Photographer Arne Svenson lives on the second floor of an apartment building in the Tribeca neighborhood of New York City. For his project “The Neighbors,” he pointed his camera at a luxury apartment building across the street and secretly photographed its inhabitants through open windows.
Those photographs are now being sold for thousands of dollars at a gallery in NYC, but it turns out the subjects aren’t very happy with having their images stealthily snapped and sold.
A brief video highlighting new features being rolled out to users of Google+ Photos this week:
The way film photographers feel about digital photographers may be the way daguerreotype photographers feel about the film guys. Working with dangerous chemicals, buffing out silver coated plates, spending an entire day preparing for, taking and developing one shot; that’s what daguerreotype photographers love to do. It’s the difference between “crafting a photograph” and “just snapping away.”
In this short film, Seattle-based photog Dan Carrillo talks about that craftsmanship, as well as the beauty and permanence of daguerreotype photography that keeps him doing it when others say “why bother.”
Richard Holmes chooses French portrait photographer Félix Nadar as his ‘Hero’ in The Guardian’s weekly Review feature:
Nadar was the man who introduced me to Paris, and to romanticism. He was the first great French portrait photographer of the 19th century, and a master of visual biography. His Panthéon Nadar of 1854 was originally a collection of nearly 300 literary and artistic caricatures, drawn in an arch, psychologically penetrating style later inherited by the American cartoonist David Levine. By 1870, it had become a fantastic photographic archive, in which every writer, painter, musician, dancer, singer and actor of note in the second empire – from Victor Hugo to Édouard Manet, Hector Berlioz to Sarah Bernhardt – was not merely recorded, but shrewdly observed. His sequence of photographs of his friend Charles Baudelaire, for example, is in effect a life study of the poet…
Despite his rackety life, he lived to be 89. He was in some ways his own best creation, and “Nadar” was both an artistic signature and a shrewd commercial logo. His real name was Gaspard-Félix Tournachon: a tall, exuberant man with a vibrant circle of friends and a beloved wife. Jules Verne called him “an Icarus with replaceable wings”. So this brooding self-portrait, taken in 1854, is a typical Nadar paradox. Never trust a biographer on the subject of himself. I shall always be grateful to him.
A short video of Canadian portrait photographer Christopher Wahl. Worth watching.
The best part of this piece is the Q&A at the end
The godfather of colour photography, William Eggleston, inspired a generation – from David Lynch to Juergen Teller. As the 73-year-old from Memphis is honoured by the Sony World Photography Awards, and Tate Modern open a permanent exhibition of his work, Michael Glover pays tribute to his genius plus fans, critics and fellow artists put questions to him.
Michael Jang, a well-known photographer that has worked with the likes of Jimi Hendrix and Ronald Reagan, is showing a collection of photographs that hits closer to home. In the 1970’s, while still a student in California, Jang began taking photos of his Chinese-American family.
The photographs show the intimacy of family but also the suburban experience of the 1970’s, a quintessential time for ‘Americana’ culture.
For Jang, who was influenced by the street photographer Lee Friedlander, the opportunity to capture his family proved fruitful. ‘Every day was a new visual discovery.’
This collection of photographs will be on display at the Stephen Wirtz Gallery in San Francisco on May 3.
Capturing the Light: The Birth of Photography, by Roger Watson and Helen Rappaport – reviewed by Francis Hodgson (photography critic for the FT)
This is not a book for specialist historians – who will find little that is new – but rather a lively introduction to the subject, illustrated with vivid examples of the early photographers’ art, including a striking 1839 picture of an American named Robert Cornelius; “probably the world’s first successful photographic portrait – of himself – an astonishing image full of life and character”.
Stocksy, a new concept in stock photography, launched a month ago, but I only came across it today.
We’re proud to introduce you to Stocksy, a multi-stakeholder cooperative that is founded upon the principles of equality, respect and the fair distribution of profits. We built this cooperative to specifically not keep any cash, paying out its profits each year in dividends – making us a non-target for investment and more importantly eliminating any type of corporate exit strategy. By design, we built a company to eliminate any threats to our ideals.
The traditional corporate structure at its very core stands in opposition to the stability of photographers income and sustainability of the marketplace. The demand for constant growth and exponential profits has proved unmanageable and dwindles the rewards of the artists leaving them disenfranchised and resentful. The photographers often feel that their careers are out of their own control. Stocksy is breaking this cycle and returning the power and the profits to the artists.
Stocksy management is a group of photo industry veterans, bound by our genuine respect for the craft and for our artists/co-owners. We have intentionally set high quality and curatorial standards for Stocksy to ensure that the stock you find on our site is authentic, intelligent, beautiful, realistic and inherently useful. We will revolutionize licensed photography not only with our co-op structure, but by making great images accessible for a reasonable price while simultaneously raising the industry standard.
We have built Stocksy to be something remarkable. We have high standards and high hopes. We invite you to come explore Stocksy and let us know what you think.