Born in Nantes in 1971, he is a French photographer who lives in Paris. His work mostly focus on long term projects because of the human aspect, but also to have better insight and understanding of a situation over time. Photography is a medium that allows him to explore the cultural and sociological aspects of life in order to understand the relationship between the people, their traditions/habits/cultures and their environment. His photographs have been published internationally in various magazines and publication.
This short profile film on Marty Knapp is a personal project. Marty has been photographing the landscapes of Northern California and the surrounding areas near Point Reyes for over 25 years. His work portrays the coastal wilderness area in the classic manner of the great American landscape photographer.
Director: Logan Kelsey
Source (Vertical Online Vimeo)
The Fourth Annual Monster Children Photo Competition has commenced!
We are giving the world’s shutterbugs the chance to enter their best photographic work and win the big bucks. How many big bucks? Lots of big bucks. This year we’re giving away a whopping TWENTY-FIVE THOUSAND DOLLARS! That’s right, $25,000 in prize money is up for grabs—all you have to do is take a really, really, really good photo and we’ll hand over the loot AND feature your work in the Photo Annual! Not only that, we’ll even feature the work of the people who weren’t as good as you (the runners-up) in the Photo Annual too, although their photos will appear significantly smaller than yours. All finalists will have the chance to see their work at the New York City and Sydney Photo Annual exhibitions. Enter here.
“Discover Your Unique Voice in Street Photography”: Melbourne 3-day Intermediate/Advanced Street Photography Workshop (September 5-7th, 2014)
Do you feel that when you look at your street photographs, you have a hard time defining your style? Do you dream of creating unique and eye-popping images that stand out from the crowd? Do you want to find that signature style that you can put your stamp on and be proud to share with the world?
If so, I am excited to invite you to my upcoming 3-day Intermediate/Advanced Street Photography Workshop in Melbourne (September 5-7th, 2014). The workshop will be limited to an intimate class of 12 passionate individuals who want to polish their skills and break outside of their comfort zones.
This unique workshop will give you the opportunity to hone your street photography voice, vision, and style while giving you the skills, knowledge, and confidence to take your street photography to the next level.
Street photography that goes beyond poverty porn
It seems like street photographers are a dime a dozen these days, and with everyone wanting a slice of the curb-side action you better get your story straight. With a trigger-happy, candid quality at its core it can be easy to shoot street-style and lose your message, which is why ex-Dazed bod Sophie Wedgwood's series Hanoi to Havana is a soon-to-blow diamond in the rough. The series, which explores the backstreets and boundary lines of some of the most underpriviliged areas of South America and Asia, has that instinctive essence so unique to street photography that collides with the heady lethargy of Wedgwood's subjects. Taking her cues from the greats like Alex Webb and Jim Goldberg, she injects a powerful social commentary into her work, never trading too hard on the 'poverty porn' card so many street photographers jump at somewhat disingenuously. Still fresh to the game, we've got the scoop on the first in this ongoing series on foreign street cultures.
Fill us in on your photography background? What first made you want to start shooting?
Sophie Wedgwood: I couldn't say when I first started taking photos, but my mum always had old film cameras and disposables lying round the house and I guess I took to it rather intuitively. Then as I got older and began travelling more through Italy and France, I think I was confronted with so much culture and lifestyle that was foreign to me I felt it couldn't go 'unphotographed'.
Diane Arbus sounded giddy, recalling her visit to the projects on Manhattan’s Upper West Side. At the School of Visual Arts in New York last month, the Aperture Foundation was playing a compilation of 1970s audio recordings of the photographer talking about her work at an event dubbed “A Slide Show and Talk by Diane Arbus.” The apartment buildings looked like any other public housing complex in New York, Arbus said, but behind the apartment doors was an unknown world. She found her time with the midgets there “terrific,” she said. (The soundtrack to the slide show is the only original recording of Arbus that exists; it was drawn from an ICP lecture, a class talk at the Westbeth Artist Community and an interview by Studs Terkel for his book Hard Times.)
Arbus giggled. Her voice was loud and clear yet sweet and spontaneous. She talked fast, following her mind’s rapid turns and twists, and suddenly stalled, in awe of her characters. “Oh, and that’s just a family in Brooklyn,” she said. Pointing to the Ideal Marriage book on the shelf to the husband’s right in the photo, she added, “You could tell it didn’t work very well.” More giggles. A few minutes later she recounted her experience of walking around naked at a nudist camp. “I wish I could slip into something comfortable,” she said she’d thought. Her audience roared in the background. Arbus comes across as naïve yet aware of her photographs’ tragic dimensions, their blind spots and their absurdity.
