller Gallery (Santa Monica), Capital Culture Gallery (London) and Reaves Gallery (New York). Monica lives and works in San Francisco. Read more…