Polaroids, Holgas & Medium Format: Matt Georges’ Different Approach to the Slopes


While most of the outdoor winter sports photography you see is as clean and crisp as the snow itself, photographer Matt Georges goes for a more moody feeling while out on the slopes. His work with the Polaroid, Holga, and medium format film creates a unique look at the life of the thrill seekers out there.

Although not a formally trained photographer, Matt has been in the photo world most of his adult life, photo-editing for ski magazines, and working his way up to senior in-house photographer. Read on to hear about his technique using these films, his background, and more. Read more…

external Loop Portraits: Romain Laurent Reveals His Tricks —Photojojo


Jun 06, 2014 · ∞ Permalink · No Comments »

Interview: Conversation with Tintype Artist Keliy Anderson-Staley


Kevin, 10×8″ wet-plate collodion tintype, 2010.

Keliy Anderson-Staley is an assistant professor of photography at the University of Houston. Her work has been exhibited at the National Portrait Gallery of the Smithsonian, the California Museum of Photography and the Portland Museum of Art, and is currently on view at the Houston Center for Photography.

Her book of portraits, On a Wet Bough, is forthcoming from Waltz Books. She is represented by Catherine Edelman Gallery. Read more…

Swimming with Fire: BTS Video and Q&A with Two Daredevil Lava Photographers

We’ve introduced you to best friends CJ Kale and Nick Selway before, back in 2012 when we first shared the beautiful photography they created for their gallery “Lava Light Galleries.” But today, you get to go into the water with them while they tell you about capturing amazing shots while, at times, swimming in 110°F water. Read more…

Q&A with Elizabeth Krist, Nat Geo’s Senior Photo Editor

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This piece originally appeared in PhotoShelter’s guide Building Your Outdoor & Adventure Photography Business – for the full article download the guide here.

Elizabeth Krist, Senior Photo Editor at National Geographic, and the rest of the Nat Geo team seek photographers who have an eye for composing striking and electrifying images. But perhaps even more importantly, they want photographers who have a real curiosity about the world around them — those who aren’t afraid to delve into the intellectual and research aspects of an assignment.

To give photographers a better sense of what goes on behind the scenes at National Geographic, Elizabeth provided some insight into what type of work the magazine commissions, how photographers can pitch Nat Geo, and what you can do to get noticed. Read more…

external How to Capture Creative Gold When You’re at the End of Your Rope — Literally. [Interview with Jimmy Chin] —Chase Jarvis

When an alpinist wants to climb the deadliest route in the Himalayas and needs someone to document it, he calls the extreme photographer. When a world class skier tackles an exposed, committed descent in the French Alps, she calls the extreme photographer.

These days, the man who often gets that call is a friend of mine, Jimmy Chin. [...] I reached out to Jimmy recently asking him to share a little more with us about what makes him tick.

May 28, 2014 · ∞ Permalink · No Comments »

Riding the Rails: A Chat with Documentary Photographer Michelle Frankfurter


Born in Jerusalem, Israel, Michelle Frankfurter is a documentary photographer from Takoma Park, MD. Before settling in the Washington, DC area, Frankfurter spent three years living in Nicaragua where she worked as a stringer for the British news agency, Reuters and with the human rights organization Witness For Peace documenting the effects of the contra war on civilians.

Since 2000, Frankfurter has concentrated on the border region between the United States and Mexico, and on themes of migration. Read more…

external Paul Octavious: Merging Art And Photography —The Great Discontent

During my first year of college, I told my teacher that I used clip art. He replied, “We don’t use clip art, we make clip art.” It was surprising to learn that I could create something original instead of using something made by another person—and that was the idea that led me to photography.

May 22, 2014 · ∞ Permalink · No Comments »

external ​How To Shoot A Documentary In A War Zone —Gizmodo

Conflict is dangerous. The biggest risk is being hit by something from relatively far away. A lot of younger shooters and journalists believe that their concern for the victims of conflict will somehow make them bulletproof. It may sound macho, but it’s really not: after bonding with me, my subjects really don’t want to f*** with me too much.

May 21, 2014 · ∞ Permalink · No Comments »

external Photo Camp Kenya: Teaching the Language of Photography

— Alexa Keefe at National Geographic

I was really inspired by how open and vulnerable they were, and how ready to learn something new they were because these guys are all established professionals, and it’s an important reminder that we all need to grow until we are dead. People can get stuck in their ways. It was inspiring to see how game they were. It was really cool.

May 20, 2014 · ∞ Permalink · No Comments »