There were six or seven photographers present at the birth of punk, but there will only ever be oneGodlis. That's right—I shit you not—we're talking about a punk photographer whose surname is actually Godlis. Many of those other photographers who were lucky or smart enough to have been shooting on the Bowery in the early 1970s favored the bright flash and sharp focus championed by music journals of the day, but David Godlis, newly arrived from Boston in 1976, began shooting in a romantic and painterly style using long exposures in available light. Drawing on his hero Brassaï’snuanced scenes of Paris nightlife in the 30s, Godlis captured early shows by Blondie, Television, the Ramones, Richard Hell and the Voidoids, Suicide, Talking Heads, Dead Boys, Patti Smith, and more at their now legendary incubator, CBGB.
Yes indeed, you read that correctly. Ferrania, one of the oldest names in film production has risen from the ashes and is going back into production of a number of new films. Come and find out more
I first heard a short while ago that there was a rumour spreading that a film company was going to go back into business. Well of course I needed to find out if this was true, or merely someones flight of fancy. So, using all of the JCH detective skills (google) I managed to find out a bit more. It was true, A company that some may not heave heard of was going to make film again. I managed to track down Nicola Baldini, one of the people behind Ferrania and I managed to get a few words on what is going on and a bit about Ferrania.
Hi Nicola, welcome to JCH, please tell us a little bit about Ferrania and the films.
The name of “Ferrania” is still well known: it’s the name of a famous Italian company that can boast very deep roots and a long industrial history of excellence, in spite of the troubled corporate events of recent years. The story of Ferrania as the protagonist in the Italian film production begins soon after the First World War when the company that manufactured explosives SIPE was converted for the production of celluloid for the cinema (in those days the chemistry of the film base was very similar to that of explosives) and took the name of FILM Ferrania. In the early years of his career, Ferrania soon consolidated its leading position in the domestic market and in 1932 acquired the famous Cappelli firm of Milan.
The post-war years were the most successful for Ferrania,that introduced the color film, the famous “Ferraniacolor”, beside the already famous black and white, the star of many of the masterpieces of the Italian cinema of the time (Pasolini, De Sica). In 1964 the ownership of Ferrania was transferred to the multinational 3M Ferrania; while it opened up new markets, on the other hand it also marked the gradual abandonment by the company of the cinema industry in order to focus solely on consumer photographic industry.
In 1996, Ferrania fell under the control of the company Imation, specially created by 3M and specialized in graphic arts and medical technologies. In 1999 Ferrania was sold to Schroeder Ventures and finally it went back into Italian hands (the Messina Group of Genoa) with the name of Ferrania Technologies. After a series of disposals of property and equipments in conjunction with the crisis of the traditional photographic film, now choked by digital technology, here we are today with the new company FILM Ferrania, that – after the name of the origins – took over the section of Photocolor Ferrania Technologies, aiming to revive the historic brand of Ferrania in the field of analog film.
The line between popular culture and the reality of conflict is no longer clear cut, but where does this leave photography?
Tom Seymour — 26 August 2014
In February 2011, the Arab Spring spread to Libya. After a week-long siege, the town of Ajdabiya fell when French aircraft bombed the Gaddafi-loyalist troops. Here, a local man is pictured thanking God for the victory while standing on a burning tank. He was aware of Mads Nissen, the photographer, so he was actively presenting an image of himself for the camera. Image © Mads Nissen, courtesy Panos Pictures
Before he was killed in Libya, war photographer Tim Hetherington talked of “the feedback loop” – the self-perpetuating link between the reality of conflict and its portrayal in popular culture. But where such fictions were once tightly controlled, the internet has opened the floodgates, creating an ever-increasing circle that is seemingly more gruesome than ever before.
A few months before he died, Hetherington submitted to Vanity Fair a series of photographs of US soldiers fighting in Afghanistan. At the time, Francis Ford Coppola’s Vietnam epic Apocalypse Now was getting a re-release. The designers atVanity Fair mixed the images up, mistakenly using Hetherington’s shots to illustrate a review of the famously conceptual rendering of war.
It was an ironic mistake. Just before the photographer died covering the uprising in Libya, he wrote of what he termed “the feedback loop” –
Stephen shares with us another article, this time about films worth shooting whilst we can still get them. There are a few more I would add to this list, so I might have to put together another post about this topic soon. In the meantime, check out this great guest post.
The 21st Century has not been kind to film photography. As digital has become more and more widespread, the number of films available to analogue snappers has dwindled with every passing year. The casualties have included some of the most iconic films ever produced – like Kodak’s Kodachrome and Ektachrome slide films – and others less notable but still sadly missed, such as Agfa’s original CT 100 Precisa slide (the best film for cross-processing) or Fuji’s fantastic Neopan black-and-white print film. With every passing brand of film, you could believe that analogue photography will soon be no more.
