Artist Sam Contis has uncovered a “trove of unseen work” by the photographer Dorothea Lange, best known for her photos of the Great Depression:
The result is Day Sleeper, a collection of pictures so contemporary in feel, it’s difficult to reconcile them with the Lange we know. The volume features more than 60 of Lange’s photographs, scanned mostly from contact sheets and negatives licensed by the Oakland Museum, with a smaller number deriving from the Library of Congress and the National Archives. Contis believes 90 percent of the images have never been seen or published. [The Wall Street Journal]
In her memoir Hold Still: A Memoir with Photographs“>Hold Still, Sally Mann writes about the thrill she gets from photography.
There is nothing better than the thrill of holding a great negative, wet with fixer, up to the light. And here’s the important thing: it doesn’t even have to be a great negative. You get the same thrill with any negative, with art, as someone once said, most of what you have to do is show up. The hardest part is setting the camera on the tripod, or making the decision to bring the camera out of the car, or just raising the camera to your face, believing, by those actions, that whatever you find before you, whatever you find there, is going to be good.
And, when you get whatever you get, even if it’s a fluky product of that slipping-glimpser vision that de Konning celebrated, you have made something. Maybe you’ve made something mediocre–there’s plenty of that in any artist’s cabinets–but something mediocre is better than nothing, and often the near misses, as I call them, are the beckoning hands that bring you to perfection just around the blind corner.
The New York Times asked fashion photographer Mario Testino what camera he uses for personal shots when he travels.
NYT: What advice do you have for travelers who want to make sure they get the best pictures from their trip? Are good shots about having the right camera?
Mario Testino: You don’t need a fancy camera to be able to capture anything. The one on your phone is good enough; that’s what I use when I’m not working. Getting the right pictures is about opening your eyes to see what’s magical about a place. I just photographed the city from a window on this floor and saw all these buildings lit in a beautiful way, which is so New York. But the magic is different depending on where you are. It could be the people, the landscape, the animals or even the candle in the room. You just have to be curious, and you’ll find it.
Dominque Browning says she was late to fall in love with photography.
That’s why people take their own pictures when they travel. But I never did — I was intimidated by the equipment — and now it is one of my life’s regrets. Then, a couple of years ago, a friend stuck a camera in my hands, and told me to lose my fear. Today, I cannot leave my house without my simple, no-nonsense Canon point-and-shoot, small enough to fit in an evening bag. And I cannot begin to count the ways in which this little miracle of memory has changed the way I travel.
Photographer Thomas Hawk explains why he is leaving Getty Images to join Stocksy, the photographer co-op.
I don’t care how you look at it, for me, 20% is not fair. It’s too low. I’ve been complaining about it for years, but have just grumbled along because Getty felt like the only game in town for stock photo sales.
Artists and photographers deserve more than 20% payouts. I understand that Getty has the buyers, that Getty is the 800 pound gorilla, but still, photographers deserve a better split than 80/20 against them.
There are other reasons why I’m quitting Getty Images too, though.
Paul Salopek is starting Out of Eden, a seven-year narrative trek “that anthropologists believe was the first path humans took out of Africa to populate the rest of the world,” says Nieman Lab.
But what will likely make the journey more immersive is the multimedia component. Using his video and audio equipment, Salopek said he wants to create a kind of continuous portrait of the world at this point in time. “I’m calling it a narrative transect: Every 100 miles, I’ll methodically take a series of narrative readings that do not vary along the path of the walk,” he said. The plan, as he envisions it, is to stop to take six samples: Ambient sound, photos of the earth and sky, a panorama of his current location, a minute or so of video, and an interview, all in the same method in each location. He sees it as almost a scientific approach, one that can show the changes and similarities in terrain, but also culture and people. And while these transects will make for good multimedia, Salopek said their real value will be as an archive of what the world looked like from 2013 to 2019.
“By the end of seven years, I’ll have created an enduring portrait of a storytelling transect around the world at the end of the millennium,” he said.
Is Vivian Maier the Emily Dickinson of photography? The New York Times in a slideshow of prints from her previously undeveloped rolls says:
Even to those who knew her, Vivian Maier was a cipher. To the children she took care of on Chicago’s wealthy North Shore, she was Mary Poppins, if Mary Poppins carried an old Rolleiﬂex. To the amateur historian who unearthed thousands of negatives at an auction in Chicago in 2007, she was a revelation: an undiscovered Diane Arbus, whose work captured the grit and elegance of city life.