Color The Ace Cafe in north-west London, shot on a Zenit 3M and Agfaphoto CT100 Precisa
Chap Olympiad pipe on a Chinon Memotron and Kodak Tri-X
Since it’s introduction the Fujifilm X10 and X20 has always felt a little bit lacking compared to its X100s brother. It’s always sported an optical viewfinder that was good but did not truly vibe well with the camera’s zoom lens. Now Fujifilm has gone in the opposite direction and given the new X30 a full-time EVF plus a few other upgrades that will make everyone notice its new street shooter.
"It's just an expansion of the high school road trip. You got your drivers license and you're heading out into the unknown." —Jonathan Mehring
The Photographer Series tells the stories behind some of skateboardings most epic images and the dudes who made them.
To see more of Jonathan Mehring's work visit mehringphoto.com
Source (Andrew Norton)
New York’s chaos leads us to look away and hide inside ourselves. It’s impossible to fully digest the complexity of a city where more than a third of the residents hail from abroad, a city where rich and poor work side by side yet know little about each other. You can spend a whole day on its streets and in the end not remember a single person of the thousands you passed. To open your eyes and face—really face—this Moloch is daunting.
New York street photographer Garry Winogrand did face the city, day after day. When he died of cancer in 1984 at the age of 56, he had photographed approximately 2 million people and exposed some 26,000 rolls of film. In his snapshots we meet white, black, and brown people; cripples and beauties; the middle, working, and upper class; couples in love and peeping toms; children, old folks, animals, cops, and soldiers. His stage was the street, the airport, the train, and anything else in motion. “A walking raw nerve,” his third wife, Eileen Adele Hale, called him.
Kodak Alaris has said that it holds “a steady decline in sales and customer usage” responsible for its decision to discontinue Professional BW400CN film.
The company, which formed in September 2013 following Kodak’s reorganisation, said in a statement: “We empathise with the Pro photographers and consumers who use and love this film, but given the significant minimum order quantity necessary to coat more product combined with the very small customer demand, it is a decision we have to make.”
Source (http://www.bjp-online.com/) (http://www.filmsnotdead.com/)
Iconic Swiss photographer takes us on a journey through six images from his archive, photographing figures like Che Guevara chain-smoking in his office in 1963, Pablo Picasso in Cannes in 1957 and American G.I.s being entertained in a brothel in Seoul in 1961.
Burri also recalls his iconic 1960 São Paulo photograph 'Men on a Rooftop, 1960', shooting the San Cristobal Stables in Mexico city in 1976 and the reopening of the Suez Canal in 1974, explaining why modern techniques like photoshopping are getting in the way of our pursuit for the truth....
Directed by Anthony Austin
Interview by Matt Willey
Source (PORT Vimeo)
Brighton-based photographer Matt Henry draws most of his photographic inspiration from America of the 1960s and ’70s. Using props sourced from both the UK and the United States, Henry construct elaborates sets for his staged scenes.
His work plays with memory fragments of American photography, cinema and literature, he explains, to “explore underlying ideological concerns”. The result is images of small town, semi-rural life where dramas of love, sex, family and death are played out.
Henry’s series, Blue River Falls, which was two years in the making, is currently on show at his gallery, One Eyed Jacks, in Brighton. Gemma Padley caught up with him to find out more about his photographic approach and vision.
BJP: How and why did Blue River Falls come about?
MH: It’s personal work so it was self-driven, rather than commissioned, but it’s difficult to isolate the seed as it’s two years since I started it. From memory, I think it was a combination of failed relationships and bingeing on American neo-noir movies like Blood Simple, Blue Velvet, Cape Fear, and recently Drive, as well as the darker elements of the television seriesTwin Peaks [that sparked the series].
Over the next little while, I am looking forward to comparing and contrasting the Leica M9 experience with the Fuji X-Pro1, a rangefinder style camera that in many ways is the Leica M9s contemporary, yet has shown Leica the way forward. Last year, I stepped into the Fuji X-mount waters with the X-Pro1 and its been a revelation in so many ways.
So, when I recently found a Leica M9-P in my hands through a surprising transaction, the opportunity to do a reverse experiment of sorts was in place. My goal here is to seriously give the Leica a chance now that I’ve had a little over a year with Fujis, a camera system that has absolutely rocked my world and placed a series of shots across the bow of camera companies world wide. So, what I hope to do over a few posts is assemble a prospectus of sorts that describes in the context of a year with Fuji cameras, whether or not the Leica systems make sense to invest in.
Will the Leica win my heart back? We’ll see. There is much to be passionate about not only the Leica performance, but also the long heritage of finely tuned cameras and optics.